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The Smart Screen Magazine
% r'F=*t I I i
C R E:ElN LAND
15c
reek-Endl /ith Bing Crosb
onality Portra feyra Samter
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4
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WHY, MY SUIT LOOKS SIMPLY
YOU'RE A PEAR. TO LET ME BORROW YOUR THINGS AN P I HOPE YOU'RE STUNNING ON YOU! IF LOOKS Rl0HT. I'VE GOT TWO O00P PROSPECTS MEAN ANYTHING, YOU'RE
SEVEN YEARS EXPERIENCE CAN DO 10 WORDS A MINUTE ... AND HERE ARE MY REFERENCES.
I'LL CHECK TH EM UP. PLE AS E CALL TU ESDAY THE JOB PAYS $30.
YES, A MISS STACY. SAID SHE WORKED FOR. YOU. SHE IMPRESSED ME VERY FAVORABLY EXCEPT FOR ONE THING, WHICH MAY BE MERELY TEMPORARY- HE R BREATH
YOU'VE HIT ON IT, I'M SORRY TO SAY. MISS STACY WAS ONE OF OUR MOST EFFICIENT EMPLOYEES, BUT
HER ASSOCIATES COMPLAINED.
I
1
I'M SORRY, MISS STACY, BUT THE POSITION HAS BEEN FILLED. WE FELT THAT A GIRL OF MATURER NATURE WOULD SUIT HER ASSOCIATES BETTER.
I'M SORRY, MISS JONES, BUT I'D COUNTED SO MUCH ON THIS. DESPERATE, I GUESS, AND HUNGRY.
\
WHY YOU POOR DEAR! COME, WE'LL HAVE LUNCH TOGETHER- MAYBE THINGS WILL SEEM BRIGHTER.
ft
18
I'M GOING TO BE FEARFULLY FRANK WITH YOU, MISS STACY,- YOU COULD HAVE HAD THAT JOB TODAY BUT FOR ONE THIN&- YOUR BREATH. WHY DON'T YOU USE
LISTERINE? THEN COME BACK AND SEE ME LATER.
THANK YOU! I NEVER DREAMED THAT WAS MY TROUBLE. NO WONDER I COULDN'T G-ET A JOB!
I'VE GOT A WONDERFUL J0B- $30 A WEEK. MISS JONES IS SUCK A PEACH! FIRST TOLD ME WHAT MY TROUBLE WAS, THEN WHEN THEY FOUND THEY DIDN'T LIKE THE OTHER GIRL, GAVE ME
TO THINK I HADN'T THE COURAGE. TO TELL YOU TO
USE listerine!
EVER SINCE 'VE BEEN IN BUSINESS I'VE ! USED IT N EVERYDAY.
k
Mr
IS YOUR BREATH BEYOND SUSPICION?
Come, tell the truth; you don't know! That's the insidious thing about halitosis (badbreath). You don't know, but others do and are offended. Why run this foolish risk when you can make your breath sweet, more whole- some, and agreeable, by simply rinsing the mouth with Listerine Antiseptic? Use it morn- ing and evening and between times before social and business engage- ments. Listerine Antiseptic first cleanses the entire oral cavity then overcomes breath odors. You know you won't offend.
Lambert Pharmacal Co. SI. Louis, Mo.
INI BUSINESS, MANY FIRMS INSIST THAT THEIR EMPLOYEES KEEP THEIR BREATH AGREEABLE
Hours for her lovely hoods— Hot a minute for her fender gums
How often such neglect leads to real dental tragedies . . . give your gums the benefit of Ipana and Massage.
uch lovely hands," her friends ex- ;ckim. Why shouldn't they be the envy of others, for she lavishes hours of time and patience upon them.
But look at her smile— her dull, dingy smile — then watch how quickly her beauty fades, how her charm disappears.
Shocking, yes— but shockingly true! Yet she's like thousands of other girls who might have possessed a radiant
smile— who might have had bright, spar- kling teeth— had she only learned the importance of care of the gums. What a price to pay for neglect— what a pity she failed to heed nature's warning, "pink tooth brush."
Don't Neglect "Pink Tooth Brush"
If your tooth brush "shows pink," see your dentist at once! Very often he'll blame our modern menus— soft, creamy foods that deprive the gums of health- ful exercise. And usually his verdict will be, "Strengthen those gum walls with harder, chewier foods"— and, as many dentists suggest, "the helpful stimula-
tion of Ipana Tooth Paste and massage."
For Ipana, with massage, is especially designed to help gums as well as keep teeth sparklingly bright. Massage a lit- tle extra Ipana into your gums each time you brush your teeth. Gradually, as circulation increases within the gums, they become firmer, healthier.
Change to Ipana and massage today —see how sparkling, how lovely, how much more attractive your smile can be— a smile that will be your proud pos- session for the years to come.
• e •
LISTEN TO "Town Hall Tonight"-every Wed- nesday, N.B.C. Red Network, 9 P.M., E.S.T.
a good tooth paste, like a good dentist, is never a luxury.
PAN A
SCRE ENLAND
3
NO PICTURE HAS EVER EQUALLED "CONQUEST"! ^
GRETA .GARBO CHARLES BOYER
„ CLARENCE BROWN'S PRODUCTION
Even Metro-Goldwyn-Mayer-with the greatest productions in motion picture history to its credit-has never before made a picture on so lavish a scale as this. Its grandeur will dazzle your eyes... as its romance fills your heart. Garbo, as the temptress who is used to ensnare Charles Boyer as Napoleon; a glorious seductive pawn in an amazing international intrigue. A cast of thousands including Reginald Owen, Alan Marshall, Henry Stephenson, Leif Erickson, Dame May Whitty, C. Henry Gordon. Directed by Clarence Brown. Produced by Bernard H. Hyman . . . Screen Play by Samuel Hoffenstein, Salka Viertel and S.N. Behrman.
A GIANT PRODUCTION IN THE BRILLIANT M-G-M MANNER
4
SCREENLAND
OCT -S 1937
©C1B ^ ^fW£&F
The Smart Screen Magazine
ELIGHT EVANS, Editor
Elizabeth Wilson, Western Representative
Tom Kennedy, Assistant Editor
Frank J. Carroll, Art Director
Invitation to Romance!
For all who love the thrill of excitement, glamor, the un- usual in romantic fiction, Margaret E. Sangster's new novel about Hollywood is an absolute "must."
Starting in the next, the December issue of Screenland is the latest, and we believe, the most absorbing novel written by an author who stands in the forefront of modern creators of vital, pulsing fiction — Margaret E. Songster.
Screenland readers know Margaret E. Songster as the author of many great and stirring stories of Holly- wood which have appeared serially in this publication.
Her new novel, we can assure you, surpasses in its deep understanding of Hollywood and its influence upon men and women who attain fame there, any previous work you have ever read about the Mecca of the Movies.
Put this new serial down as a "must read." Remember — Margaret E. Sangster's latest and greatest story begins in Screenland for De- cember, on sale at news stands November 3rd, 1937.
November, 1937 Vol. XXXVI. No. 1
EVERY STORY A FEATURE!
Scotch Portraits Malcolm Oettinger 13
The Editor's Page Delight Evans 21
Soigne Stars Linn Lambert 22
A Week-End with Bing Crosby Dick Pine 24
The "Swap" System Liza 26
Personality Portrait of Bette Davis Thyra Samter Winslow 28
Career Girls. Fictionization of "Stage Door". ...Elizabeth B. Petersen 30
Leslie Howard's One-Man Show Ruth Tildesley 32
Cash — and Cary. Cory Grant Virginia Wood 34
Sidestepping Romance. Virginia Bruce Maude Cheatham 51
Reviews of the Best Pictures • Delight Evans 52
Carnival Nights in Hollywood. Grace Moore Elizabeth Wilson 54
Screenland Glamor School. Edited by Loretta Young 56
To The Teens. Fashions 59
My Life. By Robert Taylor. As told to Ben Maddox 60
Great Lover. Fiction Vicki Baum ' 62
London Hettie Grimstead 64
SPECIAL ART SECTION:
Number One Man of Hollywood. Paul Muni. Babs Fights Back. Barbara Stanwyck. Girl of 1,000 Faces? Luise Rainer. Adam Gets Eve — Again! Just Fur Fun. Gail Patrick, Sandra Storme, Ida Lupino, Mary Carlisle. From a Sandwich to a Banquet. California Castle by the Sea. Maureen O'S ullivan's Home. Tricks of the Trade. Polo for Peaches. The Most Beautiful Still of the Month.
DEPARTMENTS:
Honor Page &
Screenland's Crossword Puzzle Alma Talley 8
Salutes and Snubs. Letters from Readers |.0
Ask Me! Miss Vee Dee 14
Tagging the Talkies. Short Reviews 16
Inside the Stars' Homes. Dorothy Lamour Betty Boone 18
Here's Hollywood. Screen News Weston East 66
Glamor Rules Hair Styles. Beauty Article Elin Neil 68
Femi-Nifties 69
Cover Portrait of Sonja Henie by Marland Stone
Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher President I S MacD'ermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530 W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class matter Novem- ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1879. Additional entry at Chicago, Illinois.
Copyright 1937 by Screenland Magazine, Inc. Member Audit Bureau of Circulations. Printed in the U. S. A.
5
ScREENLAND Honor Page
m
To Allan Jones, he- man of song, who steals "The Firefly"
Jones rides his way, singing all the while, into the favor of the public in "The Firefly." Below, the delightful "Donkey Serenade," with Jones riding along be- side Jeanette MacDonald's coach, sing- ing his heart out, accompanied by the coachman's guitar and the charm- ing piping of little Robert Spindola.
THERE have been singing ac- tors, and acting singers. But all too seldom is a splendid singing voice combined with acting talent and true manliness. Such a rare combination is Allan Jones, and so he becomes definitely the man of the moment in movie operetta circles. Allan has robust charm, a strong, musically fine voice which also has audience appeal and warm person- ality ; and he is an excellent, always convincing actor — particularly, sigh the femmes in the audience, in his love scenes ! With Jeanette MacDon- ald in "The Firefly" he rides off with most of the honors, for his boundless zest, high spirits, and gay good humor, as well as his glorious voice. Hail a new star : Allan Jones.
6
'You've heard the hit W-Vfc tunes from this great Kem-Hamm erstein musical ad- venture romance on the radio . . . "Can I Forget You?" "The Folks Who Live On the Hill." You've seen stories W ?m about it everywhere. At^two-a-day showings in New York, Los Angeles,
and London audiences have paid two
doHIfSFa ticket. The N.Y. ■ Times called it. . . "The Bes||Sbpw In Town," topping even the big summer Jgffi^ musicals, the hit plays, Now,"High, Wide and Handsome" comes to your town theatre at popular prices . . . with all trie excite- ment, the beauty, ^ JpiJI^fS' J the drama of this picture which combines '"tne adventure with the charm of "Showboat." -v...
Irene Dunne
"HIGH, WIDE and Mm
Randolph Scott
Akim Tarn
.1
Dorothy Lamour
Blue ♦ Charles Bickford •
A Paramount Picture
iroff • Raymond Wulburtv
A Rouben MamouHao Product
William Frawley
Directed by Rouben Mamouhar
SCREENLAND
7
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Crossword Puzzle
By Alma Talley
ACROSS
86.
"The
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1. She was featured in
Thirteenth Chair" 6. She's Mrs. John Monk
Saunders 9. One of the Marx brothers
14. Star of "Ever Since Eve"
15. United States of America
(abbrev. )
16. Coral reefs
18. Native minerals
19. A Shirley Temple film
22. Vein of ore
23. Hardly enough
25. French article
26. Swede comic — window w'asher in "Blonde Trouble"
27. Sufferer from leprosy Shut up!
29. English title 31. Star of "Confession"
33. Note of the scale
34. Featured actor in "West-
bound Limited"
35. Head covering 38. Alone
41. What you see with 43. Co-star of "Broadway
Melody of 1938" 46. The Juliet of the screen 49. He was featured in
"Espionage"
51. Japanese unit of money
52. Has been
54. Salver for serving
55. Co-star of "The Emperor's
Candlesticks" 57. Her new one is "Love Under Fire' '
60. Lvric poem
61. Chair
63. What you hear with
64. District attorney in ' Fury 66. Paid notice (abbrev. ) 63. Ship's distress signal
"0. Reared, 71. Exclamation
^3. Comedienne in Wake Up and
Live" "6. Ma's husband "8. Pa's wife
"9. Author of "Tom Sawyer
81. Bad
82. She plays "Stella Dallas 85. Measure of land
of
French star of "Seventh
Heaven" Gummy black substance Heroine in "The Toast
New York" Railroad station Pigpen
Movements of water in DOWN
His new one is "Nothing
Sacred" Range or scope Mickey Mouse's papa
•• West, Young Man"
"Dead " with Sylvia
Sidney To rage
Venomous serpent Famous Eastern university Possesses
"A Day The Races
A part in a picture
Sound of something dropping
into water Elder t ..
Green growth on wet soil Dried up, withered Sick
Kind of deer Story , He's married to Bebe
Daniels Depend upon He's married to Kuby
Keeler _ He's famous for ■ dignified old gentle- men roles
53. 56. 58.
ocean 59
62. 65.
66. 61. 69. 70. 71. 72. 74. 75. 77. 78.
80. 82. 83.
84.
irith Edward
Town" Toast of New
48. Forever
50. Compass point (abbrev. )
"A Is Born," with Gay-
nor
" Living,
Arnold Sun god To egg on "Fifty Roads Star of "The
York" Monkeys
" Copperfield"
Mineral spring A rod
Engages . Something unique (slang) What a clock tells you Liquid refuse Cultural pursuits She's now Mrs. Buddy
Rogers The utmost Wager , Part of a ball player s
equipment Stern of a ship
"The Girl Said
Two-toed sloth
90.
Answer to Last Month's Puzzle
35.
36. 37.
39.
40.
41.
42.
44. 45.
47.
Light boat One . He's featured in Cate
Metropole" ., "Men Are Gods.
with Miriam
Hopkins Star of "The Prince
and The Pauper Wing of a house •• — : Can't Have
Everything' ' Slippery fish A rodent Ans>ry
EIRIEIP MlOORiE_ N!D'E1A:R A D_ LAM SHAL
GAR B OIA MjE. |OR I ONBD AN _ E GMBJQjRjD T^AlA'B
JY
EE
8
S GREENLAND
ie outstanding prestige picture the season. — Time
The most distinguished and most important contribution to the screen this year.
— Kate Cameron, N. Y. Daily New.
Xhe finest historical film ever made and the greatest screen biography.
— Frank Nugent, N. Y. Times
So far superior ... so superlative . . . that this department temporarily abandoned its jo b of being critical.
— Trie Digest
of
— the rehel genius life never tamed — strides across the screen to hecome an immortal char- acter in the motion picture gallery of the great!
Ti^arner Bros, proudly present
in THE LIFE OF
EMIL
Soon to be shown at popular prices I
WITH A CAST OF THOUSANDS INCLUDING:
Gale Sondergaard .... Josepli Schii<
Gloria Hoi Jen • Donald Crisp * Erin O'Brien- Mo ore • Henry O Neill • Louis Calhern • A! orris Carnovsky • Directed
by "William Dieterle Screen play by Norman Reiliy Raine, Heinz Herald and Geza Herczeg.
Don t miss the picture that packed America's leading theatres for weeks at $2.20 a seat. Coming to your favorite theatre soon.
SCREENLAND
SKoW€rs Talc
This is the cool, fragrant freshener you need every summer day. The finest quality imported talcum powder, scented with love- ly April Showers, "The Perfume oj Youth" ...yet priced low for debutante allowances. Tl>e Talc, exquisite but not expensive. 28c. The Perfume (in purse-sizes), 28c, 50c and S1.00.
Basil Rathbone, who makes hisses for the villain roles he plays turn into hoorays for his brilliant acting, steps in- to the limelight as this month's choice of the letter writers. Here s Basil, at right, interrupt- ing a romp with two of his dogs during a holi- day, to greet you, his Screeniand admirers
WRITE AS YOU PLEASE ABOUT THE STARS
Now it's the readers' turn to write — precisely what they think about Hollywood and its stars. Read here what your fellow screen enthusiasts have to say about pictures and picture people, then write what you think. You'll find it fun, other readers will find it interesting, and Hollywood will take your advice and criticism to heart. Please limit each comment to a maximum of 50 words. Address to: Letter Dept., SCREENLAND, 45 West 45th St., New York, N. Y.
alutes an
d Snubs
HOW'S ABOUT, PETE SMITH?
Why doesn't Hollywood keep us up to the minute on etiquette, via some short subjects? It could be very entertaining, as well as informative, to see a film in which a couple entertain friends at teas, recep- tions, dinners, etc. Also let them step out to the best hotels, travel by all the modern conveyances', and visit entertainment re- sorts—doing it all in the manner of those who really know their way around.
Alzalein Parker,
Millen, Ga.
Town." Robert Taylor in "This Is My Affair."
Ruth Kilman. Boston, Mass.
FAVORITE PEOPLE AND PICTURES
Here are my favorites and the pictures that made them so:
Errol Flvnn in "Charge of the Light Brigade." Robert Montgomery in "Night Must Fall." Spencer Tracy and Freddie Bartholomew in "Captains Courageous." Tyrone Power in "Lloyds of London." Nelson Eddy in "Maytime." Billy and Bobbv Mauch in "Prince and the Pauper." Ferdnand Gravet in "King and the Chorus Girl." Don Ameche in "Fifty Roads to
BASIL — BELOVED VILLAIN
I think Basil Rathbone's amazingly bril- liant performances should convince Holly- wood that he is infinitely worthy of star- dom. He is far too great to play second fiddle to anybody — in reality he doesn't, for in supporting roles he manages to take the lead in scenes with many a leading, or star, player.
Elizabeth White. Landsdown Strand,
Glos., England
THE AH'S ARE FOR AMECHE
Here's my applause, long and loud, for a great radio and screen star, Don Ameche. I certainly receive full value when I go to a theatre where Don is playing.
Lorraine Haley, Berwyn, 111. (Please turn to page 12)
10
SCREENLAND
^ %n THEM TOGFto
Broadway's sensational stage success becomes the outstanding highlight of ill the screen's new nig pictures!...
thored by two of the greatest living playwrights, EDNA FERBER and GEORGE $ KAUFMAN . . . Thrillingly directed by the genius, behind "My Man Godfrey", GREGORY LA CAVA... Glamorously produced by Hollywood's ace picture- maker, PANDRO S. BERM AN... inti- mately played by stars daringly cast to sweep you off your feet with curi- osity- and satisfaction! ... At last the one picture you simply MUST see!
G E R
ROGERS
SCREEN PLAY BY MORRIE RYSKIND AND ANTHONY VEIUER
A D 0 L P
MENJOU
GAIL PATRICK CONSTANCE COLLIER ■ ANDREA LEEDS
SAMUEL S. HINDS * LUCILLE BALL * from the put it edm feme* mo 6emge s. mm DIRECTED BY GREGORY LA CAVA • PRODUCED BY PANDRO S, m
R K. O
SCRE ENLAND
11
The new Maybelline Cream Mascara — dark- ens, beautifies, and tends to curl lashes. Ap- plies smoothly and easily without water. Black. Brown, or Blue. Complete with brush in dainty zipper bag.
o Jjmp^mt-foti First Impression
Everyone notices your eyes first — remem- ber this! Eyes without proper eye make-up often appear dull and lifeless — bald and unattractive. Many women deplore this in their appearance, but are timid about using eye make-up for fear of having a hard "made-up" look, as with so many ordinary mascaras.
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intensifies the color and sparkle of the eyes immensely.
The new Maybelline Cream Mascara and the ever-popular Solid Mascara are preferred by over 10,000,000 discriminating women the world over. Either form is only 75c at leading toilet goods counters. Generous introductory sizes of all Maybelline Eye Beauty Aids may be purchased at all leading ten cent stores. For the finest in eye make- up, insist on genuine Maybelline!
Solid Form Mascara — Black, Brown or Blue.
Salutes and Snubs
Continued from page 10
MANY ARE FINE, BUT DICK IS FAVORED
I see a lot of movies and I like lots of stars, but it's Dick Powell with his natural- ness, human, easy charm and pleasing voice who brings me to the theatre most fre-
(luently. „ ..
M. L. Dailey,
Racine, Wise.
THAT BRITISH CHARM
These English actors fascinate me. Espe- cially Herbert Marshall. He is one of the actors with an ability to draw you into the picture; make you absolutely forget where you are to the extent that you pretend you are in the story yourself. It takes acting skill, the projection of sincerity and warmth, to do that.
Jean Dunbar, Wyndmoor, Pa.
SPEAKING OF TALENT—
On the subject of talent that isn't given the recognition due it, what about those two superb and entertaining actors and dancers, Lee Dixon and Buddy Ebsen? The former with all the pep, life and ap- peal of a college man, and the feet of Astaire. And the latter with all the appeal of a homely but friendly face, the per- sonality of a Taylor and an inimitable style of dancing.
Jeanne Mudgett, Adrian, Mich.
GLADYS RATES WITH THE GREAT
Most people when speaking of the screen's foremost actresses mention Luise Rainer, Miriam Hopkins, Bette Davis, Katie Hepburn and Greta Garbo. But to me Gladys George deserves recognition in any grouping supposed to represent the finest abilities of acting art in the motion picture.
Jean Adams, Buffalo, N. Y.
LOVELY'S THE WORD
I can think of no actress who better qualifies for the word "lovely" than Frieda Inescort. And the best indication of her acting ability is the fact that each of her performances seems better than the pre- ceding one. She was very nearly perfect in her best picture, "Call It A Day ;" and she was one of few redeeming features in "Another Dawn."
Margaret A. Connell,
Dcs Moines, la.
THE WORLD'S LARGEST SELLING EYE BEAUTY AIDS
Eve Shadow — Blue, Biue-Gray, Brown, Green or Violet.
KING'S ROAD TO STARDOM
Because, after appearing in serials and small parts in features, he rose _ almost overnight to the eminence of a star in "The Road Back," my salutes are for John King. That grand performance entitles him to the best from Hollywood, and the public.
Marion Cadish, Los Angeles., Calif.
MORE ABOUT MARIE
Won't you please tell us more about the grand little comedienne, Marie Wilson ? Marie is bound to become the best loved girl in Hollywood before many moons. You don't know how eagerly I scan the pages of every issue of Screenland to learn more about my favorite actress— Marie Wilson.
Georgia Sargent, Muncie, Ind.
12
Screenland
ERROL FLYNN
The Three Musket- eers with one expression.
MADGE EVANS
All - American best girl; cue for song.
EDUARDO CIANNELLI
Dante on loca- tion; acid on iron.
DEANNA DURBIN
canary in a nursery; ingenue wired for sound.
BURGESS MEREDITH
radical in Brooks clothing; senior most like- ly to succeed.
MADELEINE CARROLL
the girl you meet just be- fore waking up.
HERMAN BING
explosion in a sauerkraut fac- tory; Weber and Fields' son.
Scotch Portraits
By Malcolm H. Oettinger
TYRONE POWER, JR.
Mask and Wig presid ent; Father's boy.
SONJA HENIE
china saucer on chubby legs; Kewpie on ice.
NELSON EDDY
a dentist with a marcel wave; the smile with a voice wins.
MARGOT GRAHAME
what every wife fears the other woman is like.
WALTER BRENNAN
Ancient Mariner on a ferris wheel; cracker bar- rel philosopher.
JANE WITHERS
mosquitoes and giggles; prob- lem child.
GREGORY RATOFF
storm over Siberia; triumph of the accent.
WHY, BETTY- WHAT LANGUAGE/
MY HELEN CUTS DOWN RUNS WITH LUX. IT SAVES ELASTICITY- DO TRY IT
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and you'll
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People everywhere are praising the new Scientifically Improved Ex-Lax! Thousands have written glowing letters telling of their own experiences with this remarkable laxative "I always liked the taste of Ex-Lax," many said, "but now it's even more delicious!" . . . "It certainly gives you a thorough cleaning cut!" was another popular comment . . . '"We never dreamed that any laxative could be so gentle!" hundreds wrote.
And right they are! For today Ex-Lax is better than ever! A more satisfactory laxative in every way! ... If you are suffering from headaches, biliousness, listlessness or any of the other ailments so often caused by consti* pation — you'll feel better after taking Ex-Lax !
Your druggist has the new Scientifically Improved Ex-Lax in 10c and 25c sizes. The box is the same as always — but the contents are better than ever! Get a box today!
FREE! If you prefer to try Ex-Lax at our expense, write for free sample to Ex-Lax, Dept. S117, Box 170, Times-Plaza Sta„, Brooklyn, N.Y.
Ask Me!
By Miss Vee Dee
A. G. M. Here's about your little Ca- nadian rave, Rosina Lawrence: born in Ottawa, Canada, 5 feet 2>Vz inches tall, blonde hair and green eyes, u.ighs 115 rounds. Attended high schools in Boston, Mass., and Los Angeles, Calif. Studied iallet and tap dancing, made screen debut at 13, in "Angel of Broadway," later played in "Reckless" and "$10 Raise," "Charlie Chan's Secret" and "Your Uncle Dudley," with a featured role in "General Spanky." Olivia de Havilland was burn in Tokio, Japan, July 1st, 1916. She is of English descent; came with her parents to America at the age of three. Playing the role of Puck in a school production of "Midsummer Night's Dream" resulted in a leading part in the screen version of the play and a contract with Warner Bros. She is 5 feet 4 inches in height, weighs 107 pounds, has reddish brown hair and brown eyes.
Ruth F. Glad you like your gift. John Trent was born in Orange, California. His real name is LaVerne Browne. He grad- uated in an engineering course in Hancock Foundation College, where he also took his course in aviation. He belongs to the Army Air Corps Reserves. Of course you know he was a pilot for a transcontinental air line. He played the leading romantic role in "A Doctor's Diary." He is 6 feet tall, weighs 173 pounds, has blue eyes and dark hair. For his photograph, try Para- mount Studio, Hollywood, California. John's latest pictures are "The Great Gambini" and "She's No Lady."
Miss R. T. So you like the looks of Jack Dunn? Address your letter to him in care of Universal Studios, Universal City, Cal- ifornia. In the first place, he is very Eng- lish, born in Lounbridge, Wells, England, on March 28, 1917, and next he skated into pictures ! Literally, for it was while skating with Sonja Henie in Los Angeles, that he won his Universal contract. He is tall, dark and handsome, as you yourself have observed. Over 6 feet, weighs 182, black hair and brown eyes.
Allan Jones and his wife, Irene Hervey, take the air to greet radio fans tuned in to c recent Hollywood preview.
Hard to tell where Ann Sothern's fur cape leaves off and her pet doggie be- gins. The pooch is looking at you through those shaggy white locks.
Mrs. K. W. N. Jackie Cooper was born in Los Angeles, California, September 15, 1923 ; Mickey Rooney, born in Brooklyn, N. Y. ; Freddie Bartholomew, London, March 28, 1924; Jackie Searle, Annaheim, California, 1920; Jane Withers, born in Atlanta, Georgia, nine years ago; Shirley- Temple, Santa Monica, California, April 23, 1929.
M. J. G. James Stewart is his real name. His parents are Alexander and Elizabeth Stewart. He was born in Indiana, Pa., is 6 feet 2V2 inches; brown hair and gray eyes, and has a contract with Metro-Gold- wyn-Mayer.
Pauline K. Sorry, but unless you can tell me the name of the picture, it would be impossible to give you the information you wish. Send in the title, and I'll do my best to straighten you out on "who is which."
Frank C. S. Why not write direct to the home office of Paramount Pictures. 1501 Broadway, New York, N. Y. Il might be well for you to state in which magazine you saw the statement.
Marguerite M. I'm glad to tell you about Charles Boyer, because he is one of my favorites, too. So, we'll begin at the be- ginning: he was born in Figeac, France. Educated at schools in his birthplace, and also at the Sorbonne, Paris. In 1920 he made his stage debut in Paris, appearing in a number of plays on the Paris stage. Then, several silent films. His_ first talk- ing picture was made in Berlin in 1930, at UFA studios. He came to Hollywood in 1933 and has been outstanding ever since as one of the finest actors on the screen. He is married to Pat Paterson. Address him at the United Artists Studio, Hollywood, California.
Florence 'L. Noah Beery, Jr., was born in New York City, August 10, 1913. He has brown hair and eyes. He is 5 feet 10 inches tall, is not married, but he has not confided in me whether or not he is en- cased, but his heart-throb is Buck Jones pretty daughter, Maxine. His father and mother are both professionals; as a child he traveled with them and appeared m stock, also in "Mark of Zorro" the silent picture starring Douglas Fairbanks.
Now improved -better than ever!
| THE ORIGINAL CHOCOLATED LAXATIVE
14
SCREENLAND
HAIL ! the conquering hero comes!
h^l DODO
WALTER WANGER
presents
LESLIE
Hollywood hails Atterbury Dodd...the timid soul who took the studios to town! Are there laughs? Is there romance? Are there thrills? Clarence Buddington Kelland, the Saturday Evening Post author who gave you "Mr. Deeds" and "Catspaw", never wrote a funnier adventure... and with this star-studded cast tossing the excitement together .. ."Wow!
JOAN
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GOOD NEWS TO MILLIONS
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People everywhere are praising the new Scientifically Improved Ex-Lax! Thousands have written glowing letters telling of their own experiences with this remarkable laxative "I always liked the taste of Ex-Lax," many said, '"but now it"s even more delicious!" . . . "It certainly gives you a thorough cleaning cut!" was another popular comment . . . ''We never dreamed that any laxative could be so gentle!" hundreds wrote.
And right they are! For today Ex-Lax is better than ever! A more satisfactory laxative in ei;ery way! ... If you are suffering from headaches, biliousness, listlessness or any of the other ailments so often caused by consti* pation— you'll feel better after taking Ex-Lax !
Your druggist has the new Scientifically Improved Ex-Lax in 10c and 25c sizes. The box is the same as always — but the contents are better than ever! Get a box today!
FREE! If you prefer to try Ex-Lax at our expense, write for free sample to Ex-Lax, Dept. S117, Box 170, Times-Plaza Sta., Brooklyn, N.Y.
Ask Me!
By Miss Vee Dee
A. G. M. Here's about your little Ca- nadian rave, Rosina Lawrence: born in Ottawa, Canada, 5 feet 3'A inches tall, blonde hair and green eyes, w.ighs 115 Bounds. Attended high schools in Boston, Mas-., and Los Angeles, Calif. Studied ballet and tap dancing, made screen debut at 13, in "Angel of Broadway," later played in "Reckless" and "$10 Raise," "Charlie Chan's Secret" and "Your Uncle Dudley," with a featured role in "General Spankv." Olivia de Havilland was born in Tokio," Japan, July 1st, 1916. She is of English descent; came with her parents to America at the age of three. Playing the role of Puck in a school production of •'Midsummer Night's Dream" resulted in a leading part in the screen version of the play and a contract with Warner Bros. She is 5 feet 4 inches in height, weighs 107 pounds, has reddish brown hair and brown eyes.
Ruth F. Glad you like your gift. John Trent was born in Orange, California. His real name is LaVerne Browne. He grad- uated in an engineering course in Hancock Foundation College, where he also took his course in aviation. He belongs to the Army Air Corps Reserves. Of course you know he was a pilot for a transcontinental air line. He played the leading romantic role in "A Doctor's Diary." He is 6 feet tall, weighs 173 pounds, has blue eyes and dark hair. For his photograph, try Para- mount Studio, Hollywood, California. John's latest pictures are "The Great Gambini" and "She's No Lady."
Miss R. T. So you like the looks of Jack Dunn? Address your letter to him in care of Universal Studios, Universal City, Cal- ifornia. In the first place, he is very Eng- lish, born in Lounbridge, Wells, England, on March 28, 1917, and next he skated into pictures ! Literally, for it was while skating with Sonja Henie in Los Angeles, that he won his Universal contract. He is tall, dark and handsome, as you yourself have observed. Over 6 feet, weighs 1S2, black hair and brown eyes.
Allan Jones and his wife, Irene Hervey, take the air to greet radio fans tuned in to c recent Hollywood preview.
Hard to tell where Ann Sothern's fur cape leaves off and her pet doggie be- gins. The pooch is looking at you through those shaggy white locks.
Mrs. K. IV. N. Jackie Cooper was born in Los Angeles, California, September 15, 1923; Mickey Rooney, born in Brooklyn, N Y. ; Freddie Bartholomew, London, March 28, 1924; Jackie Searle, Annaheim, California, 1920; Jane Withers, born in Atlanta, Georgia, nine years ago; Shirley Temple, Santa Monica, California, April 23, 1929.
M. J. G. James Stewart is his real name. His parents are Alexander and Elizabeth Stewart. He was born in Indiana, Pa., is 6 feet 2V2 inches; brown hair and gray eyes, and has a contract with Metro-Gold- wyn-Mayer.
Pauline K. Sorry, but unless you can tell me the name of the picture, it would be impossible to give you the information you wish. Send in the title, and I'll do my best to straighten you out on "who is which."
Frank C. S. Why not write direct to the home office of Paramount Pictures. 1501 Broadway, New York, N. Y. 11 might be well for you to state in which magazine you saw the statement
Marguerite M. I'm glad to tell you about Charles Boyer, because he is one of my favorites, too. So, we'll begin at the be- diming: he was born in Figeac, France. Educated at schools in his birthplace, and also at the Sorbonne, Paris. In 1920 he made his stage debut in Paris, appearing in a number of plays on the Paris stage. Then, several silent films. His first talk- ing picture was made in Berlin in 1930, at UFA studios. He came to Hollywood in 1933 and has been outstanding ever since as one of the finest actors on the screen. He is married to Pat Paterson. Address him at the United Artists Studio, Hollywood, California.
Florence L. Noah Beery, Jr., was born in New York City, August 10, 1913. He has brown hair and eyes. He is 5 feet 10 inches tall, is not married, but he has not confided in me whether or not he is en- gaged, but his heart-throb is Buck Jones pretty daughter, Maxine. His father and mother are both professionals; as a child he traveled with them and appeared m stock, also in "Mark of Zorro" the silent picture starring Douglas Fairbanks.
'Now improved- better than ever!
THE ORIGINAL CHOCOLATED LAXATIVE
14
SCREENLAND
HAIL ! the conquering hero comes!
WALTER WANGER
presents
LESLIE
HOWADn
//
Hollywood hails Atterbury Dodd...the timid soul who took the studios to town! Are there laughs? Is there romance? Are there thrills? Clarence Buddington Kelland, the Saturday Evening Post author who gave you "Mr. Deeds" and "Catspaw", never wrote a funnier adventure... and with this star-studded cast tossing the excitement together .. .Wow!
JOAN
NDELL
th
A C
Sc
£44
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NAME- ; ADDRESS- t.»
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AGGING
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TALKIES
Delight Evans' Reviews on Pages 52-53
Varsity Show
Warners
It's got that thing! This latest Dick Powell musical is sure to please the ma- jority, and will wow the younger element of the land. Dick, with some good songs, fine romantic support from Rosemary Lane, comedy that's funny from Ted Healy, and novelties in the musical line from Fred Waring and his group, especially Johnny Davis, returns to his old college and plumps into a lively and youthfully gay time.
So moving we doubt you'll even wish the dialogue were in English instead of French. The dramatization of the tragic life, love, and death of Archduke Rudolph of Austria is" so vibrantly alive as acted by Charles Boyer, and the lovely Danielle Darrieux, as Marie Vetsera, you live in a world of true and entrancing illusion throughout its course. English titles clarify the dialogue. Notable. This is one you surely must see.
16
Broadway Melody of 1938
M-G-M
The world's greatest feminine tap dancer (viz. Eleanor Powell), and Robert Taylor carry on a boy and girl romance to good •:unes, elaborate production numbers, and with attractive aid from George Murphy, Judy Garland — which two score heavily— Buddy Ebsen, Raymond Walburn, Sophie Tucker and many other bright names. Eye and ear entertainment done on an opulent scale. Not much story, but lots of show.
The Sheik Steps Out
Republic
As a welcome return vehicle for Ramon Novarro, absent from films nearly 3 years, this is glove-fitting movie romance. Ramon as the desert lothario tames a spoiled rich girl from America, then proves himself a count, no less, playing Arab for the tun of it. Lola Lane, Gene Lockhart and others do good jobs, and Novarro will delight his old friends in the audience. There's good entertainment in this typical sheik story.
Love Under Fire
20th Century- Fox
Pops away with incident at a machine gun pace, and sure for a diverting evening at the theatre. Loretta Young and Don Ameche share iionors in a melodramatic comedy about stolen jewels — Don the Scot- land Yard chap, and Loretta the suspect he pursues to war-ridden Spain — questionable choice for a comedy locale, but the yarn moves so fast you forget all that. Finely supported, the stars are corking in this.
The Life of the Party
RKO- Radio
Well, anyway it's a big party. There's Joe Penner, Parkvakarkus, Victor Moore, Helen Broderick, to make a quartette of comedians, and Gene Raymond and Harriet Hilliard for romance — and song too. Even Gene croons a couple of tunes. The story is verv much musical comedy. Gene is a rich boy" who'll lose his inheritance if he marries, and Harriet's mother wants her to marry money rather than be a singer. Fairish.
It's Love I'm After
Warners
Bette Davis, Leslie Howard and Olivia de Havilland in their lighter moments keep you amused even to laughing out loud. Leslie is the actor in love with his' lead- ing lady, Bette, but easily diverted by a pretty new face — and so enters Olivia, wor- shipper of the ham actor. All three stars are grand, and excellently supported by Eric Blore, Patric Knowles, and others. A real triumph for the engaging Mr. Howard.
Double or ■
kl ... MM- Nothing SSKi;
Para- mount
Bing Crosby . breezes through a tuneful variety show that has the ease and infor- mality of one of his radio shows', with the added zest of Martha Raye's clowning and songs— one a gag about a strip tease act, called "It's Off, It's On," that's catchy and amusing as well. There is a plot, but it doesn't hurt much, and Andy Devine, as well as a number of specialty acts, spotted between romance involving Mary Carlisle
Sea Rack- eteers
Republic
A melange of dance numbers, blood and thunder melodrama, and comedy about two Coast Guard buddies, W eldon Heyburn and Warren Hymer, who steal each other's girls. Jeanne Madden sings pleasantly, Dorothy McNulty stands out as a wise showgirl, and J. Carroll Naish heads a gang of smugglers. Nothing subtle about this — it's straight, obvious, elemental in its efforts to enter- tain by familiar mass production methods.
She Asked for It
Para- mount
Bright and novel little tale about a writer who becomes the detective in his own stories' and solves murder mysteries. Wil- liam Gargan is excellent as the writer. Orien Heyward, a newcomer with promise, is seen as his wife. Vivienne Osborne, Rich- ard Carle, Roland Drew, Harry Beresford, Alan Birmingham, Harry Fleischmann and Miki Morita offer very good support. This is good program type entertainment.
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SCREENLAND 17
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nside the Stars' Homes
Screen's new singing siren, Doro- thy Lamour, serves food as exotic as she looks! See the tempting Southern recipes here
TWO years ago, the section of Hollywood I where Dorothy Lamour now lives con- sisted of fields', brown in summer and green after the rains, with not even a tree to break the monotony.
Today, like a miracle in a movie, in this place can be found street after street of dazzinglv white apartment houses, new and strikingly modern, some with touches of vermilion, royal blue or yellow in shutters, doors' or roofs. Young trees, uniform in size and kind, stand at seeming attention in most of the new streets, and flowers make colorful patterns in window boxes.
Dorothy's apartment is all white outside, effective contrast to the sunbrowned olive- and-rose skin of its occupant. This new starling should be seen in a color picture; a catalogue of brown hair, hazel eyes and scarlet lips gives no adequate idea of her vivid personality.
"I wanted an apartment with a fireplace in it," confided Dorothy, surveying her living-room through half-closed eyes, "but no duplex I looked at that had one would satisfy me otherwise, so I compromised. Instead of the fireplace, I have this enor- mous mirror, with its draperies, and it really makes the room look larger, doesn't
it?"
The mirror, as large as an archway, re- flected the American adaptation of an 18th century French room, with dark blue car- pet, twin sofas in beige and blue facing each other over a low glass coffee table,
Dorothy Lamour is seen, at top, in her unusual living-room, where instead of a fireplace she has a huge mirror. Right Dorothy before the bamboo bo
By Betty Boone
a small white piano, and a chair covered in soft white bearskin that matched two perfect skins on the "hearth."
"I had a terrible time trying to find the exact shade for the carpet," remembered Dorothy. "Finally, I had to have it dyed. No, I didn't exactly do the house myself, but I was always in the way, if you know what I mean. One day, I wandered in to discover that the decorator had drapes in French blue sequins over the mirror. It looked like a bad stage setting, and I couldn't stand them. So after we had worn ourselves out looking, we finally came across these peach cellophane drapes and I think they give just the color note I was anxious to have.
"The room seems white because the walls and furniture are mostly white, and
her
playroom,
with "Hurricane" trophies.
18
SCREENLAND
maybe that's why I'm so triumphant over the yellow brocade chair in that corner, and this new picture done in soft pastels."
She waved a slim hand toward the chair, and her image in the mirror, in a peach- beige dress and French blue shoes and belt, waved, too.
Off the living-room is a dinette, with tapestried wallpaper of the 18th century, and dainty French furniture (American adaptation) of the same period.
"Tiny, isn't it?" commented Dorothy, "but I'm, so busy with pictures and radio that I haven't time for a great deal of entertaining. I seldom have more than six to dinner, and these are usually Mother s friends, or members of Herbie's company." (Herbie Kay is Dorothy's husband, well- known orchestra leader.)
"I can squeeze eighteen in if I serve buffet suppers', so that's what I do when my husband is home. As a rule we have cold roast beef, potato salad, and some sort of aspic salad. But if Suedell, my maid, is in the mood, we have crepes Suzette for dessert. I don't know a thing about cooking, but Suedell will tell you— well, it's just a very thin pancake, you know, rolled around strawberry jam with brandy poured over it. Just before she brings it m, she lights the sauce and it makes a name like that on Christmas pudding.
"Suedell makes' the most marvelous desserts! There's a peach nesselrode cake that is one of her specialties. You make any kind of good plain cake and on top put peaches — ripe or canned — set in enough gelatine so that they are fairly firm, and then serve ice cream on that. Peach ice cream is* best but you can use vanilla.
(Knox gelatine is excellent for this purpose.) .
Suedell, dark eyes snapping, reminded Dorothy that perhaps her favorite dessert is lemon mince pie.
"I call it lemon-mince, but some call it lemon," she added. "I use half a dozen eggs to a nine-inch pie; the juice and rind of two lemons'— just the yolks of the eggs, sugar, the grated rinds of the lemons, a little hot water and a dab of butter or Crisco. I put a teaspoon of Calumet bak- ing powder in the meringue and that keeps the pie three days as good as ever. You can cut through the meringue, too."
Dorothy's mother, a scarcely older edi- tion of Dorothy, observed that her daugh- ter was an ideal Hollywood actress, for she didn't really care about eating and food had to be "put over" on her rather than kept out of her way!
"She likes all vegetables except spinach, fortunately," she told me, "so we have plenty of leeway. But when it comes to spinach, you can call it spinach supreme or Spinach a la Lamour, or anything else, but you won't get a spoonful down her throat !"
Daughter of a strict French family in New Orleans, Dorothy's mother was not. permitted to go on the stage, but trans- mitted her ambitions to her child.
"She always said she was going to act, when she was little," she remembered. "I can recall her picking out a stage name for herself when she was about six, but I can't remember now what it was. When Dorothy was three, she used to sing for the soldiers and once she made forty dol- lars for the Red Cross in Thrift Stamps.
"When she was quite small, she won a basket of groceries on amateur night at a local picture house. I wasn't with her, but whe?: they asked for contestants, Dorothy stood up and sang. But some big boys took the groceries away from her on her way home. I was a widow at the time and could have used them, as it was hard to get along. But I was proud of her, anyway."
"It was Mother's longing for the stage that first influenced me," admitted the {Please turn to page 92)
POPULAR MODEL GIVES TIP ON SAVING
STOCKINGS!
9- cuCt'wuji /5tbctauA.ci kMo IN HALF Ay[
Here's the girl you see in lots of fashion photographs — lovely Evelyn Kelly. "I furnish my own stockings," she says, "and Ivory Flakes save me money. Stockings washed with pure suds wear twice as long."
ACTION ! DEMANDS PHOTOGRAPHER. Look at the strain on Evelyn's sheer stockings! They can take it, because they're kept fresh and strong by Ivory care!
ONE MINUTE PLEASE! Evelyn Kelly, popular photographers' model, takes one minute at bedtime to dash her stockings through Ivory Flakes suds. "Now they wear twice as long."
Pure soap prevents weakening of silk stockings
"Protecting the freshness of silk is the whole secret of getting real wear from stockings," say fine stores. "That's why we advise the soap flakes made from the fa- mous pure Ivory Soap— the soap that pro- tects even a baby's young skin."
Don't pile up stockings you've worn- don' t use any soap less pure than Ivory Flakes— don't let your stockings get stale. All these make silk grow weak and old.
Start tonight with Ivory Flakes. One minute of daily care can add weeks of wear— Ivory Flakes are pure economy!
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SCREENLAND
19
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*UfE BEGINS IN CbOEGE
Darryf F. ZanucJc in charge of production
20
with a glo-roarious cast of entertainment's top-^ notchers!
JOAN D AV I S TONY MARTIN GLORIA STUART
FRED STONE • NAT PENDLETON DICK BALDWIN • JOAN MARSH DIXIE DUNBAR • JED PROUTY MAURICE CASS • MARJORIE WEAVER • ROBERT LOWERY LON CHANEY, JR. Directed by William A. Seiter
Associate Producer Harold Wilson . Screen Play by Karl Tunberg and Don Efflinger Suggesfed by o series of stories by Darrell Ware . Rifz Brofhers Specially Routines by Sam Pokrass. Sid Kuller and Ray Golden
SCRE ENLAND
Nil HI!
HA! HA!
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WOTTA RIOT I
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Edgar Bergen threatens Charlie McCarthy!
DEAR Diminutive Little Chum: Welcome to our movies! We've needed a chip out of the old block like you for a long time. Someone to put certain pompous egos in their right places — and you know where that is, Charlie, as well as I do. Reduce 'em to chips, my little shaving. Now that you've signed your new con- tract to star in pictures, as well as on the radio, Hollywood is getting ready to climb trees. Trying to appear in your pictures will become the life work, I'm sure, of every player on the Universal lot. You've got them stomping in sawdust. Beautiful girls are trembling in fear of your varnished leer, and strong men are cringing in terror of being cast with you. Maybe they don't like woodland pictures. Even W. C. Fields takes to the seashore instead of the woods. You would always have the last crack, Charlie, wooden you? It's lucky there isn't a grove of you!
I would like to make some suggestions now that you are permanently transplanted in Hollywood. I haven't yet seen your first appearance in "The Goldwyn Fol- lies," but it must have been good, or you wooden have been signed for a lone-star film. I'm sorry that Nelson Eddy is with another company and so can't appear with you on the screen, because you have done wonders with Mr. Eddy, Charlie, on that Sunday night radio hour, and he needs you in pictures, too. The way you have helped transform our Nelson from a somewhat sawdusty and self-conscious concert singer into a rather gay guy who can take it and dish it out is a revelation. You've made a trouper of him, Charlie. So please see what you can do with Katharine Hepburn, won't you? Try heckling Hepburn. I don't say that you will succeed with her as you have with Nelson Eddy, but you can try. You may not be able to trans-
an open letter to charlie McCarthy
form her, but at least you might give her ear a twig and badger her into going back to Broadway.
Then there's Mischa Auer; there certainly is; every- where you look, there's Mischa. He's on the screen prac- tically continuously; you can't escape him even if you take to the tall pines — and you know your pines, Charlie. Now it happens fortunately that Mischa is with Universal, too, so you'll be working on the same lot. He might even be in your first starring picture — but I warn you, Charlie, it might be his starring pic- ture before he's finished with you. So be on your guard. No log-rolling. Watch out, or Mischa will re- duce you to splinters — and very good kindling too. Anything for an effect. Ever since he scored such a success in "My Man Godfrey" there's been no holding him back. He stood out like a poplar. He was grand in that picture, but since, he's taken to bigger and broader gestures, wider eyes, more exaggerated accent. You know how it is in the spring when the sap comes out. In "Vogues of 193 8" he reaches a new all-time low — like a fir seedling — and he really needs you to heckle him back into a poplar.
And now to your favorite topic: to the ladies. You'll have to remember, Charlie, that Will Hays will be listening, so you may have to be more subtle in your approach. But if you can do anything for Dorothy Lamour, to get her bigger and better roles, I know you'll leave no stump unturned. It took your radio program to bring out the best in Dorothy, and so far no picture has presented her successfully.
When you're a big movie star, in the Gable-Taylor class, maybe you'll remember Dorothy Lamour, and how sweetly she took your honeyed insinuations, and give her a part playing opposite you, or at least sitting in your shade. And now just one more suggestion. You've got to begin to branch out. You don't want to be "typed," do you? Your top hat and tails are all very well for weekly appearances, but do you think you can "carry" an entire picture with that man-about-town stuff? Be folksy, be everyday, my little hatrack. Get a pair of overalls and let them know you're just one of them, put slacks on your — er — limbs. Think how Fields would laugh if they called you a one-part actor, like a lone elm„
Gosh all hemlock, Charlie, be the mighty oak you are and do all of this for me. And when you've got it done, take a bough, Charlie, take a bough!
21
0
ff*f fit
Svelte, smart, shimmering — here are the ultra ladies of the lenses. Learn their secrets of sophistication
Understanding Man came into my life. Adrian, the fashion designer for M-G-M. And these were the all-important words he uttered, which changed the whole course of my life: 'You must dress as you think!'
'"Result: My first picture where I was dressed as he thought I thought was 'When Ladies Meet,' an undisputed success, if I do say so as shouldn't. They even played up my nose, and left all my makeup off ; that is, only street make-up was used.
"To date, my career of 'thought dressing' has won me the titles of Mrs. Thin Man, Mrs. America, The Ideal Wife, etc., a far cry from those sloe-eyed princesses of yore.
Very last word in Hollywood elegance is Marlene Dietrich, above, who tells girls everywhere, in our accompanying story, just how they, too, can be soigne. Myrna Loy, right, admits she was once an ugly duckling, and became glamorous by her own efforts.
HAVE you ever longed to be soigne? Smoothly smart, worldly, sophisticated? Of course you have. Perhaps it has never occurred to you that Lombard, Dietrich, Craw- ford, Wray and Loy, whose' names are now synonymous with everything that's svelte and shimmering, were not always the creatures of perfection they now are. So be not downhearted; vou, too, can be soigne.
Listen to Myrna Loy on the subject : "I was an ugly duckling. You know, constantly hiding in closets, under pianos and things, to escape having the company see me. I ran past mirrors with my hands over my face. I completely despaired of ever doing anything about rav turned-up button nose and freckles.
"Then when I 'swooned all over the place in those Oriental effects, I still felt very unhappy, in that the characters I repre- sented were so unlike myself, and it was so difficult to make them seem real even to myself. But at least the freckles were hidden by tons of make-up and the nose was artfully disguised.
"It began to look as though I would have to go through life in complete disguise as the only escape from the plain little Myrna Loy. All of which did not make for peace and content- ment, as you may well imagine.
"But, in true storybook fashion, about this time, a Very
22
By Linn Lambert
And I'm perfectly satisfied, because that's the sort of person I feel I am inside."
So, my children, if there's no Adrian in your life, go into a huddle with your- self and decide what type of clothes would best suit your innermost thoughts, capitalize upon your short- comings, and see what happens.
With Joan Crawford, it is quite another story : Joan's outstanding char- acteristic is ambition, and this has motivated her
Lombard, famous for taking life with a laugh, nevertheless -rakes her career as a glamour girl intensely seriously. That's why she's a success at it. Joan Crawford, left, extends valuable advice on this business of being soigne. Fay Wray, at left below, used to be "that girl in the blue suit. ' Now she works hard at sophistication.
radical change in appearance from the little hot-cha dancing girl to the sleek sinuous charmer she now is. Adrian says of her : "No movie star can start a fashion trend as quickly and defi- nitely as Crawford. She is the most copied star in Hollywood."
Years ago, Joan adored tight waists and full skirts, as some of you may remember. These were all wrong for her, but loving them the way she did, it was very difficult for her to bow to Adrian's edict and change to flowing picturesque afternoon gowns, or extreme broad-shouldered tweeds (By the way, Joan's shoulders are that broad; there's never any padding- used.) But her intelligence and ambition won out and she obediently wore whatever was suggested. Result: One of our- top ranking candidates for the soigne set of Hollywood.
Joan's advice for girls who wish to be well dressed at all times, is: "Never trust your own judgment. If you can't afford a professional fashion counsellor, go to someone whose taste is unimpeachable, and adhere strictly to their advice, no matter what your personal wishes are."
Now as to 'Suivez-Moi' Dietrich : Of course you've all heard that Marlene calls those long flowing veils which she wears on her hats 'suivez-moi' (follow me). The Dietrich of today doesn't need a veil to beckon her many admirers of both sexes, but time was when such an airy accoutrement would have looked absurd on her.
I mean when she first came to Hollywood. Von Sternberg brought her into the Paramount publicity offices, after haying cabled that he was bringing them a genius. She proved a distinct shock to those who beheld her that first day.
Try to imagine the present-day gossamer, slumbrous Dietrich as she appeared that day, seven years ago :
Eleven o'clock in the morning on {Please tarn to page 73)
23
A Week-End
w
&i
ith
ng
Crosby
By Dick Pine
A visit to Rancho Santa Fe gives you op- portunity to meet the famous song and romance man in his most natural role, as cordial host, devoted family man, golf enthusiast, and lover of fine horses
T MAY have been fate, and it may have been Bing. Anyhow, it was decreed that the most famous of the Crosby family should enjoy a couple of months' free- dom from picture and radio commitments. My own men- tal picture of Bing was of an easy-going, happy-go-lucky son of a gun who worked hard at his relaxation, and when I heard that he had closed his North Hollywood home, and was "resting and relaxing" at his country place on the Rancho Santa Fe, I thought it might be a good idea to "rest and relax" with him for a week-end. Screenland thought so, too ; and, as there are no things I do better than rest and relax, it seemed a perfect ar- rangement all around. My few years in America still leave me with the hope that even native Americans can rest
and relax. Maybe they can. I'm still hoping. But I'm not entirely convinced. (Parker! Bring me the liniment!)
Now, don't get me wrong. Bing is a gracious host, and I like him. I had a good time at his house. It was just my rusty old bones that cried, "Uncle !"
Rancho Santa Fe lies about thirty-five miles north of the Mexican border, and consists of some forty ranches
some of which are bona fide ranches, and some, like
Bing's, country play homes. As one rounds the last turn in the semi-circular drive that leads to Bing's estate, lined on both sides with palms and bamboo trees, one comes suddenly upon a real Spanish hacienda which must have been the pride and joy of some gallant don of a century or so ago.
24
Bing, besweatered, and wearing corduroy slacks, rose from the shade of a gigantic palm tree, and smiled his greetings. "Welcome to my humble shack," quoth he. "All that I have is yours !"
Though I had heard that greeting in the Orient, I had never heard it in the Occident. And when a bird like Bing Crosby utters it, he really has something to offer. I thought I would take him up on it. His Paramount con- tract flashed through my mind, but I didn't think that Paramount might care about that. I looked about me, and my eyes fell upon the largest and heaviest-bearing avo- cado tree I had ever seen. It was the size of a small house. My mind was made up. I like avocados.
"Gracias, sehor," I replied, using the only two Spanish words I know. "I desire yon avocado tree." Bing grinned, and looked at his tree with affection.
"D'you know, that was the first avocado tree ever planted in California. If you can carry it back to Holly- wood in your rumble seat, you can have it !" Bing still has his avocado tree.
After I had washed away the dust of travel, Bing showed me his domain. It had belonged to a Spanish grandee, and has played a part in California's early his- tory. The original adobe ranch house (with walls three feet thick) still stands, and is now the guest house. The additions which Bing has built are the same type of archi- tecture down to the last detail. The door handles, for instance, are the height of a man's knee, so that children can let themselves in and out without bothering their elders. Smart people, those Spaniards! They couldn't have been thinking of the Crosby dynasty. Or could they ?
Of course, the first things we looked at were the horses — eight mares with their foals. Nice beasties all. But I saw that Bing was panting to get down to the new Del Mar race track, of which he is president, and where he has more than twenty thoroughbreds in training. For sheer beauty of setting, I believe it is unequalled in this country. Bing's own slogan for it is, "Where the turf meets the surf." Now, I'm not particularly interested in racing, but when Bing shows his horses, one cannot help but be impressed with his intense enthusiasm. He croons over them.
"Here's a smart little two year old, foaled in California. His name's High Strike. And here's Rocco. He won four straight at Caliente."
What interested me more than the horses was Bing's complete absorption in his stable. He doesn't care very much about riding himself, although he occasionally hacks about with Dixie. He is interested in horses for them-
Life at Bing's ranch near Del Mar is as informal as mine host's costume of corduroy slacks and windbreaker, and as warmly friendly as his smile of greeting to his guests. Below, the adobe ranch house, Right, Bing goes to work on a big platter of sandwiches. Lower right, giving his personal attention to one of his many fine race horses.
selves. His greatest thrill is watching a thundering good race, with good horseflesh showing what it can do.
Back we went to the house for a cocktail on the lawn. Dixie appeared, wearing — oh, I don't know. Anyhow, it looked all right. She had slacks of some pale, shivery stuff. The three husky, tow-haired youngsters, Gary and the twins, appeared briefly, accompanied by a small army of cockers, under the escort of a huge Newfoundland. Gary suddenly announced that he would like to sing. Well, Gary did sing, in an amusing four-year-old imita- tion of his father. It was a ditty with the looniest lyrics I ever heard. "Daddy made up the words," he confided to me in a whisper which couldn't have been heard for more than sixty feet. "He sings, too, you know, in pic- tures and on the radio !"
He climbed up beside me, with a book in his hand, and gave me an appraising look. Bing had previously in- formed me that Gary's year's seniority over the twins had given him a "tough" superiority complex. "Y'know," he informed me, "Dennis, that one over there, is a dumb little guy. He's always divin' off things an' conkin' his bean, an' . . .
"Gary," expostulated Dixie, gently, "bumping his head."
"Bumpin' his head," went on Gary ; and then, apropos of nothing at all : "D'ya like books ? This is full of ani- mals." He opened it at random. "What's that one?" he demanded.
"A yak," I replied.
"What?"
"A yak," I repeated. {Please turn to page 88)
Th
e
"Swap Syste
When a Hollywood producer has something an- other producer wants, he offers to "swap" — star, story, or director. And how do famous stars like the system? Our authentic story tells you
By Liza
Bobby Breen, above, may be offer- ing to "swap" his choicest agates for some other boy's new kite. Well, it's done every day in Hollywood, on a gigantic scale. Kenny Baker's boss demanded six kids in exchange for Kenny, at right. Frances Farmer, far right, was "swapped" for Joel Mc- Crea. Below, the picture that started the "swap" system in full force: It Happened One Night," for which Columbia borrowed Claudette Col- bert from Paramount and Clark Gable from Metro-Goldwyn-Mayer.
T USED to be, out in Hollywood, that a five million dollar law suit was almost as effective as a trumped ace in breaking up a beau- tiful friendship. In the old days if Paramount had slapped a five mil- lion dollar suit — there's nothing small about Paramount — on Gold- wyn because he lured, decoyed, en- ticed, or shall we say snagged Gary Cooper, Goldwyn would undoubted- ly have gone hog-wild with his Gold- wynisms and uttered enough of them to keep the columnists in velvet for months, and columnists look very well in velvet if they don't sit too long. The Goldwyn gang would have been murderously furious with the Para gang and there would have been hot words and bloody noses over the pickled pig knuckles at the favorite snack bar. It used to be. It
26
isn't any more. Nimbly skipping around Holly- wood these last few years I have discovered to my amazement that it is practically impossible to break up a beautiful friendship. Not so many months ago Paramount actually slapped a five million dollar suit on Goldwyn because Gary Cooper signed a contract. Nobody seemed to get mad. Then they called it off altogether, and Gold- wyn and Paramount remain the best of pals. A pretty state of affairs indeed.
Do you find this lovely peace and brotherly love that envelops Hollvwood like a saint's halo some- what baffling? Well, don't. The explanation lies m the Swap System, which is as old as the hills When you were very young and coveted the red kite with the fancy tail that the little boy next door owned, you didn't sock him one on the nose and run off with it— or did you, point-killer? No, you put on your prettiest smile and offered to swap him six agates for it, making your agates, of course, sound as alluring as possible. The swap was made, after you threw in an extra agate, and everybody was happy. And so it is with Goldwyn, Paramount, Metro, Columbia, Wanger and all the rest of them.
The Swap System has become the very foundation stone of the movie industry.
Happy result of the "swap" system was "My Man Godfrey," right, for which Univer- sal borrowed Carole Lombard and Bill Pow- ell from their home studios. Below, Joan Blondell was loaned by Warners to Wanger to play opposite Leslie Howard in "Stand-In. Center, below, Gary Cooper gets high bids; and Irene Dunne, delighted to be "swapped." At bottom of page, another "bor- rowed" team: Claud- ette Colbert and Charles Boyer, for "Tovarich.'
As long as a studio has some- thing some other studio wants you can be sure that a five mil- lion dollar law suit, even murder itself (the Warners would swap a good murder for Greta Garbo any day), will not disrupt a beautiful friendship. Why, hard- ly was the legal ink dry on that important five million buck docu- ment than the Paramount studio had the Goldwyn studio on the phone, and the conversation went something like this, "What's Joel McCrea doing next month? Have vou found a girl for 'Come and Get It'? What about Frances Farmer? Say, she's terrific. Why, we wouldn't think of loaning her out to anyone else — but Goldwyn, that's different." So Frances Farmer was swapped for Joel McCrea, and later Dorothy Lamour was swapped for Toel McCrea, and Frances is happy and Dorothy is happy, and they do say that Goldwyn's "Hurri- cane" will do as much for Dorothy as "Come and Get It" did for Frances; and Joel is happy (he's starring in Paramount's "Wells Fargo"), and Goldwyn is happy and Paramount is happy and I'm happy, and entirely forgotten is that Five Million Dollar Law Suit that Para- mount slapped on Goldwyn. And who cares ? It could only happen in Hollywood. But it's too bad it couldn't happen in Europe. If those warring nations would just inaugu- rate the Swap -System think what a beautiful friendship they too might enjoy.
What do the movie stars think of this bartering over their beautiful bodies, or {Please turn to page 85)
27
Personality Portrait of
BETTE DAVIS leads a double life! She really does. That doesn't seem at all the sort of thing you'd say about a good friend, unless you meant to be catty, does it ? And I like to think of Bette as one of my good friends — and I haven't the least idea in the world of try- ing to be catty about her.
I don't suppose Bette ever thought about it — but if you asked her she undoubtedly would admit to the double life. It's a double hie brought on by being a Career
Woman and a Home Girl at the same time. Bette Davis is a combination of Hard Boiled Gal and Dear Little Woman, Cynical Woman of the World and Sweet Little Home Maker. And difficult as it may sound, she's a suc- cess on both sides. Which side do I like best ? That's the funny part of it, I like them both !
Yes, I like Bette when she's gentle and when she's calculating; when she's curled up on a sofa with her knitting — and when her lips are curled with a sharp and rather sardonic epigram. Bette is fun, either way. And
28
Famous author interviews famous actress! For intimate impression of the screen's spitfire, rc Samter Winslow's close-up of Bette he
here is something I don't think even she would admit : I think that the gentle side of Bette is the true side— and that the cynical attitude is an armor she has put on to protect her from the world— and a girl needs a shell of pro- tection in Hollywood. , ,/ T 1 tu
Bette's life story is a combination of Cinderella, Young Love, and 1 he Girl Who Was Misunderstood. It might have turned out differently except for three things : a, Bette is a swell girl ; b, she is a splendid actress ; and c she happened to fall in love with a perfectly grand man. And that third may be the most important of all. Well, as important as the other two,
anyhow. , , , ,
No use going into details of Bette's life. You've read them dozens ot times, I'm sure How she fell in love with Harmon Nelson when she was a very youn°- girl And he paid no attention to her. Not the least bit of attention ! And she was in love with him even then. But she thought of it as puppy l0Ve_and as long as he didn't care about her, why bother about it ! Thus thought the very young and seemingly very wise Bette.
Careers seemed more important than love, anyhow. So Harmon Nelson went away to college and Bette went on the stage. In stock. In New York Bits at first. And then a grand chance. With Blanche Yurka in "The Wild Duck." Getting ahead on the stage was the main thing, then. No time at all
for young men! , , ... , , ,
And then Harmon Nelson came to see Bette act. And he didn't come back
to see her! She heard he was in the theatre. And she
didn't see him !
So he didn't care, eh ! Oh, very well, then she^ didn't
care, either. After all, she was an actress, wasn't she!
And he was just a college boy! She was getting some
place ! How could she be bothered by a boy she used to
know! But she was bothered. And piqued because he
didn't come to see her. And something stirred — under- neath the ambition — and the first new layer of being
cynical.
She got ahead. And Harmon Nelson got ahead. His success lay in music. Hers on the stage. His continued in music. He had his own orchestra, finally. And Bette went on the screen — and you know of her success — of all of the steps of it — and of the very fine pictures she is doing right now.
But, before her big success came she met Harmon Nelson again. And she found out — and very soon — trust Bette for that — that his seeming coldness was because he thought, because she was beginning to be a success on the stage, that she wasn't interested in him — or in being in love. Bette soon convinced him of the opposite of that. And now everyone else is convinced. Their love for each other — and trust of each other and faith in each other — is one of the loveliest things I know. Too lovely to write about. The sort of thing that reducing to cold type takes off some of the fine glow. They are so swell, both alone and together.
Harmon Nelson was a success in his own right when he married Bette. But his success meant that they were apart too much of the time. Love can't stand separation. And, thinking it over, they saw no reason why they had to be separated. Bette's success on the screen, to them both, was more important than Harmon Nelson's success as a musician and orchestra leader. Harmon liked living in Hollywood. So did Bette. So Harmon did something that only a very wise and very strong man could do — he gave up his established position to be with Bette. He isn't a parasite. Don't get that idea for a minute. Talk with him for one second and you'll know that he'd stand on his feet any place. Tall, very good looking, clever, amus- ing, understanding, he felt that Bette's happiness and Bette's career meant more to (Please turn to page 79)
She's one of the few Hollywood actresses notabfe for brilliant personality as well as flashingly clever act- ing. That's why Thyra Winslow, one of America's most pop- ular writers, picks Bette Davis as most interesting girl in movies. At right, top, Bette as Mrs. Harmon Nelson, with "Ham. Next, with her stand- in, snatching tea on the set between scenes. Below, with the tot who shares scenes with Bette in ''That Certain Woman."
CAREER GIRLS
inger Rogers and Katharine Hepburn play the roles of girls fiqhting for fame in the theatre. Left, reading own: Ginger, Lucille all, and Ann Miller, atharine Hepburn,
ndrea Leeds, and Lu- "I'D LIKE 3. TOOm with private
lie Ball; and Hepburn I bath » Terry Randall said in
ith Adolphe Menjou I , ' . • i J.i,„„-,_v, +v,o
r ±l i I the voice acquired through the
scenes from the play. I Lllc vull-c o^um-u . . °
virtue of birth and training m the most exclusive schools in the coun- try. And the girls lounging around the living room of the Footlights Club resented the too perfect intonation as much as they resented the question itself. A private bath in a girls' theatrical boarding house ! It was just too, too something or other.
Jean Maitland, who had been hovering near the tele- phone on the desk hoping for a dinner invitation, drew herself up with exaggerated hauteur.
"If you young ladies will pardon me, I shall take the wolf hounds for a stroll through the park," she mimicked as she walked model fashion through the door and up the room.
Terry's hands tightening on her bag were her only indication of annoyance. "Is there anything strange in my request?" she demanded.
"Oh, you mustn't mind the girls!" Mrs. Orcutt, who used to be an actress once herself, looked up with her tired, vague smile. "They're just full of fun. We're just like one great big family. I may not be able to give you just what you want, but I can put you in a room with a very charming girl, temporarily that is, until we get a vacancy. That would be thir-
30
"Stage Door" novelized from the screen production of the Broadway hit, with Katharine Hepburn, Ginger Rogers, and a distinguished Hollywood cast in a thrilling story of theatrical life
fiction/zed by Elizabeth B. Petersen
CopyripM ty RKO Radio Pictures, Inc.
itage- is in nger her
livelihood in the thea- tre. Right, Ginger and Menjoo, as the pro- ducer; Andrea Leeds in
teen dollars. Paid in advance." » J^ftjfi G|!S
ni-iT .1 > ,i i • i >» and Hepburn, Lucille
"Well, that's rather high, Bal) and Ginger, in
Terry said doubtfully. "Isn't there h umorous scene,
some reduction by the week?"
"That is for the week." Mrs. Orcutt tried to suppress an outburst of giggles with a frown. And she smiled her harried, too set smile as she led the way to Jean's room, pretending not to see the girl's exasperation at the trunks and bags being rapidly piled in the small room.
"When does your baggage get here?" Jean asked ironically as the door closed behind Mrs. Orcutt
"I'm expecting the bulk of it in the morning." Terry's smile was as measured as Jean's had been.
"We could leave the trunks here and sleep in the hall. There's no use crowding the trunks." Jean's voice dripped icicles. "Or maybe we could live in the trunks."
"That's a good idea. You don't mind helping me un- pack?" Terry suppressed a smile as she tossed a fur coat over the girl's arm. "Oh, I beg your pardon, you're not the maid, are you?"
"That's quite all right." The little red-headed spit- fire of the Footlights Club sniffed contemptuously at the mink. "Fresh killed?"
"Yes." Terry slipped a dress that could have come from no other place than Paris on a hanger. "I trapped them myself." (Please turn to page 81)
31
es he
owa ra s
d'
an
Sh
ow
"Hamlet" of the stage, debonair hero of the screen, the noted English actor turns completely small-boy as he tells you about his camera hobby
By Ruth Tildesley
A FRIEND, stopping at the Leslie Howard house in Hollywood, had occasion to look for a handkerchief in one of his host's bureau drawers. Instead of handkerchiefs, the drawer fairly bulged with prints of camera pic- tures. He sought in the rest of the drawers, but there discovered more piles of prints, more spirals of film, more strips of not-yet-enlarged Leica shots.
"But what do you do with your shirts and ties?" he demanded, mystified, when the actor had come to his rescue with the needed linen.
"Oh, Mrs. Howard sees to that, — I don't know. I need this space for my pictures!" returned Mr. Howard.
He took trunkloads of camera pictures with him to England, where they are permanently installed in the Howard homestead, but already the new Hollywood domicile is over- flowing with results of recent Howard-Leica excursions.
The new home is not three min- utes from the heart of Hollywood, but once inside the gates you'd
Leslie Howard before the camera and behind it. Right, view made on the "Romeo and Juliet" set. Center, left: his daughter before the Lincoln monu- ment, and, right, with her father in an- other view made in Washington, D. C. Upper right, Linton, England. Upper left, the picture-taker taken, with two pals.
32
never suspect that you were within a hundred miles of the roaring town. The stucco house, with its flat roofs and arched windows, is set into the side of a hill that rises from the dark green of fir trees to the blue of the sky. Yucca, those "candles of the Lord," dot the upper slopes.
Below the driveway is the swimming pool, flower- rimmed, with a stone terrace above the dressing-rooms, gay with yellow furniture, tilted sun-umbrellas, and water-proofed swings.
And here was Leslie Howard, slender and sunburned, in blue bathing trunks, dark glasses, and a gold medal suspended on a thin gold chain.
"Nice place for pictures," he commented, with a glance at the sunlit panorama around us. "Eventually, you know, I should get something rather interesting here." The important thing about a house, I gathered, was that
he should be able to ■ make pictures around it.
"I had cameras long before I thought of going into motion pictures," he said. "I suppose the reason anyone goes in for cameras is because he can't make pictures with oils or charcoal or water colors. As a child, I wanted to be an artist, but as I grew up I hadn't the time or opportunity to devote myself to it, so I did the next best thing and made my pictures with a lens.
"Leicas, or other miniature cameras, seem the best for my purpose because of the swiftness of the lens. It takes motion picture film, too, which {Please turn to page 90)
More samples from the huge Howard collec- tion. Right, view from train window during the "Hamlet" tour. Below, San Francisco. Left, Hugh Walpole's home in England — a street scene — showing theatre where he played "Ham- let." Lower left, extra girl.
33
Cash
an
d c
Moreover, if you haven't given Cary Grant credit for a lively sense of humor as well as a sane outlook on life, you will after reading this swell interview
By
Virginia Wood
w
HAT would you do," I asked Cary Grant as we sat on the set at Columbia where "The Awful Truth" was being filmed, chatting about this and that, "if you found yourself at the end of your career and with no money ?"
"Well— I don't know," Cary replied, reflectively, "I'd never even thought of it. Guess I'd just
start over again, and go out and look for another job."
And the funny part of it is, that's about what Cary would do if he were confronted with such a problem. Certainly, it wouldn't be the first time he's been broke and had' to take the first job that came along to keep on living. There were plenty of long, lean years after Cary ran away from his home in England to seek his fortune when he didn't know where his next meal was coming from. And I can assure you Cary's present en- viable position hasn't softened him to the point where he wouldn't be able to buck those same hardships again.
"In the first place, Ginny," Cary went on, "I don't think the day will ever come when there will cease to be some medium of entertainment. I believe it will always exist in some form or another — maybe not for myself, as an individual, but certainly for us of this profession.
"Look back at the first days of the depression in thi 3 country. Theaters went out of business, to be sure, but not nearly in proportion to other businesses. People would spend their last half dollar to go to a movie or a vaude- ville show, just to take their minds dff their own troubles.
"Charlie Laughton said something to me one time that made a very deep impression on me. I was terribly de- pressed one day at the studio — you know, in one of those Russian cellar moods. I happened to run into Charlie on the Paramount lot, where we were both working at the time, and started to tell him all my troubles.
" 'Did you ever stop to think, Cary,' Charlie said, 'that all those people in the audience who see your pictures are faced with the same problems — and probably worse diffi- culties than you are? It's something that occurred to me years ago when I first went on the stage. I was feeling very sorry for myself. I didn't think I'd ever make a success of acting. I was terribly upset about finan- cial matters and life just didn't seem worth the living. And suddenly it dawned on {Please turn to page 70)
34
Mirror of her own real or simulated emotions, Rainer*s face is fascinating to watch, particularly in our intimate ort- the-set candid camera shots of her. Working on "Big City," her new film with Spencer Tracy, the little Luise is heart and soul in her task of portraying character. Above, discussing next scene with Tracy; center above, listening to director Frank Borzage. Then, from top down at right: a poignant close-up of the co-stars; concentrating on the director's * demands; visualizing the next scene as Borzage explains it. At bottom of page, in her dressing-room between scenes — revealed as the young girl this great actress actually is, her shoes kicked off for comfort as she reads her fan mail.
Try to Count
,tuse
many express sions, if you can keep up with 'em !
^ainer s
lam
cts tLve
Again!
I
As old as Eve, as urgent as Adam, is the moti- vation of most cinema plots, from then till now. But why not? Hollywood likes it, the customers like it — and occasionally, as with Gary Cooper, above, its expression becomes practically a fine art. Gary is shown trying to decide between a brunette Eve and a blonde one, in his new character of Marco Polo. At right, Patric Knowles is being persuasive with Beverly Roberts. At far right, new boy Lee Bowman is pleasantly menacing Gertrude Michael, in "Sophie Lang Goes West."
«*
V/
The merry game, Adam-chases-Eve, goes on. Above, James Elli- son, hero of Paramount's re-make of Rex Beach's popular book, "The Barrier," charms jean Parker in her rdle of shy Indian maiden. At right, Nino Martini tells the old story to Joan Fontaine for "Music for Madame," in which Martini supplies both the trills and the thrills, and Joanie the frills.
J Of course, motion pictures are improving every day, and audiences grow more sophistic cated and demanding. But somehow the theme song remains the same— with variations
At left above, you'll see our delightful decoration from "The Great Garrick": three blissful, beautiful bar-maids, played by Marie Wilson, Lana ("They Won't Forget") Turner, and Linda Perry, at the mythical "Adam and Eve" Inn. Top, Leslie Howard as scholarly love interest for Joan Blondell in "Stand-In.'^Above, two on a match are John Boles and Ida Lupino of "Fight for Your Lady." Below, Joan Crawford and her two cavaliers from "The Bride Wore Red": Robert Young, Franchot Tone. At left below, John King and Joy Hodges ride right into romance on "Merry-Go-Round of 1938."
Just
J 4
Fur
■ M. r
Fun!
Nothing enhances a girl's heauty as mucli as the sheen of shimmering furs — so smart Hollywood swings into action for the new season
I
Fur fashion portraits by WilliamWalling.Paramount
Starring at far left, on other page: Gail Patrick in swagger grey Persian lamb; new beauty Sandra Storme in sophisticated kolinsky, new model; Ida Lupino in brown squirrel, short and boxy; Gail again, this time in "Tahmi," new trick of the mutton family; and above, Mary Carlisle in her new topper. Below, San- dra again, leopard-trimmed; next, left below, Mary Carlisle in swank grey Persian swagger; then Miss Patrick, in sheared beaver; and finally, 'way across on next page, Miss Carlisle, a-gleam in shining black broadtail, with big muff to match.
rom a jan
Forthcoming films offer a balanced whicH pictures are the feasts, and
dwich
''Victoria the Great," produced in England by Herbert Wilcox, gives great promise of being an important historical photoplay. At far left, an impressive portrait of Anna Neagle as Britain's great Queen. At left, Victoria in la- ter years, with her Prince Consort Al- bert, as portrayed by Miss Neagle and Anton Walbrook.
"Summer Lightning," followed by drenching rain, for Joan Bennett, shown at left playing the wettest scene of her career, with Henry Fonda. Note the technician protected by rain coat and hat. Lower left, a quartette of zanies comprised of Bert Lahr, Billy House, Mischa Auer, and Jimmie Savo, per- form for Universale "Merry-Go-Round of 1938." Below, a beautiful love scene between Gary Cooper and the newcomer Sigrid Gurie, for "The Adventures of Marco Polo," Samuel Goldwyn's costly new epic.
to a Banquet!
menu for greedy moviegoers. But which the snacks, we're not saying!
Glorifying that good old South Sea style, the sarong, is hand- some Frances Far- mer, far right, for Paramount's Tech- nicolor production, the first drama of the sea in all-color, "Ebb Tide." In this screenplay of the tropics Ray Milland plays opposite Miss Farmer, as seen in scene still at right.
A fight that may start a new comedy cycle is in "Nothing Sacred," between Carole Lombard and Fredric March. Our scene at right is just before Carole gives up, after a furious hand-to-hand struggle with Freddie — all because, says the script, she wouldn't say "good-night." Below, all is sweetness and light in this scene from "Make A Wish," with Basil Rathbone and Bobby Breen. Lower right, the Ritz Brothers getting into the spirit of the big game, in "Life Begins in College." Maddest of three, Harry, is at right.
It's a comfortable castle, Maureen O'Sultivan's new Maliou Beach home, and shows why the star will hurry back from England after makins a picture there as Robert Taylor's leading lady
At Malibu Beach, original playground of Holly- wood stars, you'll find this decidedly charming and enormously livable home of the John Farrows — she's Maureen O'Sullivan, he's a director. Below and at left, the lady of the manor on the beach terrace. Across page at far left, reading down from top: the playroom, with its interesting wall treatment of a ship at sea; the dining room; Maureen in her mirrored dressing-room; and the bedroom, done in ice-blue and white. At right, reading down from top: another view of the nau- tical playroom, in the better modern manner; a corner of the living room, with good 18th cen- tury pieces; a large view of the same room, taken from the balcony which forms the upper portion of the house; and the breakfast room, where in the window recess below which Maureen is sitting, are many of the fine Chinese porcelains of which the Farrows are avid collectors.
Hollywood has a way with it, when it comes to making seeing be- lieving, and remem- bering. For instance, Katharine Hepburn, far left, sees to it that her poses live up to her reputation as a stormy petrel.
A big — but big — hat serves as an effective frame for Mary Astor's beauty, upper cen- ter. Eleanor Powell, upper right, peppy priestess of the tap dance, switches to a very spiritual mood for a striking picture for the papers. Right: Margot Gra- hame,' remains in character as an alluring siren of in- triguing and inviting charm, and Movita Castenada stres- ses the primitive appeal of the South Seas Hollywood scouts discovered in her.
A little game to ke you guessing is worke out at the left. Whic of the three girls yc see really is Gloria Die son? Well, we'll td you. The one in th( center is the GloriM you'd recognize if yoiH met her face to face oiff screen. At far left, tl brooding, defiant ladij and, near left, the di dainfully quizzical gil are tricks of the trade!
tnc Trad
Giving you something to rememher them by is a neat Hollywood stunt. Note these startling samples of tricks that catch your eye, excite your interest/ and keep you movioconscious
Hotcha a la Hollywood, is prettily por- trayed by Eleanore Whitney in this pose at the right. But for tricks of the acting trade, you — and we, too — know that John Barrymore knows them all. Here's Jack, below, turning from great lover to grizzly sea-farin' man — which transfor- mation is a mere pipe and whiskers for Jack. And note the neat trick that was turned with a comb and curling iron, at bottom of page. Of course you recognize Ginger Rogers with her own adaptation of the page boy bob she'll wear in some scenes in "Stage Door," even though Gin- ger turns her well-known and soothing features away from our camera.
Then there's Enrol Flynn to consider in this trick business. Errol jumps from swashbuckling costume romantics to the brawny business of prize fighting by merely putting on a scowl and ring togs, as shown in our movie at the right, with fast action in the first three frames, and a bit of makeup repair at bottom right. Below, Errol makes love to Joan Blondell, and Joan reciprocates — which you may be sure is just a trick of the trade, for "The Perfect Specimen."
other things on $e™^ (M^Ls"?un tan with her polo), Elissa Landi (who rides her say, Virginia Field, Ma,^ ^^'^r!^ u tier> ieft to right. Florence Rice, Jean Rogers,
^sCan^Rc^^ burner. Joy Hodges, Jean
Iva i*ewart, ^ocn«»«|e af>d p^yUis Brooks, may be identified in the lower tier.
Shirley is growing up gracefully. Her loveli- ness is not only that of an ingratiatingly chubby child, but has a rare spiritual quality which, we venture to Dredict, will keep Shir- ley Temple a beloved public figure all her life. Now she stars in "Heidi," from Johanna Spyri's story which has been a best-seller for
Our large pic- charming
years: ture is
study at the villagi fountain. Below, with Helen Westley. At right below, Shirley awes a small playmate.
The Most Beautiful Still of d» Month
Snirley Temple in Heidi
Virginia Bruce explains that every man friend a girl has isn't a potential sweetheart, and goes on to tell why she admires five of her own friends
Sidestepping
c
AN a girl keep her sweethearts as friends, after the romance cools down?" I suddenly asked Virginia Bruce. And Virginia, propped up in bed, battling a cold and a menacing temperature, gave me a reproachful _ look before replying, "Why come to me? I'm not knowing!"
But she went on, "Every man friend that a girl has isn't a potential sweetheart, especially in this business where we meet so many charming and brilliant people; and even if at first they imagine they have a romantic urge, they usually wake up to find it is a grand friend- ship, instead.
"The demand for friendship is strong in everybody. We all seek someone in whom we can confide, talk over our troubles and our triumphs, ask advice, encourage and be encouraged. Too, we like a congenial companion for our fun, and so, when we find a trustworthy friend, we appreciate him.
"For myself, I'm not interested in romance. Not for the present, anyway. But I treasure certain friendships.
"I sometimes think that working in screen romances takes the edge off the real ones ! After being soulful, repeating passionate dialogue, and rehearsing clinches and kisses before the camera all day, players demand a
complete change of scenery when they leave the studio ; it is a relief to be with a person who isn't still acting. After all, there are many interesting things in life be- sides— love. Too, contrary to what many seem to think, I believe most actors and actresses prefer simple amuse- ments when their play-hours come. I certainly do, for one.
"I like amusing people. It is a great gift when one is able to bring laughter and gaiety into social life, and after the strenuous work at the studio it offers the nec- essary antidote for high-strung nerves. My men friends, among whom I count Jimmy Stewart, Cesar Romero, David Niven, Ralph Jester,' Paul Warburg of New York, Jean Negulesco — offer the widest contrast in per- sonalities, but they all have a quick wit and a keen sense of humor ; they see life at its best.
"Cesar is a gay companion and we laugh much of the time we are together. He has an electric vitality, is always thoughtful and chivalrous, and dances divinely. We frequently have our dates here at home, dining with the family, and my father and mother, as well as my brother Stanley, welcome him as a charming guest. He's a very comfortable person, too, and fits into any situa- tion. One of our favorite stunts is singing duets, and while they are sometimes (Please turn to page 72)
51
100 MEN AND A GIRL— Universal
✓jffi&v MOST refreshing picture in a long time! Deanna Durbin's second starring film is better than her first and V&SL ideal entertainment for the family. The dewy-eyed, char- acterful-chinned Deanna presents a fresh and new style in screen glamor. As direct and clean-cut as a young Norma Shearer whom she somewhat resembles, Dubin challenges criti- cism by behaving as though her rather phenomenal voice were an entirely natural thing, not to be surrounded with hocus-pocus but simply to be taken for granted. The result is always an audi- ence at ease and in love with Deanna, the one prima donna who doesn't demand homage and therefore gets it. She is a most de- lightful child, and a joy to watch in her new role as Ado phe Menjou's daughter trying to get work for her father and 9) other unemployed musicians. To do it she pursues the eminent maestro, Stokowski, playing himself in fine style, until in self- defense he is forced to conduct the men m a big concert— the musical occasion of the movie month, I assure you Deanna sings two "popular" numbers, but the thrill comes' when she sings Mozart's "Exultate," with Stokowski's symphony orchestra. Menjou, Frank Jenks, and the other 98 men are splendid.
; Cn SEAL- OF) \
\ ~ :J>
DEAD END— Goldwyn-United Artists
STRONG meat in the month's movie menu is "Dead End " masterly picturization of the important stage play. Robbed of some of its impact by the censorship restric- tions of screen speech, Samuel Goldwyn's version is never- theless a powerful and moving photoplay. As it happens to be al- most the only realistic drama of the current screens, it will im- press you in its full force as a sombre, though not ^sordid social study cleverly caught in terms of cinema. Joel McCrea gets that part'he has been preparing for all this time in the role of the ideal- istic Dave, who dreams of better things than his life in the dead end street, and through his courage in defying the prodigal gangster triumphs over his environment. McCrea is really excellent. Sylvia Sidney too is at her very best as Drina, whose dream is to save her young brother from the evil influences of the waterfront, it is recorded that Joel and Sylvia said to each other : You know who will be the real stars of this picture, don t you ? They mean the five boys who play the young hoodlums, victims of the Dead End" street, the same young actors who played m the original staore play. I still think the picture "belongs" to Joel and bylvia and to Humphrey Bogart. The boys somehow lacked conviction.
Reviews
of the best
Pictures
by
THE FIREFLY— M-G-M
"THE FIREFLY" was to me just that old operetta with "Giannina Mia" in it, and I have been trying to duck "Giannina" over the radio for years. It's a horrid song, I think and I still think so even after hearing Allan Jones sin- it But that is not Mr. Jones' fault. If anyone could make me like that song he could. He has converted me to everything else about "The Firefly" in general and male operetta singers in particular. He helps make the new MacDonald musical movie a rousino- and at times irresistible entertainment. Jeanette herself is completely captivating as the lovely lady spy whose private ro- mance threatens to interfere with Napoleons plans in Spain. Mr. Jones is a gentleman spy and it was inevitable, m a Metro picture, that they meet, make love, and sing duets. It was not inevitable that the best of the love duets should be sung m a farm wagon in a barnyard, and this is a fine bit of amorous buffoonery. The high spot of the picture, however, is "The Donkey Serenade, the best number in all movie musical history to my mind. Allan Jones rides along beside Jeanette's coach singing in rhythm to the coach wheels and the coachman's guitar as the donkey boy capers ahead piping the tune. It's sheer delight, a classic. A fine show.
32
THE PRISONER OF ZEN DA — Selznick-United Artists
GRAND "escape" from gangster melodrama, fashion shows, and maybe too much music this month is this remake of the picturesque Anthony Hope romance. It is a gorgeous show, this new "Prisoner of Zenda," and genuine fun all the way — even though you may think you disdain such make-believe as mythical kingdoms and mistaken identity, of which "Zenda" has more than its share. I admit I may be prejudiced, because I like any Ronald Colman picture, and this one offers Colman not only once, but twice — oh yes, it's a dual-role film, too. But Mr. Colman is twice as superb as Rasscndyll as he is as King Rudolf; so I had a wonderful time, and I believe you will too, you old doubter you. It's magnificently produced in the true Ruritanian manner, with lavish settings against which the top-flight cast swashbuckles with what seems true enjoyment. If you must know, the story concerns the commoner who doubles for the king, with whom the Princess Flaz'ia falls in love, but who bows out gracefully when the time comes. It's beautifully sad at this point, for the Princess is none other than Madeleine Carroll, the only actress I know who can play this proud princess stuff and make you believe it. Douglas Fair- banks, Jr., is a grand Rupert of Hcntzau. It's all first-rate fun.
SOULS AT SEA— Paramount
IT'S an epic. I know it's an epic, because it has trouble at sea on a huge scale, and Gary Cooper being a hero also on a large- scale, and it even has a trial scene. The fact that George Raft, disguised even though he is with a curly coiffure, comes narrowly close to stealing the epic right out of the sea and Gary Cooper's hands, makes no difference, except possibly to me and Mr. Raft. We enjoyed his part in it more than anything else. The ex-slick dancing gangster-type has become an Actor, and a darned good one. He is truly touching at times, and with Olympe Bradna, the poignantly appealing little French actress, as his team-mate, he enacts a dual death scene that, for me, was as sincerely moving as in any "Romeo and Juliet." But to get back to Mr. Cooper, who is after all the billed star of this show : won't he ever outgrow "Mr. Deeds" ? Here he is practically on trial for his life and honor, for strange doings in the Atlantic after a shipwreck ; and for all he seems to care, the issue at stake might as well be just a new form of doodling. "Souls at Sea" has big moments in spite of Mr. Cooper's lack of enthusiasm and Miss Frances Dee's phlegmatic heroine. Splendid sea "pictures" — and Mr. Raft, and little Bradna supply most of them. Watch Bradna.
THIN ICE— 20th Century-Fox
THE amazing Miss Sonja Henie follows up her first picture success with a new film almost as good. If you thought the great little skater had run the gamut in glacial exercise in "One in a Million," see this and change your mind. Sonja hasn't even scratched the ice. That goes, too, for her acting performance. Like Deanna Durbin, Sonja disarms her au- dience by resolutely refusing to do any acting, as such, contenting herself with being herself, and very nice too. The story isn't much — when I tell you the scene is Switzerland, and Tyrone Power plays a Prince incognito, and Sonja a skating instructress at the local hotel where Tyrone and his political playmates are stag- ing a conference — but of course she doesn't know he's a Prince, though everyone thinks she knows — does that give you an idea? I thought so. But somehow the story doesn't seem to matter so much once Sonja swings into graceful action, which she does at gratifyingly short intervals. She is a dream of loveliness on the ice, and not shy on skiis, either. Mr. Power, being neither a skater nor a skiier, has to be satisfied with occasional moments of charm, as romantic support to Sonja. He's gallant about it. Raymond Walburn, Arthur Treacher, Melville Cooper stand out.
VOGUES OF 1938— Wanger-United Artists
NO GIRL in her right senses will want to miss this one. It's a field-day for fashion-conscious femmes — with a prac- tically endless parade of advance fashions — say about 1940 — and an inside slant on what goes on behind the scenes of a smart dressmaking establishment. "The Most Photographed" — and most exploited — "Girls in the World" are here, too, undulating around in fine fur and feathers ; but it remains for Our Own Joan Bennett to show them, and us, how really to model clothes, moods, and emotions. This is an all-Technicolor production, you know ; and it was a lucky day for Miss Joan Bennett when Technicolor was born; for the always pretty but often pallid Joanie becomes in a flash a brilliant new beauty, whose Dresden-doll prettiness comes to glowing life. She's a society bride-to-be who changes her mind at the altar, and becomes instead a model for Warner Baxter's clothes salon. Despite all the obstacles put in their way by Helen Vinson, assorted models, and the dull plot, Joan and Warner manage to keep things moving, either in new fashion shows, romantic comedy scenes, or breathtaking close-ups. Night- club scenes reach a new high in pictorial excitement. It's too long, but it's awfully pretty. And how dull other pictures look !
53
Invitations to Grace Moore's "Musical Evenings" are keenly coveted in the screen colony. You'll enjoy this brilliant ac- count of Grace's latest party
I might have gone to my grave thinking them as dull a crowd of bores as ever gathered over a mess of spaghetti if it hadn't been for Grace Moore. In one evening she de- stroyed mental adhesions I had had for years! Old prej- udices fell off of me clippity cloppity. I who thought the alpha and omega of music was Benny Goodman's swing band suddenly became passionately intrigued with anas and octaves. As a matter of fact I might even go for a passacaglia, or a tenor.
I don't know how I happened to get invited to La Moore's. I'm inclined to believe that it was an accident. But strange things happen in my profession, so I never penetrate too deeply into the why or wherefore of my
MUSIC lovers, I have always been big enough to admit, are all right in their places. But I have i never been able to find their place m my scheme of things I think it was because I met the wrong people during my formative vears : I would simply _ go into ecstasies over a neatly 'cracked shin, provided it wasnt my shin, on the hockey field ; Jane Cowl emoting, You gave me a number, etc." (hot stuff in my day) ; and a successful Queen finesse "after lights" in a drafty dormi- tory__but a concerto, even a zippy concerto, left me cold. Music Lovers, I was led to believe by my evil companions who reeked of chocolate sodas and dill pickles, were a bunch of undesirables with long hair and dirty nails who didn't wash behind their ears and who dressed as dowdily as a slattern from the other side of the tracks. (I was forced to change my opinion when I met the very chic and awfully clean Misses Moore, Pons and Swarthout.) rie- ine of 'a good family I was sent to all the musical events my city afforded so I might absorb by environment what I had missed out on in heredity— but when given a choice of Kreisler or Billie Dove I invariably took Bilhe Dove. Later I switched to Clara Bow. I simply would have no truck with those Music Lovers.
Grace Moore Parera, at right in her gay party gown, is one of Hollywood's most exclusive hostesses. When she entertains, her guests are the cream of the musical and screen worlds — as at left: Gloria Swanson, Gladys Swarthout, Miss Moore, Rosa Pon- selle, noted singer.
I
54
invitations. I was never one to bite the hand that feeds me caviar. Grace was too much of a lady to express sur- prise and say, "And what are you doing here?" and I was too much of a lady to answer, "Hell, I don't know," ( I have a quaint Old World vocabulary that's a perfect joy to my friends who have small children). Anyway, why all this quibbling as to how I happened to get to Grace Moore's party? It isn't that important.
The Parera estate — Grace is Mrs. Valentin Parera in private life — consists of three acres out near Brentwood, and directly across the street from the Gary Coopers which means they must look out for burglars on warm summer evenings as the Coopers seem to attract them to that neighborhood. On the three Parera acres there are at present the groundwork of a spacious and beautiful house, a swimming pool, a badminton court (except the Pareras insist upon playing Pelota on it ) , some elegant trees, some termites looking over prospective home sites, and a horrid little dog named Queenie, given Grace by a Lord, who bites. I mean the dog bites, I'm sure I don't know the personal habits of the Lord. While their home is being built, the Pareras — when not
vacationing
m
Europe, where Grace being on the soigne side has a villa at Cannes — live in a six room bungalow which when the "big house" is completed will automatically become the "guest house." Conspicuous in the living room, gay and chintzy, are pictures of Gladys Swarthout and Noel Coward, close friends of La Moore's, and Mary Garden, whose protegee she was. It was the greatest diva of her day, the glamorous Mary Garden, who first noticed that the ambitious young girl from Jellico, Tennessee, had a Voice. Years later Grace Moore in Hollywood was able to return the favor.
All the way out to Bundy Drive (streets get awfully coy out Brentwood way), I kicked myself for letting my- self in for a boring evening. Grace Moore, I growled, is
By
Elizabeth Wilson
The merry Moore, whose new ■film will soon be seen, has a flair for the unusual in costumes, canapes, and carnival capers. At left, note her very new clips, at neck ond wrists. Far left, surrounded by James Melton, Valentin Parera, her proud husband, Lawrence Tibbett, Herbert Marshall.
a famous opera star making pictures in Hollywood. She knows every composer, every conductor, every song-bird in the racket. She knows everybody who even had a whiff of the musty old Metropolitan. It was only natural that the place would be jammed with Music Lovers, and fine talk about fugues and concertos would be flipped over my head with terrifying glibness. And of course there would have to be a Child Wonder, there always is. Even at Norma Shearer's parties.
A memory of all the horrors of my one musical inter- lude in Hollywood swept over me. It was sanguine. It was given by an actress, who shall remain nameless for certain reasons (law suits, if you must know), and her piece de resistance of the evening was a fat soprano with an aura of garlic from the Met (Please turn to page 98)
55
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Y LIFE
Ever eager to applaud his fellow stars, Bob was first to congratulate Sophie Tucker for her singing of "Some of These Days" in "Broadway Melody." Below, you see how delighted Sophie was with Bob's tribute.
As told to Ben Maddox
UNKNOWN HOLLYWOOD DAYS
WILL never forget my letter asking to get into the movies. It was a warm summer morn- ing when I wrote it. Everyone in Hollywood seemed headed for the ocean. However, I have never cared for the beach and certainly I was not going to be sidetracked from my all-important job for that day. I had just graduated from college and settled in a Hollywood rooming-house ; I was trying to be an actor. The appeal to M-G-M had ect sales line.
For three hours I sat there at the plain little desk in my upstairs room and wished I had studied essay- writing ! I fought with eloquent phrases, threw them away, and eventually emerged with my masterpiece. Tact- fully I pointed out that the previous winter one of their talent scouts had noticed me in a college play at Pomona, and I reminded them that for several months I had reported for coaching at the studio. Of course I didn't add that I had impatiently quit reporting when they hadn't made me an actor immediately.
As I was running downstairs to take the letter to the postoffice the elderly lady who was the only other boarder came to the door of her room to wish me luck. I still see her smile of encouragement. It kept me, frequently, from wondering too much if I were making an awful fool of myself. A country kid from Nebraska sticking his neck into the weird windmills of Hollywood !
I had no friends at all at first. I knew no one influen- tial. Emphatically I was on the outside of the studio world. My name was not on any stellar part)- lists.
There has been comment on my "skyrocketing rise." Obviously I have been most fortunate. Yet it was not quite as quick as you may have been led to believe. No
Bob' to tf wor!.
one was checking up o goes back to exactly h are printed. I remem telling the truth.
As a sales line that perfect. I received no while, I discovered wh wood as a nobody. I 1 but I was pretty discc spectacular happened.
I had a roadster, h didn't want to fall in S was strange to spend s things aren't breaking I can't laugh off disap;
An agent called m< M-G-M the winter be boulevard. He took m tested. What excitemt only didn't sign me ; he up ! Instead I went < There they didn't bot
Then when I thou
Home of the Robert Tc. page. He was a ' room' ments. Below, his preserr place. Right, Bob and romance has attracted < highly popular appea
a young merican llywood
secretary into a ;r big with Fuller, j off between you
the equable Hilda
"It always has been, Mr. Fuller, you know that. But this <niy didn't get a square deal. You took him away from his home and a job where he earned a living You made him think you believed in him as an actor. \ ou brought him to this madhouse where he didn't know a soul but you You didn't take the trouble to see that he got a fan- test or a chance to show his stuff. He can't buck this game He's too nice and gentle and sweet. He didn t ask you to bring him. It was your own idea. Now you re shipping him back like a— like a crate of rotten eggs— ?
"Wa-ait a minute, wait a minute, wait a minute. Fuller drawled it, but a slow fire burned behind his eyes "So he's too gentle and kind for this game, is he? And I'm supposed to wet-nurse him. Well, if he's too gentle and kind, he better go back where the big bad wolf won t bite him." He dropped irony for direct attack. Whats this fella got, anyway, that sends you dames into dithers f First my wife, then you. With her it was just an idea. She gets one a day. Turns herself into a one-woman cast- ing bureau. Now it's a big brown palooka from Honolulu.
Illustrated by
Georgia Warren
Son of Nature. Primitive whatchamacallem. Put him in pictures. Schony for a wedding present, Honolulu for a coming-back present, next she'll go up to Alaska and pick me out an Eskimo. Well, I put my foot down, see? So what happens ? So she leaves me flat. I ain't got no culcha, I'm a — a philispine or something, I don't know from art, so she skips — vamoose, spurlos versenkt. Maybe she's gone to Reno. Let 'er go. Is that any way to treat a hus- band?" For one moment she caught sight in his gimlet eyes of a little boy lost, then he stormed on again. "Get this. I'm running my business. I'm not taking dictation, not from my wife and not from my secretary — "
The phone rang. Through force of habit Hilda picked it up. She wanted to laugh wildly at what she heard. In- stead she said: "Greenwood's outside."
"Tell her to send him in." He took a cigar from his pocket and bit the end off viciously.. "That's all. From here on I'll handle it."
* *
They sat in a little park, facing Santa Monica Boule- vard. The arclight, to which Hilda's back was turned, shone full on Ferdinand. Her hands lay listless in her
1&P- • 1 T- 11 "
"Well, I certainly fixed it up fine with buller. "What does it matter? This way or that, the end will be the same."
There was a silence. "When are you going? "He has arranged for tickets for Tuesday. So I take the boat the same day I come in New York. That is better, he said, it is cheaper to spend here those few days than there." He smiled, and waited for her answering smile, but none came.
His voice took on a graver note, and he moved a little to see her face more clearly. "Miss Hilda, is it for me you are sad ?"
For the first time intimacy sounded in his voice— for the first time, now that she was about to lose him. Plow sweet it sounded. How she wanted to wrap it around her and lie close within it, that tenderness. She caught a swift glimpse of days and weeks and months, when there would be no "Here Ferdinand von Schoenbauer" at the other end of the wire, no thin brown face smiling at her across a table. A wave of desolation swept her. But her gray eyes met his steadily enough.
"No, Shavbar. It's for mvself." "Yourself?"
"Yes. — I love you, Shaybar." Modern, courageous, honest though she was, her voice faltered and died.
For what seemed to her an eternity he was silent. Then he gathered her up in his arms, as one gathers a child, and she lay there like a child. When he found his voice again, he was saying: "I did not mean it to be like this, my dear. I thought, when all is well with
me here and there is some work and some little money, and my people are cared for, then if I can teach her to love me, I will ask her for my wife."
"What are we going to do?" she whispered.
He released her, and took her hands in his. "My Plilda, What can I do? You understand, without me they are helpless. There I will find something, that they may eat."
"But what about us, Shaybar? What about us? "You will be patient, yes? I will send for you. Then you will come — you and your good mother—" "No, no, it'll never be like that. You know it won't. You know you can't imagine me in Vienna. Things'll happen and I'll never see you again. There'll be some horrible Austrian {Please turn to page 75)
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Hollywood as usual Is well represented in the current London picture scene. Above, Elizabeth Allan, who is playing opposite Anton Walbrook, left, in a new melodrama. Patricia Ellis, lower left, is making her first visit to England to play in a picture with Jack Hulbert. Percy Marmont, below, and Sophie Stewart, lower right, are British stars now engaged in important new screen productions.
ond
on
TO SEE a perfect picture of English peace you should come to Pinewood just now. Majestic oaks and chestnuts spread fading branches over the spa- cious, rolling lawns, surrounded by shrubs that nod lazily in the cooling winds which lull them into their long winter sleep. A peacock pompously preens himself on the old stone terrace and only the songs of the birds disturb the country silence.
But come out of the gardens into die great white studio buildings and you'll have all the noise and crowds you want! Half-a-dozen major productions are now in "full swing, headed by "The Girl Was Young" which is Director Alfred Hitchcock's new thriller. It's about a young author suspected of murder, helped to escape from gaol by the Chief Constable's daughter and her four little brothers. There's a pursuit that leads to such diverse spots as a seaside boarding-house and the bottom of a disused mine — and there's pretty Nova Pilbeam as the hustling heroine.
Less than three years ago brown-haired Nova was hailed as the latest child star with her work in "Little Friend." Since then she has been menaced with death in "The Man who Knew Too Much" and executed on Tower Hill in "Nine Days a Queen;" but now she is seventeen and has just learnt to smoke mild Turkish
cigarettes
Hitchcock is letting her have her first
romantic role. She's a charming girl, delighted that her pet terrier Brenda is appearing with her in the film, and owes her unusual name to the fact that her mother hails from Nova Scotia. She lives quietly with her parents in a suburban house and has her bedroom decorated in tur- quoise blue, her favorite color in which she usually dresses too.
Tall Percy Marmont, who plays her father in the new picture
declares Nova is sure to become a great actress
64
Studios hum and social gatherings glitter as film notables work and play in and around Britain's cai
By Hettie Crimstead
because she has the right kind of hands. "Supple, quick- moving, sensitive in gesture, rather long and slim. All the greatest players have hands like that— Garbo, Norma Shearer, Katie Hepburn and Joan Crawford to name only a few." So Nova is accordingly paying particular attention to her manicure and looking forward to her next assignment which is to play the youthful Princess Victoria in the historical "Girlhood of a Queen."
Also at Pinewood they are busy on Jessie Matthews new musical— the last our dainty dancing star will make in England for she and director-husband Sonnie Hale are off to America immediately it's finished. Jessie's greatest ambition is to partner Fred Astaire and since Fred likes the idea too and there's a lot of negotiations going on between Jessie and Radio Pictures — well, don't be too surprised this winter ! But first you'll be able to see Jessie in "Full Sail," playing the adopted daughter of a London bargee. (He's a stalwart gentleman who navigates a little flat-hulled freight boat along our canals. We've hundred of miles of them, connecting up with the River Thames.) There'll be some lovely shots of Lon- don's famous river and lyrics by Arthur ("Pennies from Heaven") Johnson, all written in a week because he had to dash back to Hollywood to provide Bing Crosby with another epic.
Pinewood's recent visitors include blue-eyed tiutty- curled Patricia Ellis, looking cutely Continental in a slim black marocain frock with a gaily-printed red and green jacket. She's come over the Atlantic for the first time to be Jack HulbeYt's romantic interest in his new musical film "Playboy." She's seen the Changing of the King's Guard and walked in Hyde Park and eaten hot buttered scones for tea, so she's getting quite Anglicized.
Patricia was also bidden to the cocktail party of the month, given by wealthy and good-looking bachelor Sir Anthony Weldon in honor of Merle Oberon. It took place in a great green-walled room at our latest Society restaurant, Le Vert Galant in Park Lane, and Merle wore an unusual outfit in vivid blue and yellow and looked supremely glamorous as usual.
Her latest film is being made entirely in color and it is called "Red Shoes," Merle playing Tamara who's a Russian Ballet dancer. She doesn't need a double for
the scenes where she is pirouetting on the stage of the Royal Opera House at Moscow because she _ was originally trained in dancing and once earned her living as professional partner in a Mayfair club before she went on the films.
Do you remember Merle as Lady Blakeney in Alex- ander Korda's pro- duction of "The Scarlet Pimpernel" a couple of years ago, with Leslie Howard playing the foppish but gallant Sir Percy ? Well, now the inscrutable Alex, with his characteris- tic knack of doing the unexpected, is mak- ing the sequel, "The Return of the Scarlet Pimpernel," but he's chosen two different players for the prin- cipal parts.
Sir Percy Blake- ney is now Barry Barnes, who is rather like Leslie with the same long lean face, light blue eyes, crisp blond hair and sensitive mouth. His screen wife is Sophie Stewart, absolute antith- esis of gorgeous Merle in every way. Sophie is gravely shy and essentially domestic, living with a large family in a country farmhouse where she {Please turn to page 96)
Nova Pilbeam, at top of page, with her pet terrier, grown up since "Nine Days a Queen," is to be seen next in a new Alfred Hitchcock film. Lower, left to right, Anna Lee, whose midnight party was attended by many cele- brities; George Arliss in his latest role as "Dr. Syn;" and Whitney Bourne, another American beauty frequently seen in London.
65
Stars and their stand-ins are congenial companions as well as fellow workers. Here you see an example as Joan Blondell, starring in "Stand-In," chats with her "set-up" substitute, Connie Rea.
i
ere s
Hollywood
William Powell's stand-in, W. W. Dearborn, not only "holds it" while cameras are focussed, but clowns with his boss to entertain colleagues on the set. That's Bill behind the whiskers at left.
THE lowdown on the Clark Gable dis- ' appearing act he pulled on his recent va- cation was because Clark couldn't even complete his bear hunt he started out to do without five million people tagging along. So he tipped and turned his car the other way and vanished into thin air because he really needed a rest and even the studio didn't know his whereabouts.
THAT party the Ritz Brothers gave the I other eve, which was attended by dozens of famous filmites, was really thrown in honor of "Ritzie," their favorite poodle! The guests claim they've never had such a good time because their real host was so amusing.
OVER on the set of "The Bride Wore Red," Helen Hayes had the time of her life, during her visit in Hollywood, taking candid camera shots of Joan Crawford from every conceivable angle to add to her collection.
TYRONE POWER, in spite of the fact I he's been seen round and about with Janet Gaynor very frequently, insists that there's only one gal he really cares for and that's Sonja Henie. But on account of her ab- sence, he just can't sit in a corner and mope. And Sonja thinks he's pretty swell, too.
GLORIA STUART and her hubby, Arthur Sheekman, are one of _ Holly- woods more devoted couples. During her recent trip to Honolulu with her mother and a gal friend, Gloria got so homesick for Arthur she cabled him each and every day. "I spent more money on cables than I did on the trip," Gloria admits, ruefully. "Guess I'll never take another without him."
BELIEVE it or not, the glamorous Jeanette MacDonald can whip up a mean dish when she puts her mind to it. When she and Gene Raymond returned from their honeymoon trip to Honolulu, they discovered they didn't have a cook between 'em. They borrowed one from Jeanette's ma for a couple of days, but this didn't work out very well. So Jeanette donned her favorite apron and went to
The Gay Gossip in Brief
By Weston East
work herself. "And, boy," says the en- thusiastic bridegroom, "can she cook!" This went on for two weeks — until they'd found a satisfactory servant.
EVERY year for the past seven, Dolores t Del Rio and Cedric Gibbons have made a trip on their anniversary to Santa Bar- bara, where they were married. In fact, they go through the same routine they fol- lowed on their wedding day — a visit to the priest in the church, followed by dinner alone in the same cafe, and then a jaunt to Carmel, Monterey, and Del Monte, where they spent their honeymoon. How's that for sentiment?
IANE WYMAN, that luscious babe who J made her screen debut in "Mr. Dodds Takes the Air," is buying furniture for her new pent-houSe apartment. In real life, Jane is Mrs. Myron Futterman and she's getting a terrific kick out of fixing up their very first Hollywood home.
DON MILO, Bob Taylor's best friend and stand-in, is getting a swell break. Bob wanted to take him to England, but British labor laws wouldn't allow Don to work in his usual capacity, as stand-ins must be hired in that country. However, Bob finally discovered he was allowed to bring in a companion, so Don is having a marvelous vacation with no expense to either of them and won't have to do a tap of work until he comes back to Hollywood.
DURING the filming of "A Love Like That," Barbara Stanwyck was supposed to hit Herbert Marshall in the face with a strawberry short cake. They rehearsed and rehearsed, but Barbara just couldn't make a go of it. "I just can't throw that thing at Bart," Barbara moaned, "he's simply not the type." So the prop man had to do it for her in the actual shooting of the scene.
THE Errol Flynns came back from their boat trip on Errol's yawl, "The Cheerio," just like a couple of newly weds. Looks like all the rumors of a separation were just rumors and they're happier than ever after being apart for so many months while Lili was making pictures in Paris. And they're a mighty handsome couple, if you ask me !
BUMPED into June Lang out on the Fox lot, clad in pink pajamas, and looking anything but unhappy about her recent marital mix-up. What we're wondering is what's going to happen to all those gor- geous wedding presents they received? We're told on very good authority that Vic Orsatti, the groom, did everything in his power to persuade June to patch things up, but it was no go.
THE latest mutual admiration society is that combination of Paul Muni and Spencer Tracy. Muni thinks Spencer is tops in the acting field and Tracy goes into a perfect dither whenever Muni's name is mentioned. Nice to hear a couple of raves like that in this town where so many knives are aimed at the other fellow's back.
N SPITE of the fact that Wayne Morris has been doing the town with that and that young thing, it's Lana Turner, young Warner actress, who's really carrying the torch for him. Every chance she gets, she pops over to the set where Wayne is work- ing in "Submarine D-l" just so's she can look at him.
pLAUDETTE COLBERT has two new pets in her household. They're two kittens, one Siamese and the other Persian. And they answer to the somewhat startling titles of "Monsieur" and "Bijou."
\/OU'D think, just off-hand, that Joan ' Davis would be perfect when combined with the Ritz Brothers. But when they tested Joan in the comedy lines for "Life Begins at College." they found her par- ticular brand of humor and theirs just didn't jel. So she's playing herself in the film and won't appear in any scenes in which the hysterical brothers cavort
66
So far as Joan Crawford is concerned, no breakfast is complete without fruit, right out of the peel, like this.
Danielle Darrieux, Parisian star, is all ready, and eager to make her debut in a Hollywood screen production.
IOAN CRAWFORD'S latest hobby is J whipping out petit point bags for her friends. The bags are terribly clever, hav- ing the initials of the party concerned worked right into the pattern of the bags. She's doing one, now, for Billie Burke.
\/OU can always' tell when Mrs. Pat / O'Brien is out of town. It's during these rather infrequent intervals that Pat tears loose with the boys and attends every fight and wrestling match and other equally masculine sports and really has a time for himself. Then when Mrs. O'B. arrives back home, Pat settles down to being but the most model of Hollywood husbands.
FUNNY thing about that marriage license George Mason and Paula Stone took out in Santa Barbara. Seems George gave the clerk her name as Pauline instead of Paula, thereby holding up the whole procedure. Anyway, we think it's a good idea he found out her name was really Paula before they got married !
OVER on the set of "Bulldog Drum- mond's Revenge," they're not asking for afternoon tea any more. Reason is the cast and crew was somewhat miffed when they requested permission to knock off for half an hour at four each day for tea and the director refused their request. On the following day, however, they were handed the finished script and found there were
Patricia, daughter of Director William Wellman, tells Carole Lombard her name and age — two years.
nine individual tea-drinking sequences to be filmed in the picture. P.S. They're all so sick of tea, you can't even mention it to any of them. (It's the truth, s'help me!)
IN CASE you meet a rather florid gentle- ' man, riding around the streets of Bel Air on a motor bicycle in the early mornings, you can bet your boots it's W. C. Fields'. This latest pastime has been taken up by Bill, since his serious illness, as a less strenuous way of keeping fit than his former hard game of tennis'.
\ /IRGINIA BRUCE isn't awfully super- V stitious about most things, but when it comes to her dressing-room, she is. When the studio notified her they had a brand new suite ready for her in the fancy new building they've just constructed, Virginia agreed to move. But with her she took most of the furnishings she's had ever since
Burgess Meredith and Ann Sothern are ready to do a very informal scene, all done up in their bathrobes and being coached in dialogue by a director, lower left. Buddy Longworth, ace Hollywood photographer, shows Lana Turner and Marie Wilson his re- cently published book of camera art. Right.
she first arrived at the studio — many of them gifts from the late John Gilbert. And Virginia swears no matter how many times she moves her dressing quarters, those same things will go right along with her.
MOST amusing is the fact that Helen Vinson, married to the tennis champ, Fred Perry, is taking tennis lessons, but not from her illustrious husband. Instead, she's learning to swing a wicked racket under the instructions' of Elizabeth Ryan, a former tennis ace.
A BIG-HEARTED cop stopped Wendy / \ Barrie when she was buzzing down the boulevard the other day and ordered her to pull up to the curb. Seems he'd been passing by and noticed that Wendy was crying. Upon being questioned, Wendy, with tears still streaming out of her eyes, told him she was just homesick for her family in England. Handing her his hand- kerchief, he told her to go ahead and have a good cry, but not to try to drive until she'd had it out !
THEY celebrated the close of "Park Ave- I nue Dame" the other eve with a barbecue, given by Fay Wray and Dick Arlen, at Dick's Toluca Lake manse. Plenty of steaks, baked beans, and all the trimmings were served. The guests later played bad- minton, ping-pong, or went for a swim in the pool.
67
Cecilia Parker's modified Page Boy coiffure, above, has a soft roll in front to flatter her high forehead. Dorothy Lamour, right, hopes it's true that long hair is coming back!
Gl
amor Rules
air
Styl
es
Individuality, softness and historic inspira- tion mark the coiffures worn in Hollywood
Large curls frame Orien Heyward's love- ly face, above. A flower-like coiffure is achieved by Lucille Ball, left, who wears a halo of soft curls across the top of her head. Olympe Bradna's luxurious hair, below, is ar- ranged in a smart coiffure that's natural and well-groomed.
By Elin Neil
TURN back the clock and give us Yesterday ! That's the theme song in the Fall of 1937 hair-style sym- phony. There are myriad new twists and turns to show off the beauty of your crowning glory, but each has found its inspiration somewhere in the past.
Hollywood heads this season present a pageant of the most femininely alluring hair arrangements history has to offer, subtly adapted to modern life and fashionable clothes. Cecilia Parker, for instance, wears the new modi- fied Page Boy coiffure to perfection. The latest version of this style, which sky-rocketed into popularity last Spring, is shorter and neater, with a softer look in back ; and it shows curls or rolls atop one's head wherever they will be the most becoming. The severity of the original Page Boy bob has gone by the board.
The "1900" fashions that are showing up so conspicu- ously in clothes, are having their influence on hair styles, too. Front curls, brushing one's forehead, are increas- ingly smart. They're not the frizzed-bang variety, prod- uct of the old-fashioned curling iron, though. They are soft and smooth and shining.
Two or three little curls that caress one's neck behind exposed ears have been borrowed from the days of hoop- skirts and high powdered coiffures. They're ^ frivolous and intriguing, especially if the rest of one's hair is arranged simply.
There's a revival in hair ribbons. Little bows are being
used as evening deco- rations almost as much as the flowers, feath- ers, and jeweled orna- ments that have been having such a vogue. It's an ultra-smart as well as a comfortable habit to tie up your curls in a cluster at the back of your head
when you indulge in active sports. And little girls are wearing big hair ribbons again without a whimper about they're being "sissy."
Some hair style prophets are predicting that long hair will be the coming rage, and unshorn tresses will be piled high atop one's head, reminiscent of the pompadour days. If this prediction comes true, Dorothy Lamour will be in the height of style, without any hair "growing pains," because her crowning glory falls below her waist. Others foresee a shorter bob, designed to promote back-of-the- neck comfort.
Long or short, as the case may be, there are a few very definite developments in hair styles. Faces are
68
framed with curls or rolls or soft bangs breaking the hairline in front. More often than not, there's' height above the forehead.
Straight, shiny hair at the crown of the head has completely vanquished waves and "wisdom bump" fullness. Shingles are fad- ing right out of the hair fashion picture. Nape-of-the-neck rolls are still popular, but there's a decided tendency toward fluffing them up so they won't appear too tight and sausage-like. The shorter Page Boy effect is another favorite way of finishing off one's coiffure in back.
Some of the newest coiffures bring the hair up from the back of the neck, arrang- ing it in high-placed curls on both sides of a diagonal part. The kind of long bob that has- a "bedroom" look is rapidly becoming passe. Your back-of-the-head view must appear well-groomed, however soft and na- tural-looking. The days of careless abandon below the neckline are gone.
Waves grow fewer and farther between. A smart new adaptation of the fingerwave idea is the half-wave ending in a soft curl.
Don't go to extremes in the color of your hair, if you want to ride with Dame Fash- ion. The platinum blonde rage is dwindling down to oblivion. And for this we're thank- ful, because that artificial silvery shade takes such strong bleaching that few heads of hair can stand it for long.
We're in favor of having your hair "touched up" (or doing it yourself) if you want to disguise gray streaks or substitute brightness for drab tones. Only be sure you bring your hair to a shade that could be natural with your type of coloring. Ob- viously bleached or tinted hair is decidedly out of style. And the blondes gentlemen prefer are the ones that don't wear labels !
If you touch up your hair yourself at home, the best method is a temporary color rinse that washes out with the next shampoo. This will brighten your hair and lend it color. However, it won't bring gray streaks into harmony with the rest of your head. Henna, which leaves' a thick coating on each hair shaft, will cover up gray, but it produces a shade of red that's unmistak- able to the discerning eye.
If you have your hair tinted at a beauty shopj watch the part like a hawk. It'll give away your secret if you don't watch out. You can get a hair dye pencil that will keep the new-grown hair in color harmony with the rest of your head. And there's a liquid retouch for the same purpose that you put on with a brush.
And now I'm going to give you a very important word of advice. If your hair is bleached, dyed, or tinted, be sure to tell the beauty operator what you've been using when you get a permanent wave. Standard permanent waves can be given on touched- up hair with beautiful results. But the oper- ator should know everything you can tell her about the condition of your hair, so she can give the wave accordingly.
Beauty to Match New Fall Clothes
Lilte all movie girls, Eleanor Powell uses the latest beauty methods.
the lathering road to Beauty with Lux Toilet Soap.
WE'D like to erect a monument to lather as beauty's first hand-maiden ! When it's the product of a mild, pure efficient soap like Lux, lather works mir- acles for beauty. Snowy white suds of Lux cleanse complexions so gently yet firmly that blackheads ■ and blemishes don't have a chance to get a start, unless they're due to in- ternal causes. Its mild- ness and non-drying qual- ities make Lux ideal for bathing and washing your hands, too. Use it, either in cake form or in flakes, for kitchen and laundry jobs, and you won't be embarrassed by tell-tale housework hands when it's" time to go ladylike for life's gayer moments. Everybody knows how good Lux is for washing- fine silks, cottons, and woolens, but the beauty angle is sometimes over- looked. Besides making clothes fresh and new- looking, it removes every trace of perspiration odor.
DEAUTY news of the D first importance has" to do with Pond's famous face creams. They've been such great favorites for years that we didn't think there was any room for improvement, but a very great one has been made. To each cream has been added "skin-vita- min," a substance that's been proved by the most thorough tests to have remarkable powers for beautifying complexions'. The color, texture, and fragrance of Pond^s creams remain just the same, and there's been no change in jars or labels. But every time you get a jar of Cold Cream or Liqui- fying Cream to cleanse and soften your skin, or Vanishing Cream to give it a smooth, flattering surface for make-up, you'll know that it contains this new "skin- vitamin" for beauty !
Lovely Lady solves powderbox problems with a Spill-proof container.
Youthful beauty to your eyes with Maybelline Special Eye Cream.
Enter "skin-vitamin" as a new feature of Pond's face creams.
Galiardo's "Breathe-Rite Dy-Nam-Ics" you can make it work wonders for your beauty. Under this system of breathing, which requires only a few minutes of concentrated effort each day, your own lungs reduce over-fat parts and bring your figure into harmonious proportions. And you feel so much better from the energizing effects and sense of inner poise that you want to carry yourself with queen- ly grace. The system is easy to learn through sim- ple, illustrated lessons ob- tained from The Health Reconstructive Institute, Inc.
A BURNING beauty / \ problem is how to keep your face powder where you want it, without the inconvenience of hav- ing it spill over in your purse, dressing table, wash basin or luggage. That problem has been solved by the firm of Lovely Lady, who recently brought out one of the finest inexpen- sive cosmetic lines we've found. Their Spill-proof powder container keeps the powder right in its case until you dip into it with a puff. Convenient as it is, you'll find it at five- and-ten cent stores. And you'll find other Loveiy Lady products — creams and make-up — that are ex- cellent quality in spite of their low price.
IF YOU think eye cream I is an expensive luxury, just wait until you try Maybelline's new Special Eye Cream ! It's marvel- ous for keeping the super- sensitive skin around your eyes smooth and fine-tex- tured, preventing "age signs." Smooth a little Maybelline Special Eye Cream over your eyelids and around your eyes at night. And you'll find it an excellent "dressing" to give your eyelids a flattering shine by day. A generous tube of Maybelline Special Eye Cream costs a mere trifle.
A GREAT big demand has been growing
up
for a hair oil that's non-greasy.
A1
IR may be just atmosphere to you, but once you learn to harness it by
Men don't seem to mind whether the_ dress- ing they use on their hair makes it look varnished or not. But we women are dif- ferent. Our enthusiasm for Vassar Hair Oil mounts every time we use it. Yon simply apply a few drops to the palms cf your hands and rub the hair between them. The result is a lustrous sheen, absolutely minus in stickiness. And you'll find that your hair falls into soft waves and curls ever so much easier. At Ten-cent stores.
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Cash — and Cary
Continued from page 34
me that whenever I did a good job on the stage or screen I was diverting those thou- sands of people down in front from their own troubles by interesting them in mine — as the character I portrayed.
" 'So I determined that no matter what happened to my own private life, I'd try my level best to help those folks forget about themselves for at least as long as they looked at my performance. And I can't tell you what a great deal of satisfac- tion I've gotten out of that one ideal'
"Don't misunderstand, Ginny," Cary went on, "or run away with the idea that I foiidly imagine myself a public benefactor, philanthropist, or what have you. It's true I'm being paid for it— but that follows as a natural course. The better your acting is, the more money, as a consequence, you earn. But that's the same in any business. If you're interested in your work, it's bound to further you, thereby bringing in more money. And actors, just as human beings in any other walk of life, have the same desires, the same disillusionments and dis- appointments to contend with. It all boils down to getting the most out of what you have and making as few people unhappy in the doing of it. And if you can add, in any small way, to another's happiness, that's about the best you can do. ^Phew—we're getting profound, aren't we?"
Cary chortled and just then the director called him back on the set. I watched him as he loped across the stage. "Loped" is really the only way to describe the way Cary walked. Six feet one, tanned as dark as a Hindu from his outdoor life at the beach, wearing an old pair of slightly mussed white pants and a not-too-new polo shirt, Cary looked anything but a movie star. And I must say he doesn't act like one — except in front of the camera. On this particular day, he was crouched down behind it, as a matter of fact, playing with a dog, while Irene Dunne and Ralph Bel- lamy enacted the rest of the scene in front
"It's always been a mystery to me, Lary went on, as he flopped down in a chair fac- ing me, the scene finally completed, "how people can feel that money is absolutely essential to happiness. After all, there are only a certain number of things that money
Cary Grant, always seeking good acting company, finds it in his newest screen assign- ment, as leading man for Irene Dunne, here in a scene with Cary and Ralph Bellamy.
Popular co-stars Robert Montgomery and Rosalind Russell are malting a comedy for their next film together.
can buy. It can assure you of eating more or less regularly, that's true, and it can provide you, possibly, with a more com- fortable bed on which to sleep. But all the money in the world can't buy that harmony and contentment which must exist only w'ithin yourself.
"I can look back now and think of a mndred instances when I was broke, jobless and all the rest of it, when I was every bit as happy as I am today. I can recall dozens of times, when I've been down to my last dime, spending it on some small luxury and getting that full dime's worth of enjoyment in return, simply and purely because my mental attitude was right."
I know Cary really means this because I remember, when he first came out to Holly- wood from New York, how he would sit around for hours with a few of histoid cronies and reminisce about their various and sundry escapades. And many a laugh we've all had at his expense, too. Inci- dentally, Cary enjoys nothing more than a .good laugh on himself.
"Right now," Cary continued, seriously, "the thing I'm interested in more than anything else is to perfect myself at my job. I want to be a really good actor more than anything in the world. It's much more important to me than accumulating wealth. It wasn't easy for me to leave Paramount, they made it worth my while to stay. They were swell! But I've realized, these past few years, that an actor can only be good if he plays in the type of roles he has faith in. When you're under contract to a large studio, you have to take the good with the bad.
"Besides, I got bored a long time ago with straight leading man parts. And there's nothing that gets a guy down as much as being bored with his job, believe me! I got so darned tired of always having to say nice things, always acting like a perfect o-entleman— as you do when you're a lead- ing man. Character parts give an actor much more opportunity to express himselt — to be natural.
"And, actually, they're a lot easier. If a director tells me, for instance, to walk across the stage as / would, naturally, I immediately become self-conscious. But if a director tells me to stagger across the stage like a drunk, it's a cinch and I snap right into the role— (fine thing!).
"One thing that really broke my heart
was when another studio bought a play I had seen in London and was dying to do. I wanted to do that part more than any- thing I've wanted in a long time and I begged my studio to buy it for me. But they were afraid the part (which was a pretty unsympathetic one) would hurt my career and they refused."
I was reminded of another story I d heard about Cary the other day. A big pro- ducer wanted Cary to play in a very im- portant picture. Cary was crazy about the part, although it wasn't the most important one in the film. But the producer happened to be a friend of his and Cary knew he was spending a large sum of money on the rest of the cast.
"You can't afford to have me in the pic- ture in such a small part," Cary told him. "Get someone else to do it for less money." But the producer insisted. "All right," Cary finally agreed. "Tell you what — I'll play it for nothing!"
The producer was p-ractically overcome ! But of course couldn't agree. Cary finally played the part and the picture was a tre- mendous success, as Cary had been sure it would be. The point is, however, Cary really would have sacrificed any monetary gain to appear in a part he was sold on !
"You know, you've got me all upset," Cary said, suddenly. "I don't know what I really would do if I couldn't act any more. I'd be rather badly equipped for any other job after acting for so long. You don't have to be particularly intelligent to be an actor, you know. You just have to have a certain peculiar facility of expression and imagination that is indispensable but pretty hard to acquire. And it isn't particularly adaptable to any other business — unless it's writing."
"Tell you what, Cary, I suggested, you could write fan magazine stories."
"No thanks !" Cary said, emphatically. "I have enough grief trying to be an actor without taking anything like that on my- self. Guess I'll keep on concentrating on acting and not worry about the future.
"The best anyone can do, anyway, when it comes right down to it, is to eat, sleep and be as happy as you can and let the future take care of itself."
And with that sound bit of philosophy, Cary rushed away to his dressing room to change clothes for his next scene. Think I'll try his prescription myself. He certainly seems to be thriving on it !
70
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pretty awful — our harmony doesn't always harmonize— we have great fun doing it.
"David Niven is a true cosmopolite, who has lived fully and touched life at many thrilling points. Sensitive, sympathetic, and with an amazing understanding, he makes a congenial friend. There's Ralph Jester, supervisor of educational shorl subjects, lie's a brilliant conversationalist, well up on every current topic, and is a stimulating as well as an amusing friend.
"jimmy Stewart is a merry companion, though he has plenty of depth and one could unburden one's heart to him. If Jimmy is your friend you can always depend upon his loyalty and trust him in every emergency. One of our chief amusements is to spend an exciting evening pounding out duets on the piano and making up lyrics as we go along.
"I've known Paul Warburg for many years, but naturally, as he lives in New York, we see each other seldom — only on my rare trips East, and his infrequent visits to the Coast. But when we do get together we make up for lost time, and we talk a lot and laugh a lot. He is much interested_ in my career and I look forward to getting his opinions because his viewpoint is unbiased.
"A scintillating personality is Jean Ne- gulesco. He's astonishingly versatile and is not only a successful scenarist, but has won acclaim as an artist. He made that copper pastel portrait of me that hangs in the library, and I'm tremendously proud of it. Jean often comes dashing in, enthusiastic over some clever game he's just heard about, and within a few minutes he has the entire family playing it. Under his exuberant lead- ership, it always ends up as an hilarious adventure.
"It's a wild life, isn't it?" laughed Vir- ginia. "Of course, there are times when I dress up in my best and go to parties, and to night clubs — I love to dance. But I soon tire of the bright lights; I've never out- grown my small-town complex of early to bed."
There are girl friends, too, many oi them, with Veronica Cooper, (Mrs. Gary), Dolores Del Rio, Betty Furness among the intimates. But there are few leisure days for her to lunch or go on shopping jaunts with the girls, for besides her Metro-Goldwyn- Mayer pictures, she is loaned to other studios, most recentlv to Twentieth Century- Fox for "Wife, Doctor and Nurse" in which she is vying with Loretta Young for Warner Baxter's love.
One day, when she was a very little girl, back in the home town of Fargo, North Dakota, she and a school chum were leafing through a motion picture magazine, when the friend breathlessly asked, "Why don't you be a movie star?" Embarrassed, Vir- ginia replied, "Don't be silly. First you've got to be pretty. Then, you must live in Hollywood to be a screen star."
Despite the suggestion, she never once thought of becoming an actress ; instead, she dreamed of becoming an artist, and already her funny little sketches were being praised. But life had other plans. Following financial reverses, the family left Fargo and moved to Hollywood ; by chance, Virginia met Direc- tor William Beaudine, who gave her a screen test, then put her into her first picture, "Exiles." To this day, she wonders how it all happened.
Like a shining thread running through Virginia's thoughts is an intense desire for happiness. Persistently, she side-steps all sad stories and pathetic incidents because they break her heart. When she finds she has to do something, she immediately makes herself like it because she hates doing things
she doesn't like to do. Naturally, she has a sweet and placid temperament, but there are times when she's likely to fly off and stage a high-powered scene. But she doesn't, be- cause it makes her miserable, afterwards. It's all very simple; avoid unhappiness and you'll be happy !
Said Virginia, "I used to drift through the days and let things happen as they would; but I discovered that because of so many loose ends, I was wasting precious hours. So, one day, I did a little serious thinking. When we make a picture, plan a party, or even a new dress, we figure how to get the best results from the material at hand. Why not do this with life? Why let it go helter- skelter and become sketchy, instead of filled to the brim ?
"With a little thinking ahead, I now have time for my screen work, and my daughter- Susan Ann was four in August, and we're building a comradeship which I fondly hope will be her most precious treasure. Also, I have time for my family. We're a contented household and I feel the intimate contact with these sterling personalities is a priceless experience for my child. Especially helpful is the masculine influence which my father and brother bring into her life, not to leave out mother, who at all times is the backbone of the family. Then, I'm building a new home on two acres I bought here in Brentwood, a block from this house. I play tennis, keep up my music, and have a few social diversions ; so all in all it's rather exciting, and believe it or not, everything works out most happily, without fret or worry."
Though still in her early twenties, Vir- ginia, has had a full life and more colorful experiences than many women check up at forty. She's reached a high spot in her career; she's known the love of handsome John Gilbert in their romantic marriage; she's had-a baby. Too, she's had heartbreaks, and a divorce. And the love and admiration of manv men. But today, she insists there is no romance. Then, after a long pause, she quietly admitted that Jack still fills her thoughts.
"He did so much for me," she explained, simply. "He enriched my life in every way, teaching me to appreciate the important things, the best in literature and art, the magic of the starry heavens, the sweep of landscape; he worshipped beauty in every form. I bought many of his treasures when his home was sold after his death, and his chessboard is always set up in my room, his favorite books are here, and his beautiful desk that he loved. They bring him very close, for whatever he touched seemed to take on some of his vital, magnetic per- sonality."
Through the quiet house we heard the patter of footsteps on the winding stairway, and Susan Ann burst into the room, bub- bling with excitement as she exclaimed, "Oh Mother, I saw a train — an engine train. I wish you could see it."
Looking into her bright, blue eyes, I asked, "Who do you look like.''" and promptly, she replied, "I look like Susan, 'cause that's who I am, Susan Ann Gilbert!"
After the child left us, with characteristic frankness Virginia told me that someday she hopes to find romance again; a glorious one that will open up new dreams for marriage in the greatest adventure life can offer. Too, she wants children.
The Prince will need no classic profile, or soulful eyes, or even an impressive bank account ; but he must be understanding, gen- erous, and have a sense of humor ; he must be strong, courageous, blest with a vital personality, and alive!
But Virginia seems to be in no hurry and is carefully sidestepping romance, as she goes serenely on her way, contented with her work, her family, and— her loyal friends.
72
SCREENLAND
Soigne Stars
Continued from page 23
a damp California day. She had on a baby- blue chiffon afternoon gown, an enormous pink horsehair hat which didn't spare the bows, and PINK SATIN SHOES! Add to all this the fact that she was more than plump, and you have the German star, Marlene Dietrich.
Seeing her on the set of "Angel," her current picture, in flowing black chiffon and transparent black picture hat, which allows the sunlight to filter through in such a manner that it picks up the gold powder which she uses' in her makeup, one can't help but feel that if a metamorphosis such as this can be accomplished in such a. comparatively short space of time, there's hope for all and sundry.
To fully appreciate Marlene's advice to the glamor-seeker, it's necessary to hark back to the worn-out topic of those trousers she affected. She was sincere in adopting this fashion. She likes the freedom such clothes afford. As she says :
"Women's fashions are always changing, and it is so much trouble to bother about my personal wardrobe as well as my studio clothes, that it seemed to be a simple solu- tion of the problem. I've never worn them outside of Hollywood, and Hollywood has such a country-like air, they seemed appro- priate."
But you will notice that Marlene now wears the usual trimly tailored suits, but with frilly feminine blouses. So Marlene, like our sage Emerson, has learned the secret of gcod taste, which she passes along to you: MODERATION. So all youse little caterpillars who yearn to be butter-
flies with powdered gold, watch out for extreme fashions.
And now in our journey down the soigne, we come to that Gorgeous Gamine. Carole Lombard. Somehow no matter how su- perbly she slithers across the screen, one can always detect that mischievous glint in her eye, that theoretical tongue in cheek, which is the Carole her friends know ; the
Carole of the whooping laugh, the fun- loving, life-loving gamine.
Barrymore was the man in Lombard's life who brought out the real Lombard, and not the imitation. Along about 1926 Hollywood nightclubbers began to notice a young blonde dynamo dancing her light- hearted way to an easy victory in the Charleston contests so popular then. But
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those coveted cups went for a very serious purpose. For Mrs. Peter's little lass, Jane, would arise bright and early the morning after each contest and wend her way to "Uncle," where her new trophy was ex- changed for coin of the realm, and such coin was again exchanged for clothes.
At this period, Peggy Hopkins Joyce was Carole's idea of sartorial elegance, and she assiduously copied her. What matter if Carole's black satin was not quite so lus- trous, nor so enticingly heavy? What mat- ter if her pearls were by Woolworth rather than Cartier? They were larger, weren't they? And they were worn in the true Joyce manner, for dressed thusly, Lombard zvas Joyce.
Fortunately, when her next ideal crossed her horizon, she had more of the well- known wherewithal to buy the stuff girls are made of. For by now she was a Mack Sennett bathing girl, getting paid for clowning around. This time, she fastened her fascinated stare on Connie Bennett, the elegante. This fixation ran into money, for it called for great variety, and all of it luxurious. Carole got a bit out of her depth at times during this period, and was wont to show up at a very informal swimming party attired like the proverbial Christmas tree. But her sense of humor apparently conquered, for next we see her as the Tailored Woman, the Ruthie Chatterton_ in- fluence. This style was very becoming, accentuating as it did that voluptuously lithe figure, but unfortunately Carole was such a perfect mimic that her friends began to look around for Chatterton whenever Carole spoke, and she's too much of an individualist to want to be completely lost in another identity.
So when Barrymore asked for her to do "Twentieth Century" with him, Carole was temporarily without benefit of any out- standingly different personality whose color she could take on. (Sounds like Carole the Chameleon, doesn't it?) But all was not lost, for Hepburn hit Hollywood about this time.
However, she reckoned without Barry- more, for here was an actor who had dealt with women of the theater from 'way back, and the first day on the set, he said :
"Miss Hepburn, come here a moment." "You mean me?" intoned Carole mo- notonously.
"Yes, you! Why don't you be yourself? I wanted Lombard, that grand trouper, for this picture, and what do I get? An imita- tion Hepburn. Just remember you're a dis- tinct personality. You don't need anyone else. You've got everything." Then, with a spank where it would do the most good, which brought forth Carole's old gladsome whoop, he continued :
"Now, remember, from now on, be your- self."
And that finished the saga of a siren, for Carole has found herself as the real Carole Lombard, and not an imitation.
Speaking of sirens, have you seen Fay Wray recently? There's one of the most startling changes of all. Fay Wray speak- ing:
"Ten years ago when I was doing 'Legion of the Condemned,' I thought of clothes as a necessary evil. Something an- noying, which took precious time away from my work. So I just always wore a blue suit of some sort. I did this until it had become sort of a uniform, and people would say: 'There goes that girl in the blue suit again.'
"But that picture was the turning point in my life. I met my husband on it. He wrote it, you know. It even changed my ideas on the little blue suit numbers. Like every creative person John (John Monk Saunders), is interested in the drama of women's clothes. He even likes red finger- nails," she added, laughingly. "He's not
one oi those husbands who believe their wives should wear black things with white collars, because they look ladylike. 1 strongly suspect he doesn't even aire whether or not I do look ladylike, as long as I look interesting." (But somehow she always manages to look the perfect lady, even the dignified grand lady, despite her pocket size.)
"At the time I went in for that blue suit routine, I had a blue suit personality. If anyone spoke to me, I stammered and stuttered and I only felt really at ease when actually working before the camera. I was looking at some stills from that pic- ture recently, and I actually look like my own grandmother. Wait — I'll show them to you. Get the hairdress. That was what I thought a spy would do with her hair."
Her naivete would fool you until you realize what a clever gal the new Wray is. She's reached the acme of cleverness as a hostess. She makes you babble! Yes,
Louise Hoviclc's crowning glory is topped by a fringe-trimmed hat of gray kidskin that matches her swagger coat.
and what's more, she makes you prattle ! Before you know it, you're going on like mad about yourself, until suddenly stopping in mid-sentence, you realize that she has been looking at you with a look of sloe- eyed interest, murmuring encouraging yeses, and you're making an utter fool of yourself. You know the type. They're "deadly. After bearing your soul, you go home feeling like the devil of a fellow, and remembering that particular person with a warm feeling around the heart, but not quite realizing why. Not realizing you've been given the utmost in flattery: a gen- uine interest. And she's tops in this accom- plishment. All the more strange for her to be a mistress of this art, when she tells you that her shyness amounted to a phobia B. S. (Before Saunders, of course).
So the Fay Wray of today rightfully belongs in our soigne salon, and her recipe seems to be : "Dare to be daring, but always be sincere." A tough combination, but worth the effort, if we can judge by our diminutive friend.
If you've stuck with me this far, and you still want to be soigne, _ choose your weapons and go forth, my friends!
74
SCREENLAND
Great Lover
Continued from page 63
THE STORY UP TO NOW
Ferdinand von Schoenbauer is brought to Hollywood from Vienna, ■where he is a success on the stage, by an agent, Fuller — chiefly because Ful- ler's wife is sure he'll be "a discovery." Ferdinand, whose last name is changed to Greenwood, gets a small part in a film largely because Hilda Drake, Fuller's secretary, who is greatly at- tracted to the modest and handsome foreigner, keeps at her employer to do something for the actor. With hopes high, Ferdinand and Hilda go to the sneak preview, only to find that his scenes have been eliminated from the picture. Broken hearted, for this failure means Ferdinand must go back to Vienna a failure, he takes Hilda to her home. There the girl confesses to her mother that she loves Ferdinand, and the mother sympathetically advises her to do her utmost to make Fuller give the actor another chance.
girl — " She burst into wild weeping. "I don't know what's the matter with me," she cried against his chest. "I've turned into a regular wailing wall."
When the fit was spent, he dried her face with his handkerchief. "What a child it is — smaller than Annamarie. See — so I make her to laugh." Two fingers became a pair of long ears on either side of his head. His nostrils quivered. His lips munched contentedly. Despite herself, a faint giggle escaped Hilda, even as she sniffed. He was a pinknosed rabbit to the life.
"Do you know any more like that?" she gulped.
"Many. All that the Zoopark contains." He looked cautiously about — "Do they give here tickets for madness as for speeding?" — and dropped on all fours. Head down, he lumbered past her, a clumsy bear, regard- ing the world out of sullen eyes. Then, in one supple movement, he folded his limbi beneath him, a tiger, wary-eyed, on the watch for prey. Slowly he rose to his fore- legs, bared his teeth and snarled. Now he flung his head up, straightened his back, his limbs seemed to grow long and delicate, his neck arched, he picked his way daintily through a forest, paused in fright at the rustle of a dead leaf, and loped away.
"With the speed of an antelope," cried Hilda, as he rejoined her on the bench. "What else can you do?"
"Perhaps mademoiselle is hungry? It will astonish you how one can fill the stomach when there is no food." He plucked a napkin from the air and spread it over her lap, another over his own. He offered her a plate. "A peach, if you please. I my- self gathered them in the orchard this morning, while you still slept." He took one for himself and peeled it carefully, lay- ing each non-existent paring on his non- existent plate. Then he set the plate aside, held his imaginary napkin under his im- aginary peach, and took a bite. "Hm — a little over-ripe, perhaps." He thrust his head forward, that the napkin might catch the juice, and continued eating, turning the fruit round as he progressed, and finally holding the pit in three fingers to nip off the last morsel. Finished, he flung the peachstone from him, touched the napkin to his lips, and wiped his hands vigorously. "So. I have eaten better."
Hilda's eyes shone. "Shaybar," she breathed. "Who ever told you you were the romantic type?"
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Brows and shoulders lifted. "Who has told you you were a secretary? It hap- pened. But in words — only the Fuller. '
"Did you ever play comics?"
"But no. With what?"
"With this— that you've just been show- ing me." . . . a
He took her face between his hands. "Liebling, this is for children— a pastime, a fun— riot for the stage." Weariness shad- owed his eyes. His hands dropped. We have been playing, Hilda. There is little time left for play. Let us not cheat our- selves to think there is hope for us here together. For myself, I will take every chance. I will live in a shoebox, I will eat sand to stay with you here and be happy. For them, I cannot." „
She rose. "All right, Shaybar. Let s go.
She entered the living-room where her mother sat reading. Mrs. Drake threw her a quick glance, then dropped her eyes back to her book. . "Guess I'll go to bed, mom. Im tired. "Good-night, darling." "G'night." „, , „ .
She was at the door. "Oh, Hilda Good heavens, I almost forgot. Mrs. Fuller phoned." _ .„
Hilda whirled. "Mrs. Fuller! "That's what she said. Wanted you to call her, no matter what time you got m. The number's on the phone pad.
Hilda steered her car into the cathedra - like garage of the hotel where Elaine dul- ler had taken refuge from the persecutions of her husband. On the phone the night be- fore Elaine had told her to ask for Miss Warwick. She had registered under an as- sumed name. She didn't want Joe to know where she was.
Mrs Fuller, a vision in orchid against piled pillows, extended a suffering hand. "My dear, this is sweet of you. Pull up that chair and sit down close beside me, won't you? You must be terribly surprised, finding me here and having me send for you like this."
"If I weren't so miserable," Hilda was thinking, "I'd be having an elegant time."
"Now I'm going to tell you the whole story so you'll see what I'm up against. You know, I sacrificed my career to marry Joe Mind you, I'm not saying a word against Joe. For a business man Joe s o-ot a good head on his shoulders, but he don't understand the finer things of life. That's where he falls down— m the finer things. And that's where I have to help him—where we both have to help him. She leaned forward and spoke in solemn ac- cents "I want you to tell Joe that you met me accidentally on the street, and you know for a fact I'm going to Reno."
"How will that help him to appreciate the finer things of life?" asked Hilda gravely. . . , T ,
"It'll scare him into it, see? Joes nuts about me. Look, here's the thing, honey. Down in Honolulu I found a guy— an artist," she amended hastily, "if ever I saw one. What a physique! I wanted to bring him alon", but he wouldn't come without a contract. They're getting good and cagey down there, those natives, instead of appre- ciating the interest we take in them. Any- way I told him Joe would fix him up, gave him my word and all. And what hap- pens? Joe refuses." _
"Mrs. Fuller, I have another idea. Will you listen, and then, if you still like yours better O.K. The reason I think it may not work 'so well is this. Something came up yesterday—" Hilda was feeling her way like a cat among bricabrac— "something hap- pened that made Mr. Fuller tell me you d left him and might be going to Reno. He was heartbroken— I'm sure of that— but he was terribly angry too. He said, whatever
happened, he was going to run the office
himself — " "He did!"
"Yes, but look, Mrs. Fuller. Don't you think he's a man who ought to be led, not driven?
"Wasn't it you who discovered Ferdi- nand Greenwood? I mean, that man from Vienna with the long German name — "
Elaine's eyes turned bitter. "That's just the trouble. If I hadn't messed around with hini — . Joe says he's a washout. That's why he won't — "
"Suppose you could prove he wasn't a washout. Don't you see, Mrs. Fuller? Then you'd have your handle. Then your husband would have to admit you knew how to pick 'em, and Honolulu or anybody else would be a cinch." Hilda had the grace to blush inwardly as she dug pitfalls for her unsus- pecting boss. But that was all right. He could take care of himself. Her Shaybar couldn't.
There was a long pause. Then: "What makes you so sure this guy's going to be a hit?"
Hilda lifted a guileless gaze. Her smile was lovely. "First, because you picked him. And then, by the audience reaction he
got — "
"And what's this scheme of yours? How do we work it?"
A stab of elation set Hilda's head whirl- ing. She pulled her chair closer. "Here's how."
* * j*
On her way to the office she stopped in at Ferdinand's room, and poured out her story. "Yes, I know it's mad, darling, but do it for me. What can we lose? Will you ask me to kiss you? I still feel a little shy about asking yon." Then she phoned to her mother. She reached the office at 10 :30.
"Taking a day off?" Fuller asked, but his heart wasn't in it.
"As a matter of fact, I've been making arrangements to throw a party for you. Will you come to dinner at my house to- night ?"
His eyes stretched to capacity. "Well — that's mighty nice of you. But why the sud- den rush?"
"I expect Mrs. Fuller."
"You — what!"
She nodded, and held his wild glare un- flinchingly. "I think she'd like to see you."
"Then whyn't she come here ?" he shouted.
"Or back home where she belongs?"
"Well — you know — women are funny that way. They've got crazy notions about dignitv or something."
He whirled. "Howjew get hold of her?
"That's something I promised not to tell. I couldn't break my word to Mrs. Fuller," she said softly, "any more than I could to
you." ,■*'•'« "All right, all right, all right, don t talk so much. Where's the house? What time? Put it down, put it down. Remind me. What the hell do I pay a secretary for — ?" * * *
Robbie, who came by the day or when- ever she was needed, showed Elaine into the living-room. She was exquisitely dressed and a little nervous. She kissed Hilda, mur- mured: "So glad—" to Mrs. Drake, ex- tended a gracefully drooping hand to Ferdi- nand. "Dear Herr Baron. So we meet again."
Hilda threw him a startled glance. She could scarcely contain herself till her mother had led Elaine from the room to remove her wraps. Then she pounced on him.
"What did she call you?" He flushed. "She called me nonsense." "Listen, if you're a king or something, you'd better tell me right now. I'm carry- ing just about as much suspense as I can handle." , "Hilda, I have no shame for my family s title. But here I am Ferdinand Greenwood.
76
SCREENLAND
Everything else is stupid. They think you are — phony, yes? — or they think you pre- tentious— "
"They think you're a darling. And you've taken a load off my mind. Imagine me prancing around as the Baroness Hilda — ."
The doorbell rang as Mrs. Drake and Elaine re-entered the room. Ferdinand squeezed Hilda's hand and vanished. Her knees threatened to give way. She heard Fuller's voice, and her mother's, greeting him. Through a blur she saw him advance, and tried to move forward but couldn't. Elaine came to the rescue.
"Hello, Joe." How meltingly Elaine could smile. "We thought we'd fix you up a little surprise."
"Surprise is right." But the ice had thawed from his eyes. He put his arm round his wife's shoulders and held her at his side. The first crisis was over. Hilda breathed more easily. "Mighty nice of you to go to all this bother, Mrs. Drake."
Hilda sent her mother an imploring glance. ("Pull the gracious hostess act for all you're worth," she had warned her earlier. "Else he'll take one squint at Shay- bar, and the jig'll be up. You'll have to keep him subdued.")
"It was good of you to come, Mr. Fuller. I know from Hilda what a busy man you are, and this was such short notice. I must thank you for all your kindness to my daughter. She finds life so — stimulating in your office — "
Ferdinand tripped in, bearing a tray of cocktails. Round his waist a frilly white apron was tied, and a lace trifle adorned his head, which was cocked at a coy angle. His lashes were demurely lowered. As he crossed the room, his hips moved to a rhythm that suggested the swishing of short skirts. Fuller half rose —
Mrs. Drake's voice came bland but firm.
Marie Wilson strolls in a two-piece dress of mustard gold and black.
"Oh, please don't bother. Ferdinand will manage — •"
He presented the tray to the Fullers.
"You!" said Elaine. Lips set, Joe picked up a glass. Ferdinand whisked a napkin from the tray and, with a murmured "Mon- sieur," draped it over Fuller's knee. He minced across the room to Hilda and her mother. He started for the door and paused midway, rooted to the ground. All blushing confusion, he tucked into what would have been his bosom, had he been a woman, a bit of straying lingerie. He fled to the door in an agony of shyness, turned with a swift change of mood, fluttered his lashes at the fascinated Fuller and disappeared.
Joe addressed his wife. "Ve-vy funny — "
"Of course it's very funny. But I pre- sume you're too stubborn to admit it."
Robbie stood in the doorway. "Dinner is served."
Five places were laid. They had started on their chilled melon before the fifth diner entered. He sauntered in, a cane under his arm, a monocle in his eye. As he re- moved what might have been from his air a tophat and an opera cloak, and drew off a pair of imaginary gloves, his gaze wan- dered round the room, stretching it to more spacious proportions, peopling it with a larger assemblage.
He surrendered his outer garments to an attendant, letting his stick drop unheeded to the floor, moved toward the fifth chair, became for a flash the obsequious waiter, pulling it out, then_ again the gentleman of fashion, dropping into it.
He scanned first the menu, then the wine list, gave his order in French — including an elaborate manual explanation of how he wanted the salad mixed — and sat back to survey the scene. Elaine was watching in frank admiration. Hilda's glance stole from her boss to Shaybar and back. Fuller made
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a dogged pretense at conversation with Mrs. Drake, hut try as he would, he couldnt keep his eyes from straying.
The merest flicker across the gentleman s face indicated that he had glimpsed a lady who pleased him. An indefinahle change m posture, and he was the lady, lifting lashes for a cool stare, then stooping to caress an object at her feet. That the ohject was a dog, Ferdinand next made apparent by dropping his head over his hands on the chair-arm, the while his eyes, grown larger and more liquid, moved mournfully from side to side. Having introduced the dra- matis pcrsonae, he proceeded with the com- edy, now seated, now standing now down on all fours, slipping from role to role with uncanny ease and complete persuasiveness.
The gentleman ventured a smile. The lady stared through him, consciousness manifest in the hand patting at her coiffure. The dog raised his head uneasily to gaze at his mistress, then turned his eyes on her
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caroled, "I'm just namin' the price!" The receiver clicked.
* * *
Hilda and Ferdinand were saying good night at the door that had witnessed so many of their good nights and would wit- ness so few more. They had left the tumult and shouting behind them. They had inched their way through the preview crowd, where searchlights had glared and flash- lights had popped. "There he is," a boy had cried. "There's the funny guy." And Ferdi- nand had signed his first autograph book. "Oh, Mr. Greenwood, you were too, too delicious," a woman had cooed, and his first fan kiss had been planted on Ferdinand's cheek. He'd been pumped by the hand and slapped on the back and he'd smiled until his face ached. Flushed with triumph, Elaine had dragged him off to meet her friends. "I found him," she'd squealed a hundred times. "I spotted him in Vienna. First time I saw him, I said to Joe, I said:
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admirer and, after a moment, softly growled. The gentleman sought a choice morsel on his plate, 'lifted it to his napkin and whistled an invitation. The dog stood torn between loyalty and greed, now plead- ing with his mistress, now yearning after the tidbit. He made one hesitant move in the gentleman's direction, looked back, raised an imploring paw. The lady shook her head. He curled up slowly at her feet, a picture of woebegone submission.
The lady stole a glance at the gentle- man. His head was cocked, his hand up in absurd mimicry of the animal's plea. 1 he lady bent to hide a smile. She whispered in the dog's ear. The dog rose on his haunches and barked twice in approval
At the sound, Fuller started. Elaine dug her elbow gleefully into his ribs. "Quit pokin'," he growled. .
Ferdinand jumped up. Elame was ap- plauding. He looked at Fuller, whose face seemed grim. A slow crimson crept into his thin cheeks. Fuller pushed his- chair back. '"Xcuse me," he muttered and left the room. .
They remained staring at one another. Then a bawl shattered the stillness. "How should / know the number? Hilda!! ' What kind of a phone is this, anyway? Whats the number of the Derby f" Hilda scurried out. Presently they heard his voice again, quiet assured, shorn of bluster.
"I o-ot something, Al.— I got something, I'm tellin' ya, that's all. D'ya want it?— Sure you'll sec it. Ten o'clock in the morn- jno-— Yeah? Well, if you won't, Louis B. Maver will.— No, I ain't sellin' this time, Al. You're buyin'.— Me? Brothuh. he
SCREENLAND
'There's a comic, if ever I saw one.' Didn't
I, Joe?"
"Yeah," said Joe.
At length they had escaped, heeling in his pocket, Ferdinand drew out a folded cablegram. A silver four-leafed clover came with it. He touched the charm to his lips, smiling, and slipped it back. The cable he gave to Hilda.
She scanned it and gave it back. 1 rans- late, please."
"Well, it says what for do I marry this funny girl, and better I go back to Vienna."
"Better you stop being cute and read me that cable!"
He looked down at it and shook his head. "They think you are nice. Why, nobody knows."
"Only nice? I'm marvelous. What else does it say?" .
"It says: 'Gott segue dieh and acme Braui'—GoA bless you and your bride. 'Wir fahren am sehnten'—v/e sail on the tenth—
"Voter mutter Anna-marie — I can trans- late that myself." She began drawing spirals on his chest. "Darling, are you sure you're not the least little bit disappointed? Not even so much?"
"For what?"
"Well — maybe I shouldn't mention it — but after all— you'll never ^have a chance now to be the great lover."
His smile held something warmer than amusement as he drew her toward him. "Who tells you I will not—?"
"Mister Herr Baron von Ferdinand Shayb— " But the rest was lost against
his lips. , The End.
Personality Portrait of Bette Davis
Continued from page 29
him than anything else at that time, as now.
But— one minute after he gave up his own career he had another. No idea "husband of the star" position for young Harmon Nelson. Now he is succeeding with a mu- sical agency — and has had successful screen tests, besides. I wouldn't be a bit surprised if he made a very big place for himself on the screen. It seems to me he has both the looks and the personality to go over.
The Harmon Nelsons live in a very com- fortable and delightful house in Holly- wood. They have a new place in the coun- try, too. Their town house isn't at all the sort of place you'd expect a star to live in. That's where Bette's double life comes in. She isn't a star at home !
At home she is a housewife and a hostess. And such a good one. She doesn't entertain a lot. No wild Hollywood parties at all. Nor even parties' that are faint echoes of Hollywood parties. If you go to dinner there will be just one or two other guests in and the house will be gay with flowers— but that is the only party touch— and I have an idea those flowers are there even when there isn't any company. The house is furnished with livable things. Bright chintzes. Lots of books. Chairs' that are comfortable. There are dogs around— Bette's dogs and Harmon's dogs — and they are well trained and come to you only after you show your fondness for dogs. The servants are well trained, too, and unobtrusive — not at all typical Hollywood servants. I'm glad to report that the cook is good.
At home Bette is wise and clever. Good company. She and Harmon, by their very happiness and congeniality, may destroy some of the glamor that is supposed to be around a famous woman star; but they create something far better than glamor — a sense of a wise enjoyment of life.
But at the studio! There you have the other Bette 1
I don't mean that she goes around cold and haughty — or in a towering rage. Noth- ing like that ! She's far too clever. But try to put something over on her. Or try to do something she doesn't like. That_ flash of lightning isn't even the studio's imita- tion of lightning — it's Bette showing you that underneath the calm exterior is real fire. She's protecting herself — and I, for one, am awfully glad that she is able to do it.
Bette has less false pride than any girl I know. Most stars are self-worshippers. Con ceited. Frankly Narcissistic. Bette doesn't care much about clothes' — though she likes to look well — and her coloring is so ex quisite and her figure so good she looks pretty slick in anything she wears. But she doesn't go in for exotic clothing — and she doesn't think she's an exhibit of how a girl ought to look.
And when a part calls for looking badly — Bette will go any lengths to look as badly as possible. That's the artist in her. She howls in derision at the star who has just been through a wreck or an illness — and insists on being perfectly groomed. In "Marked Woman," when Bette was sup- posed to have been beaten up, she did a large part of the make-up herself — and she looked beaten — and most horribly so. She took special delight in the scar on her face. When she's supposed to be a girl in prison or in a reform school she looks like that girl — and not like a pretty star who is just pretending. And yet — when she is supposed to look beautiful she's glad enough
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(if the chance — and you know how she comes up on that.
While I was writing at the Warner Brothers Studio— and I'm just this minute back from California — I was fortunate enough Id sec a hit of Bette. In fact, know- ing her was one of the treats of being in California. I met her on the lot— and al- most immediately we were laughing over the same things. And that's a pretty good way to begin a friendship. After that we had such good times, tea in the Warner Commissary, luncheon in the Green Room, dinners at her home and at my apartment in the Chateau Elysce. The last I saw ol her was just a couple of days before I left California, when Lawrence Riley, author of "Personal Appearance" and "Ever Since Eve," took us to luncheon at the Vendome. Going into the restaurant, where we ar- rived in the very special Riley car, an English Swallow, the group of fans who always stand around the door of the Ven- dome paid little attention to us. Their eyes were on the Swallow. But, when luncheon was over, the fans had eye? for people in- stead of cars and made the usual lunge for autographs.
Riley didn't take the autograph hunters seriously. He signed William Shakespeare and Hugh Walpole, with a fine disregard for facts, knowing, as I did, that the auto- graph of a mere author is of no value. Bette Davis smiled graciously and seemed actually glad to sign the various books that were thrust at her. I asked her if she LIKED to sign them. So many stars are so rude to autograph seekers.
"It's one of the things I must have wanted when I started out," she said. "And think how badly I'd feel if no one did want my autograph."
Back in my apartment we talked about a lot of things. Happiness. Life.
"Do you think Success and a Career in- terfere with marriage?" I asked her. The old question.
Bette was looking so pretty — and young — and careless. In pastel sport clothes you'd never have thought that the burdens that go with stardom could possibly rest on her golden curls.
"If they do interfere it is because the per- son who has succeeded is too dull for suc- cess," she said. "It's a job, combining a career and marriage. A hard job. I like hard jobs."
"What do you do about it?" "One thing," she said. "I forget, when I'm off the lot, that I'm a star. I don't take stardom home with me. I take it off with my stage make-up. Of course I worry sometimes about things — about a part or things going wrong at the studio. But I try to keep the worry to myself. The right sort of men don't bring their business troubles home. Harmon married a girl — not a career."
"But he gave up his career for you !" "One of them. He has another. That boy has more than one small idea in his brain. He could make a success in a dozen fields !" There was real pride there._
"You didn't mind him giving it up.'" "Why should I? We talked it over. My success was important to us both. But our happiness was the main thing. We were happier together — so he arranged things so we are together. That's all."
It was so simple — the way she put it. And yet I've seen marriage wrecked on so much less.
But at the studio, when Better Davis goes into her second personality, the glamor girl — petulant star — she isn't think- in? altogether of her happy home life. She knows the wolves that hang around movie sets — and she has her eyes out for them.
There are the rival stars — in the same pictures, who try to steal scenes. Bette gets in a very human rage against them.
"Being a woman there's nothing I can SAY!" she wails. "If I say too much they think I'm catty. So I sit back and plan."
And how successfully she plans only her movie audience knows. For, so clever is she as an actress, so skillful is her timing and her sense of the dramatic, that the poor rival who has attempted to put something over on her is lucky if he or she is not completely unnoticed in the picture. Bette knows her rights — and she sees that she gets them.
Yet she doesn't fight for an enormous dressing-room. Her dressing-room is com- fortable-— but it is small— and she is quite satisfied with it. And she is quite satisfied with the pictures Warner is giving her. She enjoyed working in "Marked Woman" — as well she might. She liked "Kid Gab- had." She thought it was great fun working with Leslie Howard, whom she admires a great deal, in "It's Love I'm After." And her great praise was for Eddie Goulding who directed "That Certain Woman."
"The man is a genius," she said. "In the scene with the whistle he made me cry. Those tears, when I finally break down, are genuine. In fact, stopping the tears was the great difficulty. That woman — giving her child up — that was a scene that tore me to pieces. I like a director who gives me something constructive. Too often di- rectors let me alone — let me do what I want to. It's easier, but I don't get ahead that way."
And Bette will continue to get ahead. There's no doubt about that. But if the great success she has already had hasn't spoiled her very great charm and sim- plicity in her home life I don't think it will be hurt by added honors. And as for Bette's other self — the hard boiled side— I'd like to bet that will stay hard boiled. No taking off of the shell and opening yourself to more hurts.
But, double life or not, I like Bette Davis as is. I'm looking forward to seeing her when I go back to California. She is one of the civilized people that makes Holly- wood a delightful and ever new place in which to live.
Pat Paterson leans toward tailored smartness in a turquoise wool suit trimmed with black Persian.
80
SCREENLAND
Career Girls
Continued from page 31
It really was funny, Jean thought as she slammed the door behind her, that of all the girls in the Footlights' Club she should have been picked as room-mate for the two worst duds in it. First, Linda who had moved in with another girl after a fight that morning when Jean had caught her wearing her last pair of good stockings; and now this new girl Terry. And a phony if ever she saw one, Jean vowed.
Linda was powdering her nose at the mirror in the hall as unconcernedly as though Mr. Powell's car hadn't been an- nounced waiting for her almost half an hour ago. She must be feeling awfully sure of herself, Jean thought resentfully, to keep the great Powell, the biggest manager on Broadway, waiting. Most of the girls would have given anything they had for a chance to see Powell. But then they wanted jobs, an honest chance in the theatre, not the dia- mond bracelet and sable coat Linda flaunted in front of them. And Terry was another
STAGE DOOR
An RKO Radio Pictures Production CAST
Terry Randall Katharine Hepburn
Jean Maitland Ginger Rogers
Anthony Powell Adolphe Menjou
IJnda Shaw Gail Patrick
Miss Luther Constance Collier
Kay Hamilton Andrea Leeds
Randall Samuel B. Hinds
Judith Canfield Lucille Ball
Carmichael Pierre Watkin
Annie Ann Miller
Produced by Pandro S. Berman. Directed by Gregory LaCava. Based upon the play by Edna Fer- ber and George S. Kaufman. Screenplay by Morrie Ryskind and Anthony Veiller.
Linda, Jean decided impulsively, with her dozen trunks and Paris clothes.
"Need you be reminded that Mr. Powell's car is waiting without?" she demanded fliply. , ^
, "If you were a nicer girl, maybe Mr. Powell would send his car for you some- day." Linda etched glamorous lips over her own somewhat nondescript ones. "You know, I think I can fix you up with his chauffeur, he has an awfully nice car too."
"Yes," Jean grinned, "but I understand that the chauffeur doesn't go as far in his car as Mr. Powell does."
"Even a chauffeur has to have incentive." Linda closed her bag with a sharp clip. "Well, I hope you enjoy your lamb stew again tonight. I'll be thinking of you while I'm dining on pheasant borderlaise."
"Well, be sure not to eat the bones and give yourself away !" Jean shouted after her, and then she saw Kitty Hamilton com- ing in, drooping a little and trying hard to pull herself together when she saw the other girl standing there.
"It's just one of those days," Kay said wearily. "Let's sit down and have a good cry."
"All right, cry on my shoulder." Jean could be tender with someone she liked as well as Kay. "I'm going to bathe anyhow."
"No casting today," Kay said slowly. "If you leave your name and number we'll get in touch with you. Mr. Powell is not seeing anyone until the end of the week, last week and the week before and the week before
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that. Somewhere, somehow I had the idea that I was a pretty good actress."
"Come on, shake out of it," Jean shook her gently. "Who got all those rave notices a year ago?"
"That was a year ago." Kay looked un- comfortable as Mrs. Orcutt crossed the hall, for she owed three weeks' back rent with no prospect of paying her. "I don't know why I'm hanging on, but there's noth- ing else I can do and nobody I can go back to— except somebody I'll never go back to."
"Listen, you don't have to go back to anybody," Jean said hotly. "You're the only good actress in the club. Something's bound to come your way. Now look, Kay, I don t like to butt into your private affairs, but if it's a matter of a few bucks — "
"Oh Jean," Kay said wildly, "I've got to get that part in 'Enchanted April.' It's me, it's my life, no one else can play that part. It belongs to me. I've got to get it, it just can't be otherwise. I've got to, I've — " Then suddenly and without warning she slipped to the floor and hid her face in Jean's lap.
From the beginning it was Terry's con- fidence in herself that left her definitely on the fringe of things at the Footlights Club. All the others had always known hard ne- cessity and the drive to make their own way. Terry thought she was doing that when she had gone against her father's wishes and insisted on a stage career for herself. But always back of her was the knowledge that she could go home again. So she could be glib about ideals and in- tegrity. Of course it didn't mean anything to her when Jean and Add did an im- promptu song and dance because they'd gotten jobs in the chorus of a night club.
To her, that job was a lessening in ideals. To them, it was food and a roof over their heads. Failure had never meant more than a word to her. The others lived with the fear of it day and night.
So when Terry had flung them that chal- lenge that she could see Powell if she tried they took her up on it eagerly. If she lost it meant she would take them all to lunch. But it wasn't the lunch that made them hope she would lose.
Kay had an appointment that day with Powell, to read the part in "Enchanted April." It had seemed too good to be true —and it was. For as Kay came confidently toward the reception desk the office girl looked up and said that some unexpected business had forced the manager to cancel the appointment.
For a moment Kay stared at her unbe- ieving. She had used up all the courage that was left to her in those other days when she had trudged up and down the length of Broadway, and so there was none for her now when she needed it most of all. Her lips parted as if she was going to say something, but only that small cry came as her knees buckled under her and she fell.
Terry saw her lying on the couch in the receotion room w'hen she came in.
"The doctor called it malnutrition." One of the girls waiting turned bitterly to Ter- ry. "That's Latin for not eating. All > she needs is some good meals. Try and get 'em, and a good long rest. It's all done with mirrors. That Powell in there, he's a great guy. Breaks an appointment with an actress so he can have his shoes shined."
Terry's eyes widened and for a moment she stood irresolute. Then her small chin went up and she walked across the floor, past the protesting girl at the desk, and into Powell's office.
"What right have you to barricade your- self behind doors and refuse to see people?" she demanded. "Why, the greatest actress in the world might be sitting out there and you'd never give her a chance. Do you know a girl just fainted in your outer office because you broke an appointment with her?"
"I'm sorry. I didn't know." Powell swung
away from the boot-black boy to look at her and his cynical smile came. "Are you the greatest actress in the world?"
"Never mind about me !" Terry said hotly. "1 don't need you, but these other girls do. They work and starve and go with- out decent clothes in the hope that someday someone like you will come out of his office and notice them."
"Well, you're one that can't complain. Powell gave her a long look. "I've seen you, and you're not the type. I'd suggest that you run along and leave me here with my conscience."
"I doubt very much that you have a con- science," there was something in Terry's voice that had never been there before. An uncertain. y almost, a doubt for the first time of all the warm things she had known, such as faith in life and herself and m security.
She had seen a girl faint because she was hungry. After that, even secretly pay- ing for Kay's doctor bills and guaranteeing her bill with Mrs. Orcutt didn't seem enough to do. For the first time Terry saw herself in a far lesser light than she saw the others.
It hadn't made them like her any more when they had seen her walk into Powell's office and they had had to buy her lunch. And as usual she was left out of the buzz of excitement that came the night Powell's flowers arrived for Jean.
Linda had taken the florist's box she knew so well to Jean herself and Terry came in just as Linda said, "Don't bother to read the note. I can tell you what itsays. 'Eleven roses and the twelfth is you.'
"Why should you play with fire just to spite Linda?" Terry asked as the door slammed behind the other girl. "By the way, that's a beautiful ermine cape you're wearing. Remarkably similar to one of mine."
Jean's face flushed. "I didn't think you d be back so soon. I don't want you to think I intended to borrow it. I just wanted^ to see how I'd feel in one of these things."
"Do you feel any different?" Terry asked quietly. And then as the girl's eyes lit up, "Why don't you wear it?"
"You mean it?"
Terry shrugged: "You may as well go to perdition in ermine. You're sure to come back in rags."
Suddenly in spite of herself Jean laughed. "You know you're funny. In some ways you're not a bad egg."
It made Terry Seem almost like one of them, Jean thought as she wrapped the cape 'around her. Life suddenly was being
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good. That day a few weeks ago when Powell had come into the room where she was rehearsing she had seen his eyes light in quick interest and she had been glib with him. So glib that he was interested. Even before she knew, she had guessed she owed that job in the night club to him, and she had gone out with him the first time to spite Linda. But it was different now. She found herself looking forward to the little dinners for two in his apartment and she had liked him for being so frank about the two pictures so openly displayed on his desk. The boy in the military school uni- form was his son, he told her, and the love- ly woman his wife. She was so happy she told Terry about them and about the big sign that was to blazon Jean's name in lights on Broadway.
It was only after a few weeks that the glow in her heart began to dim. Powell was busier than he had been, he wasn't able to take her to dinner so often ; and Linda was the first to tell her he had been lunch- ing with another girl at the Colony.
Terry wondered when the message came from Powell asking that she come to his apartment to discuss a part in his new play.
"Are you sure you brought me up here to discuss this play?" she looked at him with level uncompromising eyes. "I happen to be a suspicious person."
Powell smiled. So this was the girl his new angel had insisted he star in his new show. If he hadn't needed the backing so desperately he would have sent her on her way. That scene in his office still rankled.
"Wouldn't you like to see your name blazing across the horizon in letters that big?" he parried.
"It's got to be a good-sized sign. I'm used to that." Terry leaned towards him. "So is Jean Maitland. Are you in love with her?" she demanded suddenly, and then as he shrugged his shoulders, "I thought so."
"She's just a little girl in whom I took an interest," Powell laughed deprecatingly. "As a matter of fact she's becoming some- thing of a pest. Anyway, what has she got to do with this? Do you want the part or don't you?"
"How do you know I can act?" Terry asked quietly.
"After all, I saw you perform in my office," he smiled.
"I wasn't performing that day." Terry's eyes darkened.
He felt uncomfortable and was glad of
the opportunity to get away when the buzzer sounded at the door. Terry heard Jean's voice then, torn halfway between anger and tears, and Powell's voice sud- denly hard.
As Jean's quick footsteps hurried toward her Terry sank in front of the divan. If she was ever going to act, she thought, this was the time to begin. Now, when she could still save Jean from this infatuation.
"You'd better hide your face !" The tears had gone from Jean's voice leaving only the anger as she looked at Terry. "You
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cheating, double-dealing, double-dyed—" "Darling," Terry looked up at her im- ploringly, "I didn't know what I was do- ing-"
"My own roommate," Jean was shouting now, "and you preach ideals, so you can chisel when my back is turned. Well, you can take your old red fox cape, and I'll never borrow another thing from you as long as I live!" She flung the cape to the floor and turned to Powell. "I hope you two snakes will be very happy together. I thought I was in love with you, but I see my mistake now. I only went out with you in the first place to spite Linda."
The door slammed behind her, and sud- denly Terry was convulsed with laughter.
"It's not funny at all." Powell was ir- ritated. "What do you suppose she thinks?"
"Exactly what I want her to think," Terry said slowly. "You see, I happen to like her."
"She won't like you very much after this," the man protested.
"She'll see the light in time." Terry shrugged. "Anyway, I wanted to show you I can act."
"You're a faker."
"We're both fakers," Terry agreed. "But you're a bigger one than I am. This young man is your son, isn't he?" She held out the photograph of the boy on the desk. "He must be a lot older than you are because this photograph has been used to advertise a certain military academy for a great many years."
"How did you know?" the man de- manded.
"My brother went to that academy," she said lightly as she picked up the other photograph. "And this lady, whom you pre- tend is your wife, she's done a lot of pos- ing for powder ads, hasn't she?"
Suddenly Powell found himself liking her.
"My dear, you've broken up a very con- venient marriage !" he laughed — and held out his hand.
"I think we understand each other," she agreed gravely.
It was Kay who kept the rest of the girls from making a scene when they knew Ter- ry had gotten the part in "Enchanted April."
"It wasn't my part just because I wanted to do it." Kay tried to smile. "Last year I took a part away from another girl who wanted it. Terry deserves her chance, and there's enough heartbreak in the theatre without our hating each other."
And so Terry went on with her rehearsals. It was harder than she had thought it would be, those rehearsals. For the first time doubt of herself crept into her thoughts. Ann Luther, an actress of the old school who she had asked to coach her, believed in her. Terry had need of her confidence when she saw the incredulous glances exchanged over her acting and she held on to it even when Powell left the theatre in disgust after a rehearsal. But it was only on opening night that she really despaired. Somehow she saw then what she had refused to see before, that she wasn't really an actress.
Desperately she was going over her lines in her room before going to the theatre and it was then the door opened and Kay came into the room.
"The doctor told you to stay in bed," Terry stormed, almost dropping the flowers she held, but Kay only smiled.
"How do you expect me to stay in bed with all this excitement going on?" she asked. And then quickly. "Terry, may I make a suggestion? The way you hold the flowers. I always felt that Jeanette would hold them as she would a child, and when she says, 'in memory of something that has died,' she means — "
"Kay, you know this play!" Terry said.
"It's not a play." Kay turned away to hide the quick tears. "It really happened. It happened to someone I know. Terry," for the first time something almost like resentment crept into her voice, "this isn't just your night. It's my night, too. You've (jot to be a success tonight. You've got to give a great performance. No matter what happens !"
Afterward Terry was to know what Kay meant; afterward just before the curtain went up and Jean found her in her dressing room and told her that Kay was dead.
"She jumped before we could stop her!" Jean cried wildly. "She was lying there all huddled in the rain. And you're responsible. It was Kay's part. It was Kay's life. Now it's too late, she's dead. Kay who never harmed anyone. And all because you haven't a heart. Because you're made of ice!
"I'm going to sit out front tonight and every line you read I'm going to say that should be Kay's line and every move you make, I'm going to say that should be Kay !"
"I'm not going on," Terry said dully as the door closed behind Jean. "Why didn't someone tell me? I'd have given up a thou- sand parts rather than have this happen !"
"Are you going to let Kay down?" Ann Luther's face was twisting. "You've got to give the performance she wanted you to give. Then perhaps wherever she is, you may bring her peace."
Then somehow Terry was on the stage and the curtain was lifting, and after that first black moment she found herself saying" the familiar lines she had rehearsed so often. But it was different from all the other times she had said them, for now there was poignancy in every move where before there had been stiffness, and her words came simply and heartbreakingly where before they had been meaningless on her lips. She felt the audience reaching out to her, felt the stillness that told the others that a star was being made. But only Terry knew it was Kay who was walking so slow- ly across the stage, that it was Kay who knew the meaning of those words.
And afterward when the house broke into long applause a man sat silent in his seat. He had been pointed out when he came into the theatre and people had whispered, "The wheat king," and had looked at him en- viously.
But Henry Sims had failed for the first time in his life. The money he had poured into the play would yield an enormous profit, the money he had thought he was throwing away to prove to Terry that she could not act. But what good would that do now that she had made good — now that he knew he had lost his daughter.
"My dear, you were simply wonderful," Ann Luther said tremulously as Terry ran into the dressing room.
"That wasn't me out there tonight." Terry was crying as she pulled her galoshes on. "I was someone else."
Miss Luther patted her arm. "It's only after we have suffered that we can make the audience feel for us," she said sooth- ingly.
"Does someone have to die to create an actress?" Terry asked wildly. "Is that what the theatre demands?" She pulled on her hat and started for the door.
"But you can't leave now!" Miss Luther protested. "There'll be people here, the press, photographers. You're an actress now. You belong to these people."
"I'm going to see Kay." Terry brushed off her detaining arm and was gone.
So it was with Kay that Jean found her. And now there was no longer any need to ask or give forgiveness. No need for re- proaches or regrets. Out of heartbreak a star had been made and out of that same heartbreak understanding had been built into friendship.
84
SCREENLAND
The "Swap" System
Continued from page 27
shall we say talents, yes, I think we shall, that goes on daily in the market place? Do they like being considered a lot of chattel over which their masters are scheming lucrative trades ? Is Myrna Loy pleased when she learns that she has been loaned to another studio in exchange for Loretta Young? What does Clark Gable think of being swapped for Paul Muni, and vice versa ? Is Kenny Baker a little flattered that his master demanded six kids in ex- change for him ? Does Leslie Howard think that he was a fair exchange for Norma Shearer? Is Carole Lombard pleased when she learns that she has been traded for such-and-such an amount of dough? (Stars are not always swapped for other stars in the Swap System, often they are swapped for money. Miriam Hopkins was recently swapped for a writer — but he was a good writer. And suave Mr. William Powell was once swapped for a script. Goldwyn wanted Dudley Nichols to script "Hurri- cane" so he loaned Miriam Hopkins to RKO. Metro wanted "The Great Ziegfeld," owned by Universal, so in exchange for it they loaned William Powell for "My Man Godfrey.")
It used to be, out in Hollywood, and this isn't where you came in, that actors fought like mad over being loaned out to other studios. They called it being "sold down the river" and considered it 'way be- neath their dignity, and until you have met up with an actor's dignity, honey, you don't know dignity. In those days producers signed up stars to make pictures for them, not to make money on loan-outs, and if an actor was shuttled back and forth from Burbank to Culver City to Hollywood it meant only one thing, alas and alackaday, he was slipping. But a little picture called "It Happened One Night" which burst upon a surprised public, not to mention a sur- prised Miss Colbert and Mr. Gable, some four years ago, completely changed all that. But before I go into the saga of "It Happened One Night" I should like to mention, just as sort of an apology for mys"elf, a conversation that took place at a dinner party the other night. A director seated next to me noticed that I was pretty glum, and commented upon it. I told him that if he had to write the story of how stars liked loan-outs in Hollywood without
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86
mentioning "It Happened One Night" he'd have the glums too.
"But why not mention 'It Happened One Night'?" he asked in exasperation. "After all, it started the thing."
"But," I argued weakly, "I've written that story."
"Surely you can write the same story twice," he said with a shrug. "I've directed the same story ten times."
If a guy who gets three thousand a week can repeat, so can I — so hold your hats, folks, here we go merrily into "It Hap- pened One Night" again. Harry Cohn's little studio, Columbia to you, wasn't con- sidered very chic in those days — no bath- rooms in the dressing-rooms or anything — and no star of any social standing wanted to be loaned out to Columbia. But Mr. Cohn had a good script and a good direc- tor and he was anxious to make something of it, so he practically burst a blood ves- sel trying to borrow a couple of stars to put it over. Through a bit of phenagling he finally borrowed Clark Gable from Metro. Clark's box office value wasn't so good just then and it was the consensus1 of opin- ion that he was slipping anyway so a loan- out couldn't hurt him. Not a single feminine star in the industry snapped up the role opposite him (some difference now, eh what?). After the script had been kicked around until it was dog-eared and moth- eaten by a whole slue of Glamor Girls, Claudette Colbert finally decided to take a fling at it. After all, what could she lose — milk baths for Mr. DeMille, cavortmgs with Jimmy Durante, and fine talk with Clive Brook weren't getting her any place. And besides, there was no Gable, even a "slipping" Gable, on the Paramount lot. As you well know "It Happened One Night" turned out to be the hit picture of the decade, it made Hollywood history, it won awards for everybody, and tossed Claudette and Clark right into the Big Ten (box of- fice popularity), where jostled on the right by Shirley Temple and on the left by Dick Powell, they have been ever since. Mr. Cohn made so much money he not only put in bathrooms, but pent houses!
But of course the thing we are interested in primarily is that it completely changed the Swap System. Stars no longer men- tioned being "sold down the river" with wounded dignity; on the contrary they made a special little prayer every night that Mr. Goldwyn or Mr. Cohn or Mr. Mayer or Mr. Somebody would borrow them. Everybody said, "If Colbert and Gable can do it, I can do it too." Then too, Bette Davis who had been just so-so on the War- ners lot was loaned to RKO for "Of Hu- man Bondage," which picture proceeded to establish Bette as Hollywood's great dra- matic star. Janet Gaynor after years of sickening saccharine roles at Fox was loaned to Metro to do "Small Town Girl' with Robert Taylor, and from then on the little Gaynor's stock started zooming ter- rifically. Carole Lombard was loaned by Paramount to Universal to co-star with William Powell in "My Man Godfrey" and immediately became one of the leading comediennes of the screen. The line forms on the right to borrow Miss Lombard to- day. And of course this brief summary wouldn't be complete without mentioning that Barbara Stanwyck and Anne Shirley on a loan-out from RKO have a hit picture in Samuel Goldwyn's "Stella Dallas" which has made them ten times more valuable than ever before. RKO never paid very much attention to little Anne Shirley but since her success in "Stella Dallas" they are looking frantically for "A" pictures in which to star her. And Barbara Stanwyck, thanks to "Stella," now becomes one of Hollywood's leading stars, a spot she should have had long ago but for the lemons her home lots handed her.
So quite, quite naturally, it is the dream of every star in Hollywood, with few ex-
SCREENLAND
ceptions which we won't go into, to be borrowed and catapulted to popularity over- night. But even without the gamble^ of fame and fortune in it the stars love visit- ing because the hostess studio always gets out the best china and the linen sheets. They are accepted as a matter of course at their own studio but once they go visiting they automatically become important guests. And they love the feeling. The publicity de- partment on their home lot either treats them as pals or poisons but the publicity department of the studio where they are visiting consults them reverently on every- thing, and so great is the bowing and scrap- ing that they soon begin to believe that they are royalty. Movie stars who have been
Gossip note in pictures! Wayne Morris and Frances Bacon, daughter of Di- rector Lloyd Bacon, are holding hands.
treated like pals or poisons for months on end simply eat up that royalty touch. Pity the home lot when they return.
About the most expensive loan-out in Hollywood (and we aren't Speaking of salaries), was when Goldwyn borrowed Mary Astor from Columbia to play in "Dodsworth." Mary's divorce trial, featur- ing the famous diary, came up at that time and of course every reporter and pho- tographer in town wanted to get to Mary Astor. In fact they poured in from towns thousands of miles away. Goldwyn had to pay a whole army of policemen to stand at the studio gates and the stage door to protect Mary Astor from the Press. Mary s home lot might not have been so consid- erate—armed guards do cost money.
During the past summer Irene Dunne left her small, dark dressing-room at Para- mount and moved right into a pent house at Columbia— a pent house so magnificent, and so well equipped with everything in- cluding a sun porch that when she returns
Second honeymoon. That's what Sally Eilers called the trip she and her husband, Harry Joe Brown, made to Europe. Here they are landing home again, and very happy.
sleep as late as you wish, and ring for whatever you want when you want it." He paused, and looked rather plaintive. "Don't you want to play golf tomorrow morning?" he enquired.
Hang it all ! I felt sorry for Bing. Larry didn't look as though he wanted to drag himself from his bed to play golf. The words of a childhood poem came into my head :
"I will !" a gallant soldier said, "I'll win the pass or die!" And dashed into the middle of the fray !
I dashed into the middle of the fray. "I'd be awfully glad to go around with you, Bing," I bleated, "but I didn't bring any golf tools."
"Oh, that's easy," beamed Bing. "I've loads of 'em. It's a date, then !" And off he went to bed.
Normally, I'm not fit to speak to before eleven, but I was called at six-thirty, and hoisted myself from bed. At a few min- utes before seven, I looked out of the win- pAo-nnj 'Riner was on the lawn with Gary and
And for some sira"nge reason,' prooaufy because she believes that at last she is go- ing to appear in a picture that will "make" her, nearly every star puts on her best manners when she goes visiting. Frances Farmer and Paramount didn't get along at all — Frances was stamped as "difficult"— but on the Goldwyn lot she was sweetness personified. Metro heard that Janet Gaynor and Loretta Young were very snooty and wouldn't co-operate at all. But when Janet arrived at Metro a petrified publicity de- partment found her as* frolicsome as a kit- ten, she had the set cluttered up with the Press, brought cookies from home, and had a hell of a time — she who used to work in the great silences when she was Queen of the Fox lot. And many a star who wouldn't think of giving out interviews to help the
publicity of her picture on her home lot will simply call in the Press for a gab fest when she goes' visiting.
After years of being called "Claudette" and "Toots" and "Hey You" by the studio people on the Paramount lot and being considered a swell person and one of the gang, Claudette nearly fainted when she arrived at Warner Brothers for "Tovarich" and heard herself being called "Miss Col- bert" by everybody from the prop boy to Jack Warner. "And just imagine," said
Joan Blondell on loan-out to Walter Wan- ger for "Stand-In" from Warner Brothers, "they even ask me here if I feel like work- ing! Me who had to do close-ups for Warners before I could leave my bed after an appendix operation !"
Yes, the stars are all for bigger and bet- ter swaps. If it doesn't turn out to be the picture they've been praying for, well, at least they've had a comfortable dressing- room and a lot of politeness. And Walter Wanger always sends flowers !
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SCREENLAND
87
TAKE HO CHANCES
with V* WayTooth Pastes
A Week-End with Bing Crosby
Continued from page 25
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"What?" I, "Gary, darling," put in Dixie, wheik you don't hear what is said to you, please, don't say 'What?' say 'I beg your pardon.V And now I think you'd better > wash yours hands, it must be your tea time."
A puckish little grimace from Gary. "I- beg your pardon," he murmured, in his- mother's well modulated tone, "I didn't hearl what you said 1" [ Then the twins opined that they would- sing, but Dixie is not a mother who holdsa; with "performing" children, so she shot a- quick glance at the nurse who marchedo them off to nursery tea. We visited theme later, when they were ready for bed. Th/o. nursery is a gay place, bright with Mothe.->d Goose pictures, and things in chintz, on- something. It has its own kitchen adjoin- ing, and everything is so sanitary that you keep wondering whether you could possibly have a lurking germ about you.
The living room is a huge affair — all windows; deep, comfortable chairs, and solid, low tables which are meant to be used'. Suddenly, servants produced, and be- gan to lay a large table at one end of the room. "We haven't any dining room," Dixie explained. "We always eat in here." The only other guests were Larry Crosby (Bing's brother) and his wife, and John ("Pennies from Heaven") Burke, Bing's favorite lyric writer.
Bing was expounding about the joys of the wooded countryside. The land is heavily timbered, and he assured me it abounded in doves and 'possums. The hunting, he beamed, was fine ! I must come and join him sometime.
"Hunting?" I queried, wide-eyed. "I'd no idea you had any foxes in this part of the country."
"Foxes?" Bing looked blank. Then he burst into a roar of laughter. "Oh you Britishers, you have different names for everything. No, when we go hunting, we take guns out, and shoot things."
"Then why can't you say you're going shooting. That's exactly what you are do- ing, isn't it?" I countered. Here, Larry Crosby leaned over to my chair.
"Remind me to tell you a story about Bing's 'possum hunt — , I mean, shooting," he whispered. A few minutes later, the op- portunity arrived, and Larry confided a story which may surprise Bing when he reads it in Screenland.
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ceptions which we won't go into, to be borrowed and catapulted to popularity over- night. But even without the gamble of fame and fortune in it the Stars love visit- ing because the hostess studio always gets out the best china and the linen sheets. They are accepted as a matter of course at their own studio but once they go visiting they automatically become important guests. And they love the feeling. The publicity de- partment on their home lot either treats them as pals or poisons but the publicity department of the studio where they are visiting consults them reverently on every- thing, and so great is the bowing and scrap- ing that they soon begin to believe that they are royalty. Movie stars who have been
Frances Gifford, above, is regarded a real find by her studio — RKO.
It seems that Bing had had one or two unsuccessful 'possum shoots, and Larry thought something should be done about it. Chatting with Oscar, the Paramount shoe- shiner, he learnt that Oscar supports, of all things, a 'possum farm ! Well, Larry bought a 'possum from Oscar, put it in a box, and hid it in Bing's stable. Sure enough, next day, out went Bing 'possum shooting, only to return a couple of hours later, hot, tired, dusty, and scratched, but singularly 'pos- sumless. He threw himself into a chair to rest, only to be startled by a loud BANG a few feet away. He rushed out, and found Larry, smoking gun in hand, viewing a dead 'possum, with the air of a nonchalant nimrod.
"Where did you kill it?" demanded Bing.
"Oh, just near the front porch," re- turned Larry with perfect truth. "When I go out after 'possum, I get 'em." Bing was fit to be tied, and this is the first inkling he has ever had of this story. I hope that brotherly love will still continue I
"What's for dinner?" Bing was asking Dixie.
"Fried chicken," she replied, with a trace of wifely patience in her voice. "You may have Mulligan stew tomorrow." She turned to me with a smile. "If Bing doesn't have either fried chicken or Mulligan stew, he simply thinks he hasn't eaten! I only hope that the menu at our house doesn't become too monotonous for other people."
"Fried chicken," crooned Bing, dreamily, with satisfaction.
There was not only fried chicken; there were corn bread, small, bun-like things with honey, mashed potatoes, corn custard, new- green beans, salad (at least, I think there was salad but couldn't be sure because my attention was completely absorbed in straw- berry shortcake — a most excellent institu- tion). Dixie is a southerner. Southerners really have awfully good things to eat.
There followed an evening of casual cards, of masculine conversation of golf and horses. In a corner, a radio crooned softly, to w-hich Bing gave an ear from time to time. "I like to hear other fellows on the air," he said. "I've never listened to Dixie, and neither of us has ever visited the other on a set, or in a broadcasting station. Once in a while, at home, we sud- denly feel like singing together, and then we are pretty lusty about it, for a few minutes. Neither of 'us can read music, and neither of us feels like indulging in solos about the house. I think it makes life easier for both of us."
About ten o'clock, Bing rose. "I'm going to bed," he announced. He turned to me. "You do whatever you want to do. I have breakfast at seven, and then I'm to play golf. Join me, if you'd like to. If you don't,
88
Screenland
sleep as late as you wish, and ring for whatever you want when you want it." He paused, and looked rather plaintive. "Don't you want to play golf tomorrow morning?" he enquired.
Hang it all! I felt sorry for Bing. Larry didn't look as though he wanted to drag himself from his bed to play golf. The words of a childhood poem came into my head :
"I will!" a gallant soldier said, "I'll win the pass or die!" And dashed into the middle of the fray !
I dashed into the middle of the fray.
"I'd be awfully glad to go around with you, Bing," I bleated, "but I didn't bring any golf tools."
"Oh, that's easy," beamed Bing. "I've loads of 'em. It's a date, then!" And off he went to bed.
Normally, I'm not fit to speak to before eleven, but I was called at six-thirty, and hoisted myself from bed. At a few min- utes before seven, I looked out of the win- dow. Bing was on the lawn with Gary and the twins. So far as I could see, he was do- ing his darndest to turn them into acrobats. Bing was on all fours, and directly one child was firmly established on his back, Bing would buck. The lawn seemed to be strewn with little Crosbys, all shrieking with delight.
Bing refuses to get dressed or comb his hair until he is good and ready. His morn- ing costume consists of a deplorably de- crepit sweater, covered with ancient overalls . of old frontier days vintage; the whole is surmounted by a seaman's battered cap. When he goes out to the race track, he is accompanied by his stand-in (and school friend), Leo Lynn, who transports' Bing's clothes, and a brush and comb. Just be- fore the first race, Bing will graciously consent to dress, and present himself to the public as the public is accustomed to see him.
I found Bing, bright-eyed, alert, and full of joie de vivre. He consumed some orange juice, a few hot cakes, and finished with eggs and bacon. He then produced some golf clubs for me and we set forth. Now let me tell you, Bing is Moviedom's number one golfer. When he shoots an eighty, he is off his game. I'm not making excuses for myself, mind you, but, after all, they were Bing's clubs. Bing was down with a par four at the first hole. I shot a very snappy eight! And so it went. I think Bing went 'round in 78. I think I took 115, but I didn't count very carefully after the first nine holes.
We went to the club house, showered, and whiled away an hour, while Bing ex- changed pleasantries with (it seemed) sev- eral hundred other members. I wanted to get back to the house and lie down. I'm a sedentary bloke. To my relief, Bing rose.
"Let's go down to the race track, and then we'll go home to lunch," he suggested. I raised my creaking bones' with a sinking heart.
"Fine," I said, with the fortitude of an empire builder ; "let's go."
Well, there were the horses' — a barn full of 'em; just as we'd left 'em the day be- fore. They were still there. But Bing had to look at 'em.
Oh, how welcome lunch was ! Cold baked ham, potato salad, and several other things. After lunch, I pictured myself in a nice chaise longue, with a pipe.
But it was not to be. Up the driveway came one of the most monumental trucks I've ever seen. Bing sprang up.
"Oh, here are my oats," he said, "ten tons of 'em. Got a nice fat reduction in price by buying ten tons'. Come on, you fellows."
Larry sat on, looking, I thought, smugly wise. John Burke and I followed Bing
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meekly. The truck was backing up to the stables. About fifty feet away, Bing yelled to the driver to stop. "You can't get any nearer, without damaging the trees." He surveyed his forces — two stable boys", John Burke, and myself. "Now, all hands on deck. I'll get on the truck. You fellows take the sacks from me, and stack 'em in the stables."
"Why don't you let me get on the truck, Bfng?" I protested.
But Bing, apparently, didn't hear me. His face was a study in bland innocence. He mounted the truck, and began moving the sacks a few inches on to our backs. We then humped them the fifty feet to the stables, and came back for more, goaded by Bing's complaints that we were so slow ! I didn't see a bead of perspiration on his brow when we were through. Oh yes, be- lieve it or not, we finished thejob. After which, Bing suggested a swim in the pool.
Dixie came out and watched us cavort.
"Did you get the oats in, Mr. President?" she sang out to Bing.
"Oh yes, Mrs. President, / got the oats in!"
After we were clothed, I said, weakly, it was time I was getting home. Bing pro- tested.
"I'm going 'possum hunt — , I mean shoot- ing, tomorrow. Why don't you come along. Glad to lend you a gun. Besides, you can't miss the Mulligan tonight. And then I plan to . . ."
I don't know what he had planned, but. in due course, I found my foot on the starting button of my car, and I steered my way northward to Hollywood. How good the upholstery of that car felt.
But don't get me wrong. Bing is a sportsman and a gentleman. I really had a good time. (When are you going to ask me again, Bing?)
REMOVE CORNS ROOT AND ALL
» A plug ot dead cells root-like In form and position. If lelt may serve as focal point tor renewed development.
Leslie Howard's One-Man Show
Continued from page 33
is the best there is, and you needn't stop to reload every few minutes. _ _
"I prefer to do my own printing, but it can't be managed very well while I'm traveling and living in rented houses ; still, I do my best with the chaps who take care of my work, explaining what I want. Some- times they get the idea, sometimes not. In this picture of my daughter and myself against the Washington monument, I had to have them print it three times before they understood that I wanted us in silhou- ette against the pure white of the monu- ment." , .
From a crammed suitcase beside him. the actor selected a print of himself and little Leslie, his daughter.
"I set -the camera for that shot and had a friend make it for us, and I like the result.
"My child had never flown up to that time, and she wanted so much to go some- where in a plane, so one day while I was doing 'Hamlet' in New York, I decided to take her to Washington by air. She was thrilled with her trip and with our sight- seeing, and especially so with the fact that we could fly back to New York in plenty of time for the performance.
"Here's a shot I made of her looking up at the statue of Lincoln. It isn't so good in composition as others I made of the statue itself, but I like the human interest note of the child looking up."
The contents of the suitcase were aug- mented by numerous envelopes containing enlargements of prints, some done with etching masks that turned the prints into what seemed to be hand-made sketches.
Yes, one of these days there is to be a One Man Show of the Howard camera studies. So many people have urged it that it is now beginning to seem a good idea. The prints in Screenland can, of course, only give you a faint idea of the finished beauty of the pictures.
"As a rule," my host observed, elbow- deep in his scattered prints, "I don't care for pictures made on Hollywood sets. There's something so patently 'picture' about them, and pretty girls and handsome men don't interest me. 'Romeo and Juliet' was different. It lent itself to the sort of thing I like. For example, this shot is authentically Italian. You could believe you were in Italy rather than on a set." He extended a print of tables, glasses, shadows on an ancient wall.
"The shadows beyond the extra girl in costume make this one interesting, the in-
Loretta Young, Warner Baxter, and Virginia Bruce, respectively "Wife, Doctor and Nurse" in a new picture.
formality of the group of extras, in this; the face of the old woman in the fore- ground of this one ; the feeling of the per- iod in some of the others. But a production like this is rare.
"While I was touring with 'Hamlet,' I used to try to get shots from the wings, or to have someone shoot from the house while I was on the stage (after I'd set the camera and arranged the angle and so on), but I doubt if they are light enough for reproduction. They enlarge beautifully, though, and I hope to use a few of them in my 'show.'
"I made a number of shots on the spe- cial train we used during the tour, using no light except that coming through the windows. I rather like this study of a friend about to order a meal. He didn't know what was happening until I shot, which explains his expression.
"Self-consciousness, of course, is the foe of cameramen. It will be nice when they perfect something that will take excellent pictures when the subject is unaware. I've just bought my child one of those tiny things you can hold in your hand, unob- trusively, but I doubt if the lens is fine enough for my purpose.
"I remember, several years ago, they got out a camera in the form of a watch ; when you wound the stem you got your picture, and anyone noticing you thought you merely had an odd time-piece. But the lens wasn't quick enough. Unless you told them to 'hold it,' your subjects moved and ruined the shot.
"Now they have a gadget you can put on your little Leica. so that you can seem
90
Screenland
to be looking one way, while you take a picture at right angles. I might seem to be looking up at the house, while actually I was stealing a picture of you, at my right.
"However, my problems aren't usually concerned with people. They are mainly composition, catching moving objects or birds in flight, finding the best spot for my city shots, and so on.
"In these shots of sea gulls, we were up at the top floor of a high building in San Francisco, throwing bread up in the air to attract the gulls, who swooped and flew after it." The enlargements of these shots show even the detail of color in the wings.
"I always use filters outdoors. When I wish to make what will seem to be a night shot, in moonlight, I take a dark red filter. Here are some rather dramatic shots of the sea breaking against rocks in what appears to be moonlight.
"An orange or yellow filter is best, I find, for ordinary daytime shots. It takes away the glare and gives you the detail of cloud or shadow. My Bermuda and San Francisco shots were done with orange filters. The sun in Bermuda is so intense that even with the filter the walls are too white. This shot is so intense that even with the filter the walls are too white. This shot of San Francisco, taken from the roof of a building on one of the high- est hills, is my pet. See the puffs of cloud, the bridge in the distance, and the shadows on the streets !"
It takes patience to make pictures. One day, the actor lay down close to the sand on the beach for hours waiting for just the right wave to break on the shore, so that the composition of his picture — one of black rock, yellow sand, blue serene sky and white breakers — would suit him.
"The idea in making a picture is to get a mood, sometimes. Take these shots made at Hugh Walpole's home in the Eng- lish lake country. It rained all the time we were there, and the country seemed sad, sometimes ominous, sometimes deso- late-looking, sometimes almost terrifying. This one of my son, armed like a real Howard with his own camera, enlarges with an almost Bronte feeling.
"These shots of my home town, Dunster, are definitely English, but somehow in Hollywood they look like shots on a mo- tion picture set. This is true of the view of Linton, with the castle in the distance, but the shot with the water in the fore- ground loses that false feeling."
Shooting against the sun on a bright day will give you interesting results. One of the actor's favorite pictures is taken outside the special train for "Hamlet" com- pany, in late afternoon, at a midwestern stop, when the combination of snow, train smoke, and exhaust steam gives something delightfully different.
A red filter used on the snow scenes from the train window gives the right con- trast to the water and shadows, the expert explained. Etching masks on such scenes do wonders for the picture.
"I like the mood of this shot of New York, made from the top deck of our boat as we came in. It was foggy and the city looks like something imagined instead of something real."
Just now, Mr. Howard's fancy has turned to color film to be projected on a screen, since as yet no process of printing has been found satisfactory.
"The problems of composition are not the same as those of the black-and-white picture. It's like turning from charcoal sketching to water colors or oils. It's in- teresting. I'm sorry Screenland can't see my desert flowers, or some of the San Francisco water shots. Better than techni- color; much better."
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Screen land
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Inside the Stars' Homes
Continued from page 19
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young actress, "but I've always been glad. Talking about food, though, in New Orleans we bave a dish called Creole gumbo, made of red beans and rice with Creole sauce— maybe you can't get red beans anvwhere else. Perhaps Suedell had better tell you about her Creole soup instead."
CREOLE SOUP Wash and cut into slices l/2 dozen good- sized turnips, adding a can of tomatoes (Campbells), 2 tablespoons of sweet red peppers, y2 teaspoon of allspice (Burnetts), 1 sliced onion, scant teaspoon salt, 4 whole cloves, and 1 large tablespoon butter. Place the ingredients over the fire, cover- ing with water, bring to the boiling point and cook until the vegetables are very tender ; now strain and keep hot where it will not boil. Heat 1 pint of rich milk in the double-boiler, thickening with 1 level tablespoon flour moistened with a little cream ; be sure that the cream sauce boils ; turn the vegetable puree into a heated tureen, stir in a tiny pinch of baking soda to prevent curdling and very gradually pour in the sauce, stirring constantly. Serve immediately.
Suedell added a recipe for lobster cutlets, which she recommends to all who have delicate appetites to cater for.
LOBSTER CUTLETS
Mix 3 cups of chopped, cooked lobster meat with 1 teaspoon salt, dash of cayenne pepper, 3 teaspoons lemon juice, the beaten yolks' of 2 eggs, V/i teaspoons chopped parsley, and 1}2 cups of hot, thick, white sauce. Mix well and spread out on a plate to cool. When cold shape in the form of small cutlets. Dip in cracker crumbs, then dip in beaten egg and then dip in fine bread crumbs, fry in deep hot fat. Dram and serve on small plates covered with watercress. Serve tartar sauce separate.
We went up the blue-carpeted stairway to the second floor, where we peeped into Dorothy's bedroom, an apartment fit for a queen where the wide eighteenth century French bed is set on a dais carpeted in blue. The bed is draped in ivory satin lined in blue and is matched by a dresser.
"But you must see the Hawaiian room !" cried my hostess, "It's the playroom and we have such good times in it. It's the ideal place for a buffet supper because we have the bar for the buffet."
Once inside the room, you can hardly believe it is a room in a modern apartment.
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The ceiling is thatched with palm leaves, the walls are lined with bamboo, the bar is of bamboo and so arc the furniture and lamps. There's a grass rug on the floor and a case full of coral specimens. At either end of the bar hang red and green lanterns, and under these are dolls pre- sented to Dorothy as favors — one being a replica of herself in "High, Wide and Handsome."
"I've never been to Hawaii or to the South Seas, but I'd love to go," sighed Dorothv. "That's one reason why I de- signed this room. 1 did it after I became a South Sea Islander in 'Hurricane,' and now that I've been working in this sort of atmosphere for weeks, it seems more home- like than ever.
"If you aren't serving liquor, there? a grand fruit cup you can serve for a buffet, that belongs in this room. It's Fruit Cup Kailua, and you serve it with Ry-Crisp wafers spread with cream cheese, parsley butter or minced ham."
FRUIT CUP KAILUA Mix 1 cup of Dole's diced pineapple with 3 peeled and diced oranges, 3 peeled and diced bananas, 3 tablespoons fine sugar, and 1 cup of grated cocoanut (Bakers J ; fill champagne glasses nearly full with the mixture, over the top spread grape ice and top with a Maraschino cherry.
Mrs. Lamour drew me aside to show me a photograph of her son-in-law, when we came downstairs again. Herbie Kay is a handsome young man, and apparently has the sincere admiration of his mother-in- law.
"He's the most unselfish, delightful man I have ever known," said Dorothy's mother. "Some husbands try to hold their wives back, but Herbie has always wanted Dorothy to succeed, to have whatever she wanted. I remember the night they met. Dorothy had been asked to sing at the Hotel Morrison as an amateur, and for the first time in her life she forgot the words of her song and felt disgraced, as she sat down.
"Herbie was in the dining-room and sent a note to her asking if he might see her. Then he suggested that she come to him for an audition, and he gave her a job. I've always felt it was love at first sight, though it was three years before they married."
By that time Dorothy had returned from a summons to the telephone.
"As to what we do at my parties," she said, "we sit and talk, or we sing, and now and then we play games.
"When Herbie can arrange to live in Hollywood altogether — which I hope will be soon— we'll take a bigger house, with grounds and more room to entertain. But until then, we're informal !"
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Dorothy Lamour speaking! After "The Hurricane" Dorothy enjoys a nice com- fortable day off, and does all her visiting by telephone from her own bedroom.
92
SCREENLAND
My Life
Continued from page 61
grandmother to move West to an apart- ment near where I roomed. From that time on I have been in absolute earnest.
When the coach at Metro arranged for me to enact the juvenile lead, not more than a walk-through role really, in a play at the Hollywood Playhouse I imagined I'd be signed by the studio for sure. I didn't have stage fright and I wasn't considered bad. Still, no contract. It was eight months alto- gether before I was handed a Metro con- tract.
What happened next has never ceas"ed to amaze me. When I was put on the payroll I was immediately loaned to Fox — where I had been turned down so flat — for the juvenile lead in one of their big produc- tions ! My first screen part was in Will Rogers' "Handy Andy." I was nervous as the devil, believe me. And then Will Rogers' ad-libbed often and those in his casts had to be able to speak up sensibly when he ignored the script. But I do all my floor- walking at home, what's the use of annoying- people with your worrying? I nearly wore out the carpet in that rented room of mine. No, I didn't go grand and foresake it for a whole year— after all, I started at thirty- five dollars a week.
The picture was finished before I could realize it. I'd tried to put into effect the things I had studied with Metro's coach — tried to walk and talk correctly. I was inclined, naturally, to over-act ; I attempted to tone down my gestures. Will Rogers' geniality was no longer a daily treat and I was neither sensational nor terrible. So I was loaned out again, to Universal, for a
Seeing's believing! Buddy Ebsen makes sure Charles Igor Gorin produces that volume unaided by a loud-speaker.
similar part. With the same denouement. Metro decided to put me in a series of "Crime Doesn't Pay" shorts, melodramatic chapters of life in the raw. They furnished excellent camera experience. Then I did rate my big break — I was called to the front office one afternoon and informed that I would appear opposite Virginia Bruce in "Society Doctor."
My greatest Hollywood thrill unquestion- ably was the preview of "Society Doctor."
I felt, you see, that it would tell the tale of whether I could deliver a decent per- formance if given the breaks. The secret showing was" at the Fox-Wilshire Theatre. My mother's home is near there now and everytime I pass that theatre I get a lift in- side. I took mother that night. I was awful ! Why in the name of all the blessed saints hadn't I been better ? Now they were near- ing the love scenes. Would the audience snicker? There I was, strangely up there on that screen, and — why, no one was hiss- ing. What was the undercurrent of sym- pathy for the character I was interpreting ? They liked him ! They were with him, for him 1 He'd been doing everything wrong, and yet — well maybe he was all right? When the lights went on and the audience clapped enthusiastically, when I escorted my mother out through the crowd and someone asked for an autograph — ! The glow lingers on, I'm afraid.
It has been work and more work ever since, the kind of work I have come to love. Better roles in more important films, perpetual digging to improve every poten- tial facet of a performance. Sometimes I have been disappointed temporarily in cer- tain assignments. It isn't fun to repeat; I would rather be given a character who means something, of course, and try to play a man who is an individual shaped by his particular destiny. I am looking forward to doing a picture with Spencer Tracy and nope I may someday work with Clark Gable. I have tremendous admiration for both of them, professionally and personally. I'm anxious, also, for a crack at some rough-and-ready action plots. The story I am keenest to do is "Gunga Din."
And now as to whether Hollywood is worth-while. Hollywood has not disillu- sioned me. On the contrary, I am very ap- preciative to it for its opportunities and
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SCREENLAND
93
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exceptional rewards. I like the city, the picture game, and the constant excitement which rocs hand-in-hand with being an actor. There are never any dull moments. One is never "set"— in Hollywood you have to prove yourself continuously and I enjoy the challenge.
When I left my single room I moved to an apartment which I shared with Don Milo, the first close friend I made in Holly- wood. He is an aspiring actor, too, and so we've had much in common. He has a flair for brightening up even casual remarks and I like to be around people who can laugh easily. They cheer me up.
Yes. I am moody. But when I have friends who snap me out of the blues I don't succumb to them as often.
Don and I, I remember, hired a Chinese boy to cook and keep house for us. It was the first step up and we were thrilled at such evidence of our progress. I made my friendly contacts at the studio, for I was there most of the time and the people there talked the language I was endeavoring to master. Once I started to work steadily I was never lonesome again. I never had time to be.
Eventually I wanted more room, so I rented a cottage in Beverly Hills. It isn't more than a cottage, literally, and there is no swimming pool in the backyard. I must confess to a badminton net, though 1 Here I have one faithful servant who is house- keeper, valet, and general assistant. I do not intend to build a home for some time yet. It will be nice, someday, to have a private gym; but the spare bedroom has had its bed removed and is doing gym duty satisfactorily. It will be pleasant, I am sure, to have a larger place where I can entertain. But that belongs to a future chapter — tomorrow's which includes mar- riage and a family! Meanwhile, I am not trying to put on any airs ; whenever I en- tertain I take my friends to dinner at some hotel.
I have always seemed to get along well enough with people, but candidly, I am not very social. I never wanted to have double- dates, for instance. I find that knowing a few true friends well is more to my liking than endeavoring to be a gay bachelor could be.
The only disadvantage I can think of to blame on Hollywood life is the publicity pressure. It was a shock for me when I discovered that all the personal details of my everyday living were bound to be dis- cussed. Not that I mind having what I do or chance to say commented upon. I have no want-to-be-a-mystery obsession. But when you acquire a degree of film success you trade your freedom for it; you are gradually forced to curb your adventurous spirit. I am impulsive by nature— but I rarely dare to be anymore. There is that bugaboo: But What Will People Think? And it isn't sheer conceit; I never stopped to worry about comments until I overheard a few!
In this connection it is a fact that any- one in Hollywood w-hose reputation has a news value is- sadly handicapped if falsely accused. You can't expose the true whys and wherefores in the detail that's neces- sary to explain to your fans. No one with any self-respect wants to strike back sen- sationally. The. one alternative seems to be to hope fans have faith in your integrity.
But that -Sounds like one of those blue moods I thought I had licked to a fare-ye- well. The further you climb the finer mark you make— that is an ancient adage.
It's no burden to be applauded for your efforts. It's fun to be flattered—! You can aways take a grain of salt when you reach home. And, still speaking of publicity, it not only aids in the build-up of an actor's drawing power but it's a swell antidote for complexes, too. We are cross-examined by
94
SCREENLAND
interviewers. We are asked not only what we think, but why. Not only what we did at the critical moments' of our lives, but ever why? In replying we have to analyze ourselves. We have to pause and ponder. I took psychology in college, but I didn't reason things through to the logical end then. Since I've been in pictures I have become practical in this respect; I haven't an inhibition left in me for I have come to know myself through all this probing.
The most persistent query I receive is : How Have You Changed? Honestly, I should say in this way— I no longer read much, I no longer am seriously interested in playing the cello, I no longer go to church every Sunday as I used to. I'm inside on stages, looking into bright elec- tric lights so much, that I would rather relax by going somewhere evenings instead of reading. I haven't time to practice t any musical instrument now — or perhaps it's so much easier to turn on the radio! As for regularity and religion, I have come to think that the divine power isn't neces- sarily at a certain spot on a certain day.
I have matured rather than changed in other respects, I believe. Now I have pre- view dates, instead of library dates — college style. I go to the Trocadero, instead of to the town dance hall — high-school fashion. All of us grow more considerate as_ we grow older, for we see that it's no joke that "There, but for the grace of God, go I." I hope I am more thoughtful of others, that I'm acquiring tolerance and more un- derstanding. I worry a little less, for I realize that what happens to me won't alter the course of the world in the slightest. I accept more responsibility, I know, for I'm developing the courage to glance back and see that it was probably my own fault when I made a mistake.
Acting with glamorous Hollywood ac- tresses has not been dull, by any stretch of the imagination! I have been tremen- dously impressed by that ambition and stamina which they all have. Most of them, I have noted have deliberately created their own niches, and against pretty terrific odds.
My ideas about the opposite sex have not changed, however. The girls who've attracted me — in high school, in college, and here in Hollywood — have all been the same type. They've all been good sports, unaffected, and plenty sincere. They've not been frivolous, nor make-up fiends ! The first twenty-five years have been fine. I wonder what the next twenty-five will bring? To my satisfaction, I have found that modern Hollywood needn't upset one's equilibrium. I have a double goal — success as a man, and success in my work; I'm planning as intelligently as I know how.
I don't expect to marry very soon be- cause I want to give my wife a feeling of security and I couldn't do this at present. When I have demonstrated that I have a safer place in my profession, when the momentum of demands on my time has slowed to a calmer pace, then I intend to marry. I don't think marriage is a simple solution to a love story, either. I feel that it requires the exercise of the finest qual- ities a person can muster up.
Being the first M-G-M player to be fea- tured at the company's new London studio has been a privilege I'm trying to do jus- tice to. I have been cramming in as much sightseeing during my off hours as the most naive Mid-Westerner could. I fancy I'm still quite a naive fellow, at that. But now that I'm crossing London Bridge with all the aplomb of an old sophisticate, now that I'm used to right-handed drivers, tea for breakfast, and swing music at the Savoy I dunno . . . when I get back to Hollywood, to my horses at the stables I've built next door to Barbara Stanwyck's ranch, the horses may not know me. Barbara better !
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London
Continued from page 65
bakes on Sundays and gets up lo milk six cows before she drives herself to the studio each morning. That's not publicity. It's true.
You've seen Scottish-bom Sophie s great dark eyes and heard her soft gentle voice as Celia in Elisabeth Bergncr's screen ver- sion of "As You Like It" and also in "Things to Come" and "The Man Who Could Work Miracles." Twentieth Cen- tury-Fox invited her to sign a Hollywood contract last year but Sophie said she couldn't- possibly leave the farm— her brother might manage the chickens with practice but nobody else could look after the cows and the vegetable garden! It does sound incredible but you don t know Sophie. She's blissfully happy among her animals and plants, so contented in her family circle that she doesn't want to marry and only acts occasionally as a kind of recreation.
There's a famous lake in the wooded o-rounds of Korda's Denham studios, but don't mention that to Marlene Dietrich be- cause she got accidentally pushed into it while making "Knight Without Armor and is the English country water cold! At the moment it is a romantic moorland burn for "South Riding," name of the North of England industrial district where the film's action is set. Victor Savile holds the directing chair on this production and the very large cast is headed by Ralph Richardson and clever Edmund Gwenn and beautiful Edna Best who is Mrs. Herbert Marshall.
The Marshall wedding was the event of the season eight years ago, when they were acting together at a London theater. Now they seem content to live their sepa- rate lives, "Bart" in Hollywood and Edna here appearing on the stage or in a film every now and then. She's blonde and cool, not very tall but exquisitely poised. She lives alone in a modernistic apartment, reads a lot and counts Noel Coward and Diana Wynward among her special friends. She never mentions her husband, though he visited her when he paid a flying five- day visit to London last year in connection with legal business. They've an adorable six-year-old daughter who has Herberts eyes and his engaging whimsical smile.
I often see Edna at theatrical first-nights, frequently wearing white which is undoubt- edly the smartest after-dark color just now. Mary Ellis was in floating white chiffon watching Flora Robson's new stage play and Elizabeth Allan looked like a picture from a Dickens novel in her ruched white satin buttoned down the back. She's doing her soft hair a new way, brushed quite straight with no wave and the ends just turned under.
Elizabeth has quite recovered from her recent illness and will soon be on the screen again, sharing starring honors with Anton Walbrook to whom she played opposite in her last Hollywood picture "The Soldier and the Lady." The new film is called "The Rat," Anton becoming an apache leader in the Parisian underworld. It's a virile modern role vastly different from Prince Albert the Good whom he has just finished portraying in "Victoria the Great" with Anna Neagle.
Anna too is making an equally drastic change of part for her new film — I'm afraid I shall never be able to write my dramatic story about the dangers of "typing" now! After being the stately imperious Queen Victoria against a background of Royal Palaces and State functions, lovely golden- haired Anna now goes straight into a song
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and-dance film originally intended as a ve- hicle for Jessie Matthews. She has- to play a tea-shop waitress badly stage-struck with humble settings that show the everyday life of a London working girl.
But there's one star who never gives me shocks like this — our own George Arliss, who is always dignified and kindly even when he pretends for the purposes of the plot to be what he describes himself as "ah — not quite a gentleman." Just as you can always rely on an Arliss production unit stopping work at four o'clock for tea, so you can be sure that the star will ap- pear in a part befitting his familiar friendly character. In his new film, "Dr. Syn," the parson-smuggler was intended to have some frankly sinister aspects, but now that Mr. Arliss has adapted his personality, he has turned out quite an attractive old autocrat with a sense of humor ! And in Hollywood
o* *» -ESS*-—
George Murphy and Josephine Hutchin- son .are getting well acquainted in their first film as a love team.
this winter The First Gentleman of the English Screen will make a picture based on the life of Samuel Pepys. That cele- brated old diary-writer, wise and witty and saucily benign, will be yet one more screen portrait of George Arliss in wig and costume but still his own inimitable self.
Pepys could have written some marvelous pages about blonde Anna Lee's midnight party for which nearly two hundred fa- mous folks gathered at her Thames-side home, The Cardinal's Wharf, which stands in dockland facing St. Paul's Cathedral. In the paved garden, with its cherry trees and trailing clematis, I saw Lilli Palmer, Evelyn Laye and Frank Lawton, Cicely Courtneidge, Merle Oberon in white draped satin and rubies watching her finger-nails, John Loder, Elizabeth Allan, Alexander Korda, and Charles Laughton. Lord Lovat and Lord Pentland both danced with Elsa Lanchester who was wearing her favor- ite purple, and handsome Griffith Jones escorted dainty Renee Ray and Whitney Bourne.
As twelve o'clock chimed, a river steamer came alongside the little quay at the end of the garden and Anna led her guests to dance on deck while they sailed up the Thames to Greenwich and back. A tradi- tional Old English dinner was served in the saloon, all the dishes popular in Shakes- peare's time like jellied eels and roast swans' and birds-legs soup and tall goblets of rum punch poured out from a steaming bowl.
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97
Carnival Nights in Hollywood
Continued from page 55
and it seems to me that for hours people said, "Oh, please sing for us," but she coyly shook her head, while the actress- hostess whispered to everyone, "Coax her. She likes to be coaxed." I was afraid of that. After two hours of coaxing she took her stance at the piano and cracked through with the entire score of "Tosca" and "Faust" and was just getting her teeth into "Manon" when a bat flew in the room. I swear even the Music Lovers were glad to see that bat. But that wasn't all; the hostess-actress, who fancied herself musi- cally-minded, had a Child Wonder whom she modestly informed us was the greatest genius of the age. He flatted something awful. Worse than one of our popular sing- ing stars' who shall be nameless (lawsuits again). And the more I looked at him the better I thought of Shirley Temple. Ha- rassed by my bitter memories I was ready to bite nails, or at least a juicy maestro, by the time I arrived at the Pareras. And the fact that with my first wild glance I saw the John McCormacks, Lily Pons and her fiance (or husband?), Andre Kos- telanetz, the Frank Forrests, the Lawrence Tibbetts, Nino Martini, Elissa Landi, Miriam Hopkins, Anatole Litvak, Gladys Swarthout, Helen Gahagan and Melvyn Douglas, and at least a dozen pianists, com- posers, and conductors didn't make me any happier. Music Lovers, I muttered, all Music Lovers, and it will be as dull as"
ditchwater. I would have given my eye- teeth for W. C. Fields, Charlie McCarthy, and two quarts.
All during cocktails, served around the swimming pool, and dinner, served buffet on the badminton court, I played the Moody Dane. However, I did cheer up a bit when Valentin Parera undertook to ex- plain the Spanish Situation to me, and I must say of all the charming gentlemen who have tried to explain the Spanish Situation to me Mr. Parera is the most charming. "When," I said at last to Miriam Hopkins, who doesn't play or sing but who has great "appreciation" of music, "when do they start?" "Start what?" asked Miriam. "The music," I said gloomily. "It's a musical evening, isn't it? All these peo- ple have got to do their stuff, haven't they? You can't escape Brahms with a bunch like this." Miriam was horrified, but managed to conceal it very well. "Grace didn't in- vite these people here to entertain," she said. "Why, she never in the world would do a thing like that. They are guests in her home, not paid performers. Honey, you don't know, artists. An artist resents nothing so much as being asked to entertain at a party." "Don't I know it," said Grace, edging in on the conversation. "Shortly after I made my debut in opera it seems that every time I was invited to a dinner party I barely had time to swallow my dessert before my hostess was up and_ at me with a : 'Miss Moore, will you sing for usi' I sang for so many suppers that I began to call myself Tommy Tucker. I swore then that in my home I would never ask anyone to entertain." That was all right with me. I wish other hostesses were just as considerate.
Much cheered, I re-joined Mr. Parera and this time we went into the Trailer
Situation. It appears that Miss Moore's very charming husband is a trailer nut. Grace gave him a handsomely equipped trailer for his birthday, (just like the one Miriam Hopkins gave Anatole Litvak), and on Saturday nights when Grace is through work at the studio where she is starring in "I'll Take Romance" with Melvyn Douglas, (and so will I), they drive their trailer to some beautiful spot overlooking the Pacific. The next morn- ing he goes to the nearest store and phones a few congenial souls who drive down for lunch, which is prepared and served by Miss Moore, who, it seems, can handle a frying pan just as skilfully as she can a high C. Thj trailer is the nicest thing that ever happened to Valentin Parera, outside of Grace Moore.
What with a fog from Santa Monica coming in the party gradually drifted down the hill to the "guest house." Midway down the incline I thought I heard something vaguely familiar. And it wasn't pick up sticks. Sure enough, it turned out to be music. Richard Hageman, Met conductor and excellent pianist, was ripping off the Belle Song from Lakme with petite Lily Pons giving it all the zip that a coloratura soprano can give. "I like eet bettaire wif my clothes on," Lily announced over the applause. "In peectures eet ees my strip tease numbaire." Giggling like a gay young thing she did a whirl right into the arms of Andre Kostelanetz, and no matter what anybody said or did she giggled the rest of the evening. It's an infectious giggle and soon I was giggling too.
"The bridge tables are in the dining room," Grace announced hostessly, but no one listened to her, for that baritono robusto Lawrence Tibbett who goes' in for volumes of volume was clowning his way through "Ridi Pagliacci" and practically raising the Parera roof. Then he swung into the Toreador Song with grandiloquent gestures, following swiftly with the Song of the Flea, also with gestures. Lily and I giggled ourselves right into a beautiful set of hysterics. "You like musick?" she asked me. "Sure," I said, "I'm mad for music." And I wasn't kidding.
"Perhaps some of you would like to play backgammon," Grace called sweetly above the din. "Or Hearts?" No one paid her the slightest attention, there's a limit to the politeness you owe your hostess. Grace Moore was going to have a musical eve- ning whether she wanted it or not. When Mr. Tibbett wasn't looking Nino Martini took over the piano and simply tore into "Celeste Aida" which you all know he does exquisitely — but alas for poor Aida. "Swing it," said someone, a violent Music Lover no doubt, and Mr. Martini did. I've never heard anything quite so screwy, and would you believe it not a soul was shocked, except me.
Well, the evening was definitely on the gay side after that, with Gladys Swarthout pulling off a batch of rollicking cadenzas, and Lawrence Tibbett and Frank Forrest doing things to Tosca's Te Deum that have never been done before. Such animated pianism. Such juicy melodies. Why, ( I've been all wrong about Music Lovers. "Pic- colo, piccolo, piccolo," sang Tibbett all gotten up in kitchen paraphenalia. "Bridge, backgammon — " Grace made one last effort to be a hostess, and it was her last, for the next time I saw her she was a part of the Sextette, a very merry Sextette com- posed of herself and Mr. Tibbett, and if you don't think two people can sing a "Sextette you're crazy. When the morning papers arrived I thought it was time for even an avid Music Lover like myself to leave. I'm sure I heard the Anvil Chorus all the way in to Westwood. I'm dropping my old friends who have nothing more exciting than magicians at their parties. From now on I must have tenors' and baritones.
98
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Olivia de Havilland
Deanna Durbin's Unknown Story
»ust Baby
BeginnuMj^ By Margaret E. Sangster
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3
Even your best friend won 9t tell you
EDNA was simply crushed by ' Charlie's curt note barren of explanation. True, she and Charlie frequently had "lovers' spats" but these were not enough to warrant breaking their engagement. Dis- heartened and puzzled, she sought Louise, her best friend. Perhaps she'd offer some explanation. Louise could, too; could have re- lated in a flash what the trouble was . . . but she didn't; the subject is so delicate that even your best friend won't tell you.
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The Smart Screen Magazine
Delight Evans, Editor
Elizabeth Wilson, Western Representative Tom Kennedy, Assistant Editor
Frank J. Carroll, Art Director
We're Not Bragging, But — !
We think we have something there. We think you'll think so, too, when you've seen the next issue of The Smart Screen Magazine.
Beginning with the Carole Lom- bard cover, which has a romantic significance never , before offered on any cover, and continuing inside the issue, we're promising, and we'll deliver, the most exciting array of timely features a screen magazine has ever given you.
Just to cite one example!
Getting Gay With Cable!
What did we tell you? Is that not, indeed, something? Something for for you to watch and wait for, and — when you've read it, and seen the handsome photographs illustrating it — to declare the best Gable piece you've read in a long time. By Elizabeth .Wilson, who really knows the stars she writes about, "Getting Gay with Gable" takes you inside the private life of the screen's most picturesque actor. Teils you what he is actually like, when he has knocked off work for the day and left the studio behind him.
The Gable feature, that cover we told you about, and many other ex- clusive stories and photographs will appear in the January issue of Screen land-, on sale December 3rd.
December, 1937 Vol. XXXVI. No.
EVERY STORY A FEATURE!
The Editor's Page Delight Evans
Are American Women Unfair to Men? Charles Darnton
How Hollywood Has Conquered Radio Ben Maddox
Star-Dust Baby. Fiction Margaret E. Songster
Snubbing the Stars Jerry Asher
Cupid's Cycle Elizabeth Wilson
Carole and Freddie as Co-Stars.
Fictionization of "Nothing Sacred" Elizabeth B. Petersen
Deanna Durbin's Unknown Story Ida Zeitlin
London Hettie Grimstead
Reviews of the Best Pictures Delight Evans
Picture-Mad Milland. Ray Milland Ruth Tildesley
Strange Alice in Wonderland. Alice Faye Charles Lancaster Screenland Glamor School. Edited by Rosalind Russell
19 20 22 24 26 28
30 32 51 52 54 56 58
SPECIAL ART SECTION:
Mad "Mr. and Mrs." William Powell, Myrno Loy. Topper Taylor- Friendly Rivals. Tyrone Power, Don Ameche. On, and On, and On With the Dance. Here Dwells Dainty Anita. Anita Louise at home.They're Dictators — of Fashions for Men. Dick Powell, Ralph Bellamy, Jack Holt, Preston Foster, Patric Knowles, George Raft, Ian Hunter, Cesar Romero, Kent Taylor, Randolph Scott. Pictures Must Tell A Story. Wake Up and Clown. Ben Blue, Judy Canova. Robin's Rest — Between Gags. Bob Burns. It's Always Play-Time in Hollywood. The Most Beau- tiful Still of the Month.
DEPARTMENTS:
Honor Page °
Screenland's Crossword Puzzle Alma Talley 8
Salutes and Snubs. Letters from Readers 10
Tagging the Talkies. Short Reviews 12
Inside the Stars' Homes.
George Burns and Gracie Allen Betty Boone 14
Ask Me! Miss Vee Dee 16
Here's Hollywood. Screen News Weston East 60
Beauty for Evening Elin Neil 62
Femi-Nifties 63
Cover Portrait of Olivia de Havilland by Marland Stone
,, , , , , , , ,, . , y- „„j pAifrvrial nffires 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S.
Published monthly by Screenland Magazine. Inc. Executive and Editorial offices «^ WW * 3tn ^ 410 North Michigan Avenue, Chicago: 530
MacDermott. Vice President: J Superior, Secretary ™d/re*snu'"- A,?^ They will receive careful Attention but Screenland
W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must .be ^accompanied^ by r^^P^S r„yha A Mpvlrn . 4ri0 in Canada: foreign $2.50.
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assumes no responsibility for their safety. Yearly subscription $1.50 in me united at"", v ■ Hd -
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ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1879. Additional entry at Chicago, Illinois.
Copyright 1937 by Screenland Magazine, Inc. Member Audit Bureau of Circulations. Printed in the U. S. A.
5
SCRCCNLAND
Honor Page
A new star is born in "Stage Door" — Andrea Leeds, who more than holds her own with Ginger Rogers and Hepburn
ANDREA LEEDS reminds us of a grown-up /A Janet Gaynor. Something of the same wistful- ness, much of the same mobility of expression — but perhaps even more poignancy, and certainly a vast amount of personal beauty and charm. As the tragic member of the group of ambitious girls in a theatrical club in "Stage Door," Miss Leeds is touching and truthful in her performance of what might easily have become a maudlin character. Never once does she descend to bathos, but the purity of her pathos will win you. Her "big scene," ascending the stairs to make her last exit from the stage of life, will be long remembered. "Watch Andrea Leeds" — Screenland.
Paramount gives you ebb tide" ..the first sea
llCTURE I
The story of a man who thought he was God I .
<*>Vv' ■
Adolph Zufcor presents
Oscar Homolka
(By arrangement with Gaumont British Picture Corporation Limited)
HUISH, the little Cockney, had sobered up long enough to take a fling at stopping this madman with the rifle. Now he lay, dying a rat's death in a pool of vitriol. Thorbecke, outcast of the Seven Seas, had done the same. Now his hands pointed in mute surrender at the cobalt heaven of this island of pearls. Only Herrick was left to defend the girl against this man who thought he was God. Herrick! Uni- versity man turned beach-comber. The madman's gun lifted again* cocked. The girl saw his eyes, the eyes of a devil. The gun leveled ... the shot rang out to shatter the somnolent quiet of the island . . . forever.
Had the madman won ? Had Huish's pitiful little life been tossed on the lap of the gods in vain? Had Thorbecke brought them through the fury of the hurricane for this?
Was Herrick to lose his one last chance to
«
prove himself a man? Was this beautiful white girl to descend into the pit of a madman's private hell forever?
Frances Farmer Ray Milland
"EBB TIDE
A Lucien Hubbard Production with
Lloyd Nolan • Barry Fitzgerald
Based on the story by Robert Louis Stevenson and Lloyd Osborne Directed by JAMES HOGAN Photographed in Technicolor A Paramount Picture
The South Seas. . . Robert Louis Stevenson's South Seas, with all their haunting beauty . . . with all their primitive, soul-searing adventure . . . with all the vicious fury of their mighty ship-de- stroying typhoons . . . now at last brought to the screen as Stevenson himself saw them in this greatest of all adventure-pic- tures, produced in natural color . . . Another thundering triumph for the company which gave you the first natural color adventure- picture, "The Trail of the Lonesome Pine" . . . PARAMOUNT!
SCREENLAND
7
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SCREENLAND'S
Crossword Puzzle
By Alma Talley
ACROSS
Harlow's last co-star
The remains of an ear of corn
Co-star of "A Star Is Born"
Star of "Ever Since Eve"
Exist
Scar of "Beloved Enemy"
"Knight Without ■",
with Dietrich He's featured in "Submarine
D-l"
"Live, Love and ,
with Robert Montgomery
Blondes sometimes use this on their hair
Beloved
Back of the neck To observe Of, in French Cattle dealers You and I
He's married to Ruby Keeler A Hollywood word for humor
or joke Ignited
Stage star, once Mrs. John Gil- bert Ma's husband Star of "Seventh Heaven" Tardy
She plays Antoinette in "Pri- soner of Zenda" Afternoon beverage Co-star in "Artists and Models" Small rug
To be under oligation to Heron
Openwork fabric
He's featured in "The Firefly"
Note of rhe scale
She's famous for Gay Nineties
— Toles
Mrs. Bing Crosby's maiden
name Malt drink That old sun god Greek letter The screen's Juliet To accomplish The MGM lion A continent . Kind of meat
79. Part of the face
82. His new one is "The Perfect
Specimen" 84. Come in 86. Tropical vine 88. She's Mrs. Errol Flynn
90. Over (contraction)
91. She made good in "Three Smart
Girls"
92. Drawing room
93. To soak, as flax
94. Tears
DOWN
1. He plays Marco Polo
2. Ready for battle
3. Prefix, pertaining to life
4. She's featured in "On Again,
Off Again"
5. Printer's measure
6. Princess Flavia. in "Prisoner
of Zenda"
7. Natural mineral
8. Sisters Joan and Constance
9. Hepburn's role in "Little
Women"
10. Capable
11. Born
12. To rub out
13. Pulled apart
14. Angry
17. Compass point (abrev. )
19. Rod
20. Sailor 24. Bordered 26. Greek letter 29. That bump of conceit
31. By way of
32. Has been
33. Fall flower
34. Feudal term, sworn to
allegiance 36. Ingenue in "First Lady"
39. Pertaining to birth
40. Co-star in "Thin Ice"
41. Scene of action 43. To deface 45. Printers' measure 47. Pointed rock 50. Part of to be 52. Conscious of
55. Long legged bird
57. Co-star. "Broadway Melody of 1938"
58. "Souls At ", with Gary
Cooper
59. He's featured in "Angel" 61. "The Bride Wore — ", with
Joan Crawford 64. S-shaped worm 68. Irving Thalberg's widow
70. Hasten
71. Ever (contraction)
73. Charlie Chan
74. Guided
75. Epochs
76. Range of female voice
78. To run away
80. Hotels
81. Garden vegetable 83. Lubricant 85. Golf mound 87. Hero in "Confession" 89. One
91. Physician (abbrev.)
Answer to Last Month's Puzzle
marasa aoa EinaaH raaanHui maa humbiis asaa anraaaas behb aa aa aaaaa era snail ana aa
a Sana hhb nsma ana aaaniBss skshisib mmm Ham caaa oasa aisnaa BHaaHHH ®aa
aasn ass a|ai ara ess maara bib
aana aHaHEaH Haaa enrasraa bhh anaraaa
HaHHH BOH HBHHH
8
SCREENLAND
THE MOST EXCITING SCREEN EVENT OF ALL TIME!
The favorite play of America is
THE SCREEN HIT OF THE YEAR!
A year of preparation — 3 months be- fore the cameras — production costs breaking all studio records-and now the-love-and-laughter show that en- thralled New York and London stage audiences for two seasons is ready to flash its glories on the nation's screens.
i BASIL RATHBONE * ANITA LOUISE *
MELVILLE COOPER • ISABEL JEANS (
MORRIS CARNOVSKY • VICTOR KILIAN • Directed by V~< * Anatole Litvak • Screen play by Casey Robinson • Adapted from the play by Jacques Deval • English Version by Robert E. Sherwood • Music by Max Steiner • A Warner Bros. Picture
SCREENLAND
9
Salutes and Snubs
Big broadcast of the picture patrons, voic- ing their own ideas about stars and films
Read what your fellow screen e thusiasts have to say about pictures ar picture people. Their ideas give you food for thought, and also a better in- sight on how to enjoy the best that's offered in film entertainment. Then write us your own ideas. Kindly restrict each comment to 50 words or less. Address to: Letter Dept., SCREENLAND, 45 West 45th St., New York, N. Y.
This is the exquisite way to be exquisite . . . for April ShoiversTak leaves a distinguished floral fragrance on your body... yes, and scents your lingerie with its subtle but lin- gering perfume.
It is the finest imported talc scented with "The Perfume of Youth"— April Showers.
The Talc, exquisite but not expensive, 28?. The Perfume (in purse-sizes), 28(, 50(5 and $1.00.
Humphrey Bogart proves that a "heavy" can be a very great favorite with the screen-goers. An actor who plays every part for all the drama that's in it, Humphrey receives the call to take a bow from the honor niche here.
CAN YOU PICTURE IT?
Try to imagine, if you can:
Garbo as "Mrs. Thin Man." Martha Raye as Vicki Lester in "A Star Is Born." Shirley Temple as a "Brat." Robert Tay- lor as a gangster. Jeanette MacDonald in "Swing High. Swing Low." Nelson Eddy in "Shall We Dance." Tyrone Power in "Night Must Fall." The Marx Brothers in a hair-pulling scene with the Ritz Brothers.
Let's hope Hollywood doesn't come to
this. . .
Mary Jane Sterner, Indianapolis, Ind.
KEEP BOGART BUSY!
Thanks. Hollywood, for letting us see Humphrey Bogart in so many pictures. But. pleas'e, must he always play the typed "bad man" he portrays so excellently in "Marked Women" and "Dead End" and most of his recent pictures? Bogart has a compelling screen personality, and for a change, as well as for the good of some forthcoming heroic role, he should be cast in something different than the parts so consistently given him of late.
Marjorie E. Harvey, Boston, Mass.
never miss one of their pictures, and when I see them on the screen, well they do more than make the whole show entirely delightful and satisfying.
Irene Dory, Chicago, 111.
RAVE ON! WE LIKE HER TOO
Please, Mr. Chairman, give me the floor— ! want to do some raving. A new favorite is born — Frieda Inescort! This charming Scotch woman has something. She's different. Her acting calls for dozens of daisies, and deserves the raves.
Dorothy M. Hulse, ' Los Angeles, Calif.
THE SHOW MUST GO ON!
"Artists and Models" would have been a good picture if it had had more of story and less of specialty numbers. Was the story too short and the acts put in to lengthen the film so the patron would feel he was getting his money's worth?
Chester Gordon, Greeley, Colo.
THREE "FIRST LADIES"
Here's to the Three Graces of the screen! The beautiful Dolores Del Rio Sylvia Sidney and Carole Lombard. I
BOARDWALK BUGGY BONER
I have been going to Atlantic City for 20 years, but I have yet to see the kind of wheel chairs that they used in "Meet the Missus," which was supposed to have taken place there.
Ruth King, Cranford, N. J.
10
SCREENLAND
"...but for the Grace of God, there sit I, Portia Merriman, facing a verdict of life or death!"
A heart-tugging mother-and -son story as only Faith Baldwin could write it. Played to perfection by a superlative cast.
■30. -
WALTER ABEL
FRIEDA INESCORT
NEIL HAMILTON HEATHER ANGEL RUTH DONNELLY BARBARA PEPPER
Directed by George Nicholls, Jr.
Screen Play by Samuel Ornitz • Adapta- tion and additional dialogue by E. E. Para- more, Jr. • Original storyby Faith Baldwin • _ ; Associate producer, Albert E. Levoy . •
PICTURE
SCREENLAND
1 1
Luisc Rainer and Spencer Tracy co- starred! There's something to promise much — but, alas, too much in view of a thoroughly unconvincing and trite melo- drama' in which an immigrant wife and her taxi-driving husband are caught in the toils of racketeering and political chicanery. The story offers nothing to en- gage talents of the caliber of Rainer and Tracy, and the film at best is mere routine.
First Lady
Warners
Sprightly and entertaining satire of political Washington, wherein two women engage in typical feminine conflict over a presidential nomination. Kay Francis de- livers a bright and spirited performance, and Verree Teasdale as Kay's antagonist is superb. Preston Foster, Louise Fazenda, Grant Mitchell, Walter Connolly, Anita Louise and others in a fine cast do ex- cellent work. Diverting conversation piece.
AGGING
th<
TALKIES
Delight Evans' Reviews on Pages 52-53
Breakfast for Two
RKO-Radio
Barbara Stanwyck and Herbert Mar- shall, ably abetted by such talented troup- ers as Glenda Farrell and Eric Blore, throw restraint to the winds in a nonsense comedy that may be designed to end all nonsense films cropping up since "My Man Godfrey." It's wildly farcical romance in which woman chases man she loves — and gets him. Comedy falls, pie-throwing, everything goes. Maybe you'll enjoy it.
Music for Madame
RKO-Radio
Nino Martini sings operatic arias as well as a couple of popular style songs in the course of a romance, the acting highlight of which is comedy supplied by Alan Mowbray, Alan Hale, Billy Gilbert and Erik Rhodes. Joan Fontaine, young and engaging, is the leading lady of this story about a young Italian whose beauti- ful voice becomes the center of a Holly- wood mystery. Good music for all of you.
Sophie Lang Goes West
Paramount
The intriguing lady with the light fin- gers and winning ways makes her third appearance, and this time we find Sophie Lang in Hollywood, where, for all its glamor, the surroundings are not as con- ducive to thrills as the two previous films in this series — the story has motives that baffle more than its situations. However, you'll enjoy Gertrude Michael and Lee Bowman in this conventional crook play.
Make a
Wish
RKO-Radio
Bobby Breen plays the son of a musical comedy star (Marion Claire), Avho has quit the stage tor a wealthy suitor ( Ralph Forbes). Through Bobby she meets play- wright Basil Rathbone and as a result makes a comeback. Donald Meek, Leon Errol, and Henry Armetta round out the cast. Story and direction are not convinc- ing, but some rather cute business in a kids' camp and Bobby's singing, appeal.
Wife, Doctor and Nurse
20th Century- Fox
This has bubble and bounce, that gay and light tone that's tonic for sagging spirits. "There's a lilt to the dialogue and snap to the action, as Loretta Young, her husband, Warner Baxter, very successful doctor, and Virginia Bruce, his very effi- cient nurse, work out an intriguing little triangle and find ultimate happiness, all tending to their own jobs. Nothing _ seri- ous or sophisticated, understand, just lively.
Atlantic Flight
Monogrom
This introduces to you Dick Merrill, ace of the air, and Jack Lambie. his colleague in a record translantic flight. You'll find Merrill as engaging as his exploits, and the enthusiastic reports of his reporter friends, picture him. The story is adequate to the job of holding interest for the prin- cipals, who, in addition to Merrill and Lambie. include Paula Stone. Weldon Hey- burn and Ivan Lebedeff. Happy landings !
Public Cowboy No. I
Republic
Gene Autry carries on with his usual very pleasing and highly popular style of cowboy romantics, though his story here is not up to some of the better grade yarns afforded as an action background for "the Autry singing and hard riding. As a matter of fact the story is wilder than the wooly West of cattle rustlers it tells about — with airplanes and short-wave radio helping the villains. But it's amusing.
Non-Stop New York
Gaumont- British
Mechanical melodrama glossed over with fairish comedy and providing some very well done aviation thrills, as an American gangster, a Scotland Yard man, and a chorus girl who can save a man from the electric chair, work out their tangled pur- poses during the flight of a plane from London to New York. Anna Lee and John Loder are the romantic pair who head an able English cast. Weak yarn, well staged.
All Over Town
Republic
Olsen and Johnson, vaudeville comics, are starred in what sum; up as an elongated two-reel comedy. The idea is that these two have a trained seal they want to put over as a great stage attrac- tion are mistaken for millionaires anxious to back a show, and thus get their chance. Jt doesn't make much sense as a story, and fails to deliver enough laughs to war- rant the rather good production given it
12
BOY MAKES GIRL MAKE FOOL OF
CAROLE EBEDRIC
LOMBARD - MARCH
In SELZNICK INTERNATIONAL'S Sensational TECHNICOLOR Comedy
NOTHING SACRED
WITH
CHARLES WINNINGER • WALTER CONNOLLY
by the producer and director of "A Star is Born" DAVID O. SELZNICK and WILLIAM A. WELLMAN
Screen p/ay by BEN HECHT • Released thru UNITED ARTISTS
SCREENLAND
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3 f w
Nat and Googie— otherwise George Burns and Grade Allen— have their morning meal in the breakfast room of their Beverly Hills home, where they take their jobs of bringing up daughter Sandra and son Ronnie seriously, and entertain their friends graciously.
the Stars' Homes
Posed fry /n-ofesxio/M
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14
After-the-broadcast sup- pers at the Burns and Allen home are tasty as well as entertaining. Here are Grade's cooking recipes
By Betty Boone
YOU'D GUESS that a glamor queen lived in the Early-American-Mon- terery mansion on the Beverly Hills street that is lined with camphor trees. But you'd be wrong! It's Gracie Allen's house
and George Burns' house, too, of course
not to mention Sandra and Ronnie, and
there's plenty of room in it for any little brothers or sisters that may happen along.
A wide brick walk, up which march standard roses in blossoming pairs, leads to the white door through a terraced and flower filled garden, and there's a balcony across the entire front of the upper story, enlivened with California flower pots m rainbow colors.
The butler — did it occur to you that Gracie has a butler ?— admitted me to the hall where the sort of curving white stair that seems made for an entrance by a glamor girl winds to the upper _ rooms. There is a statelv old grandfather's clock near the door, and the living room, beyond, has gold-framed mirrors and delicate minia- tures on its ivory walls.
"Harold Grieve decorated the house, chuckled Gracie. after she had greeted me. "All I said to him was : T want sott colors He said 'Yes.' unconvincingly. and it took me a long time to persuade him that 1
Screen land
meant soft. He thought I must be just like my broadcasts- — loud, you know. When he finally gave in and believed me, it worked out well. Isn't it beautiful?"
She glanced about from the sage green carpets to the floral drapes in peach and °rav. these shades repeated in the furniture. She' didn't add, "Am I right, George?" but she was.
French doors lead from the living room to an enclosed patio, furnished in rustic redwood upholstered in green, and both lighted and screened. There are backgam- mon tables in the living-room and on the patio.
"Yes," acceded Gracie. when I noticed them, "and we have another upstairs and we're having a fourth one made for the Garden. We're mad about it ! "We learned how to play on a boat when we were going to Europe one time. I remember Hope Hampton was on board and she taught us. We've gone in for it ever since. I'm the familv champion. Maybe it's a good thing she didn't teach us to play polo. It's not so good for the purse or the neck."
Green lawns stretch from the patio to a picket fence that divides the garden from the swimming pool, where a fair sized sailboat swayed at anchor before the dress- ing-rooms; it also divides the garden from the children's plavground, where there are sandpiles, slides, swings and an enchanting game concerned with drydocks, wharves and boats. „
"Show Betty Boone how you slide, urged the mama of Sandra and Ronnie, two small, fair infants in play suits.
Obedientlv. they did so, Sandra whooping down the slippery slope as though she enjoved it, Ronnie taking the trip wrapped in gloom. His attitude toward exhibiting (Please turn to page 69)
•AFRICA LAo,
Not since the days of Chaplin and Harold Lloyd has so much money,talent and creative effort been devoted to pure comedy — zestfully spiced with music, youthful allure and romance.
THE NEW UNIVERSAL presents
BILLY *. HOUSE
MISCHA AUER
w
JIMMY SAVO
THE 4 HORSEMEN OF HILARITY
m% A TEN-STAR FUN FROLIC
with BERT IAHR • JIMMY SAVO • BILLY HOUSE ALICE BRADY • MISCHA AUER • JOY HODGES LOUISE FAZENDA • JOHN KING • BARBARA READ • DAVE APOLLON and His Orchestra
Screenplay by Mont* Brie* and A. Dorian Otvot
Directed by Irving Cummings Original story by Monte Brice and Henry Myert
Produced by B. G. DeSYLVA
CHARLES R. ROGERS
SCREENLAND
15
A VANITY BOTTLE
OF AMERICA'S NUMBER ONE
ASK ME!
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for anyone who has not tried it!
e Right now, cold weather and raw winds are making many a pretty woman's skin coarse, red and unpleasant in appearance. And there's no need for it hecause you can enjoy the na- tion's mo^t widely-used skin protector, Italian Balm, lor a cost of far less than V% cent a day. •
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Gentlemen: I have never tried Italian Balm. Please send me VANITY Bottle FREE and postpaid.
Betty Gail R. I'm surprised that you haven't seen Richard Cronus t il in some of his big roles in such pictures as "Lives of a Bengal Lancer," "Life Begins at Forty," and "Annapolis Farewell." Cer- tainly you must see him in "The Road Back," playing the part of Ludwig. Ad- dress him at Universal Studios, Universal City, California.
R S V P. Nelson Fddy was born in Providence, R. I., in 1901. He is 6 feet, weighs 173 pounds, has blond hair and blue eyes. He did not attend college, but obtained his education at the grammar school of the Rhode Island Normal. His favorite sports are tennis and horseback riding. He isn't married.
Katheryn S. D. You will find an article on Brian" Aherne in the March, 1937, issue of Screenland. He was born in England, is 6 feet, 2 inches tall, has brown hair and blue eyes. Once rumored engaged to Merle Oberon, but Brian is still a bachelor.
An Irene Dunne Fan. Born in Louisville, Kentucky, daughter of Capt. Joseph J. Dunne who was a builder and owner of Ohio River steamboats. Her role in Zieg- feld's stage hit, "Showboat" first brought her into prominence. Later she graduated from the Chicago College of Music. She made her film debut in "Leatherstocking," after which she played the leading feminine role in "Cimarron." She is married to Dr. Griffin, is 5 feet, 4 inches tall, has dark hair and blue-gray eyes. Why not read the story about her which appeared m the January issue of Screenland.
Ron go Allan. "All Quiet on the Western Front" was the picture in which Lew Ay res made his first hit. He is 5 feet, 11 inches tall, weighs 160 pounds, has dark brown hair and brown eyes. His current picture is "The Last Train from Madrid." a Paramount production. The more recent pictures in which Craig Reynolds appears are "The Great Garrick," "Mr. Dodd Takes the Air," and "Back in Circula- tion." Write him at Warner Bros. Studio, Burbank, California.
Dolores M. S. "Shanghai" i? the title of the picture in which Charles Boyer and Loretta Young appeared: it wa- produced by Walter W anger and released by Para- mount in 1935.
L. C. B. "Buster" Crabbe is 6 feet. 1 inch in height, and weighs 188 pounds: Kent Taylor is 6 feet and weighs lb5.
Irene T. Billy and Bobby Mauch have blue eves and brown hair. Yes. they can be identified, because Billy wears a ring but sometimes the boys switch the ring — just for a little fun !
Norma R. The original story of "The Mighty Treve" is bv Albert Payson Ter- hune. Noah Beery, jr.. and Barbara Read played the leads, but of course "Treve"' is the real star. Perhaps if you wrote a letter to Universal Studio. Universal City, California, you might be able to get Treve s photograph.
Concetta A. Frances Dee is Mrs. Joel McCrea in private life. Ray Milland was born Tanuarv 3. 1907. John Deal, August 13 1909. Robert Tavlor, August 5, 1911. Deanna Durbin, December 4. 1922. Errol Flynn. June 20. 1909. Wayne Morns, Feb- ruary 17, 1914.
Mrs. C. E. C. You are right, it was Helen Wood who played the feminine lead in "Giampagne Charlie."
Dorothy A. K. Claudette Colbert was reallv christened Claudette, but her father renamed her, Lily, and as Lily Chauchoin she came to New York and remained Lily Chauchoin until her first stage appearance. Her married name is Mrs. Joel Pressman. Clark Gable is the son of William H. Gable. He had been married twice. Nelson Eddy is Nelson's real name. He is not married. Teanette MacDonald was recently married to Gene Raymond. Yes, rred MacMurrav is married and his real name is Fred MacMurrav. Robert Taylor was christened Spaneler Arlington Brough. He is not married— yet. Have you a marriage complex ?
Nqiii^_
Addret
City.
_ State-
In C'afiodo, Campana. Ltd.. S-241 Caledonia Rd.. Toronto
Camera angles on a Hollywood premiere! Wky, here come Gladys and Eddie—Mr* and Mr. Edward G. Robinson— and, there's Irene Dunne with Melvyn Douglas, right.
16
Screenland
Homesick for Argentina? Not Rigaud — Latin-American star re- cently brought to Hollywood — with Lola Jensen, Joyce Matthews and Harriette Hadden around.
K. 0. Tyrone Power played the part of Count Vallais in "Girl's Dormitory," and Karl Lang in "Ladies in Love." His latest pictures are "Thin Ice," with Sonja Heine, and "In Old Chicago," with Alice Faye and Don Ameche.
H. Trap-man. Perhaps you have noticed the exchange of players in the various com- panies. They are borrowed for one or more pictures and no doubt your letters have gone astray for that reason. Don't be dis- couraged, try again. I am certain many of the stars would appreciate your letters ; almost everyone likes to hear praise and commendation.
L. B. No, Edwina Booth's illness was not fatal. However, I do not know whether she has fully recovered, or is still conva- lescent. She has not appeared in any film to my knowledge since "Trader Horn."
Gwen. Thanks for all the nice things you say. Nelson Eddy was born in Providence, R. I„ in 1901. Yes, indeed, he and Jeanette MacDonald are the best of friends, and why not? Perhaps if you write to Metro- Goldwyn-Mayer, Culver City, California, you might be able to get the "Maytime" song you mention.
Betty T. Harpo Marx happened to be in a skit once, in which no lines or action were given him — so he just pantomimed- and hasn't spoken a word on stage or screen since then. All four of the Marx brothers were born in New York City. Groucho, Chico, Harpo and Zeppo are the names. Zeppo has gone into business, but the other three are signed with R-K-O.
Jack R. Barbara Read is Barbara Read's real name ; she was born at Port Arthur, Canada, in 1917. She is 5 feet, 5 inches tall and weighs 108 pounds. Ella Logan's birthplace is Glasgow, Scotland; date of her birth, March 6, 1913. She weighs 105 pounds, is 4 feet, 11 inches tall. Cecilia Parker was born in Fort Williams, Canada.
Dorlene H. I haven't an idea in the world as to the size of Tom Brown's shoes, neither do I know his favorite author nor whether he has real freckles ! Your other queries concerning him appear in the August issue of Screenland, except the news that he recently married Natalie Draper, a Beverly Hills society girl.
THE STERLING COMPANY, 212 W. MONROE ST., CHICAGO, ILL.
Gentlemen — Please have your local dealer send me
Merry-Go-Round Lounge Suits in gift box at $4.95 each or ship direct parcel post prepaid.
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Screenland
17
/
Fun-making Eddie Cantor and hit-making 20th Century-Fox go to town together! &u/fitsa Cawfcrtna^ orf 6ucy>6s/
now
CANTOR
(mm mm
WITH ALL THESE MERRY-MAKING ENTERTAINERS
TONY MARTIN • ROLAND YOUNG JUNE LANG • LOUISE HOVICK
JOHN CARRADINE VIRGINIA FIELD ALAN DIN EH ART
DOUGLAS DUMBRILLE RAYMOND SCOTT QUINTET PETERS SISTERS • JENI LE GON
1001 SIGHTS!
1002 LAUGHS!
. .as Eddie tarns Bagdad in- to gag-dud and streamlines the Sultan's swingdom!
Hundreds of dancing harem darlings! (Whoopsiedoops!)
About a million wild-riding Arab horsemen (.all after Eddie!)
The Raymond Scott Quintet (putting the heat in swing!)
Countless kisses under the desert moon (as Tony sings to June!)
1938- model Magic Carpets (with floating power!)
A hundred or so other hi- de-highlights!
Gorgeous, spectacular, tune- ful, surpriseful Cantortain- menf !
Yes! You've got something here!
Directed by David-Butler * Associate Producer Laurence Schwab Screen Play by Harry Tugend and Jack Yell'en • Based on a story b.y Gene Towne", Graham Baker and Gene Fowler
Darryl F. Zanuck
in Charge of Production
IS
SCREENLAND
ernan
Letter
Gravet
Two famous French stars arrive, greeted by the French consul in New York: Mile. Danielle Darrieux, M. Fernand Gravet (left). The Gravet smile is genuine.
DEAR MR. GRAVET: Greetings. Or bon jour, I'amour, toujours I'amour, and I don't mean Dorothy.
Anyway, whether in French or American, I m glad you're back. Because you are, by far, the most satis- factory Continental importation we've had. After those icy goddesses, Garbo and Dietrich; the businesslike Sonja Henie; the rather aloof Charles Boyer, and the latest femme arrival, Mile. Darrieux (Dare- You and I won't take that dare, thank you)— it's positively re- freshing to find a French star such as yourself. Mon- sieur: affable, modest, and still somehow very definitely charming in that so-Gallic manner. It would have been easy for you to have done a Darrieux and, like that lovely lady, ducked and dodged the press as much as possible during your stay in New York on the way back to Hollywood. But no— I mean, non, non. Despite the fact that the "celebrity ship," the Normandie, had a somewhat stormy crossing as it brought over a record number of stars and accordingly attracted a record number of reporters and photographers who stalked the decks practically at dawn tracking down their prey, you appeared as blithe and debonair as in "The King and the Chorus Girl," gave innumerable inter- views, answered foolish questions about blondes, never murmured when more reporters suddenly popped out at you in your own hotel suite later, and amiably let every waking moment of your stay in town be scheduled by the publicity department. A portrait sit- ing early the next morning — but certainly. A maga- zine interview that noon? Out, oui.
With charm unruffled, and good humor unimpaired, you kept on answering questions — yes, it was wonder- ful to have Carole Lombard as your leading lady in "Food for Scandal." But yes, blondes are charming — and so are brunettes. You were delighted to be going
back to Hollywood, where making pictures is more fun than anywhere else in the world. But just about there the charm began to crack a little. A wistful look ap- peared on your davidwindsor face. You answered some of the questions a little absent-mindedly. Your mind seemed to be on something else. You got more and more wistful as more and more reporters kept coming m, more and more dates were lined up for you, and finally you came out with it: "I must have a little time to my- self," you said gently. Aha — temperament, eh? ' Be- cause, you see, Mr. LeRoy wishes to start my new picture as soon as I arrive in Hollywood, and— I am so
sorry but I must take the time to make a date for
myself." Mmmm! These gay Europeans. "Yes. I really must insist. I must get the time to make the date — with Mr. Rogers and Mr. Hart, to find out the music they are writing for me to sing in the picture."
And now, M. Gravet, do you mind, while you're m Hollywood making your new picture, giving a little time to making the date for yourself to coach some of our ruder stars on How to have good manners, though in the movies? Thanks so much.
19
Are A Unf
merican
W
omen
air to
Men?
THERE'S nothing like a new point of view on that most fascinating of subjects, women. In this case it is taken, not by moon-struck adorers whose ignorance may account for their possible bliss, but by star-clear observers of the feminine per- suasion itself, and accordingly it may be accepted as expert.
Nor is their slant strictly domestic, as happened at the recent convention of the National Federation of Business and Professional Women where the confirmed card- playing woman of no profession and few home cares was given such a rough deal as to bring down the pronounce- ment, "We are developing a group of parasites who injure' society." .
For a change, here is the foreign angle. It gains added interest, not to say glamor, from the fact that it marks the attitude of five European actresses — Simone Simon, Olympe Bradna, Luise Rainer, Sigrid Gurie, Rose Stradner — who have brought their varied talents to Hollywood.
All declare that American women demand too much from men. Yet it should be said at once that these imported ornaments to their profession by no means impose any such rigorous strictures as those credited to the stressful N. F. B. P. W. In general they are kindlier to women. In particular — and this is sig- . nificant — they are kindliest to men. Indeed, any man hearing them might well say with the /f'*. poet, "How sweetly sounds the voice of a good woman."
Before you answer, read what Hollywood's brilliant foreign-born actresses say! A story presenting a fresh slant on a provocative question, and a revealing view of Conti- nental charmers' attitude toward romance
By Charles Darnton
Luise Rainer, above, the Viennese star who is mar- ried to an American, knows both sides of this question, and discusses them. Left, the viva- cious Simone Simon says "America is the woman's Garden of Eden." Why?
20
Olympe Bradna, right, Is another Parisienne who has had ample op- portunity to compare American with European customs. Left, Sigrid Su- rie, Norwegian beauty; read what she has to say.
Let us sound off, then, with Si- mone Simon, who is very good at this two-sided affair so close to the hearts of women and the bank- books of men. Back from France to resume her star- ring career with Twentieth Century-Fox, she puckers up the brow of her innocent child- face and solemnly decides:
"America is the woman's Garden of Eden. Everything that grows in it drops into her lap. You know why this is so? I tell you. The woman here she has the way to twist the man ar-round her finger. The French woman she is not so good a twister. Per-r'aps it is better I ex- plain this, too. You see, in France it is the woman who gets twisted. The man he winds her around his thumb — z-z-z! The husband is what you call the boss. The wife take orders, she never give them. She do not say, 'You buy me this, you give me that.' She stand back and wait for something. Always it is the man who stand in the front like when they have their photograph taken."
By way of illustration the obliging Simone gets up and shrinks humbly against the wall.
"But here," as she plumps down for emphasis, "it is differ-rent. The woman she ask too much from the man. She as-tonish me. Also the man he surprise me. He have the money, but he do not make the big show. No, he show off the woman. At night he light her up with much jewels and is proud of her like the Eiffel Tower, so I think this is why she comes high. And when I think of this I am pretty sorry for the American man. She ask him for lots of money and she get it. Oh, well, easy goes, easy comes! And anyhow the man he get — what you say? — his money's worth. If his wife say she want to
look like a million dollair he say a'right. But in France the conversa- tion it is not like that. It stop before it begin. Here the money talk, and this is nice. But if the French woman talk the money she would right away be afraid she lose her man. Sometimes the American woman she lose hers, but quick she get another, so she is not easy frightened. In Hollywood I am as-tonished when I read in the same paper of her engagement before she get her divorce. Then I think it is because she provide so well for her future that she don't worry. And all the time she look so beautiful in the face and keep her figure so good that nobody suspect she ever has been a wife. But what puz- zles me in the head most is that the husband he do the same thing over again and spend his money like the sailor on the land. This is str-range. But you know some- thing? This is a gr-reat compliment to the American woman — oh, yes!"
Now for another French charmer, the still more youth- ful seventeen, to be exact — Olympe Bradna. She pleads
her youth in modest reluctance to giving her opinion. Certainly this simple and pretty olive-skinned girl with brown curling hair rippling to her shoulders from beneath a white "beanie" looks even younger close-to than in "Souls at Sea." Yet out of her tender years she brings herself to say:
"Everything is done for American women. But they must have something themselves, and they do have everything to make them attractive and desirable. French women don't have so much. They are— big. But here women are beautiful both of face and figure. And they have more chance to dress well. It doesn't cost so much. This is true off the stage as well as on it. In France an artist who gets two hundred francs a week must pay as much as that for one dress. Even clothes for private wear are expensive. But here I bought my first evening gown for twenty-six dollars. There are good stores, and women have everything to help them. (Please turn to page 72)
21
H
ow
H
ol ywoo
d
Behind the scenes the show world has been in an uproar, with the fu- ture of screen idols at stake. Radio vs. Hollywood, it was. Now it's Radio with Hollywood, and look — everybody's happy
Dietrich and Gable, shown broadcasting with Cecil DeMille, are in Radio demand. Edgar Bergen's Charlie McCarthy, left, is Radio's riot. Left below, Irene Dunne and Bob Taylor and, at bot- tom af page, Grace Moore and Paul Muni, stars in two mediums.
Radio that plan went overboard. Now ninety per cent of the headline air programs come to you directly from Hollywood !
Here is explicit illustration of how Radio has capitu- lated. A year ago the Columbia Broadcasting System had four persons on its Southern California staff; today it employs a hundred and ninety. It's completing a $2,000,000 building two blocks from Hollywood Boulevard to handle its important entertainment. To present Hollywood folk at their best CBS is to have eight air studios, one seating over a thousand spectators. Accoustically perfect because every wall is at a slight angle to cut out echo interference, the building's master control room is separated from Sun-
DO YOU realize that Radio has moved to Hollywood ? That it is copying Hol- lywood's success system? That it is shaping most of its major programs around screen names ? That even in casting the sup- porting roles for air dramas the preference is being given to screen actors? That, as a consequence, the movie stars are riding higher than ever before?
Remember that when Radio City was opened in New York there wasn't a single national hook-up from Hollywood. The mag- nificent metropolitan skyscraper was pre- sumably the final word ; the Rockefellers themselves said so. San Francisco was desig- nated the broadcasting center for the coast. But when Hollywood decided to tussle with
22
as v^onquered Kadio
By
Ben Maddox
Joan Crawford and Franchot Tone are Radio "regulars. Above, w,th DeM.lle producer of the Lux Radio Theatre. Right, Claudette Co ber gets ^e-fng^. Right below, affable president of "Jack Oak e's College. Below at ^bottom of page two pets of pictures and radio, Dick Powell and Jeanette MacDonald.
set Boulevard by merely a plate glass wall. While you stroll along you can easily watch the entire mechanism of the plant. Certainly a Hollywood touch, this! And not to be outdone NBC is discarding its new building of a year ago for a much larger one. Hollywood has Radio going ahead triple pace. Change and progress are local habits.
Radio has come to Hollywood because the public re- acted so strongly in favor of screen stars on the air. Shrewd air sponsors forced the big chains to transfer to where the desired talent is.
This influx of Radio has given a new fillip to the movie colony. Every actor now has an agent to take care of his
air offers. The spectacular cash that can be picked up is impressive to say the least ! Everyone discusses Radio propositions that are staggering. Eddie Cantor and Jack Ben- ny are tops in salaries, rating around $10,000 a week for their present programs. Jeanette MacDonald is paid $5,000 a week. Add to that her Metro wage and she's a modern wife who's doing all right for herself. The Lux Radio Theatre, the foremost dramatic air show, pays according to a star's picture in- come—a week's wage for a performance. Thus Gable and Dietrich and the highest salaried screen actors receive some $5,000 for starring for it. (You've noticed how Hollvwood this hour has gone, haven't you? It moved West, (Please turn to page 81)
23
Illustrated By Weldon Swain
CHAPTER I
KATRINE MOLLINEAUX and Bill Naughton had been drinking champagne cocktails for most of the afternoon, and they had reached the confidential stage. They were going back — farther back than even Hollywood, with its colossal imagination, could have guessed. At the moment, Katrine was saying:
"It's a long way from Delancy Street to Beverly Hills, isn't it, Big Boy ?"
Bill Naughton looked at Katrine quizzically from be- neath lowered brows. He'd had one champagne cocktail for every two of Katrine's.
"When I see you sitting in that red plush chair," he said, "I realize it's a very short way! You haven't
changed much, Katie !" He ducked suddenly, as Katrine threw a glass at him. It crashed, with a little silvery tinkle, against a marble column that had come from Pompeii.
"Shut up!" Katrine shouted, but it sounded ominously mild under the circumstances. Bill ducked again, in- stinctively, before he made reply.
"Better send for one of your army of Japs," he advised, "and don't throw glasses. SonWday you'll hurt somebody with your back parlor tricks."
Katrine beamed at Bill. Her temper was gone with the wind. She murmured: "You know, darling, I'm really very fond of you in a strange way. I'd find it rather hard to struggle along without you !"
Bill told her: "None of that soft soap, Katie — I know how vou feel about me. . . . You need me to go around after "vou, picking up the broken glasses and the broken hearts' and the broken lives. I'm a good publicity man.
24
Katrine gave a gasp and felt cold fingers clutching her heart. In the doorway stood a little boy who might have been seven or eight, or at the outside an under-siied nine. He wore blue overalls and a shock of red hair, and his wide, scored eyes reached out across the room until they found Katrine's face and settled there.
aby
An author renowned for her tensely human stories writes the amazing novel of a mercurial screen siren whose passion for publicity tempts her to toy with the irresistible forces that govern every woman's heart
By
Margaret E. Sangster
and an A-l fixer. If it weren't for the homework I do, nobody'd go to see your lousy pictures!"
Katrine looked at Bill with eye- that were wide and hurt. Her pictures weren't lousy — Bill knew it, and Katrine knew he knew it.
"You're being nasty, this afternoon," she moaned faintly, and started to cry. Her tears were large and bland.
"Your mascara," warned Bill heartlessly, so she thought better of the burst of emotion and rang for one of her noiseless, perfectly trained Japanese servants, in- stead.
"Kito," she drawled, as a minute, brown-eyed man made his appearance, "you can sweep up that mess. Mr. Naughton is so careless with glasses."
The Japanese servant made strange hissing noises be- tween his teeth and beamed at Bill. Bill beamed back.
"Kito knows me better than that!" he said. "I never drop> — anything !"
The Japanese servant beamed harder than ever, if possible, and bent to retrieve the fragments of crystal that lay upon the floor. Katrine watched him quietly, but her even teeth worried her lower lip.
"When you get through with that business," she said at last, "you can show Mr. Naughton out. He's about ready to go home — aren't you, Bill?"
Bill chuckled and reached for a cigarette. He spoke to the' Japanese, ignoring Katrine.
"Don't pay any attention to her, Kito," he remarked placidly, "I'm probably staying for dinner."
The little Japanese broke into speech. Servants, chil-
dren and animals all adored Bill Naughton. He said: "Good, veddy, veddy good!" and left the room as silently as he had entered it, while Bill winked at Katrine and -aid, "You see how I stand, honeybunch !"
Katrine twitched one slim shoulder, and muttered :
"You're as thick skinned as a rhinoceros, Bill. Can't you take a hint ?"
Bill Naughton laughed softly and for quite a long while. He said :
"You bet I can, when I want to, but this isn't one of the times I want to. I came here to talk business and I've done nothing but drink gallons of your cheap cham- pagne— "
Katrine interrupted furiously. "You pay for a gallon and see how cheap it is — " she told Bill. '"So what?"
"So this — ■" finished Bill. "I'm going to stay until we have our talk, if I've got to make a night of it."
Katrine was undiluted sunshine again. She was mer- curial, always. Well, almost always !"
"Are you propositioning me at this late date, darling?" she giggled. "Should I be flattered?"
"No, I'm not propositioning you," Bill retorted. "Oddly enough, I'm trying to earn the rather magnificent salary you pay me. What are you going to do next, baby, to get your name in the papers? Have you made any plans?"
Katrine yawned as whole-heartedly as a kitten. "Divvil a plan," she said. "Thinking of gags for me is your job."
Bill groaned, "I know it is and I'd rather play ping- pong with Satan, any day."
Katrine yawned again. She (Please turn to page 64)
25
nu
bbi
ng
th
e
tars
They may be fortune's darlings most of the time, but there are occasions when Hollywood's pets have to "talc whether they like it or not
By
Jerry Asher
BEING a glamor girl or a per- sonality boy is awfully good work if you can get it. But just try and get it and it serves you right. Don't ever think it's all moonlight and shadows with Dorothy Lamour in your arms. The Hollywood pixies from Never-Never land have their little moments too, when those fa- mous faces are not their fortunes. In spite of their world acclaim, the Taylors, the Tones, the Tyrones and the Simones get snubbed beautifully. Even as you or I.
Believe it or Ripley, Fred Astaire was refused admission to a public dance hall. It was when he first came to Hollywood. Before starting a picture he made a tour of all those local points of beauty recommended by the Chamber of Commerce. His good friend Randy Scott offered to serve in the capacity of official guide. One week- end they went to Catalina. Their first night there they wandered down toward the open air pavilion. Fred heard music and quickened his step. (No pun in- tended.)
"Let's go in and watch them dance," exclaimed the man whose own dancing was destined to thrill fans all over the world.
At the entrance they were stopped. Randy could go in because he was wear- ing a tie. But that gentleman with him would have to put on a tie too. Or wait outside. The fa- mous dancer of two continents preferred to run back to the hotel and attire himself properly. Dressed according to the rules and regulations, he gained admittance. The following Christmas Fred received a box of the most horrible looking ties in captivity. Enclosed was a note from Randy Scott, that read: "Just in case you ever need these in an emergency."
Robert Taylor got his in the Astaire manner. Only Bob's was even tougher, because he happened to be with
You'd think, looking at Ginger Rogers, top, that she'd be welcome any- where. But once she was turned down cold! Fred Astaire, above, was re- fused admission to a public dance hall. Read why. Franchot Tone, right, is regular enough to admit it when he's in the wrong.
26
n ts re ore nne Dur, the am. its of >:o me, written irriages [Miriam id people 1 wouldn't . f coffee, I nood music, that stained with love and liriam Hopkins said my friends
before — I recall an
By Elizabeth Wilson
Two more film-famous couples who are recent
lice nne tessor,
willing victims of Hollywood's Cupid Cycle: Faye and Tony Martin, at left above; and Shirley and John Payne, at right above. Profe
lay
'Loh
engnn
especially good one tucked in between an influenza cycle and a star sapphire cycle — so I knew exactly how to comfort myself in the presence of a fresh, dewy-eyed bride. The approach is simple, just a mere blending of the spiritual and the sentimental, the madonna-like smile and the sympathetic hand patting. I knew my lines per- fectly, heaven knows I should by this time, but I regret to say that Miriam didn't throw me a single cue, not one. When I had arrived at the point, (with great difficulty due to the constant ringing of the telephone), where Miriam, as a fresh young bride, was supposed to look dewy-eyed, blush modestly, and Tell All about her Be- loved, she merely kicked off her mules and proceeded to do her toe nails with nonchalance and a bright red polish. During this ceremony, which I assure you is simply devastating to the mystic ecstacies, I should say that at least twenty people passed in and out of Miriam's dressing-room, including her ex-husband Austin Parker, a Madame Somebody or Other who reads fortunes with cards, a masseuse, a producer, several Russians, and a man with a script from the studio.
"Come on over, dear," Miriam had said on the phone. "We'll talk. Just you and I." Just you and I, my eye. It was about as cozy as Grand Central station when the Century gets in with Robert Taylor. But Miriam has always loved having people around her, the most ill- assorted but thoroughly fascinating people, and if she ever invites you to a quiet little just-you-and-I-dear dinner in her lovely home don't be at all surprised if eighty people sit down at little tables. Not party-crashers, heavens no, Miriam knows each and every one of them,
and each and every one of them has the most thrilling life story — when Miriam tells it. Well, there wasn't much I could do about "the real marriage story" with Austin Parker shouting, "The script smells. I wouldn't do it if I were you," Madame shuffling the cards, and Lubitsch crashing into Greig in the next room. But eventually there comes a lull, even at Miriam's, and I let loose with, "When did you meet Tola? When did you fall in love?" When? When? When? Why? Why?
"I had to marry Tola," said Miriam giving me one of her famous under-the-long-eyelash winks. "You see if I hadn't married him I would have made a liar out of one of the best fortune tellers in Europe. She would have been awfully mad." No blushing bride had ever told me that before, me who has survived, (without benefit of grammar), at least six marriage cycles. This, indeed, was going to be a new high — or a new low — in marriage stories.
"Her name was Madame Hungaria and I met her in Paris and she did perfectly marvelous things with cards and crystal balls. She told me that when I returned to Hollywood I would be hurt in an automobile accident — and I was, when Mrs. Astaire's car bumped into mine. Then she said that within a week I would meet a man who would be very important in my life and I would marry him and his name would be four letters. 'It's like Tony,' she said, 'but it isn't Tony.' I was frightfully intrigued.
"A few days later in the cocktail lounge of the Nor- mandie I met a Mr. Litvak — [Editorial aside: Miss Hopkins did not pick him up, he was properly introduced by mutual friends] — who in the course of the conversa- tion said his name was Anatole and I said what fun, I can remember that easily because I once played in 'The Affairs of Anatole' on Broadway. 'But my friends call me Tola,' he said. 'T-o-l-a — it (Please turn to page 80)
29
^ ^veddi
When Carole Lombard and Fredric March team up in a Ben Hecht comedy, the fun is fast and furious. At left, Freddie as star reporter swears to his managing editor, Walter Connolly, that he'll bring back the newspaper scoop of the year — or else. What he "brings back" is Carole, accompanied by Charles Winninger, and for what happens then, read our story.
T!
"HIS is New York,"' YVally Cook, star reporter of the Morning Star, had written in one of his most inspired articles. "Skyscraper champion of the world, with a silk hat for a soul "and a mammy song for a heart. This is Bagdad, Babylon, and Podunk in a cake walk between two river banks. This is where the Slickers and the Smart Alecks hang their gold hats, and where the sky is a forgotten sign left in the wind by a defunct firm. This is New York, where the handwriting on the wall is part of a daily menu. The fortress of sophistica- tion with a price tag for a flag. Where nothing is too strange, too macabre, too humpty dumpty or too Ooh- la-la — if it happened there."
And nothing had been too humpty dumpty to happen in New York. For there he was, YVally Cook, the tops in newspapermen, kicked smack off the front page into the dismal backwash of the obituary columns!
What did a paper demand of a reporter anyway, he thought glumly. Maybe he should have been born with a crystal ball in his mouth. Maybe that's what OliverStone demanded on his staff : psychic powers. Even now it hurt to think of Oliver, that heel who used to be his^ friend and was still his editor.
He'd been his pal all right when Wally Cook had unearthed the Sultan of Mazipan at a night club and brought that fabulous offer of his to erect a Temple of Art in Xew York where the theatre, the dance, and
30
"Nothing Sacred," gay and giddy Ben Hecht romance with Lombard and March, is here re- told in sparkling fiction form. Read season's sprightliest screen story
More scenes from "Nothing Sacred" something new in hilarious screen non- sense. Left, Carole swings at Freddie while Connolly watches. But don't worry, love finds a way, as shown below, with Carole and Freddie, after a series of amusing events, reunited.
Fictionized by
Elizabeth B. Petersen
Please tarn to Page 74 for cast and credits of "Nothing Sacred," Selznick-lntemational technicolor picture released by United Artists
all the other branches of culture would be offered free to the people, right to the city desk. Oliver had patted little Wally on the head when" the Sultan had consented to allow the Morning Star to sponsor his giant project, and wasn't it that same Wally who had sat in a seat of honor at the speaker's table at the banquet the paper had thrown to introduce the Sultan and his plan to the great and near great of the city?
Oh yes, Oliver had thrown plenty of bouquets at the feet of his star reporter that night, until the fatal moment when the dark lady from Harlem had crashed the banquet with her brood of pickaninnies and de- nounced the Sultan as her erring husband and the bejewelled Sultana as the massage parlor girl who had broken up her happy home.
And Oliver had blamed him, Wally Cook! As if anyone in God's newspaper world could have spotted the be- jeweled and turbaned potentate for a Harlem waiter with a Sultan complex.
And Ernest, alias Sultan of Mazipan, ex- piating his sins by emptying the office waste- paper baskets, proved a constant annoying reminder of his other degradation. In a sud- den spurt of indignation Wally jumped to his feet and made for Oliver's office.
"There's a limit to human endurance," he announced with that flamboyance even the obituary page could not take away from him.
"Indeed, Mr. Cook?" Oliver gave him a cold, disdainful glance.
"Listen, Oliver," Wally tried being his most ingratiating self, "I've been sitting in that dog- house for three weeks pounding out those daffy obituaries and I'm getting sick of it."
"Not sick enough, Mr. Cook," Oliver exagger- ated a shudder as he picked up a piece of proof and began reading it.
"That's gratitude!" Wally threw charm to the winds and bellowed protestingly. "I'm the best reporter you ever had. I've handed you a dozen scoops. I've frozen my eyeballs out for you in Labrador and I've run myself bow-legged through fire and flood for you, and now just because of some goofy little accident that might happen to anyone, you do this to me! Oliver, I tell you the paper's going to rack and ruin with me hidden in that water cooler. Look at this." He picked up the piece of proof and thrust it dramatically in front of the other. "Three sticks on the biggest human interest story that's hit this town in years. A poor {Please turn to page 74)
The adorable De- onno is shown, right, in her first evening gown. Below, a close-up of today s Deanna, then at bottom of page, when she was very, very young. Note how her radiance is not acquired — she was, of course, born with it.
By
a Zeitlin
For the first time, the great heart interest story of the screen's sensational girl singer is told here in all its fascinating detail
WHEN Edna May Durbin was born less than fifteen years ago, her sister Edith bent over the crib, and thought: •'What a nice baby!" Now that Edith is grown up and married, and Edna May has become Deanna Durbin. the movie star, the elder sister's opinion of the younger remains substantially the same.
She still calls Deanna Edna, because it comes more naturally to her. Deanna calls her Deedee. "It was her baby name for me. and it's stuck. She tacks an c on everybody's name. She calls my hus- band Clarency. for instance, as if Clarence weren't bad enough. Her smile is exactly like Deanna's, even to the little corner dimples. Her manner is like her sister's too — friendly without exuberance, wellbred without being stiff.
The Durbins are none of them given to extravagances of speech. With true British reticence, they keep their feelings to themselves. What they think of each other, you've got to catch in a glance or intonation, for vou won't hear it in words.
But as Edith tells the story of Deanna's childhood, the picture begins to form. A closeknit family of four, happy in one another, modest in their demands on life, with a sane sense of values left untouched by their transplantation into a new world. A household where the children were cherished without being spoiled. When it was discovered that their youngest had a voice which set her apart they were pleased, but with a sober pleasure. They realized too keenly the responsibilities involved for her, to be wildly elated.
32
"We knew she'd take the responsibilities hard," says Edith. "She was always a conscientious child. I remem- ber one Christmas she was ill with tonsilitis, and so dis- appointed because she couldn't help trim the tree. So I brought a little one home, and set it on the table beside her bed. 'We'll trim it together,' I told her."
No sooner had they finished than, to Deedee's horror, Edna slumped back among the pillows.
"But why didn't you tell me you weren't feeling well enough?" her sister reproached her later.
"Well," she whispered, "you took the trouble to bring it just for me. The least I could do was trim it."
The family knew she had a sweet voice and could carry a tune. They saw nothing remarkable in that. Their friends enjoyed hearing her, so when she was very small, they'd lift her to a table and let her warble her favorite Pal of My Cradle Days. Even when she grew older, and people began asking her to sing on charity programs, it never occurred to the Durbins that her voice might be anything but a source of pleasure to a few. And Edna, being a Durbin, accepted it in the same way.
For the rest, she lived the life of the average child in moderate circumstances, went to school, made friends among her classmates, spent the afternoons roller skating with them, sang in school productions. An ice-cream soda at a drug-store counter with the girls, or an early movie, constituted special treats. She loved the movies. When Clarence Heckman, engaged to Deedee, started working in the music department of a studio, she would pelt him, like any child of her age, with questions about the stars : "Whom did you see today, Clarency?" she would beg. Joan CRAWford? ! ! Really? How did she look, what did she have on, how close did you see her ?— Heavens, Clarency, weren't you thrilled?"
"Practically paralyzed, Ednerts," Clarence would as- sure her. "They had to pick me off the floor with a poker." Ednerts is by way of retaliation for Clarency. Far from offending Deanna, she considers it cute.
It was a family friend who practically pushed the Durbins into doing something about Edna's voice. Her daughter was taking piano lessons from an accompanist of Ralph Thomas, the singing teacher.
"Let me talk to him about the child's voice, she kept urging. "It's too good to be left untrained."
"We didn't pay much attention at first," says Edith, "because — well, you know how it is. You find it hard to believe that right in your own family and for no good reason, there's a voice that people will pay to hear. And besides, we hadn't had the money for lessons. But I'd finished school the summer before, I'd been teaching
Colorful close-ups of the Durbin career. Reading down: with her director, Henry Koster; a singing lesson with maestro de Segurola; then lunch with Koster and her producer, Pasternak; at bottom of page, as the star of "Three Smart Girls," her first film, with Nan
Grey and Barbara Read; a kiss from Eddie Cantor after a broadcast; and finally, Deanna astride her first pony.
since September, so I felt that if anything did come of it. I could at least help with the financial end.
"Our friend spoke to this man, she had him hear Edna sing, she made the appointment with Mi". Thomas, she all but carried us to the door. Xot that we were unwilling exactly — just timid, I suppose, about daring to think that Edna might become a professional singer."
Having been all but carried to the door. Mrs. Durbin and the two girls went in. Edna, just turned eleven, sang. It was no storybook scene. Mr. Thomas didn't fling his arms in the air, and shout: "Here is a voice." His eyes didn't sparkle with the joy of discovery. Maybe he was naturally phlegmatic. Maybe he found no cause to be otherwise. He thought it was a good voice. He thought he could develop it. Such and such were his terms. Les- sons were arranged for, and the Durbins went home.
The_\- were unique in this — that, living in Los Angeles where' children with a spark of talent or none at all bombard the studios daily — the thought of the movies never entered their heads. It was opera that Edna began to dream about. One day she came home and told them quietly: "Mr. Thomas said that maybe years and years from now I'll be able to sing in grand opera. You'd like that, wouldn't you? Only I don't suppose I'd better get excited about it yet. Because maybe I won't be good enough." Meantime she enjoyed her lessons, was grate- ful to Deedee for making them possible, continued at school, sang at her teacher's recitals and looked ahead to vears of the same routine.
And so it might have worked out, if Metro hadn't needed a girl to play the young Schumann-Heink. Among others, they asked Jack* Sherrill, an agent, to look out for a twelve-or thirteen-year-old, "with a fairly good voice, it doesn't have to be sensational."
One day a friend phoned. The fates seemed to be at work, for he knew nothing of Sherrill's commission. "I'm down here at Ralph Thomas's. I've just heard a kid with an operatic voice. Say, Jack, she's good. W ant to hear her?"
"Hold her," said Sherrill, grabbed his hat and ran.
One look at her face, and he knew he didn't have to worry over that part of it. She sang // Bacio for him. "How'd you like to go into pictures?" he asked.
Her eyes widened, the only sign of any inward tur- moil. "Do vou think I could?" she returned soberly.
Deanna, at top left, with Adolphe Men- jou and Leopold Stokowski in "100 Men and a Girl." Reading from top right: with her mother; a family scene, with father Durbin reading the paper, Deanna with her dog, mother knitting; and, at right, Mr. Durbin chats with Deanna's beloved sister Edith.
Sherrill offered her parents a managerial contract. "We were all quite calm about it," Edith recalled with a gleam of amusement. "Mr. Sherrill's attitude may have had something to do with that. He didn't seem to care- very much one way or the other, sort of take it or leave it. It wasn't until after the contract was signed that he began getting enthusiastic. We were so ignorant of what the whole thing meant and would mean, that we couldn t tell what to do. Edna didn't urge us one way or the other, she said whatever we decided would be all right. So — mother and dad finally decided to take the plunge and sign."
Sherrill arranged for an audition at Metro. The little girl sang Bacio for an assistant musical director. He summoned his superior. She sang again. A buzzjjjE whis- pering, and a third expert was (Pkase turn to-4§§ - 70)
34
VU "Mr.
an<
irs.
Clarence S. Bull
William (Tell) Powell, wearing Myrna's new hat and apparently borrowing Spanky MacFarland's favorite toy gun, and Miss (Apple a Day) Loy compose their famous features into perfect pro- fessional dead-pans to appease the studio photographer's craving for "some- thing new and crazy" in the way of a funny picture. At left and right, the skilful players counterfeit a domestic battle; and below, they pose prettily for a tender scene.
The madder and merrier the movie, the greater the rush of customers to the box-offices of the land. So that popular team of Myrna Loy and William Powell cast aside care and discretion completely to pose for "gag" pictures such as the one at the top of this page; and to stage many merry battles, and almost as many sweet makings-up, in their charmingly crazy new film. Don't ask us where it will all end. All we hope is, that M-G-M never arranges a divorce between Nick and Nora, or Myrna' and Bill, or whatever you want to call the screen's most sophisticated couple.
Most hilariously hectic "married couple" in our movies, AAyrna Loy and "William Powell continue their "ThinManandWife" cycle, this time titled Double Weddins"
opper lay
Taylor!
/a
Presenting Bob at his best in por- traiture. Here are the latest and most realistic close-ups of the screen's Prince Charming
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Hundreds of thousands of women can't be wrong — they say Robert Taylor is even handsomer off than on-screen. These portraits are further proof. For poise as well as profile, consider this shot at right; and for the easy infor- mality and engaging Taylor smile, study the three grand close-ups above and at left. Bob is now in England making his latest, and first picture abroad, "A Yank at Oxford."
Iff
> *
'In Old Chicago" the rivals, above, are ryrone Power and Don Ameche, with Mice Faye — very understandably, as fou notice at the far right — the object )f their affections. The scenes at right ind below tell the story. Right, the ines of battle are drawn. Below, Tyrone ind Don fight it out. But they're pals igain, with Alice Brady as mediator, in the scene at bottom of page.
Friendl
ivals
Amiable, but none tne less ardent antago= nists for tne favor of Alice Faye, are Tyrone Power and Don Ameche, as two very personable men and a very pretty girl be* come romantically involved in a new and elaborate screen play
On, and On, and On Witn tne
Dance!
Hollywood has been dancing for years. But now, for the first time, it offers classic ballet to screen audiences. Samuel Goldwyn, real picture pioneer of the artistic and worthwhile, presents in "The Goldwyn Follies" the American Ballet of George Balanchine. Left, Heidi Vesseler, called "world's ballet beauty." At right, close- ups of two other dancers, Hortense Kahrklin and Made- leine Leweck; and across top of opposite page, views of girl dancers in practice clothes, hard at work rehearsing.
Three differer.' dance styles are il- lustrated, at left, b* Evelyn Thawl, new- comer to Hollywood from Broadway: ftf left, the hey "Charleston." Center, the French can-can. Left, to- day's strut. Now, at right, you set Priscilla Lane re- hearsing one of her own original dance routines, in gay, reckless modern tempo.
And still they dance! This time it's the "Mer- ry-Go-Round," new dance performed in tango- rhumba rime, created by Carl Randall for Universal^ "Merry-Go-Round of 1938," and performed by John King and Joy Hodges, love team in the picture— in eight positions, reading from left to right across the center of our two pages. Now you try it!
Here Dwells
Dainty Anita
Anita Louise, whose delicate colorings and Dresden china charm are reflected in the interior treatment of her house, is seen at upper left, on the stairway that ascends from a tastefully furnished re- ception hall. Above, the star in her music room. Top right, breakfast room.
There's a play room — equipped with bar — in Anita's home, and you'll find it inviting and attractive as represented in the view at right center. Right, the bedroom, daintily feminine to the last detail of the draperies and bed-spread. Above, Anita does a bit of needlework there in the far corner near a window in the sitting room.
jAnita Louise, perhaps more than any jHoIIywood homeebuilder, finds the per* feet expression of her own personality in her fastidiously planned abode
The porch, a pleasant place to enjoy the sunny — when it is — California weather, also provides good candid camera shots, as you see at top right. Above, breakfast in her boudoir. At upper left, the lady of the house supervises the final arrangements of the dining table.
Close-up of the table set for dinner, gives you an idea of the tasteful way crystal and lace, china and silver are arranged at Anita's house- left center. Left, a view of the drawing-room from the library. Thats Anita standing in center foreground. Above, a close-up view of the fireplace, central feature of the living room.
Dick Powell boasts one of the most extensivi and expensive — wardrobes in Hollywood, so trust Dick to wear just the right clothes when he goes places. You get the idea in the three poses of Mr. Powell above: check sports jacket, belted informal lounging coat, and high hat with a timely tilt — all show style.
V^hat the well-dressed man will wear — or will he? Anyway, you must admit Hollywood actors know how to pick clothes that suit their personalities
Dictators— of Fashions forM <
I
Tennis is Ralph Bellamy's favorite sport — he plays and he also runs a popular tennis club. What's more, as proved by the picture at left, Ralph knows how to dress when he's going out to the courts. Jack Holt, right, gives the mature and substantial man of af- fairs style ideas worth copying.
Preston Foster, apparently, doesn't do things by halves, and he puts on a real fashion- plate pose to illustrate, above, the very latest thing for for- mal morning wear. Patric Knowles, center above is an- other smart dresser, gives just the right twist to a black and white checked scarf.
For something dashing you may always look to George Raft, who likes his clothes to be lively as well as smartly tailored. George, above, sets a sprightly pace with a spirited sports jacket. Left, a bit on the quiet side, but always distinctive, are the clothes Ian Hunter wears.
And speaking of expressing person- ality in the clothes a man wears, here's Cesar Romero, above, over- coated and hatted precisely, it seems to us, as you'd ex- pect of the actor who plays those dark and menacing screen rdles so convinc- ingly. There's nothing in the pose to suggest that Kent Taylor, left, is set- ting fashions — but have another close look at the trim fit and smartly striped fabric of" his double breasted outfit. Right, the customary lounging cos- tume of Hollywood, sweat- er, slacks, and open-col- lared shirt — worn with that casual ease character- istic of Randy Scott. Ran- dy's taking it easy here on a holiday from the studios.
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Dizziness begins at dawn for that zealous Zany, Ben Blue. First chime of the alarm clock starts Ben clowning—fine way to get into tne mood for work
r
Here's a new game for you! It's called "around the clock with a cuckoo." In otheT words a day in the life of a movie merry -go- rounder who goes dizzy to delight laugh-seek- ers. Ben goes into his dance before he gets out of bed, and you can follow him through his morning ablu- tions, to dressing and breakfasting, from top to bottom at left, and on to a dip in the ocean, right. Above, Ben Blue and Judy Canova, two successful screen screamers, in a new picture, "Thrill of a Lifetime."
Bob Burns and his bride have a lovely new home in Bel-Air, as you see in these pictures of the exterior and interior of the house, below, with the comedian and Mrs. Burns en- joying life there. Left, Robin has a feathered friend he's proud of — says he swims like a duck. Far left, listening to a recording of a recent broadcast — the elaborate equipment in his home enables Bob to be his own severest critic.
iotin s Rest —
Between Gags
Boh Burns holidays at home — you under= stand why when you look in on him as he relaxes, which we make easy for you hy presenting these reaUlife views
It s Always Play^Time
in ^
Hollywood
AH the year 'round, Hollywood's handsome young people cavort by sea or stream, dune or dude ranch. Top left, new team-mates Jimmy EUison and Jean Parker take time off from "The Barrier" for fun. Center, not making much hay but looking lovely are Jean Rogers, Judith Barrett, Frances Robin- son. Top right, that cut-up, Marie Wilson. Jean Parker again in her sun-suit, Jean Rogers doing a lady Lincoln act; and, left, Lana Turner kidding Izaak Walton.
Jane Bryan, left, takes her sun seriously. Joy Hodges, right, not only decorates a swimming-pool, she can really swim. Below cen- ter, Larry "Buster" Crabbe teaches Paramount's stu- dent players the fine art of posing in the pool. At bottom of page, from left to right: new twosome, Betty Grable and Leif Ericson; Mary Maguire, ready for badminton; and Margaret Lindsay, beauti- ful support for a fine old Hollywood star, Sir Tree.
MJ
4
Against the ex- travagantly colorful back- grounds of Ori- ental splendor of the 13th century, Gary Cooper plays the adven- turer who jour- neyed from Eu- rope to Asia, and discovered the riches of the Great Khan's court — and also the lovely Prin- cess Kukachin, played by Sigrid Gurie, Norwe- gian star who makes hei Holly- wood bow in this picture, and seen in the Still of the Month, at right. Above, Gary in a scene with Basil Rathbone and Ernest Truex. Below, close-up of the stars in a romantic scene from the new Goldwyn epic.
i The Most Beautiful Still
I
f the Month
From "Tne Adventures of Marco Polo
Stars are brisk and hearty when they sojourn in England for work or play
By Hettie Crimstead
completely captured them. He kept the make-up man waiting five minutes one morning and apologized to him profusely ! He never fails to open the door for a woman or place a chair on the set for a visitor and he listens to your conversation with the most charmingly flattering attention.
During the making of his British pic- ture, which has Maureen O' Sullivan in the cast, Bob is (Please turn to page 67)
D
Leslie Howard, his wife and son, Ronald, arrive for an extended stay in their native land. Roland Young, right, goes penguin-collecting. Sonja Henie, at far right with Monty Banks, was a popular visitor. At right below, Raymond Massey, home- comer; and Robert Taylor, new arrival.
A.RDON my bruises. I went to Southampton Docks to meet Robert Taylor and since thousands of his English women fans had had the same idea, I literally fonght my way across the "Berengaria" gang-plank and up on to the sun-deck where the hero of the hour was standing. In a blue-grey suit that exactly matched his eyes, Bob was waving down to the seething feminine mass on the dock, calling out that he was glad to see them and delighted the}- had taken the trouble to come.
"Does it worry you?" I asked him curiously. His sun-tanned face wrinkled into the famous smile.
"It'll worry me when they stop mobbing me,'' he replied. "I like my fans and I'm tremendously grate- ful to them. I only hope they aren't disappointed when they meet me in the flesh."
Well. / wasn't anyway ! Undoubtedly Bob is far more good-looking in reality than on the screen which can't convey his fresh complexion and rich jet-black hair and the air of well-groomed health he radiates. I've met many famous Hollywood vis- itors but never one so natural nor so modest as Rob- ert Taylor. He tries to have a smile, a wave, a word for each and every one of the crowds that besiege him and he signs autograph-books until his fingers go stiff with cramps. He was so considerate for other people aboard the "Berengaria" the stewards became his fans to a man. They voluntarily mounted guard outside his stateroom door when he asked not to be
disturbed— when he was having his daily ocean phone talk with his mother, for instance, or reading his mail which he always makes his own personal duty.
Down at Denham Studios, where there is a won- derful replica of the grey old college which Bob will attend as "A Yank at Oxford," everybody echoes the verdict of the ship, for the Taylor charm has
51
STAGE DOOR — RKO-Radio
TOP entertainment of the movie month, this very free and easy-to-take screen translation of the Edna Ferber ^'play" surpasses every other offering. It's spirited and sparkling, but surprisingly enough, not at all shallow. Beneath the glitter of the good lines, both of dialogue and the big cast of girls, is genuine heart-interest, revealed in terms of true cinema, thanks to director Gregory LaCava. The account of the goings-on in a girls' theatrical boarding-house in New York is skimpy stuff until Mr. LaCava takes it in hand and turns it into a warm, wise, and witty show. Cheers, too, for his inspired direc- tion of Ginger Rogers, who for the first time proves she can stand on her own shapely feet as an authentic artist without Astaire. As Jean, wisecracking little dancer who is the life of the girls' club, Miss Rogers dominates every scene in which she appears, glowing with good spirits and that electric quality pos- sessed by the few screen "greats." She steals Hepburn's scenes ; she makes even Menjou a background actor for once. It's Ginger's picture — except for those scenes in which Andrea Leeds appears. This new Miss Leeds holds her own even with Ginger, as the tragic young actress robbed of her coveted role by Hepburn.
ANGEL — Paramount
THE elegance of Dietrich, the suavity of Herbert Mar- shall, the indifference of Melvyn Douglas, and dozens of Lubitsch touches fail to put "Angel" into the heavenly class of super-cinemas. We've been hearing of "Lubitsch touches" for more years than we care to count ; and occasionally we've seen some ; but if there are any typical "Lubitsch touches" in this picture they are so light as to be barely noticeable. There's the Eddie Horton touch, and the Ernest Cossart touch — as the valet and butler of the Dietrich-Marshall household, these two peerless performers bring the film to life whenever they appear; but this is too seldom. The story is a mess of amorous mumbo- jumbo in which Dietrich is the world's most desired woman, by two men, her husband, Mr. Marshall, and the mysterious stranger, Mr. Douglas. Admitting Dietrich is the world's most alluring woman, need we be reminded of the fact in every scene? She's lovely to watch, but we really wonder if a man like Herbert Marshall, with his sly sense of humor and all, would have been so patient. We're not so surprised at Mr. Douglas. It's hand- somely mounted, gorgeously costumed, expensively produced ; but it makes an old short story long in none too entertaining fashion.
< & ■ SEAL OF] i
vs — 3
Reviews
of the best
Pictures
by
LIFE BEGINS IN COLLEGE— 20th Century-Fox
AND mad movie comedy begins, and ends, with the Ritz Brothers. If you like the boys, this will probably be your favorite screen entertainment of the season. If you don't like them, I'm sorry for you; you're missing a lot of fun. To me they are filling, in fact overflowing, a long-felt need — now that Chaplin has retired in gloomy grandeur, Harold Lloyd makes so few pictures, and the Marx Brothers have gone to the races. Of course, you have to fling yourself into the mood with some- thing of the Ritz Brothers' own wild abandon, to appreciate them at their true worth, especially since they are now Stars, carrying the weight of the whole picture on their shoulders. It's all right, though, in this case — "Life Begins in College" is just the blend of berserk nonsense the boys can do the most good with. The gridiron, as you've guessed, is the scene of their hilarious labors here, and until you've watched the Ritz Brothers play football you have not really laughed. Their other numbers include a rhumba specialty, an Indian burlesque, and the Spirit of '76 boys — stop, they're killing me. A surprise standout is Nat Pendleton as an Indian football star. Tony Martin is present, too briefly. Joan Davis does a funny song and dance. Gloria Stuart smiles.
52
GOOD:
"Life Begins in College" "Something to Sing About"
BETTER:
"The Perfect Specimen" "Ebb Tide"
BEST:
"Stage Door"
CHEERS FOR:
Ginger Rogers, Andrea Leeds in "Stage Door"
Oscar Homolka, Ray Milland in "Ebb Tide"
CHUCKLES FOR:
Errol Flynn, Joan Blondell, May Robson,
Edward E. Horton, Hugh Herbert in
"The Perfect Specimen"
James Cagney in "Something to Sing
About"
ROARS FOR:
The Ritz Brothers in "Life Begins in College"
THE PERFECT SPECIMEN — Warners
A GRAND, gay show, with Errol Flynn proving he is just as potent a personality — though no better an actor, I must add — as in costume "period'' pieces ; and with Joan Blondell delivering her deftest performance to date as a young woman who, amazingly enough, takes one hour and forty- five minutes to fall for the Flynn charm. This has what's so very, very rare in screen comedy circles : a truly amusing idea — that of an earnest, upright young man, heir to millions, whose doting grandma insists that he study to become "the perfect specimen" of physique, intelligence, and everything else, skipping only human nature. It turns out, of course, that Air. Flynn is just as human as the more imperfect specimen peopling our poor world, but it takes a series of entertaining episodes — some hilarious, some thrilling, all delightful — to awaken him to keen interest and ap- preciation in such every-day occurrences as prize-fights, which I regret to add he always wins; beautiful girls, of which Miss Blondell is the prize specimen ; and a working sense of humor. May Robson is superb as the tyrannical granny; Eddie Horton is priceless as the absent-minded secretary ; Hugh Herbert is crazily present. Mr. Flynn is definitely, here, No. 1 Threat-to-Taylor.
EBB TIDE— Paramount
THE most entrancing scenic shots in true technicolor yet seen on the screen occur in "Ebb Tide," first fictional film ,to turn to tropic isles and dazzling sea for color values. When you see the good ship "Golden State" ploughing the waves with the sun sparkling on the Pacific — and also on Frances Farmer's hair — you will probably be moved to applause, and the certainty that color films are here to stay. When / saw how Raymond Milland takes to color, I was more than ever convinced that I had, 'way back there in silent days, picked a winner in this handsome young Englishman with the rather lazy charm ; and since Mr. Milland has survived the advent of both' talkies and color pictures, I should say he is definitely here to stay, for which cheers. Oscar Homolka, a fine actor whose one fault is that he acts too much, dominates the drama with his characterization of a renegade sea captain whose last adventure on a mysterious pearl island very nearly results in disaster for Ray Milland and Frances Farmer — which would have been too bad; and for Barry Fitz- gerald— which was quite all right with me, for I was tired of Mr. Fitzgerald's disgusting display of over-acting. But for gorgeous scenery and romance don't miss "Ebb Tide."
SOMETHING TO SING ABOUT— Grand National
AND really something to cheer about, Cagney's new picture — in which Jimmy is his old self, and a couple of new ones, proving that for pungent characterization and inimitable personality the cocky little Irishman is still unique on the screen. Here's a comedy which gives Cagney his best and biggest chance since his historic battle for cinema inde- pendence, in a role combining the popular qualities of hard-guy and boy-who-makes-good-in-Hollywood. If you can imagine a cross-section of a Dick Powell musical and the roaring, rollicking kind of melodramatics Jimmy himself used to knock out, with slight overtones of "A Star is Born," you come somewhere close to an approximation of the entertainment values of "Something to Sing About." Jimmy plays an orchestra leader signed for films, who finds Hollywood no paradise. After some typical Cagney fisticuffs he turns his back on Hollywood, only to discover — you've guessed it, you smart-aleck — that Hollywood wants him. Bill Frawley and Gene Lockhart are good as press agents, and Mona Barrie is decorative as a screen siren. A new girl, Evelyn Daw, has a charming voice. And oh yes, our James sings and he dances. While he's no Powell or Astaire, they aren't Cagneys, either.
53
Picture-Mad M
an
d
Talk about a busman's holi- day! Here's a handsome young actor who works in pictures, then spends his spare time taking 'em! Let Ray Milland tell you what's wrong with your pictures, how to make the most of your camera hobby
By Ruth Tildesley
ON exhibition in Munich. Germany, are three photographs, each one signed in an odd, round scrawl "Jac R. Milland." The first is a study of an old peasant woman in a black shawl sitting by the roadside in the Thuringian Forest. The second is a scene at Ardenza Beach in Italy. The third shows barges go- Mac R. Milland" is that excel- lent young actor known on the screen as Ray Milland, and if acting ever fails him he will turn from amateur picture-taking to professional camera artist.
He's been shooting candid pic- Top, left, Ray aims at our reporter, Miss Tildesley, on the beach at Catalina. Then you'll see two sea shots, a pic- turesque peasant, a Swedish baby, a good interior, and — below — an informal snapshot of Frances Farmer on the set.
tures for eight or nine years, using everything from a small Brownie to his latest Contax.
"I don't know how to paint or how to draw," he said, as we shared the brief shade of an umbrella on the Catalina shore, "but before I had been working with a lens and a shutter and scenes that appealed to me in front of them for a long enough time to work out experiments, I discovered that photography is every bit as much of an art as painting. Some experts say it is more difficult and requires more artistic ability but in the end the results are more satisfactory.
"At least, it is a fascinating hobby — one that never grows old because there's so much to learn. With each shot, you discover your mis- takes and after a while you learn to avoid them. Most amateurs over-estimate light conditions — that one thing causes more failure than any- thing else. Impatience is at the root of it, I suppose. We see something we simply must have and snip-snap we go! We don't wait a second to find out if there is enough light on the subject or whether or not there is too much shadow.
"Of course, shadows make your picture. Here are two shots I took on this location at Catalina"- — Ray was working in "Ebb Tide," under director James Hogan — "This one I shot from the pier at the Isthmus — you notice the shadow of the palms and the deep color of the sea which emphasizes the clear white of the yacht and the small rocky island offshore. In the other shot, they are dropping sail on Golden State, our ship; see the odd shadow effects."
Ray prefers making shots of inanimate ob- jects, rather than of people.
"Any pleasant scene means a picture to me," he observed, "It needn't be pretty-pretty. For instance, a row of lights high up on a studio stage can make a fine picture. That's my idea of an interesting shot; those lights, taken from a certain angle, can look as if they are marching along; and they don't all look alike in your picture, either, each takes on its own beauty.
"But when you try to photograph people they freeze up and become selfconscious. All their natural charm vanishes. You have to waste a lot of time cajoling them, talking to them, trying to make them forget that you are hanging around with a camera and that some time soon you'll be clicking the shutter and how will they look? It's not worth the effort ! If you shoot scenery, or inanimate objects, the place or the things are there before you paying no attention to you ; all you have to bother about is the angle you'll shoot from, the frame you want to make, or the light situation.
"Take those Munich exhibition (Please turn to page 78)
Left, the camera artist himself! Above, shadows while dropping sail on "Golden State," the ship used in "Ebb Tide." Below, Frances Farmer off-guard; a tropical shot; lights on parallels; and finally, at lower left, "Bell House," a noted club outside London, England, and lower right, mountain peaks and clouds.
7-
55
Strange
She has blossomed into a real actress, this lovely blonde who was once known only as a singer of torrid songs. Above, a love scene with Tyrone Power from "In Old Chicago," and at right below, a close-up of Alice in her first dramatic role from this Darryl Zanuck "epic." At right, the old Alice — fuzzy hair, sequins, and feathers — but the legs are still as lovely as ever!
PICKING violets is not Holly- wood's favorite outdoor sport. Lack of it is probably due to the all but hopeless feeling that there aren't any. Yet, amazing to tell, in roaming over Westwood Hills to Twentieth Century-Fox, wholly un- awares I incredibly picked one — Alice Faye.
Now I do not mean to give the impression that this rare flower of the films stems affectedly from the shrinking variety. It is only that her modesty is gratefully refreshing in an atmosphere not unduly laden with this engaging quality. Her simplicity is as beautiful as her legs.
Happily, these twin possessions, which by comparison made Marlene Dietrich's seem like foreign liabili- ties as they propelled their youthful owner into a private dining room of the studio commissary, were at par in blue-gray slacks. Apparentlv she set greater store by them — the slacks, of course — than in her considerable professional properties. And certainly I was quite unprepared to hear her say :
"I feel very insignificant, and can't imagine people noticing me and doing things for me. I've always felt that way, that I don't matter around here."
She meant it, too — there could be no doubt about that. But it was equally true that she was completely alone in this feeling. Evidently she didn't know that the head of the studio, Darryl Zanuck, in watching the "rushes" one day had exclaimed of her: "My God! To think she was on this lot four years and nobody ever discovered her !" Not that it probably mattered at all had she known. For when I tried desperately to talk her out of herself she merely said :
"I came here as a singer and dancer, and that's all
By
Charles Lancaster
I am now. They tried to send me to school at the studio and bave me learn how to act. The teacher had me walk across the room balancing a book on my head. That made me feel so foolish that I never went back.
I can't learn anything that way. I have to 'get' things."
It was only natural to wonder how she got rhythm.
"It's just part of me. I don't know music, can't learn it, it just doesn't stick. I've got to catch things as they come along. I caught music young, like measles. As a kid I was crazy about hand- organs. I'd follow them in the street till I got a tune in my head. The first one I caught up with was 'The Sidewalks of New York.' It was the same way with dancing. Every tune I picked up would go to my feet. I can't claim credit for anything. Probably always lacked the nerve for it."
But something in that whole- some face of hers, a healthy cour- age strengthening its glowing charm, told me that she had an- other guess coming.
"W ell," she reluctantly admit- ted, "in my kid days I did do one thing that took a lot of nerve. We lived in the Fifties just off Broad- way. That was my street. I loved it. But what I loved most of all about it was the theater. So I'd sneak into a theater alley, walk up to the stage door, then turn right
56
A
ice in
w
o n d e r and
around and come out proud as a peacock. I thought people who saw me would believe I was an actress play- ing in the company there. It was silly, but I got a big- kick out of it."
All her life, I could readily imagine, the unpredictable Alice had been as full of surprises as she was of spa- ghetti in "You Can't Have Everything." One now was forthcoming as the waitress returned with the eupeptic star's order — crackers and milk !
"I don't dare eat much when I'm working," she ex- plained. "The other day I had a pineapple salad, but I was so nervous that it tied my stomach into a knot. That's the way it's been ever since I came to Hollywood. I didn't want to come and didn't want to stay. The first vear I was here I made six trips back East. I hated the place, couldn't stand it. I wouldn't have stayed if it hadn't been for my mother. After the George White picture the front office called me in and offered me a con- tract. I didn't want it. But when I got home and told my mother she said: 'You had better think it over. This chance may never come again, and then you'll be kick- ing yourself.' To please her I agreed to sign the contract. Then I went to bed and cried all night long. I figured I wouldn't last. That was all right with me because T was terribly lonely here. I didn't know a soul out- side the studio. My trunk wasn't unpacked, and I lived in one dress. But I'd go out every night — had to or go crazy. People would say, 'She's a nice girl, but win' doesn't she ever stay at home r 1 thought them very pleased with themselves — I still think some are. But most are swell. I can't knock Hollywood. It has been good to me. After a num- ber it has patted me on the back. This has helped take my mind off trying to be an actress. When in doubt I can always sing a song. People say the other thing's easy. Maybe it is for them, but not for me. I i just get along here J the best I can. If I went to an o t h e r studio I'd be petri- fied. Even here, on the first day of a pic- ture, I'm sick, shak- ing. When we started 'In Old Chicago' I fainted. I suppose it's because I never seem at home in pictures. I've had the same feeling about Holly-
wood. To me it always seemed like a kind of wonderland, not a real place."
A strange Alice in Wonderland, she suddenly made herself clear. In this new light she unwittingly turned on herself she stood out as a real person, the genuine article, not the manufactured Hollywood product. Yet in spite of her nature, the differenca between it and her surroundings, Alice Faye was forging ahead as no other young actress in Hollywood. How did she ex- plain it?
"Everything here is a puzzle to me," she protested. "Maybe it's because I've never been much of a movie fan. But I do like some actors. AYilliam Powell is my favorite. Why? Oh. I suppose it's his ease, his natural- ness. But Tyrone Power is my pal. He has done more
for me than anyone else. It was his plugging for me that got me this part I'm now playing. And he didn't stop at that. He went right on and worked with me. When a test was arranged for eight o'clock at night Tyrone begged to be allowed to make it with me. He had a date that night, but broke it on my account. I'd never have been able to get through the thing without his help. But when I tried to thank him all he said was, 'Forget it. Alice, and just remem- ber you did the same for me when I first came on this lot as a nobod}'.' He turned away and I burst out ring.
Her voice choked and her eyes filled. It was only after a gulp of milk and a nibble of cracker that she was e to go on : 'But I couldn't stop myself sick I was so full of troubles, so pent up with them, that on the first dav of 'In Old (Please
57
SCREENLAND
Glamor Schoo
Edited by
Whether you're an all-year-round city gal or a lucky ■follower of the sun down South or far West, you'll find valuable fashion pointers in Miss Russell's wardrobe. Top, her favorite dinner gown: of heavy white crepe, with military motif. The short, fitted jacket and the soft, blue chiffon ascot are braid-trimmed. Right, her pet sports suit, black wool skirt with a gay striped wool jacket. A red crepe blouse with her initials on the collar, red felt hat with grosgrain ribbon bands matching the coat, and black bag and shoes complete the costume. Far right, a navy wool suit with the ever-fresh and crisp pique blouse, which Miss Russell wears under her fur coat or as is if the California weather is not "unusual." The short bolero coat features four set-in pockets. A wide red leather belt adds color — "Roz" is partial to red, you'll notice. The large brimmed off-the-face hat has a red grosgrain ribbon trim. Navy shoes and bag, with white gloves, are finishing touches of chic.
Glamor School photographs of Rosalind Russell by Clarence Bull, M-G-M.
58
Rosalind herself designed the evening coat at left below: of gay colored striped silk and Arabian atmosphere. The suit below is of interest because of the beige shark-skin blouse with its glove stitching. Her suede hat is two shades of brown, with matching zipper gloves. At right, Miss Russell's grand, chubby silver fox coat, with new exaggerated shoulder, rolled collar and tuxedo front. At lower right, her evening cape of bottle-green taffeta, with matching green braid worked around the neck and shoulder. The cape, very full and flaring, is short at center front and falls into trailing fullness.
No tour of the cinema city is complete with- out a look-see at one Hollywood party at least. Well, here's where we crash a gay dancing end dining event, and find seated 'round the lable such interesting people as Loretta Young, Tyrone Power, Claire Trevor, and J. Edwcrd Bromberg, read- ing from right to left. By strange coincidence «ll four of these fav- orites appear together in "Second Honeymoon."
ere s
ol ywood
"I'M IN love with Nelson!" exclaims • Eleanor Powell these days. Right to the point, just like that. And so the skilful- ly aloof Mr. Eddy, who made Metro bar all interviewers who want romantic quotes, is on the well-known spot at last. The spec- tacle of the queen of tap, who was on the wallflower side when she came to Holly- wood, campaigning to get her man in such a forthright, uninhibited fashion has the colony gasping. Nelson hasn't even asked her for a date yet — but how much longer can he hold out? What's a gentleman to do? She isn't kidding. Shades of Lupe !
SPEAKING of Lupe and her yesteryear's high for whoopee, the Velez is back in pictures but her niche as the fieriest wife in Hollywood has been definitely taken over by Mrs. Errol Flynn. No one's ever sure whether Lili can live with or w'ithout the fascinating Errol. But now David Niven, with whom he was sharing a bachelor house in Beverly Hills, has moved out and Lili's moved in. Errol's bought the place and the present theme song is something about to- gether forever after. As the poet asked, how long does forever mean with them ?
GARBO, highest-priced actress in the world, just can't learn to relax regally. She earned at least four times the presi- dent's annual wage for her current click. So what did she treat herself to? A trailer! Greta admits she's a bust at being a private- life princess.
FOR years George Raft has secretly been yearning for a real California house. An apartment, New York-like, was good enough for awhile, but he wanted to revel ;n the advantages of a whole building of his very own. He hoped, desperately, that Virginia Pine could share it with him. They have been in love for some time now, and he adores her little daughter. However, Mrs. Raft, from whom George separated
60
A topical tour of film town. Star news in brief
By Weston East
before ever trying Hollywood, still — 'tis said — wants the lion's portion of his star salary as recompense for a divorce. So at last George has built his dream place and has moved in — alone. Talk about your scenario triangles. Here's an actual one behind-the-scenes that tops them all. And the happy ending remains elusive.
EVERY week-end the Gene Raymonds, dressed to the teeth, are swept out of their Bel-Air estate in a magnificent lim- ousine. They are off for a honeymoon re- take at Coronado, Mission Inn, or an equally swank desert hotel. Other couples, like Frances Farmer and Lief Erikson or Luise Rainer and Clifford Odets. may set forth in Fords and stay at auto camps. Rut the Raymonds have worked for their money and they're going to enjoy all the trimmings. Let who will be deliberately commonplace ; they'll have elegance !
JOEL McCREA and Frances Dee don't
«J want to play opposite each other on the screen. They think it's bad taste. But they're breaking their rule temporarily. Meanwhile, John Beal's greatest desire is to have his wife, Helen Craig, as his cinematic heroine. So far there is no im- mediate prospect !
IF CARY GRANT doesn't get that long • vacation he's been talking about for years his friends are going mad en masse. He was all set for a South American jaunt,
closing his ears to all offers of extra bonuses for an extra picture on his schedule. Then he was held over for re-takes and missed his boat He and Randy Scott thereupon "got away from it all" at Marion Davies' luxurious mountain ranch, where there's always a crowd of Hollywood folk.
CREDIT Crawford with the launching of Alan Curtis, her new leading man. A collar ad model brought West by RKO, Alan was ignored by the studio that first signed him. Even though Lela Rogers, Ginger's ma, boosted for him and cast him in two plays on the lot to illustrate his possibilities. After getting his walking papers, Alan reported to Metro on a deal there. Joan wanted Cary Grant. Cary in- sisted on a vacation. "If I can't have a name w-ho's right for the part I want an unknown who'll fit it," declared the gar- denia girl. Someone remembered Alan. He was tested. Joan beamed. Now it's up to you to back up her hunch !
DARBARA STANWYCK simply wanted P to see where she was born. That was why she vacationed inconspicuously in Nova Scotia. She stopped for only two days in New York. If she can't go dancing with Bob Taylor she doesn't want to dance. Her trusty hairdresser was her sole companion.
(RINGER ROGERS' shrewd mother is no longer on the payroll at RKO as dramatic coach to the young aspirants. No- body knows quite why she departed. Much of Ginger's success can be credited to Mama Lela, who surprisingly never wanted to hog her good ideas. Many an ambitious nobody is sorry to see her leave the studio. However. Lela has been more than busy supervising her famous daughter's new hill- top farmhouse and she's sure to be active again. "She made me what I am today!" Ginger admits candidly. What's a better recommendation ?
AFTER a couple of years at $5,000 per > week Kay Francis has taken the plunge. She's built a home and furnished it precisely as she's dreamt of fixing her fu- ture headquarters. Until now she'- merely rented an exceptionally modest bungalow. The story behind this story is this : when Kay arrived in Hollywood she had, actual- ly, but a few dollars to her name. She had extravagantly spent her stage income, been the life of the party in New York. She swore that she'd save for her old age before buying anything in California that wasn't an absolute necessity. Scotch, they called her. Now it's a different tune. The adjective is smart. Probably she'll trade in her Ford, too.
r VERY time Ann Sothern wangles a L Chicago vacation with husband Roger Pryor something adds flurry to their get- together. This last time she had six whole weeks and she refused to be talked into personal appearances as she had been be- fore. She settled in a comfortable suite at the Edgewater, where Roger leads the orchestra. But soon she heard that she was here and there, doing this and that. She discovered that she had a double who was frequently being mistaken for herself. Annie didn't kick too hard when the other woman graciously gave out with auto- graphs. But when faithful Annie was quiet- ly resting and trying a good book, and Roger was informed that she was out step- ping, that was too much. She couldn't solve the problem satisfactorily, for her double wasn't literally posing as a star.
FIVE months away from Hollywood for Joan Bennett, and for two reasons ! She wants to get over her rift with Gene Markey and to refresh herself, professionally, with more stage experience. While it was Gene who was really hurt by their divorce, Joan isn't as hard-hearted as onlookers have said. She tried to make a go of the mar-
Errol Flynn is back to robust adventure in his latest screen assignment. Here's Errol all ready and eager to bring Robin Hood to life in the films.
Now for a close-up of a Tartar vamp! On the "Marco Polo" set we discover Binnie Barnes thus devastatingly sirenish for her appearance as Nazama.
riage. She was honest ; when she was through she told him so. Replacing ( Mar- garet Sullavan in the road tour of "Stage Door" gives her new demands to think about. Incidentally, the Sullavan reputedly paid $25,000 to be released from this show. A hater of Hollywood, Maggie, since motherhood, is a convert to films. Baby hands bring her back to us! Touching, isn't it?
THEY induced Paul Muni to decorate the Hollywood premiere of "Zola," but when it came to truckin' at the Troc afterwards he balked. "I'm no attraction on a dance floor, or at a ringside table," he maintained in all earnestness. "Taking it big at the opening is all I'm up to on a night out. As a glamor boy I'm a fizzle !" Which
isn't, in its entirety, strictly true. Doing Europe he's a swell date for Mrs. Muni. He whips up a disguise so he won't be stared at and made self-conscious, and then away they go to do Paree. He's apt to night club until dawn.
THERE are two reasons for Clara Bow's • new "It" Cafe on Vine Street. First of all, one of the town's best hotels is paying her a tidy sum for the use of her name. Clara dines there three nights a week, as a drawing-card. Secondly, it's brought her to the attention of Hollywood again and that's what she's been scheming for. Slimmed to an exquisite figure, her hair a decent shade of auburn red, Clara looks better than in her most successful screen days. She has a happy home life, but she wants to try some meaty roles. What about teaming her with Taylor, Mr. Mayer? That combination would heat any theatre in the coldest week coming up. Wisely, Clara refuses to appear in any old thing. She declined $125,000 for one picture at an independent studio.
SEVERAL ex-greats are in circulation again. Alice White hit the headlines when she maintained she needed $1,C00 a month alimony; she estimated $250 a month for singing and dancing lessons. The judge slashed her request. Betty Compson, considerably more beloved per- sonally by the local folks, has a long-term contract at Warners. Betty not only de- livered consistently fine performances, but never put on when she had the chance. Consequently, everybody's ready to clap for Compson.
I I ERE is the secret of Dolores Del Rio's ' ' clothes supremacy — Irene, one of Hol- lywood's favorite coutouriers, is Dolores' sister-in-law. Even blood by relation is thicker than water, and in return Dolores scorns all other modistes.
Hollywood romance can also be appeal- ingly down-to-earth, as Olivia de Havil- land and George Brent demonstrate in "Gold Is Where You Find It."
61
Beauty for Evening
Hollywood backs and shoulders, as well as arms, come in for their share of beauty atten- tion now that fashion favors low-cut decolletage
By Elin Neil
Morlene Dietrich's fa- mous shoulders gleam with loveliness above her tight-bodiced eve- ning gown as the camera snaps this pic- ture while she's resting on the set.
THE daring decolle- tage of new evening gowns brings backs and shoulders out in the open ! Will yours be as marble-smooth and flaw- less as Marlene Dietrich's which can stand even the strong lights on the "set"' without showing faults to mar their beauty ?
The styles are right for making the most of body beauty when the orders of the evening are "please dress." The corseted-bod- ice effect, inspired by the Gay Nineties, is ultra-re- vealing of arms, shoulders, back and chest. Narrow
shoulder straps replace high neckline elaboration. Sleeves for evening are few and far between. When they do ap- pear, they're the diminutive puff or arm-strap variety that merelv accentuate alabaster smoothness and white- ness, concealing nothing.
The first essential for decolletage beauty is smooth, clear skin. See to it that every bath you take is a body beauty treatment. Don't have the water too hot. That causes temporary redness and "puckering." and the final effect is drying out your skin, especially if you let yourself soak lethargically in hot water.
Use a mild beauty soap for your bath, the same kind you'd use for your face. An excellent preventive of over-drying and consequent roughness is a good water softener. There are many products, most of them pleas- antlv perfumed, that counteract drying effects of water. They may be in the form of bath salts, oils, essences or soluble flakes.
Be sure to dry yourself thoroughly when you emerge from the tub or shower. Large, thick-piled Turkish towels are a good investment for body beauty. A liberal sprinkling or dusting with bath powder helps remove the last vestiges of moisture. And there are body rubs to be applied after bathing that soften and beautify ultra- dry skin. They're great favorites with women who prefer a shower to a tub. and can't take advantage of water softeners to keep their skin soft and smooth, in spite of steam heat and biting cold winds.
A luxurious beauty bath that makes your skin feel and look like a million dollars is produced by pouring a powdered starch preparation into the tub before you run the water. After you emerge from the tub. and have dried yourself thoroughly, enough of the powdery sub-
stance adheres to your skin to leave it velvety smooth and fashionably light-toned. And it won't rub off on a man's evening clothes if your "heavy date" is a dancing one.
From the tips of your fingers to the curve of your shoulders, your arms should do justice to your evening gown. The most vulnerable spots are elbows and knuckles, as they're apt to look dark and wrinkled if you don't give them beauty care.
You can keep your knuckles in harmony with the rest of vour well-groomed hands by massaging them every time you apply a hand cream or lotion. Using the thumb of the opposite hand, work the lubricant into each knuckle with a firm rotary movement.
I'll tell you an easy way to let your elbows massage themselves to beauty. Smooth a liberal amount of lubri- cating cream over them. Then "tie them up." Use pieces of cheesecloth or old handkerchiefs, knotting them inside the elbows. Then all the time you're moving your arms, in housework or any other activities, your elbows will be getting a massage that works the softening cream into them.
Some girls have a "gooseflesh" roughness on their arms that keeps them from looking their best in evening clothes. This condition is caused by poor circulation. (Insufficient drving after a bath is a contributing factor, too.) A good scrubbing with a body brush, followed by complete drying and the application of a lubricating cream, will usually make arms that have been marred with "gooseflesh" smooth and clear, provided you give them this treatment daily for two or three weeks, then as often as they need it to keep them smooth.
just because vou yourself don't see much of your back,
62
and it's hard to reach, you mustn't treat it like a step-child. Powdering it when you wear evening clothes, or even coating it over with liquid powder, won't take the place of naturally clear, smooth skin.
Give your back a little extra care even- time you bathe, and you can be proud to show it whenever the occasion arises. The two beauty faults most common to backs are excessive dryness and blemishes. Dry- ness can be corrected by a few extra sweeps with your towel after bathing, and by ap- plications of the same lubricating cream you use on your face.
In most instances, blemishes on one's back are due to insufficient cleansing and poor circulation. The best remedy I know is scrubbing with a body brush and plenty of lather from a good soap. Make back- scrubbing a habit to keep your skin clear, and you'll do a lot to avoid the embarrass- ing discovery that your back is "blotchy" just before you get into your evening dress.
Of course, in some cases these skin blem- ishes are caused by internal conditions. I've known of many such cases where taking- three cakes of yeast a day has improved back beauty marvelously in a very short time.
Now I've told you how to keep your back clear and smooth so it'll be a de- pendable beauty asset. But, whatever reso- lutions you make for the future, you may have blemishes or lines between the white- and-tan that you want to cover up right now. There are liquid powder preparations and make-up blenders that'll hide a mul- titude of sins and bring your decolletage into harmony with your face. Most of them come in several shades, flesh-toned, and some are adherent so they won't streak or rub off on your escort.
The last few years have brought such effective blemish concealers into being that there's no excuse for letting ugly spots on your back spoil your good time. By all means, cover them up ! I firmly believe that every dressing table should be equipped with a blemish concealer as first aid for spots on one's face as well as one's back. And you can get the same kind of disguise in a convenient container to carry around in your purse so you're always prepared. Most of them look like lipsticks or cream rouge discs on the outside.
Gifts of Beauty for Christmas
The gift of a lifetime — an authentic Lane Cedar Chest.
"THERE'S not a
I woman living who wouldn't get a thrill to find a Lane Cedar Chest under the Christ- mas tree! Every size and shape (and there are many) is styled and fin- ished like an exquisite piece of furniture and carries a guarantee of moth protection. Some of the styles are low and long, true "hope chests." Then there's a "window seat" model that does double duty. If you'd like to make a gift of per- manency and one that's sure of a warm recep- tion, jot down Lane Cedar Chest on your Christmas list. And we wouldn't blame you a bit if you dropped a hint to someone who wants to make a very special gift to you !
Beauty for the bath is impris- oned in House of Pine prod- ucts.
"Scarlett" sculptured in plas- tic holds a gift of fragrance rare.
Fashionable "Sierra" or
Flash! Walter Winchell and Si- mone Simon are that way — above — about each other, in the new musical, "Love and Hisses."
WE'RE shouting the praises of Run-R- Stop, a fluid that will keep a run in your stock- ing from going further without staining, discol- oring, or stiffening the fabric. All you have to do is place a tiny drop at each end of the run and let them dry. The fluid is contained in an easily used little tube that comes in an attractive red and black bakelite case, espe- cially designed to be car- ried in your purse. It costs a mere trifle, yet Camille's Run-R-Stop certainly does provide social security for your stockings !
F THE fragrant aroma of pine _ doesn't have the power to lift your spirits up out of the doldrums, you're simply not human! We've discovered a group of pine products that are so bracing and delightful to use, we can't wait to pass the word along to you. They are put out by the House of Pine and contain blends of oils and extracts of pine from the Austrian Tyrol, Black Forest and Siberia. A com- bination package that would make a grand Christmas gift to a friend (or your own
self) contains Vienna Woods Pine Bath Salts and Vienna Woods Pine Spirit. The bath salts act as a tonic to the skin, soothe tired nerves and take the soreness out of muscles. The Pine Spirit is a fragrant, invigorat- ing liquid that gives your skin a glow of healthy loveliness. It makes a grand body rub. And if you're mentally tired, an application on your fore- head, wrists, and the back of your neck is amazingly restful.
ONE of the most un- usual Christmas per- fume bottles we've seen is Pinaud's "Scarlett," a lovely little figurine of the epic character in "Gone With the Wind." It's sculptured of plastic in dainty boudoir colors, and would be an orna- ment to any dressing table. It's filled with Pinaud's Skin Perfume in the most popular fra- grances. This perfume, which is a light form, is designed to be applied direct to one's skin and may be used liberally without any danger of over-perfuming. As Pin- aud's "Scarlett" isn't ex- pensive, we suggest it as a bridge prize or bread- and-butter present as well as an addition to your Christmas list.
TWO grand new shades of nail polish that are leaping into popularity are "Sierra" and "Suez," introduced by Revlon. In keeping with fingertip fashions, they are both subdued shades. Suez is the deeper of the two. It's a dusky, brownish red with a suggestion of mauve — a true autumn leaf color that harmon- izes with browns, greens, blues and deep reds. Sierra is a medium rose, softened with brown and mauve, that's good with any costume color. As you probably know, Revlon polishes are famous for long wear and easy application. They have been outstanding favorites of professional manicurists for years.
fingertips wear Suez" by Revlon.
T
HE friend who receives your gift of a bottle of Hinds Honey and Almond Cream (done up in a gorgeous Christmas wrapper) will bless you all Winter long! Personally, we look upon this delicately fragrant emulsion as a cold weather neces- sity. It has its own particular place on our cosmetic shelf as first aid against the beauty hazards wintry weather sets up. It's wonderfully softening and whitening to hands, whatever hardships they've endured..
63
Star-Dust Baby
Continued from page 25
managed to make the second yawn an open insult.
"Going stale. Bill?" she wanted to know. "There was a time when yon were as full of ideas as a dog is of fleas I"
Bill sighed and answered: "Right y'are, but you've taken the ambition out of me! I'm ii"t full of ideas any more. Look what you did to the last one I"
Katrine chuckled, "Do you mean that garden party for the English author?''
"Uh huh," answered Bill. "I mean that garden party. Was it ever a flop!"
"The guy bored me," Katrine said hotly. "He's a pain the neck with his broad a's. I felt all the time as if he were putting me in my place !"
"He probably was." Bill agreed, "but just the same you didn't have to slap him in the middle of the lawn — if you know what I mean !"
Katrine giggled. "You don't know the half of it," she said. "That wasn't the first slap — it was the third. I had already slapped him twice in the pantry — if you know what / mean !"
Bill was suddenly and coldly angry. "Did that so-and-so try to pull anything on you?" he asked. "Because if he did, Katie, I'll run him out of town!"
Katrine laughed. Her laughter was like silver bells chiming in a dark forest.
"Sure he tried to pull something on me," she said, "but he didn't get to first base. As for running him out of town, he left town two weeks ago today."
Bill mourned- — ''You might have given me the lowdown before he took it on the lam," and Katrine murmured, "That's why I didn't! I wanted to keep you out of jail, my sweet."
Bill said, still mournfully — "Well, I sup- pose it's neither here nor there by now. We'll probably never see the guy again. I suppose the only thing I should worry about is that the garden party was a flop. 1 hate flops."
Katrine agreed blithely. "Everything you have worked out for me lately has been a flop." she told Bill. "I haven't had a good headline for months 1"
Bill started to argue in his own defense. He spoke hotly.
"Look at it from my point of view," he almost shouted. "How about the flying stunt? The minute you got in the plane you started to up-swallow and — ■"
Katrine interrupted. "Can I help it if I've got a weak, stomach ?" she asked.
"After ten j'ears in pictures you should be able to control yourself," Bill told her savagely. "Well, how about the time you went to the night school incognito, when you were playing that secretary part ? I had the reporters down at the school all set to discover you, and everything went flooey."
Katrine was bitter. "You should have had better sense than to send them down on a night there was an oral examination!" she exclaimed. "You might have known I couldn't pass it!"
"I thought you knew something," Bill told her. "I had to pay plenty to keep those headlines out of the papers—Famous Star Flunks Night School Intelligence Test!'"
Katrine said— "Oh, cut it out. for heav- en's sake — you're getting tiresome,'' and Bill answered —
"I couldn't cut it out, even if I wanted to. The Big Guy's getting desperate. You've g"t to do something spectacular."
Something spectacular. Katrine digested '.he thought, slowly.
"Why don't you fix up a nice romance
for me?" site queried, at last. "If you were worth a charge of buckshot I could have been in Wally Simpson's place!"
Bill nodded his head thoughtfully. "You probably could," he "said, "but I don't go for love stuff in your publicity, and you know it. I won't build newspaper linage out of phony engagements and marriages."
"Why won't you, Bill?" asked Katrine sweetly. She i>oured herself another cock- tail. "Why won't you go for having people try to make me?"
Bill grated, "You know darn well why I won't," and Katrine chuckled.
"Back in the dark ages," she told her publicity man, "you were stuck on me, weren't you, Bill? I seem to remember something about it."
Bill muttered — "Oh, for heaven's sake, lay off me. I'm still goofy about you, and I always will be ! I was goofy about you when you were Katie Malloy back in New York City. I was goofy about you when you won that dance contest in Madison Square Garden." He laughed bitterly. "Gosh, when I saw you first, you were a snotty-nosed little baby in a dirty set of rompers, and I was kind of goofy about you then. Honest to goodness . . ." He broke off, for Katrine was out of her seat and halfway across the floor.
"Gosh, Bill, you're a prince!" she said "You've got it!"
"I've got what?" asked Bill, and his tone was incredulous.
Katrine burbled — "You've given me a perfectly swell idea, for once. We'll get a whole flock of publicity out of it. Other folks have: Miriam Hopkins took one, and Gracie Allen, and Connie Bennett and the Jolsons."
Bill wanted to know— "What in time are you getting at, Katie?"
Katrine's face was rapt and dreamy as she answered.
"It all came over me when you said you'd known me since I was a babx. That's what my next gag will be, Bill. I'll adopt a baby."
Bill's face seemed to grow longer and thinner. After a moment he said flatly—
"That's out. Babies are made of flesh and blood and they've got souls. They can't be used for gags."
Katrine said, "Any time they can't !" She laughed. "Yes," she murmured, "I'll get me a cute baby. I'll have Adrian design her clothes — can you tie that? — and I'll get a specially built Rolls with a chauffeur, and maybe a pedigreed cow, and a French nurse for you to make love to."
Bill said, "You're not verv funnv, Toots. Lay off that stuff."
Katrine said, "I'm not trying to be funny and I'm going to do it up brown . . . Til have a nursery full of every kind of gadget that the stunt boys can think of, and I'll be photographed a thousand different ways—" she hesitated. "That'll be the hard- est part of it. I hate holding kids — they're so damp !"
Bill's hand came crashing down upon the top of a fragile little table that had come from the Petite Trianon. It was his turn to break something — the table shivered to bits under his blow.
"This has gone far enough, Katie," he said. "I told you before that you weren't funny, and I meant it. What do you plan to do with this baby when you've taken the five thousand pictures, and it's teething and maybe has the colic?"
Katrine said — "Oh, I'll have the best vet in Hollywood come and see it, and then mavbe I'll give it away like I did that Borzoi !"
Bill growled, "I don't know why I care for you, Katrine, you're such a bum. Babies aren't dogs to be given away, and you don't take them to vets, and if they die there's sometimes a police investigation. And besides, I like babies. I'm crazy about
them. Always have been, always will be."
Katrine giggled. "Well, if you're crazy about babies, come and see mine sometime and keep it from being lonesome !"
There was a moment of silence — thick silence — in the room. Finally Bill spoke.
"You're not going to have a baby," he said, and his tone was flat and dismal. "You'd better get that dumb idea out of your head as quick as it came in. Your only excuse is that you're tight."
"I'm not tight," replied Katrine, "ar.d I'll have a baby, or else — "
"Or eke what?" Bill wanted to know, and Katrine told him—
"Or else you'll be looking for another job, my little man. and I don't mean maybe."
Bill said helplessly, "But it's such a phony idea. Katrine 1 It's been done to death, and no matter how you look at it you're not the maternal type."
Katrine laughed, but her laughter was harder than it had been a few minutes be- fore.
"That's why it will be such good pub- licity. I know I'm not the maternal type." She struck an attitude with her hands clasped upon her breast and her eyes look- ing heavenly.
"Screen siren." she said, "feels an age- old urge — How's that. Bill? Can't you just see motherhood sweeping over me by leaps and bounds ?"
Bill got up so suddenly that the chair in which he was sitting crashed over back- wards. "You can go to the devil. Katrine !" he said. "And you know what you can do with my job! I don't want it any more!"
Katrine watched his progress toward the door with an almost benevolent expression on her face. She didn't speak until his hand was on the knob.
"You can start going to orphanages to- morrow, Bill." she called after him. "Or maybe you'd better advertise. Have it your own way . . . I'll invite the press in Sat- urday afternoon for cocktails, and I want to have that baby in its bassinet when they get here."
Bill turned sharply. He said. "God'll- mighty, Katrine. This is Tue-day."
"That's your hard luck." laughed Ka- trine. As the door slammed on his retreat- ing back she shrieked —
"See you Saturday. Bill, and watch your step when you're choosing my baby. What I want is a blond."
The cocktail party was in full swing. Soft-stepping servants rushed hither and yon, and everybody talked and drank at once.
Rose Strodner, Viennese star, ploys a romantic scene with James Stewart for Her first Hollywood picture.
64
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They talked right on through a tenor solo and almost a ton of Debussy. Katrine — out- wardly smiling, but really foaming at the mouth — made small talk. When gushing fe- male reporters and amorous male ones crowded around her, she answered them with a careless gaiety which she was far from feeling.
"You bet I have a big surprise for you," she said, "but the surprise isn't here yet !"
One of the men said anxiously — "You're not going to announce your engagement, are you?'' and Katrine answered, "What I'm going to announce comes a long time after the engagement."
One of the girls twittered — "You're not married, are you, Miss Mollineaux?" and Katrine twittered back — "No. What I'm going to announce comes after the mar- riage, too."
One of the boys from the press depart- ment sidled over. He said —
"I don't know what snrt of a gag you've got up your sleeve, Katrine, hut you've pulled a record crowd. Where's Hill Naughton, anyway ?"
Katrine told him — "Bill will be here any minute now, and when he cont'es he'll have an announcement to make !" She said in the deep fastnesses of her soul. "He'd better be here any minute, or I'll kill him."
The party had started at four o'clock — which was early for a Hollywood cocktail party — Katrine had made it early on pur- pose. She had her lines all ready.
"Babies can't stay up late," she'd planned to say. "The poor little things must run on schedule just like the Century and the Chief."
She planned to have the baby exhibited briefly and taken out in a shower of cham- pagne, the way you launch a boat — but at five o'clock Bill hadn't arrived and at six the crowd was growing very noisy and there was still no Bill, and Katrine sudden- ly/ found herself remembering that she hadn't heard a word from her publicity man since he had detached himself forcibly from her presence the previous Tuesday. Of course she had talked to his secretary the following morning, and had been informed that a child would be forthcoming on the proper day and hour.
Because she trusted Bill implicitly — they'd been working together for ten years, and she'd known him for twenty-two — she hadn't felt it necessary to go into details. She'd been sure — too sure, she told herself bitterly — that he'd arrive in the nick of time with a cherubic infant and a deft French nurse. Bill had never before let her down — he'd always had the ability to pull rabbits out of hats.
"Well," she thought, as an indigent French Count was kissing her fingers, "he's let me down this time, and I could murder him in cold blood." She thought — "I'll get good and drunk and tell everybody that I'm going to marry this litte squirt with a title. I've got to tell everybody something!"
But she was only four cocktails farther along and it was only half-past seven when the door opened and Bill entered the room. Even as she saw him through a haze of cigarette smoke and across a sea of laughter, Katrine knew that in some odd and inexplainable way he had changed dur- ing their short separation. Something was firmer about Bill's jaw-line and there was a curious hardness — that wasn't really hard ■ — in his eyes. He looked at her silently across the teeming room and when her lips framed a questioning "Okay?" he nodded his head and jerked a thumb back over his shoulder in the direction of the patio.
Katrine hadn't time, just then, to wonder how Bill had managed things and why he was so late. She didn't even wonder whether the baby was a boy or girl, a blond or a brunette. She only knew with a sudden deep sense of gratitude and aft'ec-
Dick Powell ond Frances Longford in "Hollywood Hotel," new screen musical.
tion that Bill Naughton had come through again and that there teas a baby. With a dramatic movement she raised her hand for silence.
"Hey. people." she called, "pipe down! I've (jot something to say."
From all over the room there came murmurs of, "What's Katrine up to now? . . . Do you suppose she's going to pull the big surprise?" The laughter dwindled to a whisper. Someone called "Silence !" and someone else called. "Hear! Hear!" The little Frenchman, clinging closer than a leech to Katrine's side, said — "Why don't you stand on the piano, cherie — then every- one can see and hear you?" and Katrine said, "That's a swell hunch, Mike — " (the man's name was Bertram] ).
With her eyes fastened on Bill, she hopped nimbly up to the piano bench and — stepping across the keys with a swirl of Madonna blue satin and a far above the average display of hosiery — she gained the piano top.
"Say, people," she called, "I've been promising you something new . . ."
A cat, in the background, said soilo voce — -"But you've done everything!" and Ka- trine made a long nose in her direction and countered, "Guess again. I've just be- come a mother."
There was a moment of startled silence. Then someone standing close by said —
"You can't kid us like that, Katrine. You only finished your new picture yesterday,'' and someone else yelled, "Who is the father?" But Katrine held up a slim, beau- tifully manicured hand for silence.
"Don't be a bunch of dimwits," she told her guests. "I adopted the baby, I didn't born it." She glanced toward the doorway and said —
"Trot in the youngster, Bill," and Bill answered — very slowly and distinctly — "I will." He turned toward the door and threw it open and spoke again."
"Come in here, Peter," he said.
There was a rustle across the room like wind ruffling a field of wheat. Katrine, straining her eyes for the smart French nurse with a little helpless baby in her arms, gave a gasp and felt cold fingers clutching her heart.
For in the doorway stood a little boy who might have been seven or eight, or at the outside an under-sized nine. He wore faded blue overalls and a shock of red hair, and his wide, scared eyes reached out across the room until they found Katrine's face and settled there. One of the eyes, Katrine saw with a sense of horror, was turning faintly black and blue !
(To be continued)
66
SfREENLAND
London
Continued from page 51
living in a quaint timbered little house just across the fields from the studio. He's out in the garden by seven every morning, get- ting walking exercise before he has his breakfast which is always the same. Two broiled sausages, two poached eggs, an apple, some toast and tea. He'd never drunk tea until he boarded the "Berengaria" but likes our national beverage so much now he has it every morning and afternoon just like we do ourselves.
We had a regular four o'clock tea-party with him one dav in the blue and white studio lounge. Bob passed the cups round and offered his favorite light Virginian cigarettes and told us all about his new car, a black Rolls-Bentley that thrills him tremendously. (He's got a special booklet describing its mechanics and can gener- ally- be found with his handsome head under the bonnet admiring the cylinders when he has a few minutes to spare between shots.)
All the stars came along from the other sets to chat with Bob— Jack Hulbert and Patricia Ellis "and Ruth Chatterton and David Niven— and Merle Oberon, wearing a billowing white crinoline frock from a scene in "The Divorce of Lady X." Robert Donat was to have been her romantic part- ner in this new film of London's aristocracy but he has been stricken with asthma once again and is having clinical treatment in Switzerland while dark-eyed Laurence Olivier plays with lovely Merle instead.
Director Monty Banks looked in to greet Bob too. He's busy preparing Gracie Fields' first picture for Twentieth Century-Fox, called "Her Man" with Gracie as a bar- room singer with a likeable spendthrift husband to be played by Victor McLaglen. Montv came across the Atlantic in the
"Queen Mary" and was squiring pretty blonde dimpled Sonja Henie when I met them at Southampton— Tyrone Power not- withstanding and anyway he was in Holly- wood!
Sonja was all in green and white, with her seven lucky mascots fastened firmly on to a huge gold bar brooch which she had pinned across her coat so that her good for- tune couldn't possibly get Jost. She swears she will wear her charms in her next Hol- lywood picture "Bread, Butter, and Rhythm for which she's got to master some tap dancing figures far more ambitious than any we've seen her do yet on the_ screen.
Karen Morlev was paying a vacation visit to England too this fall, escorted by her hus- band Charles Vidor, and we've also enter- tained Francine Larrimore and brown-eyed Sally Eilers who hobbled painfully into London having injured her leg dancing in a Continental cafe. Raymond Massey is home as well, delighted with the baby daughter born to his beautiful blonde wife while he was film-making in California. Ray wanted a girl this time, the two other children both beTng sons, and he's given her a diamond bracelet ready for her when she grows up.
Madeleine Carroll spent a few days in town before going off for a sailing tour in the Baltic with husband Captain Philip Astley. Page patrician Madeleine in her white flannel nautical slacks and sea-blue sweater with a gaily-patterned peasant scart tied over those blonde waves!
Jessie Matthews is in the hat competition too, entering the peaked canvas cap she wears in "Sailing Along," for which Roland Young has hurried from California to pro- vide some comedy interest. When Roland isn't at Pinewood Studio, he's prowling round the meaner London streets in his characteristic quiet way, peeking into little shabby junk-shops in search of penguin models for that celebrated collection. His
latest addition is a penguin carved from a human tooth if you please!
Roland was persuaded- to visit an ex- clusive West End restaurant the other night and confessed it was the first time for years he'd been out later than ten o'clock.
Leslie Howard is back in London and has gone into the Great Silence that always enshrouds him for the first few weeks after his arrival. He stays at a suburban board- ^ ing-house with his family, reads and plays * chess and goes to the theatres and refuses to meet any film folk or newspaper re- porters until he considers himself suf- ficiently rested. Then he moves to a great West End hotel, announces the fact pub- licly, and becomes a famous film star once again.
Oscar Homolka returned to us after finishing "Ebb Tide" in Hollywood and promptlv got signed up for a British film though "he's due back in California to play the old sergeant in "Beau Geste" in before long. I met him sharing a huge dish of pickled beef and sauerkraut with his friend and fellow-German, tall Conrad Veidt. Con and exotic Vivien Leigh have proved such a box-office draw teamed together in their spy film "Dark- Journey" that now they are to make two more on similar lines, be- coming a kind of "Thin Man" family in the Continental espionage business.
Charles Laughton has decided on "St. Martins Lane" as the title of the first pic- ture made by the new producing company he has started with Director Erich Pom- mer. It's the name of a celebrated London street near Trafalgar Square where the theatres are situated with all the stage- land environment around them, the cheap little restaurants and drug-stores and room- ing-houses and pubs. This Bohemian dis- trict is the home of the working-man whom Charles plays, a comical yet pathetic figure of a typical small-town man in a big city.
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Strange Alice in Wonderland
Continued from page 57
said, I went down and out. That was a fine start ! When I came to I was so ashamed of myself that 1 wished I were dead. Hut Tyrone was right there at my side again, saying: 'It was all my fault. I made that scene so tough for you that nohody could have got through it. Don't think anything more about it, Alice, because you're going to be tops.' All I knew was that I'd hit bottom. They sent me home and I tried to sleep it off. Things were easier after that, but somehow I had a hunch that something more was going to happen to me. Sure enough! After the big stage number I was coming down into the audience when my heel caught in the hem of my dress. As I started falling I thought, 'I knew all along I was going to be a flop, and here it is 1' "
A cracker snapped with such startling ''timing" that it sounded like the breaking of a backbone.
"I'll be lucky to get through this picture alive. So will Tyrone, I'm afraid. What I did to him ! After pulling all kinds of boners I forgot to pull my punch. In one scene I was supposed io hit Tyrone in the jaw. I tried to be careful and hold back the blow. But Tyrone said, 'That's all right, Alice, don't be afraid, let me have it!' Well, you should have seen "his cut lip when I connected with it! I was awfully sorry and terribly worried. Then in another scene I nearly brained him. I had to throw a big vase at Tyrone. The prop man had a 'break- away'— you know, one of those phonies that fall to pieces at the slightest touch — but Henry King, the director, said we didn't need it. Tyrone would duck, and we could use a real vase. So I threw it with all my might. It hit Tyrone right in the forehead. I nearly died. But fortunately he didn't. At the last minute, without my knowing it, the prop man had handed me the 'breakaway' instead of the real vase. That was the only thing that saved Tyrone's life. But I was so broken up for days that he and Don Ameche began ribbing me to get my mind off the narrowly averted accident. They finally succeeded in the wedding scene, with Don, as the mayor of Chicago, performing the ceremony. 'Let's do another one,' said Mr. King, who was 'in' on the scheme. That time Don used our real names, then made me believe I was really married to Ty'rone. Of course," she smiled, "I wouldn't have minded on my own account, guess no girl would, but I didn't want to get Tyrone in a jam. I waited for a chance to get even with Don. It came one day when he wag showing a plaque awarded him by a maga- zine for being the most popular dramatic star in radio for the last four years. 'You work your head off for four years,' I cracked, 'then all you've got to show for it is just a tin pan.' Of course it was all in fun."
For the first time during our talk Alice
Faye laughed. Then, seriously :
"When we were doing the wedding scene I had no idea I'd soon actually be married : to Tony Martin. We had talked about it, but somehow we never seemed to have any spare time for it. We probably wouldn't have found time if it hadn't been for Labor Day. That gave us a break. Even so, we couldn't have managed it without flying to Yuma. We left at fifteen minutes to twelve in the morning and were back at four in the after- noon. I was all dolled up in a new fall suit with a bunch of orchids pinned on it. That was all right in Hollywood, but not in Yuma. Hot! When we got there it was a hundred and twenty-eight in the sun. And
we had to wait our turn, for we were the fifty-first couple to have the knot tied there on that sizzling day. Matrimonially, Yuma was doing a land-office business. That was because of the holiday. Like all the others, we were taking advantage of it. But when we finished the round-trip I was almost as wilted as my orchids. Anyway, I'd had my latest and greatest Hollywood experience. It made me happy. But I'm not saying, and neither is Tony, that we know we'll be happy for the rest of our lives. We don't know anything about it. We are two mod- erns, and we're not making any predictions, just hoping that our present happiness will last. That, we think, is all that anyone can do. Meanwhile we want to be a help to each other. This can be, and is, true of Hollywood actors generally, in spite of what you may hear to the contrary.
"So much has been said and written about Hollywood actors stealing scenes from one another that sometimes I think people get the wrong impression of them, think them mean and selfish. Nothing could be further from the truth — at least so far as my experience goes. I've known nothing here but the greatest generosity. And I've needed it, for without the help that has been given me by everybody — why I don't know — I wouldn't have been able to do any- thing at all. I knew nothing about pictures and had nothing to give them but a song or a dance. All I'd done was work in a Broadway chorus" and sing in night clubs with Rudy Vallee's orchestra. I had no more idea of acting than a girl in a candy shop. But all the actors and actresses I've been thrown with here have gone out of their way to tell me what to do and show me how to do it. But I've been very dumb. For instance, I didn't even know who Spen- cer Tracy was when I played with him in 'Now I'll Tell.' I didn't know what it meant to be in the same picture with him. But now I'd give anything in the world to play with Spencer Tracy. For that matter I'm thankful to be allowed to play in a picture with anyone."
Surely, Hollywood was never like this before. Conceit had nothing in common with Alice Faye, vanity was no part of her when first she arrived a Strange Alice, indeed, in this land of the exaggerated ego. And con- tact with it through experiences calculated to build up a strong case of self-sufficiency, not to say, self importance, has failed to change her in this most refreshing respect. Naturally changes have taken place, if not in the girl, at least in the relation of the Won- derland to the girl. Thus :
"Hollywood has changed for me,:' she admitted. "I've been all wrong about it. It isn't at all the dreadful place I built it up to be in my imagination. At last I'm be- ginning to feel at home here. Now you couldn't drag me away from this place. But at first I didn't like the platinum hair they slapped on me and the slinky dresses they put me into. I wasn't Alice Faye. But) they've changed all that and made me look .lore, and feel more, like a human being. I'm only hoping I'll be able to make some return for it all. But I'll not know till this picture is finished. What I do know is that in giving me the part of Belle Faurett in 'In Old Chicago' they have given me the chance of my life. Everything else is up to me. I've had every opportunity to prepare myself for what I'm now trying to do, one part after another in a variety of pictures with highly talented actors. It simply re- mains to be seen if I've learned anything from them. Now that the studio has steadily built me up I keep asking myself if I'm going to let it down. This is my one con- cern. I myself don't matter. But if I don't live up to the opportunity that has been given me I will never get over it. That will finish me. It will break my hear
She won't!
6S
SCREENLAND
nvy the savage ?Yes/
This ancient savage had to work hard to get a fire — and his cookery wasn't expert. But his rough, primitive fare exercised his teeth — kept them strong and healthy. We moderns eat soft, civilized foods — our teeth get too little healthful exercise.
Inside the Stars' Homes
Continued from page 14
himself at play continued to be: "I'll do it, but you can't say I like it!"
"After our broadcasts, we usually come straight home to dinner," said Gracie, "and it usually isn't dinner really, but supper- hot supper— with some of the gang drop- ping in. The Jack Bennys, the Jack Haleys, the Rufus LeMaires, the Georgie Jessels— and Tony Martin, of course. We keep him singing most of the evening, poor kid.
"One dish the whole gang is crazy about is cracked crab. You get hard shell crabs and you crack 'em — will you listen to the housekeeper talking !— and everyone grabs a leg or half a body and dips it in mayon- naise.
"Tell her about some of Minnie s spe- cialties," suggested George, who had been wandering in and out for some time. 'Min- nie's our cook," he added.
"I can't cook myself," smiled Gracie, but Minnie will give you the recipes. There's spaghetti and meat balls— the Haleys like those a lot. And there's Chicken Paprika- one of the Benny favorites."
CHICKEN PAPRIKA (HUNGARIAN STYLE)
Quarter a heavy fryer and brown very well in Yz Crisco and V2 butter. Brown 2 onions in butter and add 3 teaspoons sweet paprika. Add just enough water to make a sauce and pour over the chicken. Place in oven and roast until done. Just before serving add 1 teaspoon flour and 1 bottle of sour cream to make the gravy sauce.
"Sandra and Ronnie always listen in to our broadcasts," observed Gracie, watching the youngsters scamper across the grass toward the pool. "Ever since they were old enough to understand, we've told them to give us a report on what we do. Ronnie always says: 'Aw-right!' and gets it off his chest at once, but Sandra takes it seri- ously. She points out that my song was too fast, or too slow, or she liked it better last week, or she does an imitation of me."
"The result is original," remarked George, pretending not to be at all proud of the fair-haired mite, "but we're talking about food, Googie."
Gracie considered.
"We like chicken tamales and en- chiladas," she decided.'
CHICKEN TAMALES Boil a medium sized chicken in plenty of boiling water to cover until tender. Drain off the stock, cut the chicken in small pieces, remove all bones and set aside until wanted. Bring the chicken stock to a boil, there should be five cups and stir into it slowly two cups of yellow cornmeal, and stir and cook for one hour; cool, work to a soft dough with one cup of Crisco, add a seasoning of salt and knead five minutes. Place three large red chili peppers in the oven and roast five minutes, remove the stems and seeds, cover with warm water, add one chopped clove of garlic and simmer until the peppers are soft; run through a sieve, add a little of the water they were cooked in to make a puree. Melt a table- spoon of flour ; stir and cook one minute, add the chili puree, the chicken, one cup of seeded raisins, one cup of stoned olives, and a seasoning of salt and pepper, bring to a boil, remove from the stove and cool. Cover dry corn husks with cold water and let stand over night; shake dry, spread on a thin layer of the cornmeal dough over half of each loaf, roll up, cover with four layers of the prepared leaves and tie the ends with strings made from the leaves. ' r) ' 'ied place them in a pot, add a ; water and steam one hour.
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69
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Deanna Durbin's Unknown Story
Continued from page 34
sent for. She sang five times in all, each time for an augmented audience, each time untlurried and outwardly serene. Not be- cause she was sure of herself, but because it was second nature to Edna not to give herself away to strangers.
The final authority to be summoned was Sam Katz. Having sung for him, Edna was sent down to join her mother in the car. Mr. Katz drummed on the table for a moment, scribbled some figures on a slip of paper, and handed it to Sherrill.
Sherrill raced out to the car, taking no pains this time to conceal his elation. Breathless, he stuck his head through the window. "You're practically under con- tract," he told them. Safe from alien faces, Edna lost her composure for the first time. Tears filled her eyes as she groped for her mother's hand. "Isn't it wonderful, moth- er?" A shaky laugh broke through. "Good- ness, what am I crying about — ?"
That night she and Deedee slept together — if talking for hours, telling each other they must stop, and breaking out again, can be called sleeping. With Deedee she could let herself go, and she did. "Now we really must close our eyes and not say another word," Deedee would order. Then a small voice : "Deedee, please pinch me. If you'll just pinch me once more, I'll know it's true, and I'll be able to sleep." And a few minutes later : "Edna's all right, but I can think of more attractive names. I've always liked Diana. How do you think it sounds ? Diana Durbin. Then I'd be D.D. like you."
For six months she was under contract to Metro. But the question of changing her name didn't come up. Schumann-Heink fell ill, and died. The picture was shelved. Edna made a short with Judy Garland, and nobody seemed to care very much.
Edith came home from school one day to find that her sister had been crying. Which in itself was unusual enough to be cause for alarm.
"Nothing's wrong, Deedee. I'm perfectly all right."
"Then what have you been crying about ?"
"Oh — did you think I'd been crying?" "I still think so. Come on, what's the matter?"
"Nothing. They just didn't take up the option." But the attempt at airiness was a fizzle. Her chin quivered and, seeing that the game was up, she buried her head in her sister's lap and let the storm break.
"It was the worst day I ever lived through," Edith says. "We all cried— except my dad, and I expect he may have felt like it. It wasn't the old picture or the old contract we cared about, it was seeing Edna in that awful state. She'd always been such a controlled child, and here she was letting herself go till we thought she'd be sick. We kept saying: What difference does it make? Option or no option, they can't take your voice away.' And she'd sort of hiccup through the sobs : Everyone'll think I haven't got a voice.' "
But with the morning, the worst was over. Whatever she felt, she'd regained control of herself. Besides, Mr. Sherrill had been there. Mr. Sherrill wasn't down- hearted. He laughed at her tears. You'll be laughing yourself before long," he as- sured^ her. It's not as if you'd had your chance and failed. When you get it, you won't fail." She couldn't help feeling a little better.
Rufus Lemaire had been casting director
at Metro when Edna May was signed. Meantime he'd gone to Universal as exec- utive assistant to Charles Rogers, the president. The moment he heard that the Durbin option hadn't been picked up, he phoned to Sherrill. "Bring her over here." It was then that her name was changed. She suggested Diana. Someone else hit on the more unusual variant of Deanna, and Deanna it became.
No one, except possibly Joe Pasternak and Henry Koster, producer and director of "Three Smart Girls," realized what they had in the picture and the new little player. On the night of the Hollywood premiere, Deanna was in New York with her mother for a personal appearance. Edith went to the theatre with her husband and father. Deanna told her later that she hadn't slept very well that night. Lying in bed, she counted off the difference in time between New York and Hollywood, and followed her family through the evening. "Now they're going in — now they're listen- ing to the song in the boat — now I'm biting my nails, they'll laugh at that — " (for Deanna does bite her nails) — "Now I'm singing // Dacio — " and so on, till she knew the picture was ended. "I wonder if they liked it," she thought, open-eyed in the darkness.
That was characteristic. It was her fam- ily's approval she longed for. Not that she didn't want general approval too. But it's hard for her to grasp the fact that she's a public figure. She seeks shelter with those she loves. Instinctively she knows that they'll be honest with her. If they think she's good, then she can hope that others will think so too.
To Deanna, the motion picture business consists of Koster and Pasternak. Since she sees more of the director, she is closer to him. In her bedroom at home, a rabbit he gave her holds the place of honor. The family calls him Peter. "It's the only sen- sible name for a rabbit," they tease her. "But his name is Henry, after Air. Koster," she insists, and compromises on Henry Peter.
The idea is firmly fixed in her mind that he can do no wrong. If someone were to hint that a better director existed, good manners would prevent her from scratching his eyes out. But the impulse would un- doubtedly be there.
A question people are quick to ask about anyone in Deanna's spot is : "Has she changed?" Pasternak, unsentimental Aus- trian, answers it this way. "I will never forget the first impression I had of this child. She walked into my office. She said nothing. But her eyes looked at me as if to ask: 'What do they want of me?' All her sincerity was in those eyes. Now, ev- erything may change, yet if the eyes re- main the same, the person has not changed. I see the same look in Deanna's eyes to- day. She doesn't realize that twenty mil- lion people adore her. And this I credit to her simple upbringing. Her mother is the same. Two pictures we have made now, and never have I heard Mrs. Durbin lift her voice so much as to moo."
When Pasternak outlined to Deanna the story of "Three Smart Girls," he stopped before reaching the end. "What do you think should happen now?" he asked her.
She raised imploring eyes to his. "Oh, please let the mother have the father back."
It was the normal reaction of a child untouched by sophistication, and though she's going on fifteen, Deanna is in essence still a child. She likes, for example, to while away the minutes between takes by playing that game whose name I've forgot- ten, but which consists in holding out your hands and trying to snatch them away again before your partner can slap them.
Expensive gifts mean nothing to her. She doesn't yearn for a car or a bracelet
70
SCREENLAND
or a fur coat. She wants what a child wants. Three small glass horses decorated a table for a scene in "100 Men and a Girl." They may have cost a quarter a piece. Koster noticed that her eyes lingered on them, as the eyes of an older girl might have lingered on a diamond trinket in a jeweler's window. He knew that she wouldn't ask for them. Because shes learned that her merest hint will be grati- fied, her delicacy shrinks from expressing any. When the scene had been shot, he picked up the horses and brought them to her. "Would you like to have them, darling?" The" undemonstrative Deanna flung her arms around his neck, and kissed him.
In no way does she take advantage of her privileged position. You will find her chasing the hinkydinky man, as they call him, all over the lot for a coke. There are twenty people ready to run errands for her. She'd rather run her own when she gets the chance.
She was eating lunch with Pasternak one noon, when Joe, the studio bootblack, came in, and asked for a word apart with the director.
"I have something to tell you," said Pasternak, on returning" to the table. "A little girl of twelve is outside at the gate. She has come every day for the past four days to get your autograph. She lives in Milwaukee, but she says she won't go home without it. Her mother doesn't know what to do, so she asked Joe."
Deanna said nothing. Pasternak added no plea to his little story. He knows that Deanna is shy about autographs, shy about meeting fans. He asked her to excuse him, while he talked to someone at a nearby table. Out of the corner of his eye, he watched her slip from her chair and walk off with Joe.
George Raft and Virginia Pine, a familiar twosome, at a preview.
There's one fly in the ointment. She can't go swimming and roller skating, she can't sit perched at a counter with an ice- cream soda, chattering as she used to do with friends of her own age. First, there's no time, and second, she's lost her ano- nymity. She went to a skating rink not long ago, but the autograph hounds closed round her and she couldn't stir. She feels, however, that she's gained more than she's lost. The movies are wonderland, and she wants to go on living there all her life. She still wants to sing in opera_ top, but she's not impatient. Her voice is in the hands of Andre de Segurola.
There's a scene in "100 Men and a Girl" where you see her standing, a small, dark- coated figure, high in the box of a concert auditorium. I watched her making it. She had just been begging the great conductor, Stokowski, to find work for her unem- ployed father and his friends. He had told her to run along, little girl, and turned back to his orchestra.
Suddenly, from above, a pure young- voice soars out to the strains of the Mozart hymn: "Al-le-/;f-u-ja-ah, «/-le-lu-jah — " Koster stands behind the camera. Eyes on Deanna, his head bobs too, his lips part, his arms swing, his fingers lift the corners of his mouth to indicate that he wants a "bigger smile" — his body, despte its move- ment, is tense — for the moment, he's Deanna, Stokowski, the orchestra, all rolled into one.
Then: "Cut. It was a lily, Schnups. Now we do it again."
A "lily," in Koster's language, means "it was good." Schnups is the latest in his long series of pet names for her. "Now we do it again" means that, though it was good, it can always be better.
If she's hot or tired or hungry, you'll never hear it from her. Sometimes Koster will break through his own absorption. "Schnups, do you want an ice-cream cone? Do you want a coke? Are you tired, Schnups? Will you rest for a little?"
She's not a talkative child, and has little to say to strangers. She answered questions politely, waited politely to be released. Then, all unconsciously, I touched a hid- den spring. "I'm going to see your sister tonight," I told her.
The sweet round face lighted up like a Christmas tree. "Going to see DcedecJ" she cried, as one might cry "You're going to see the king!" — "Oh, I think that's lovely!"
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Are American Women Unfair to Men?
Continued from page 21
Evidently men will do anything for them. They, in turn, nut)' demand t<», much. This could not happen in France. There the man decides how much money the woman is to spend. It may be lucky for the American woman that is not the case here. I don't know. But I do know that in France thir- teen is considered a lucky number and that at New Year's we send a friend a black cat."
Mademoiselle lightly smiles off any superstition lurking in the air, but at the prediction she soon will be a star cries out, "Where is wood around here?" and desperately knocks it on the nearest table.
"I may be like the American woman," she admits, "in wanting everything I can get. It is true I came to this country to make money, but I do not believe that money can mean everything to any woman. She must value love more. But for myself I cannot say. How little I know about it you may judge for yourself. When I came over from the Folies Bergere in Paris to dance at the French Casino in New York a waiter there said to me 'Who's your boy friend?' What a ques- tion to ask me ! I had to ask my mother what it meant. The English language then was strange to me. But in two years I have picked it up by listening to people and reading. Best of all I like biographies — 'Napoleon.' 'Marie Antoinette,' and now 'And So — Victoria.' But I have also read many American books, largely to learn about women here. In Paris they have the reputation of being very extravagant with their husbands' money. But this may simply mean the rich women. I want to know about the average American woman, for I am to be one myself. I have already filed citizenship papers. I intend to quit the screen when I am twenty-five and marry an American. If I had the money to do it with now I'd buy a ranch and have cat- tle and chickens and pigeons. That is what I like. I don't like big cities. I love working in the movies, but when I am twenty-five I will have been long enough on the screen. Then I want to have a family life. And I can promise that I will not demand too much, that my American husband will not find me extravagant."
Already married to Clifford Odets, American playwright, the brilliant Vien- nese star Luise Rainer is not only in a position to judge both sides of the matter but her own earning powers are so great as to make her wholly independent of any pecuniary consideration. Double impor- tance, then, is given her words :
"Romance should not be measured in money. In entering marriage a woman ought to seek to make a man happy, not to find a soft berth for herself. Selfishness can never bring happiness. One is the enemy of the other, bound to kill the only thing that makes life worth living. Natur- ally, all of us enjoy comforts, but this does not mean need of luxuries, as lux- uries are never needed. One can be very poor — I myself have been — and still be happy.
"In the marriage relation a European woman does not place so much value on money as the American woman, at least the socially ambitious type here whose love of display causes her to make great finan- cial demands on her husband. This differ- ence is easily explained. In the old country a woman is raised for marriage. There is no alternative. It is the one and only state destined for her, and so it be-
comes her career. She is not so independent as the woman of this country. It is be- cause of her independence that the Ameri- can woman can, and does, demand more.
"Sometimes I wonder if she realizes her advantages, counts her blessings. There is one for which she may be especially grate- ful. Nowhere else in the world is there a country so marvelous for children. Here they can be brought up with no apprehen- sion of war, no fear of revolution, no dread of turmoil, no horror of privation.
"Clashes, of course, are bound to occur in any human relationship that is worth anything. But they never should occur over money. Financial lawsuits growing out of romantic interests between men and women are virtually unknown in Europe. For that matter I can't imagine how any- one could ever expect money for unre- quited affection. Here the situation is one- sided— the woman suing the man. If it is a breach-of-promise suit so much the worse, for then it amounts to an admis- sion on the woman's part that she had money in mind when she became engaged. A woman who enters romance surely never tries to collect if it doesn't work.
"I believe, too, in a certain individual freedom after marriage. But this cannot always be carried out as simply as it should be. It is liable, as the saying goes, to 'make talk.' Frankly, rumors have made me unhappy. These arose from the fact that when I was working in a picture and going to bed at nine o'clock every night I wanted my husband to go out and enjoy himself with his friends. Certainly I didn't want to take him by the arm and hang on to him. I knew where he was all the time. But this didn't keep reports from spread- ing that we weren't getting along well to- gether. Hollywood is a very bad place for a happy marriage. People are so spied upon that they don't have a chance to work- out their lives in their own way.
"But in Hollywood man and wife are more independent of each other financially than anywhere else in the world. It is in the nature of things they should be, as both have their own work and their own in- come. Even though marriage frequently does go on the rocks here, it is not nearly so likely to break up on the financial rocks as it does elsewhere.
"In America it would seem that it is the demand for money made on men by women that causes most of the marital trouble. In a sense conditions may be responsible for this state of affairs. Ameri- can women make themselves attractive to men by being very beautiful, chic and smart, so perhaps the whole situation may, after all, be the natural one of supply and demand."
Norway speaks. It has its say in the pleasant voice of Sigrid Gurie who makes her American debut as the exotic Princess Kiikachin with Gary Cooper in "The Ad- ventures of Marco Polo." It is her opinion :
"This is a woman's country. What makes it so is her early development. European women are children longer. In America a girl of fifteen or sixteen is grown up and sophisticated. She already uses make-up, which is not allowed for one so young in Europe. Quite as soon she acquires style. The result is that in the American woman there is something dashing and attractive that strikes the foreigner immediately. With it she is definitely more independent than the European. She wants more out of life, and she makes it her business to get it.
"But this is not merely of her own do- ing. The American man spoils her. He gives her an awful lot. First she expects it, then demands it. The European woman doesn't. All that she expects when she mar- ries is to settle down, not to be going out
72
SCREENLAND
all the time, dancing and traveling, hav- ing a good time. She works together with her husband striving and saving so that they may have a happy home and security in their old age.
"Norway is very conservative. There women are kept down. Here they come up like flowers. They are more beautiful than our women. Not that they are born so, but they make themselves that way. The American man has such lovely women that he can afford to pay for them. They're worth it. He is very friendly, and I think this extremely nice. He is also very help- ful. This keeps things moving. Naturally, the girl doesn't want to lag behind, so she is a woman before she knows it.
"It is the man who is responsible for this quick tempo. It is the man who sets the pace and compels the woman to fol- low it. It is the man who drives her into extravagance. It is the man who pays. Why not?"
That latest newcomer from abroad the sparkling Rose Stradner who won fame on the Vienna stage and now is cast oppo- site Edward G. Robinson in "The Last Gangster," is convinced:
"The American woman makes life more difficult for her husband than we do. To begin with, she expects him to be rich. We don't think so much about that. We live more for the moment. This is because we have seen so many changes. If we like something we do it. We don't ask if it will be the best thing for us in the long run. We don't even stop to think about it. American women think too much.
"The American man could do more in Europe and not be punished so much. He is very nice, and shouldn't be treated so hard by women. Here a man can't get a divorce unless he gives half of his in- come to his wife. Alimony is one of the greatest burdens he has to carry. In Europe three hundred dollars a month is the limit. But here it is terrible. The other day I met a man who told me. 'I'm not going to get married again. I can't afford it' He was so afraid of divorce and ali- mony. It is too bad for the American man. He is a big boy and very good- hearted. If the woman understood him she could lead him very easily. But she fright- ens him. The European man knows more about women and just how to treat them. When I see all the divorces that go on here I feel sorry for the American man. He works hard and he does not have much amusement till he makes his business suc- cess, then perhaps it is too late. American women are more beautiful than any in the world. But it all gets back to the man. He puts up for it. This makes it an easy life for the American woman. Now that I am here I will become one. Outside American, but inside European."
Lucky break for some man !
Tommy Kelly, Moy Robson, and Victor Jory, in "Adventures of Tom Sawyer."
"I really should have pinned a note to my bouquet"declared the radiant bride. "Then whoever caught it would have had more than superstition to point to an early marriage for her. . . For I'd have told her to wear Evening in Paris Per- fume... the fragrance of romance!"
The get-away after the reception. .."We had to hurry to catch our train," related the bride later, "but I didn't forget my Evening in Paris Perfume and Face Powder."
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Carole and Freddie as Co-Stars
Continued from page 31
NOTHING SACRED
Presented by
Selznick International Pictures Released through United Artists
CAST
Hazel Flagg Carole Lombard
Wally Cook Fredric March
Dr. Downer Charles Winninger
Stone Walter Connolly
Produced by David O. Selznick in Technicolor. Directed by William A. Wellman. Screenplay by Ben . Hecht.
NAME., i ADDRESS..
..Shade...
little working girl doomed to death from radium poisoning."
"We've covered it." Oliver waved his hand in vague dismissal.
"Covered it?" Wally shrugged elabo- rately. "Oliver, you're getting old. Look ! Six lines on Hazel Flagg, a poor little Vermont kid with a few months to live. What does she think? What does she feel? There's a story in this kid that ought to tear your heart out. Where is it? Why hasn't the star got it? Til tell you: be- cause I'm stuck away in a water cooler because of some whim of yours. Listen, Oliver, give me a chance, will you? So help me, may I drop dead, I'll redeem my- self."
The old light flashed in the editor's eye. "I ought to be shot for what I'm think- ing," he said slowly, "but I'm thinking that maybe you aren't the most tittering imbe- cile on earth. I'm thinking that maybe you've learned your lesson."
"Oliver, so help me," Wally drew his first free breath in weeks, "I'll be in Ver- mont by morning. I'll dig you up a story that will make this town swoon. If I don't come back with the biggest story you ever handled, Oliver, you can put me back in short pants and make me marbles editor. Here's my hand on it."
It was years since Wally had been in a place like this Vermont small town. It brought back kid memories, the old swim- ming hole and things like that. Things he hadn't thought of for years. Made him feel sort of warm and friendly, but he soon found out that just the mention of Hazel Flagg was enough to make everybody glare at him suspiciously. Warsaw, Vermont, wasn't doing much talking about the girl who had contracted radium poisoning working for the Paragon Watch factory when the factory owned the town.
It didn't take much of an I.Q. to lead Wally to Dr. Downer's office. After all, a girl with radium poisoning needed a doctor, and Downer was the only one in town.
"You know what I think, young feller?" Doctor Downer peered at Wally from be- hind his huge old-fashioned desk, littered with pill bottles and prescription forms. "I think yer a newspaper man. I can smell 'em. I'll tell you briefly what I think of 'em. The hand of God reachin' down into the mire couldn't elevate one of 'em to the depths of degradation. Not by a million miles. I'm a fair-minded man, young feller, but when you've been robbed, swindled, cheated out of a fortune for twenty-two years, it's pardonable to form an opinion. You don't happen to know of a newspaper
called the M orning Star ? Or maybe you do."
Wally didn't think fast enough that time, for when he admitted his connection with the paper the doctor launched into his twenty-two year grievance against the Morning Star. There had been an essay contest and the doctor hadn't won and de- cided the thing was a fake.
After that Wally was glad to escape to the rickety verandah and contemplate the situation. And so hopeless did it seem that he hardly noticed the pretty girl in the awful clothes who slipped past him and went into the office.
The doctor was shaving when Hazel Flagg came in, grimacing into the little mirror that hung over the washbowl in the corner of the office. His eyes twinkled as he looked at her sitting lugubriously in his consulting chair.
"You don't have to sit there looking so dramatic, Hazel," he said. "Like Eliza crossing the ice."
"I — I can't help feeling a little bad," the girl spoke in the whisper she had taken as her own ever since she heard the news about herself. "You couldn't, either, if you were going to die any minute."
"Well, Hazel," the doctor chuckled, "you can stop givin' yourself the airs of a dying swan. Accordin' to this last analysis I made, you ain't gonna die, unless you get run over or somethin'."
"Holy smokes ! Oh I" Hazel ran over to the doctor and flung her arms around him, her cheek buried in his lathered chin. "I got to cry, Enoch, I can't help it. Oh, Enoch, you saved my life."
"Shucks, it's nothin'." Downer tried to assume a properly modest mien. "The first diagnosis I made was a mistake. I got so I was seeing radium poisoning every- where."
Hazel was having the grandest cry fest she had ever had.
"I've been awfully brave, haven't I, not to cry before?" She gulped luxuriously. "Please say I have."
Downer patted her awkwardly on the shoulder. "Well, now that it's over, I don't mind tellin' you I felt pretty sorry fer you, sort of."
"I don't know what I'm so happy about," Hazel cried. "You've sort of spoiled my trip, Enoch. I was goin' to take that two hundred dollars they give you for dying in Warsaw and go to New York and blow it all in and die happy. Now I'll just have to stay in Warsaw."
"Lots of people are glad to live in War- saw, Hazel," Downer frowned at her re- provingly. "It's one of the finest towns in Vermont of its size. That's gratitude fer snatching you from the jaws of death."
"But I kind of graduated from Warsaw, while I was dying," Hazel said miserably. "And now the thought of having to go back to work and paint radium dials for twenty years more and those ice cream socials on Sunday night and Harry Haul- er's new shoes creaking up and down the front porch waiting to take me to the Warsaw Grille and Cafe to listen to the automatic piano playing, 'In the Gloaming' I don't know which I am, happy or miser- able. Enoch, listen, do you have to hand in that report ? I know it sounds a little dishonest, but if you didn't say I was cured, they'd give me that two hundred dollars and I would go to New York on a big scale and study dancing or something !"
"Hazel, I'd do it for you like a shot." Downer said sadly. "But I'd lose my job the minute they found out you weren't going to die. Besides, there's the ethics."
"Well, thanks for all your trouble," Hazel sighed. "I'm terribly grateful, Enoch, only it's kind of startling to be brought back to life twice and each time in War- saw."
She held in pretty well until she was out
74
SCREENLAND
Good for many a gossip item was this and other appearances together of Janet Gaynor and Tyrone Power, seen at a preview.
of the office, then her tears came again, faster and more bitterly, and it was so Wally saw her and realized that at last he was looking at the girl "doomed to die."
"I know it's hard for you to talk," he said gently after he had introduced him- self, "but if you'll just listen to me for a little while : I want you to come to New York with me as the guest of the Morning Star. We'll show you the town. You'll be a sensation. The whole town will take you to its heart. Everything you've ever dreamed of, you'll have it on a silver platter."
"You mean they'll like me because I'm dying?" Hazel asked.
"That's a cruel way to put it." Wally was already measuring the girl, deep blue eyes, golden hair, a figure that had some- thing even in the clothes she was wearing. "They'll like you because you'll be a symbol of courage and heroism. We'll talk about it on the plane."
"An aeroplane!" The girl's voice was hushed. "You mean we'll fly there?" She was thinking fast, desperately. Oh, if only she were really dying as she had been only an hour ago. What fun she could have !
But Hazel was going to have fun any- way, even if she was going to live. It hadn't been hard to convince the old doc- tor; after all, it was a way for him to get even with the Morning Star for the prize he was convinced they had cheated him of. For they would pay his expenses to New York too, as gallant Hazel Flagg's private doctor.
It was all so exciting, the plane trip with New York at the end rising like a fairy city through the mist, and then whistles blowing and bands playing in welcome, and crowds staring and wanting her autograph just as if she were a movie star; and night clubs, and a suite in a big hotel. Sometimes Hazel thought Downer's first diagnosis had been right, after all, and that she had died and gone to Heaven.
And seeing what clothes could do for her, New York clothes, with grand duch- esses selling them! Sometimes it almost made Hazel feel guilty until she realized that if she were fooling the paper, the paper thought it was fooling her too. As if she didn't know she was boosting their circulation by the thousands !
Only sometimes, when Wally looked at her as he was looking at her now, as if he was liking her for herself or something, she couldn't help that little pang of re- morse.
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"I don't suppose newspapermen get married as a rule," >he tried to say it so casually with her heart thumping like a drum. This day had been so perfect out alone with Wally on the sailboat the paper had chartered lor the day.
"Not after they're fourteen or fifteen," Wally grinned. "That's the dangerous age for a journalist. His ideals are not yet formed and he falls easy prey to elderly waitresses. But once his finer self is born, he waits."
"Waits for what?" Hazel demanded practically.
"For the sound of the fire alarm. Miss I lagg," lie bowed gravely, "waiting to go rushing off to the fire."
What fire is that. Mr. Cook?'' Hazel said, and of course she couldn't know that her eyes looked as if a whole field of blue flowers were waving in them.
"Love," Wally said tersely. "Look, we're going to hard a lee and pick up that moor- ing. When I head her in you drop the jib. Are you following me?"
"Yeh," Hazel clambered out on the bow- deck and started uncoiling the jib rope. "Are you looking for a big fire, Skipper, or just a little one made out of strawberry boxes and lies?"
"It doesn't matter," Wally was attending to nautical matters. "It's usually out before your hook and ladder gets there. But what I have in mind is a conflagration. And even if it's a false alarm, there's the fun of riding dow n the streets with the siren wide open and — " He sprang into action. "Hey! Down with the jib! Grab that mooring!"
It was too much for Hazel. She was hanging on to the mooring, halfway into the water when Wally hauled her back on deck again.
"This is fun!" Her eyes were ecstatic. "It's almost as exciting as riding on a fire engine."
Neither of them were absolutely sure just when it was they started riding the engine. Except that the night Hazel col- lapsed in a night club, Wally knew sud- denly that she wasn't a story any longer. It didn't matter that here was the most sob-compelling, tear-jerking bit of copy that had ever been banged out on his type- writer. All he could think of was what his life would be like with Hazel no longer a part of it.
And Hazel, coming out of the fog of too many champagne cocktails, was think- ing of Wally too, and of herself, and what a fake she was.
"Oh, my gosh, I can't stand it," she wailed to Downer from the depths of her hangover. "You know what's going to happen when they find out that I'm a horrible, good-for-nothing fake. They're going to blame him. Everybody. They'll just burn down that whole newspaper. Oh Enoch, why did you let me come to New York? If you were only as honest as you look!"
There wasn't time for Downer's protest for there was that quick knock on the door and then Wally was there.
"Hazel," even his hands holding; hers were trembling as he spoke. "I'm bringing the greatest expert on radium poisoning in the world to see you. I know it's supposed to be incurable— but when I heard he was on the Rex I radioed him. There's always an outside chance, one in a million. It s a long shot, but we can hope."
For a long time after he was gone Hazel lay without speaking, then suddenly she turned to the miserable Downer.
"There's only one way out," she said slowly. "The only one way to save you and me and Wally. I've got to commit sui- cide ! I've got to be drowned. I'll leave a note for the city thanking everybody and I'll jump in and you'll be waiting in a row- boat and fish me out. I can swim under
water and I'll change my name and hide somewhere the rest of my life and — and never see him again."
It was Ernest, erstwhile Sultan of Mazi- pan, who found Hazel's note. He was de- livering flowers from the Morning Star and when he went into the hotel suite and no one was there his insatiable curiosity made him look around. It was against his ethics to read other people's mail but when he saw the letter pinned to one of the pil- lows on Hazel's bed he couldn't help that furtive peep into the envelope. As if any- one could re^'>t reading a note pinned to a pillow !
Then, goggle-eyed, he ran to the tele- phone and called the paper. That was the beginning of the search for Hazel Flagg, "the gallant girl who had run away to die alone in the night." Police boats flashed their search-lights across the dark waters and every available craft churned up and down looking for her. But it was Wally who found her down at the foot of the btreet her hotel was located on.
He called to her first as he saw her wavering a moment, then there was her shriek and the splash, of her body hitting the water, and Wally made the rest of the block in nothing flat and jumped in after her.
"W ell, that was a fine, sweet trick you tried to play," he bellowed as he hauled her up to the pier at last. "Listen, either you give me your word of honor you won't try that again or I'll spank your little — " he paused, suddenly overcome. "Hazel, will you marry me?" he begged.
"Oh, Wally," Hazel moaned. "Oh, darl- ing, there's no future in it."
"Don't talk like a half-wit," he dragged a burlap bag from a packing box and wrapped it around her. "I don't care about the future. What the devil is there to life better than what we've got? A handful of perfect hours, that's all the luckiest ever get out of it, a handful of hours to save and remember. And I'll be there at the end, sailor. I'll be there waving you goodbye. It'll be the same as if you and I lived forever. You'll grow old in my heart."
There wasn't any answer to logic like that so Hazel just gave herself up to the luxury of being in his arms all the way home in the taxi. But afterward when he was leaving she called him back.
"It was a lovely ride," she said wist- fully, "with the siren and everything. It's a big fire." She flung her arms around him. "And if you ever hate me, remember this," she kissed, him, shyly at first then w ith more and more abandon. "And this and this."
"The biggest fire since Rome," Wally whispered when he finally got around to it.
His heart was beating madly the next day when Oliver sent for him. That meant the X-ray pictures had come. That meant he would know if there was going to be a chance for Hazel.
At first the editor glared at him and when he spoke there was a blistering re- pression in his voice. "I'm sitting here, Mr. Cook," he said grimly, "trying to figure some way out of the blackest disaster that has ever struck down an innocent man since the days of Judas Iscariot. I am sitting here, toying with the idea of remov- ing your heart and stuffing it like an olive. Yours, and Hazel Flagg's."
Wally glanced bleakly at the X-ray pic- tures thrust under his eyes.
"Look at that skeleton !" Oliver had worked his voice up into a fine frenzy. "Not a bone missing. Down to the last healthv vertebra, intact. That's Hazel Flagg^ the biggest fraud of the century."
"It can't be true," Wally shouted as he grabbed the doctor's report. Then ecstacy lifted his voice. "Sweet Heaven, I can't believe it! It's like some miracle!"
76
SCREENLAND
"You've ruined me !" Oliver shouted. "You've ruined the Morning Star. You've blackened forever the fair name of journal- ism. You and that foul ■ botch of nature, Hazel Flagg."
"Listen," Wally's fists clenched. "I'm marrying her. Get that into that monkey skull of yours. And I thank God on my knees that she's a fraud and a fake and isn't going to die. She's a fraud, but she's no bigger fraud than any of them who cried over her. When you start yelling foul remember that she was just a circula- tion stunt for you and that you used her, like you used every broken heart that's fallen into your knapsack, to inflame the daffy public and help sell your papers."
He stopped as the telephone rang, then his heart contracted as he heard Oliver repeat Hazel's name.
"Pneumonia, eh?" He hung up the re- ceiver. "Wally, it's like a pardon on the gallows. But I'm taking no chances this time on Hazel Flagg. Hello," He jiggled for the operator. "Get Dr. Egelhofer on the wire. Get him to Hazel Flagg's hotel."
Wally broke all taxi records getting to the hotel. But when he saw the girl lying languidly back on her pillow he advanced on her furiously, pushing a protesting nurse out of the room.
"I knew you were faking," he said grimly. "Now cut out the shenanigens, will you? We haven't got any time to lose. Dr. Egelhofer will be here in a few minutes."
"Oh Wally," Hazel wailed. "I put the thermometer under the hot water and threw a fit. You'll never forgive me for what I've done to you. You'll hate me for the rest of your life. Oh, Wally, I want to die."
"It must have been fun playing me for the world's prize chump," Wally said bit- terly. "Listen, my dying swan, this is no time to stop faking. You're going to have pneumonia and you're going to have it good. We've got to raise your pulse to a hundred and sixty quick. We've got to have you gasping, panting, and covered with a cold sweat inside of five minutes."
It was the battle of the century, with the bleachers empty and no takers for the ring-side seats. Wally had always prided himself on his boxing and for a girl who knew nothing of the Queensberry rules Hazel wasn't bad at that. They fought, and chairs crashed before them and at the end of perspiring, practically unconsci- ous Hazel was hoisted into bed.
But it was all for nothing. The great doctor from Vienna had already left the city and now there was no one to call Hazel's bluff.
New York wept over the story that ap- peared in the Morning Star the next morning. "Radium Girl Disappears," read the headlines and below in a black-bordered box was the "last letter" of a brave girl who had left the city to die alone. Wally had written his heart into that story.
It was just at the time Warsaw was putting up a monument for its famous daughter that a honeymoon couple boarded a boat bound for Europe. A woman stand- ing at the rail gasped a little when she looked at the bride, and came toward her.
"I know what you're going to say," Mrs. Cook clung tighter to her husband's arm. "You think I look like Hazel Flagg. I'm getting sick and tired of people mistaking me for that fake."
"Fake!" The woman almost screamed her resentment. "Young woman, how dare you slur the memory of one of the most gallant girls that ever lived?"
But Hazel and Wally had moved away. They had other things to do. Important things, like standing at the ship's rail and seeing the water widen between them and the shore, and finding each other's hands and whispering all the foolish, tender little words that come so easily to lovers' lips.
MISS WRIGHT, GET A BITE \ OF SUPPER AND THEN J COME BACK FOR SOME < IMPORTANT LETTERS. J
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pictures ; with that old woman, I had a frightful time. She had to know I was shooting her, but I spoiled fourteen shots before I got a good one. I had to keep talking to her, and getting her to loosen up, otherwise she sat stiff as a poker with a grimace on her face. But in the other shuts, the barges were simply there — I didn't have to argue with them. The beach scene was only a boat drawn up on the sands."'
The young actor never uses an exposure meter. He thinks that wouldn't be fun, it would take all the guesswork and art but of the thing.
"With a mechanical gadget like that, it's set and you shoot and that's all. Maybe the picture is perfect, but if so, it's nothing to do with you. Let me show you. I'll shoot yuu here on the shore in this boat, with the glare of the water and sun and sand. 1 should be able to judge the light."
He borrowed a Leica camera and while he shot, the still man crept up and took a picture of him doing so. The shot of me, alas, demonstrated little for there was no film left in the Leica !
Ray took some informal shots of Frances Farmer, leading lady in "Ebb Tide," which he considers "not bad."
"In this one, she's singing happily, un- aware that I'm shooting her." he smiled. "This one at the studio, where she was being made up, isn't 'set;' also this one where the chap is handing her her lunch. In the fourth shot, she's posed but I like it; I mean, I selected the background, fore- ground, and surroundings and made her the central point of the picture.
"And this one is a shot of Bell House in 1933. It's a famous night club and road- house twenty eight miles outside London at Beaconsfield, England. It's owned by one of my boyhood chums. See how clear even the back meadows are?
"This is rather a pet of mine : an old lady I saw on the Bremen in 1932 when I was on my way to this country for the first time. She had a huge suite all to her- self that probably cost something like seven hundred dollars, and she was coming over to see a son she hadn't seen for thirty five years. Most of the crossing she sat on deck with her face toward America. I think you can see her great expectations in her face.
"This was a test shot I made of my sister's living room in Wales. I wanted to see if I could change the exposure and test the time. It took three minutes, accord- ing to my records.
"Some of pictures I have enlarged m panels and use them as wall decorations. Two of my shots I made on the Europa I have on my walls in Hollywood. I think it's a nice idea and I expect to do more of it.
I don't take children's pictures as a rule — they're too hard to manage. But I did shoot this young one in Sweden in 1933. He belonged to the caretaker of the cottage where I stopped on a skiing expedi- tion."
Snubbing the Stars
Continued from page 27
that Ham step on the gas. Down Sunset Boulevard drove last year's Academy Award winner. |f
"There's a wonderful place over there, cried La Davis. "Stop and let's go in."
Ham pulled up in front of an eating joint that featured one row of counter stools for the cash customers. Over the door in large
blazing letters, was painted this name: "Butcn's Beanery — Eat 'em While They're Hot." And Bette did!
There was a time in Tyrone Power's life when he didn't have the twenty-two dollars to pay the landlady who was holding his trunk. So naturally there wasn't money for such luxuries as taxi fare. Came fame wav- ing her ma^ic wand and Tyrone breathed a huge sigh of relief. No more waiting on corners for busses until death by freezing was a sure fate. Xo more walking in at the crack of dawn because he had missed the last street car. And then Tyrone went on his first vacation to Chicago.
Visiting friends in the loop, he hailed a cab and asked to be driven across town to the Belmont Hotel. The driver gave him a strange look and a few blocks away, pulled up to the curb and insisted that Tyrone get out. There were no explana- tions. The driver was gone with the wind. Tyrone hailed a second cab. He gave his instructions and a few blocks further, he experienced the same treatment. In des- peration he hailed a third cab.
"If I were to ask you to drive me to the Belmont Hotel, what would you do?" he asked.
"I'd stop the car and make you get out," came the quick reply. "There's a taxi war going on and that location is where it's hottest."
"Then I might as well start walking,'* sighed Tyrone. Several hours of hitch- hiking later, Tyrone arrived at his des- tination.
If you were the manager of a big hotel and it was a national holiday, and Ginger Rogers suddenly walked into your lobby and asked for accommodations, wouldn't you find a place for her? That's what we thought. But it didn't work out this way for Ginger when on last July fourth she decided to get away from it all. Ginger forgot it was a holiday, and naturally rooms were at a premium. It was dark
Statement of the Ownership. Management. Cir- culation, etc.. required by the Acts of Congress of August 24. 1912. and March 3. 1933. of Screen- land, published monthly, at New York, N. Y.. for October 1. 1937. State of New York. County of New York. ss. Before me. a Notary Public in and for the State and county aforesaid, personally appeared Joshua Superior, who. having been duly sworn according to law. deposes and says that he is the Business Man- ager of Screenland. and that the following is, to the best of his knowledge and belief, a true statement of the ownership, management, etc., of the aforesaid publication for the date shown in the above caption, required by the Act of August 24. 1912, as amended by the Act of March 3. 1933. embodied in section 537. Postal Laws and Regulations, printed on the reverse of this form to wit: 1. That the names and addresses of the publisher, editor, man- aging editor, and business managers are: Pub- lisher. Screenland Magazine. Inc.. 45 W. 45th St.. New York City. Editor. Delight Evans, 45 W. 45th St.. New York City: Managing Editor. Delight Evans. 45 W. 45th St.. New York City: Business Manager. Joshua Superior. 45 W. 45th St., New York City. 2. That the owner is: Screenland Magazine. Inc., 45 W. 45th St., New York City; V. G. Heimbucher. 45 W. 45th St.. New York City; J. S. MacDermott. 45 W. 45th St.. New York City. 3. That the known bond- holders, mortgagees, and other security holders owning or holding 1 per cent or more of total amount of bonds, mortgages, or other securities are: None. 4. That the two paragraphs next above, giving the names of the owners, stockholders, and security holders, if any. contain not only the list of stockholders and security holders as they appear upon the books of the company but also, in cases where the stockholder or security holder appears upon the books of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting, is given; also that lhe said two paragraphs contain statements embracing affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear upon the books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner; and this affiant has no reason to believe that any other person, association, or corporation has any interest direct or indirect in the said stock bonds, or other securities than as so stated by him. Joshua Superior. Business Man- ager Sworn to and subscribed before me this 24th day of September. 1937. Edward A. Geelan, Jr Notary Public. Rockland County. Certificate Filed in New York County No. 720. (My com- mission expires March 30, 1938.) [Seal.]
7S
Screenland
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when she pulled in at an unfamiliar hotel. The clerk took one look at her dusty, in- formal appearance and assured her there was nothing to be had. So a Ginger who had lost some of her snap, climbed back in the car and started driving again. At dawn she arrived at the Del Monte Hotel and was welcomed with open arms.
The worms in Mammoth Lake are so plentiful, the trout there enjoy the snootiest reputation on land or sea. That's why Franchot Tone was so pleased with him- self, when he rapidly pulled in the limit. Soon Franchot was speeding merrily on his way home. Then, out of the nowhere, right into Franchot's life came one of those California motor cops — who always gets his man just when he's happiest.
"Wait until he sees who you are. He won't give you a ticket," said Bob Davis, the Tone stand-in, who had gone along.
The strong arm of the law went right to work. Franchot presented his driver's license. His name was copied on the ticket and he signed for it. With a warning not to let it happen again, that man started to drive on to his next victim.
"Hey, wait a minute," called out Fran- chot, who is regular enough to admit it when he knows he is in the wrong. "Maybe you'd like to have some nice fresh trout."
"Sure would," came the reply. "Thanks very much — Mr. Stone."
Pajamas in Hollywood are just about as common as bacon with eggs. But at the fashionable hotel in Chicago, where Ann Sothern was visiting her husband Roger Pryor, pajamas were worn but never seen. Therefore one morning when Ann slipped out to go to the beauty parlor, a doorman who put his heart in his work refused to allow Ann back in the lobby. She told him who she was and explained that she did not know about the pa jama ruling. The man had been instructed that no lady wear- ing pajamas was to be allowed through. And that meant Annie. Finally, in despera- tion, Ann went around to the tradesmen's entrance. She entered her sumptuous suite via the freight elevator route.
It was pretty hot working on "Submarine D-l" but Pat O'Brien didn't mind too much. The day was almost over and soon he would be back at the Coronado Hotel and enjoying a wonderful dinner. But just as he did sit down at the table, Pat was informed that he would have to wear his coat in the dining room. It was scorching hot and Pat was weary. Besides he only had the regulation uniform coat he was wearing in the picture. This he was forced to put on, because no allowances for tired movie stars was on the hotel's list of rules and regulations. And to make everything perfect, every naval man who walked into the dining room saluted Pat, who gradually grew old, saluting in return.
When John Beal returned to the East from Hollywood after making "Another Language," he waited breathlessly for the premiere at New York's Capitol Theatre. Finally the great day arrived. John took his best girl friend (who became Mrs. Beal in spite of it all), and his father came down from Joplin for the occasion.
Going up to the man on the door, a self- conscious John Beal, sure that he would be recognized, asked to be admitted ahead of the others. At the same time he extended a dollar bill.
"You'll have to go to the end of the line and wait your turn," was the curt answer. But the dollar bill was not re- turned. Hours later the weary party got to their seats. John felt that all eyes were turned in his direction. It certainly was great to be a star, drawing crowds like this to a theatre, he thought. But when the lights went on John made an interesting discovery. Robert Montgomery, as adver- tised, was appearing there in person!
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Cupid's Cycle
Continued from page 29
is like Tony but it isn't Tony.' Libby, who had been with me at .Madame Hun^aria's, shrieked and 1 upset a glass of water right in his lap.
"I decided to marry Tola the Wednes- day before the Saturday that we took the plane to Yuma. But the next Thursday night Tola had to work late — [Editorial aside: Mr. Litvak was finishing 'Tovarich'] — and 1 went with some friends to a poker party and lost and that depressed me so when 1 got home 1 phoned him and told him I simply couldn't face it, the marriage was off. lie said all right. So the next night, Friday, he saw to it that I didn't play cards and he took Mady Christians, I ritz Lang and me to the concert at the Bowl, but we stopped at the Troc so Fritz could have dinner and by the time we arrived at the Bowl the ushers had all disappeared and we had to ask about ten people if they had any idea where Box 12. Section C might he. They didn't. Finally we found it and had just settled down to enjoy a good symphony when suddenly we looked up and we were alone in the Bow l — except for a few musicians who were wrapping up their instruments. So we just sat there and planned the wedding.
"Marriage in Yuma is very simple, really. Bellboy number 3 at the hotel takes charge completely and I had hardly finished my iced coffee, it was only 112 there though the hotel was air-conditioned, when he brought in the License Lady — he introduced her as the License Lady so I never really knew her name. And Bellboy number 3, the very soul of efficiency, ushered in the Judge who is known as the Marrying Judge of Yuma and is a perfect darling, and immediately everything became sentimental and lovely, and I was off on a cloud when suddenly I heard Mady scream. 'Stop,' she shouted, 'Miriam, you're marrying the wrong man!' And so I was. The Judge, poor dear, was a bit confused and tired by forty-one marriages that day — I'm a forty- second bride — and Tola and I were both terribly nervous, and sure enough I was marrying Fritz. So it seems I married Fritz for the first part of the ceremony but Tola got in for the second part and that's the part that has the 1 do' in it and I think the 'I do' is the most important tiling in the ceremony, don't you?"
Well, I could see that L'amour was going to get a good kick in the pants if I stayed around Miriam much longer. Not a heart- throb, not an eye-lash flutter, and not the ghost of a blush. Now I ask you, how could I make a saccharine story dripping with sentiment and adjectives out of that?
Better luck, I said sharpening my pencil, with Alice Faye and Tony Martin.
Alice, having spent her honeymoon at the Trocadero, was a little sleepy when I ran her down on the set of "A Young Man's Fancy," the Tuesday after the Saturday elopement. Alice is Irish and you can always count on the Irish being senti- mental even on a studio stage, swathed in silver fox and the thermometer 110. Alice. I was sure, would not let me down, pro- vided she didn't faint before she finished the telephone scene. The Alice Faye-Tony Martin romance has been one of Holly- wood's best ever since the two kids met in "Sing, Baby, Sing," nearly two years ago. _
"Friday night," said Alice with that cute smile she has, "I gave the most horrible broadcast of my life. Everything bad that could happen, happened, so after it was over I just sat down and cried. Tony was so sweet and consoling that I decided to
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marry him the next day. Somebody told me a bride wore blue so I put on a blue suit and an orchid corsage and with a few friends we flew to Yuma where the heat was something awful. 'Let's get it over with quickly and get back to Hollywood,' Tony said, mopping his brow and so white I thought he was going to pass out with a sunstroke. And when the Judge told him to put the ring on my finger he was so nervous he couldn't see my hand though I was waving it right in his face.
"And you'll die when I tell you what the Judge said. I was sort of choked up after the ceremony, I've never married any- body before and it was impressive, even in that heat, so I shook hands with him cor- dially and very politely, I thought, I told him I hoped I would see him sometime. 'Oh, you will,' he said, 'I'll be seeing you again soon.' Of all things for a marrying judge to say!"
Anne Shirley, the third bride of my mar- riage cycle, slipped off very quietly to Santa Barbara to marry handsome young John Howard Payne of the Virginia Paynes, (and not one of the Paynes in the neck, that I know), in one of those quaint little bungalows adjoining the swanky Biltmore Hotel where society meets the sea. Paula Stone and Henry Willson stood up with them and Anne's mother cried and it was all quite lovely and bona fide except that they too had to dispense with the honey- moon on account Anne had to do retakes on "Stella Dallas" and John had to rush back to "Love on Toast." In fact, they say it was because of this I'amour that Anne gave such an inspired and brilliant performance in "Stella Dallas." Even Anne seems to confuse the two on occasion, be- cause when an RKO executive said "Con- gratulations" to her one day, she turned to some friends and said, "I never know if people are congratulating me on my work in 'Stella Dallas' or my marriage to John Howard Payne."
Well, anyway, all daffy abstractions aside, when it comes right down to the bare facts, I would say that I'amour and marriage cycles in Hollywood aren't what they used to be. They're a lot more fun.
How Hollywood Has Conquered Radio
Continued from page 23
hired Cecil B. DeMille of Paramount as producer, Lou Silvers of 20th Century- Fox to lead its orchestra, and between acts Hollywood personalities are interviewed).
The most remarkable stipend unquestion- ably is Tyrone Power's. Most remarkable because three short years ago Radio thought him worth $12 a week. He had a good enough voice to read funny papers over the air in Chicago. Hollywood recognized his potentialities, polished him, and today he is worth $4,000 a week to Radio !
Don't imagine that this money is gravy to be spooned nonchalantly, though. For a while New York air officials declared that picture stars were disappointments. A few players did make the mistake of letting themselves be hurried onto the air. But no longer will wise actors be so foolish. Now stars request lengthy rehearsals, admit they may be under-directed in films. For those Lux dramas, for instance, a star rehearses on Thursday, Friday, Saturday, Sunday, and Monday for an average of twenty-five hours.
The great problem of picture stars is this : in Radio all emotion must come through the voice alone. The subtle facial
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81
expressions so valuable in films are value- less on the air. Looks are no help.
Never a victory without the conqueror assimilating some of the traits of the sub- dued. A visitor to Hollywood is in for a surprise at the town's new business-like complexion. Evenings of gay, carefree fun are definitely fewer and farther between because most of the stars have an air pro- gram on the fire and are maneuvering for rehearsals.
"W hen I do an hour's play for Radio," says Joan Crawford, "I need forty hours of advance rehearsal." That's the all-time high fur preparation, but Joan is ambitious and she's not given to kidding herself. When she spent that much time she scored ; she eased up once and wasn't so well pre- pared. But forty hours at eight a day — union standard — add up to five full days. Now figure out how you'd sandwich in five days into Joan's picture-making schedule for a week! Il'd turn you into a pretty methodical person, also. In days of yore Joan could capture Charleston cups; now, except for Saturday night fun, she studies. She is scared stiff of the new medium, but wants to click in it as a prelude to stage success. ''The only thing to do," counselled Franchot Tone, "is to beat your nervous- ness by working like a dog." Fine chatter to a glamor girl, but a swell tip. And Joan accepted it gratefully.
Anyway. Miss Crawford can now stand up before the mike and an audience; but Claudette Colbert, once on Broadway and outwardly a lot calmer, isn't up to getting off her stool. Claudette sits on a high stool, with her script propped on a stand that won't shake or drop it. She then slips off her shoes and endeavors to remember that she's positively serene. Her doctor husband stands in the control room and holds the good thought, too. Recently, during a broadcast, Claudette accidentally fell off her perch. The audience giggled, and so did she. Dr. Pressman impulsively cried, "They must have a funny sense of humor !" Frank Oiapman, husband and manager of Gladys Swarthout, is likewise in the control room and unwittingly mouths every nuance of hers. She glances towards him frequently for assurance, a clinging-vine type. He's dripping with perspiration when she fin- ishes. Paul Muni, who wants Mrs. Muni on his picture sets to okay every move of his, is valiantly becoming self-reliant via Radio, though. Studied rather than impetuous, he is forcing himself to go on the air without her help.
Bette Davis' hands fascinate everyone watching her at a broadcast. She is so in- tense that she grips her script stand, run- ning a veritable gamut in gripping. When she's most intent it seems as if she may break the wood.
The nonchalant Clark Gable is runner- up to Bing Crosby for number one most- at-ease star. Clark wears sweatshirts or tricky sweaters to rehearsals and wins everyone by behaving as though he were the most unimportant person present. When he broadcasts there are so many fans that he has to be spirited out through the door where the pianos are shuttled.
Bing is amazing. He's as peaceful as the Rock of Ages. The other night, three min- utes before he was to sing, his sheet of music performed one of those mystery odd stunts. The band was readying. Bing didn't know the words. Everyone else went wild. He ambled around the stage, before the audience, peering hither and yon. He couldn't locate the music and there he was on! He boo-boo-booed melodically through a refrain, until someone spotted the paper under the drumstand. Bing's show is the only big one that has no elabo- rate dress rehearsal. The last get-together is informal. Bing will chat with the song- pluggers who hang around. After rehears-
82
Dorothy Lomour's leoding mon — not screen, real-life! He's Herb Koy, Dorothy's husband. They ought to be in pictures together.
ing his songs awhile, he'll wait for Bob Burns to drop around. Bob never sees the show script before then, and last week what a rare crisis popped up as a result! The program had been devised around the beard Bob had been wearing for a picture ; Mr. Burns checked in clean-shaven. All the dialog had to be revised immediately. Yet neither Bing nor Bob could be fazed.
Dick Powell glows when he senses a favorable audience ; nevertheless he's strict- ly on his toes. As he finishes each page of his script he rolls it up and tosses it at someone nearby. Robert Taylor is ex- tremely conscientious, and personally liked as a result. The inner worry that seizes him is ever concealed. He demands no privileges and goes without his meals if necessary to be on schedule. Perhaps be- cause he doesn't forget that three years ago he was only an extra in air shows.
See Marlene Dietrich rehearsing for a broadcast and all those vanity cracks go up in thin smoke indeed. She sits on the floor to go over her lines, and when there's a funny one she roars and has to start all over again. She dresses not in plumes and veils, but in chic simplicity. She manages very well without mirrors. Alice Faye hon- estly hates to put up a front, but since she's been broadcasting at night she's prom- ised to appear in a chic gown. She now brings along her own hairdresser to guar- antee that her coiffure is correct. Julius Stein, from her film studio, arranges all her tunes. Alice doesn't read a note, you know, so she'd rather rely on a pal. She has recordings made of her broadcasts, so she can replay them for self-improvement.
NBC rents a theatre set at Warners' Sunset Boulevard film studio. Tyrone Power and his guest stars act here. Audi- ences revelled in his kissing duel with Loretta Young, incidentally. The first time they teamed on the air he kissed her so hard she practically reeled into the wings. When they teamed anew she got even ; she gave him "the business."
Martha Rave is hail-fellow-well-met still, but she is anxious to get more true char- acter into her public character. So she's stopped singing hot rhythms on the air. She hasn't been practicing with a teacher solely for the fun of it.
Comedians need audience reaction. At least. Eddie Cantor and Jack Oakie feel so. Eddie is a terrific clown ; he plays chiefly to his visual fans, it seems. He throws bakers' pies when there's an op- portunity for slapstick and he doesn't mind stopping the show for audience howls. Jack
ad libs, making mince-meat of the script. Charlie Butterworth is unique ; he's so quiet and he'll sit munching in a next-door cafe until two minutes before he's to be on the air. He won't rush then, but casually walks to the mike. Gracie Allan is as hilarious as an ogre before her broadcasts; she doesn't want to spoil a one of her silly remarks so she isn't to be disturbed. She lets George Burns do the bantering ; he doesn't have to get into the mood. You never see even George before the team's literally in action, though. With Jack Ben- ny it's the opposite; he comes out a half hour beforehand and chums with the audi- ence.
The riot of Radio today is, of course, Mister Charlie McCarthy. You'll be see- ing him in pictures any moment. He wears green satin pajamas to shock his heckler Mr. Fields, and he enjoys every minute of the shows he's in on. When he was doing a burlesque on a spy drama, with Nelson Eddy, he was so versatile juggling three different accents that Nelson had to hold the Eddy face to keep in character. The world's favorite dummy rates a kiss hello from Dorothy Lamour, without fail. ( She hasn't gone glamorous on her Radio bud- dies; she still drives up in her coupe.) W. C. Fields, invariably attired to perfec- tion, with spats and all, has given up try- ing to top Charlie. Don Ameche, who is the A-l prankster of a great film studio, does behind-the-wings antics to distract Charlie, and to no avail yet. Eddie Bergen, Charlie's dad, is a dignified, well-mannered young man who bought a second-hand camera and made post-card views of grocery stores until he decided to be a ventriloquist. He dates Loretta Lee. But he has to cart Charlie McCarthy along to most of his parties, and just after politely acknowl- edging an introduction Bergen is appalled to hear Charlie mutter. "Who's this guy ? And what's his racket?"
Currently Nelson Eddy is matinee idol number one, if the ardent feminine fans have anything to do with the ranking. He was fond of closed studios, where he could take off his coat and unloosen his collar and concentrate on his singing. But now he's unbending, doing comedy lines with new facility, and getting a kick out of tliis. So many girls think he's irresistible that two page boys regularly act as body- guards to get him out of the station safely.
Every picture star but Shirley Temple, Chaplin, Garbo, and Mae West has been featured on the air by now. Mrs. Temple has rejected fabulous propositions, believing Shirley's film work is enough. Chaplin's voice isn't in keeping with his tramp char- acterization and he hasn't yet had the heart to come out of his mold. Garbo, it's re- ported, has turned down $15,000 for a single air show. It would ruin her mys- tery line. Myrna Loy and William Powell had a hunch they'd be a keen air team. Their agent asked $15.000 — and as yet there are no takers. Mae West is rumored to want ten grand, a little too much for the sponsors.
From New York to Hollywood to broad- cast have come such Radio stars as Rudy Yallee, Don Ameche, Walter Winchell. Lanny Ross, Irene Rich, Dorothy Lamour, Bob Hope, Kenny Baker and Ken Murray. Rudy is now playing in the Cocoanut Grove, for the first time, and like all the rest in this illustrious group is acting for the movies besides.
The talent for the supporting roles in air shows used to be all Radio-trained. But now this is altered. That monopoly is broken and Hollywood's character actors juveniles, and ingenues are receiving mo^t of these bit assignments.
Yes. when Radio vowed it could make the movie stars cry Uncle it forgot one thing: Hollywood had the stars the public love? !
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Even your smartest friends will like this gift! Go over your list, solve your gift problem by sending your friends SCREENLAND for an entire year. No red tape. No delay. Merely fill in the order forms below. We send handsome announcement cards telling your friends of your gift. For additional gift subscription use any plain paper.
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Mrs. II In I ne, 's quests cli nili n hoard . . . light up Camels. . . . Willi a "Hani alec!" Mrs. It hilney /mis tin- helm orer . . . heads out to sea.
The Whi tneys will be sailing in southern waters soon
SOCIETY EDITOR
(above) Mrs. Howard F. Whitney, of Roslyn, Long Island, at the helm of the Chinook. "I value healthy nerves," she says. "So I smoke Camels. They don't jangle my nerves!"
ng th
MRS. HOWARD Y. WHITNEY told me, the other day, that they hope to do some sailing in the South this winter. The W hilneys had a lovely summer on Long Island — and on the Sound. Mrs. Whitney is a skillful yachtswoman and handles a racing class boat like an expert Their converted New York 40, the Chinook, is a very "shippy" boat.
Mrs. Whitney will be remembered as the former Hope Richardson. Her wedding was an outstanding social event. I recall how enchanting Mrs. Whitney looked as a bride, in a gown of white satin with a yoke of net embroidered in tiny pearls, and her tulle veil held in place by a bandeau of orange blossoms. This year Mrs. Whitney's committee work had much to do with the success of the colorful Greentree Fair at Manhasset. During the summer she got in a lot of ten- nis, riding, and — as always — sailing and cruising.
Hope s enthusiasm for the ener- getic life is proverbial among her friends. "Don't you ever get tired?" I asked. " Of course," she laughed. "After a long trick at the helm, or any time I feel worn out, I refresh myself with aCamel — and get a 'lift ! I can smoke Camels steadily, without the slightest feeling of harshness on my throat." Which shows how mild Camels are! It's true that women find the costlier tobaccos in Camel's matchless blend more enjoyable.
Mrs p Mrs n ^
refreshing:
boston
n. JV.
ici"ola
Camels are a matchless blend of finer, MORE EXPENSIVE TOBACCOS ...Turkish and Domestic
' Gardner r ,. *ork Anil, °,,dSe 2»d Bn
Aniiony r n - Boston
Y °re*ei 3rd n-,
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188 Mo
TVRKISH & DOMESTIC , *
BLEND ^ CIGARETTES
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tof-loui,* ... ""'"'"York
Wnold. Tob,
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CiT A LIFT WITH A CAMEL
The Smart Screen Magazine
etting Gay
ith Gable
January
Itastic First Nights
rhe Amusement World is Ablaie! ^
' i . ii ■ . ' * i ' » . i ' lift // ^ '
^5
/< / 7(
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£j / Ziegfeld created it on the sfage — / his greatest triumph! Now — on the _\ / screen — M-G-M tops even "The Great Ziegfeld" itself with a new happi- I \ ness hit! ... Thrilling music! Gorgeous girls! Laughs galore! Tender romance — of a Princess and a West Point /? cadet — with the grandest cast of / stars ever in one spectacular picture!
m
COLE PORTER SONGS
All Over But the Shouting" "Spring Love Is in the Air"
"Rosalie" 'In the Still of the Night" "Who Knows" "Why Should I Care
f
"Why Should I Care" ^^C^1^ k — M>
^Tn'a «AJ ouv» ; «•* oujj
Produced by ^UArAA^HOH^'"
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SCREENLAND
The Smart Screen Magazine
Delight Evans, Editor
Elizabeth Wilson, Western Representative
Confessions
of a Hollywood
Secretary
We've given you the glamor- slant on Hollywood in many a fea- ture story, in beautiful art portraits, in gossip items. We've presented the color of the cinema capital in fiction form, in our big-name serials. But there is another side of Hollywood — an "inside" slant, if you like to call it that — which is not often revealed to the public who pay to see motion pictures. It is not scandal; it is not sensationalism for its own sake. But it is, very definitely, the real low- down on Glamor-land. It concerns the important people who help make pictures — not the stars. It tells the fascinating actual story of how films come to be created. The "idea" peo- ple of pictureland are introduced to you.
In Screenland's next issue — Febru- ary, on sale January 5 — we give you "Confessions of a Hollywood Secre- tary." Yes, if is a sprightly title; and it's a sprightly story, too. But it is also important; we suggest that you should not miss it. We know you'll be entertained; and we suspect you will gain a new understanding of this fantastic Hollywood.
Tom Kennedy, Assistant Editor
Frank J. Carroll, Art Director
January, 1938
Vol. XXXVI. No. 3
II
12 14
16 18 20 22 24 26 28
30 32 34
51
EVERY STORY A FEATURE!
The Editor's Page Delight Evans
Hollywood's Fantastic First Nights Eileen Creelman
Getting Gay with Gable Elizabeth Wilson
Star-Dust Baby. Fiction Margaret E. Songster
How to Impress the Stars Helen Louise Walker
The Scream of the Jest William H. McKegg
Double Exposure of Loretta Young and Myrna Loy Ben Maddox
Companionship by Camera. Ann Sothern Ruth Tildesley
Reviews of the Best Pictures Delight Evans
Kay and Pat are Like That. Kay Francis, Pat O'Brien .Liza
Pirate Gold.
Fictionization of "The Buccaneer" Elizabeth B. Petersen
Fields without Hedges. W. C. Fields Ida Zeitlin
Are You Insane? Peter Lorre speaking Gladys Hall
Secrets for Smart Girls.
Confided by Madeleine Carroll Dickson Morley
Screenland Glamor School. Edited by Bette Davis 52
Screen Sirens Set the Styles. Fashions 54
Notes for Gift Lists 56
Cheer-o! London News Hettie Grimstead 58
SPECIAL ART SECTION:
Eddy in Action. Nelson Eddy. The New Home of Fred MacMurray. A Day with Charlie McCarthy. More Applause Please. Buck Jones, Akim Tamiroff, Warner Oland, Ralph Bellamy, Leo Carrillo, Phil Regan, James Gleason, Gene Autry, Claire Trevor, Alan Dinehart, Frieda Inescort, Alan Hale, Cedric Hardwicke, George Zucco, Henry Armetta. Ah! It's Art! Pictures Must Tell a Story. Fredric March, Her- bert Movius, Judy Canova, Marjorie Montgomery, Bobby Clark, Ella Logan, Lola and Rosemary Lane, Joan Blondell, Marie Wilson, Jane Wyman, Ronald Colman, Olivia de Havilland, George Brent, Claude Rains. We Want Action. Carole Lombard, The Mauch Twins, Edward Arnold, Shirley Ross, Rufe Davis, Lana Turner, Ann Sheridan, Alan Curtis. The Most Beautiful Still of the Month.
DEPARTMENTS:
Honor Page 6
Screenland's Crossword Puzzle Alma Talley 8
Here's Hollywood, Screen News Weston East 60
Tagging the Talkies. Short Reviews 64
Inside the Stars' Homes. Gale Sondergaard Betty Boone 65
Cover Portrait of Carole Lombard by Marland Stone
Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S. MacDermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530 W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription 31.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign S2.50. Changes of address must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class matter Novem- ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1879. Additional entry at Chicago, Illinois.
Copyright 1937 by Screenland Magazine, Inc. Member Audit Bureau of Circulations. Printed in the U. S. A.
5
_AND Honor Page
Conquest of artistry! Garbo as Marie Walewska, Charles Boyer as Napoleon, make screen history
TRUK magnificence is uncommon in th( cinema. Somehow it is most often founc in Garbo's pictures! Her new screenplay, "Conquest," is an event because it permits our noblest actress to portray a hauntingly ro- mantic figure of history, Napoleon's Polish sweetheart, Marie Walewska. Perhaps it is Garbo's best performance in all her career because it is her subtlest. All the histrionic fireworks are reserved for Charles Boyer in his more colorful role as the Emperor, an< Boyer is superb in every scene. But it is Garbo who assures "Conquest" lasting importance, for her creation of Marie marks the first time within our memory of self-sacrificing motion picture heroines when nobility has not been boring, but beautiful. Again we honor Garbo!
Garbo and Boyer in "Conquest," right, set a new standard for screen acting. Below, the characters of Marie Walewska and Napoleon, as brought to the screen. At bottom of page, two close-ups of the co-stars in thrilling moments.
6
GENE AUTRt
LEO CARRIUO
HIT TUNIS . . . "Round Up Time In Reno" "Hove You Ever Been In Heaven?" "Mama, I Wanna Make Rhythm" "I Owe You" "All Over Nothing At All"
PICTURI CREATE HAPPY HOURS
1
SCREENLAND
7
WORKED WONDERS FOR HER SKIN!
r.Mv skin was awful. I «as ,
, ML l Iven hob in a mirror ashamed to t.i?> _
Novate again\A O
TONIGHT- AND NOP IVONDSRJ '
otherS-1 to see results.'
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Let Yeast Foam Tablets help you as they have helped thousands of others. This pas- teurized yeast is rich in precious natural ele- ments which stimulate sluggish _ digestive or- gans— restore natural elimination — and rid the body of the poisons which are the real cause of so many unsightly skins. You'll look better — and feel better.
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City State
. Canadian readers please send 10c to cover postage and duty
SCREENLAND'S Crossword Puzzle
By Alma Talley
ACROSS
1. Co-star of "Dead End"
5. He's featured in "The Man
Who Cried Wolf" 10. She used to be Mrs. Bruce
Cabut
14. She's featured in "The Thir-
teenth Chair"
15. A rooster fattened for eating
16. Fritz Tarlenheim in "The
Prisoner of Zenda"
18. Again
19. The wife in "Wife. Doctor
and Nurse"
21. A famous divorce center
22. A hill (terra used in Western
films)
23. "A Day The Races,"
Marx film
24. Railway (abbrev. )
25. Annoys
26. And, in French
27. Note of the scale
29. Co-star of "Big City"
33. Ma's husband
34. Compass point (abbrev.)
35. Not working
37. Exclamation of triumph
38. Eat dinner 40. Owns
42. His new one is "Rosalie" 44. What you do with a book 46. Vigor
49. A wise bird
50. The first man
51. Pealed
52. Fuss
53. She's Mrs. loel McCrea
54. Singing star, "Music For Mad-
ame' '
55. "You Only Live ," a
movie
56. Short sleep
57. Footwear ■>9. Nothing
61. Indefinite periods of time 63. Scene (abbrev.) 65. Either
[66. To spoil (as an egg)
68. The opposite of yes
69. Since
171. Where a chicken's food goes
73. 74. 76.
79. 83. 84.
86. 87. 88. 89. 90.
'The Last
'High, Wide
9. 10.
11.
12. 13. 14. 17.
19. 20. 28.
30.
31. 32.
33.
35. 36.
38.
" The Avenue," a movie
That old sun god Wide-mouthed comedienne (in
"Double or Nothing") Halo
She's starred in "Stage Door" Mud
He played "The Good Old
Soak' ' Din
Wilted, lost color
Load
Pronged
Malt drinks
DOWN
Star in "A Star Is Born" Individuals His new one is
Gangster" Chinese measure He's featured in
and Handsome' Sailor
Open (poetic)
Negative
Place of entrance
Advertisement (abbrev.)
She's featured in "Saturday's
Heroes Always
Goes down (as a boat) Crippled
Prescribed amount of
medicine Note of the scale Forever
Dancing star of ' 'Broad- way Melody of 1938"
He married Jeanette MacDonald
Exclamation
Princess Flavia in "The Prisoner of Zenda"
He's featured in "A Girl With Ideas"
Islands
Star of "Ali Baba Goes to Town"
"Shall We — ■ " a
Fred Astaire film
(of sheep — "Artists and
39- Ingenue in "The Thirteenth
Chair"
40. Bricklayer's equipment
41. Reverential fear 43'. Man's nickname 45. Give birth to
archaic)
47. Leading lady in Models"
48. Cleaning implement 58. He's starred in "Stand-In" 60. Small European fish
62. Typical
63. Crust formed over a sore
64. Brutal
66. Concerning
67. Made a mistake
69. He's featured in "Hold 'Em, Navy"
70. What you plant in a garden
72. Open space
73. Exclamation 75. One
77. Military assistant
80. Hawaiian food
81. Receptacle for coal
82. Employ 85. You (Biblical) 87. Note of the scale
Answer to Last Month's Puzzle
MlAl
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E G R ETlME! S HHW ARRE'N
HB BBB HBB EH
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0HEMDE EBUJ HBGLEGSB BHBEE] BHQ SHU10S
8
SCREENLAND
HOL D 1«w *U'
Here comes Fred's big dancing show . . . with Hollywood's Girl of Your Dreams for romance . . .« and George and Gracie Gracier than ever! . New daring dance creations! . . . New biuezy song swingsatiohs ! . . . New knock- out laugh sensations! . . . in a dizzical, dancical, musical show thrilled to the top with buoyant life at its gayest !
UP YOUR J0£s
■=0y^S P. G. Wodehouse • Ernest Pagano • S. K. Lauren llfl I llUIIUJU
SCREENLAND
9
DRAFTS?
GARGLE LISTERINE
Like wet feet, drafts are dangerous hi'caiiso they chill the hotly un- equally, weakening its resistance to perms. Avoid all drafts, and w hen you have been in one, gargle Listerine.
Listerine kills germs associated with colds and sore throat
Tests During 7 Years' Research Show Cold Prevention Results That Amaze Even Medical Men
EXPOSURE?
GARGLE LISTERINE
When a person coughs or sneezes on you, the ah carries bacteria and de- posits thern in your nose and throat. Prompt action with Listerine, which kills germs, may avert an oncoming cold.
No remedy or treatment that we know of can show the brilliant clinical record in fighting colds that Listerine advances. Listerine offers you the possibility of getting off with light colds this year, or ??o colds at all. It is the new therapy that succeeds.
Tests made during 7 years of research showed this:
That those who gargled Listerine Antiseptic twice a day had fewer colds, milder colds, and colds of shorter duration than non-users. More important still — colds of Lis- terine users reached the dreaded danger zone of the chest less fre- quently than colds of non-users.
Why such results, that impress even medical men? Why is Lis- terine preferred to drastic purga- tives that may weaken the system, vaccines that sometimes upset the patient, and those inhalants which may irritate the nasal passages?
Here is why: Listerine treats colds for what they really are — acute local infections. And the quickest way to combat local in- fections, as any doctor will tell you, is to kill the germs involved in them. That is exactly what the Listerine gargle does.
The secret of Listerine's success, we believe, must be that it reaches the virus (germ) which many au- thorities say causes colds. At the same time it kills by millions the threatening "secondary invaders" — germs that usually inhabit even normal mouths, waiting until re- sistance is low to strike. Among them are the dangerous influenza and streptococcus germs. These "secondary invaders" are the germs that complicate a cold and produce inflammation. They must be held under control.
Five minutes after gargling with Listerine Antiseptic, tests showed a germ reduction averaging 94.6%. Fifteen minutes after,96.7%. Even one hour after, nearly 80% on the average. This amazing germ reduc- tion gives Nature a helping hand, and materially reduces the risk of cold. That is a matter of labora- tory record.
Use Listerine night and morning, and at the first symptom of a cold, increase the gargle to once every two hours. This pleasant precau- tion may spare you a long and ex- pensive period of suffering.
Lambert Pbabmacal Company St. Louis. Mo.
"fa/MTrfifW SWEEPS AWAY TOBACCO-STAINED DEPOSITS"
IT POURS ON THE TEETH A VJONOEQ FULLY \ Fa«CO«tiT, CLEANSING, MILKY WHITE SOLUTION THAT SIMPLY SWEEPS AWAY t THOSE TINY DEPOSITS STAINED BY TOBACCO SMOKE. ALL THE GIRLS AT THE BRIDGE CLUB ARE TALKING ABOUT IT .
WHY DON'T YOU TRY A TUBE?
Don't take our word or the word of famous New York beautiesabout Listerine Tooth Paste. Try it yourself. See how quickly it attacks tobacco- stained deposits on teeth. How its fragrant, milky-white so- lution bathes the teeth and gums and leaves them fresh, clean and healthy. How its
high-lustre polishing agents restore natural brilliance and beauty to your teeth. Don't forget its economy either. More than a quarter of a pound of first-rate dentifrice in the 40c tube. The 2.5c size is proportionately economical. Get a tube from your chug- gist today.
10
SCREENLAND
y^EAR CLAIRE TREVOR:
I 3 You fooled me. You really did. I thought I had you all figured out. I was wrong. Perhaps it will amuse you to watch me eat my words. (Gulp, gulp.) Remem- ber our lunch, the first time I met you, only we ate chicken and crepes suzette, not words; and it was all very gay, and a Certain Celebrated Billionaire across the smart cafe stared and stared, and who could blame him, for you were by far the prettiest blonde in the crowded room. You sparkled, from your smile to your star sapphires, and I thought, "Now here's a carefree actress, for once, with never a worry; and I'll bet she will never go arty on us!"
Well, you told me all about your new house, for which you were selecting every scrap of curtain and every stick of furniture, yourself; and you seemed to get more frivolously feminine every minute. And then, eventually, talk turned to pictures — it doesn't usual- ly take that long, but you were so charmingly casual about your career, I thought it would be al- most vulgar to bring it up. But somehow or other, I seemed to hear you re- ferring to yourself as a "Class B" star. Now, there's a big difference between be- ing a "Class B" star, and a star in "Class B" pictures; so I argued politely; and your big brown eyes grew bigger and darker, if pos- sible, and you said quite positively: "I'd be willing to play a bit, just a bit, in a big picture, to show I can act." It sounded well, but it didn't make much sense to me. Claire Trevor, a big box-office attraction, if not in epics, playing a bit? Come come, now, Miss Trevor, I said to myself. It's awfully cute, but it isn't in character.
And then what happens? You did it, by gosh. You locked your big dressing-room with the star on the door, went over to a strange "lot," and took a "bit" to play — the comparatively small but oh, so potent part of Francey in "Dead End" — you played that part just as it was written, with no frills, no false bids for sympathy; and lo and behold when "Dead End" was released, people were exclaiming: "This Claire Trevor is an actress." You knew it all along.
Well, it would have been nice if Holly- wood had suddenly swept you into a big, showy star part such as "Stella Dallas" which would have catapulted you into the front rank of important stars. But this isn't wonderland. It's Hollywood. So you're
An O to CI
pen aire
etter
revor
back in your big dressing-room, making more good money pictures, if not epics. You make every part you play stand out for some reason — for instance, in your latest, "Big Town Girl," you get yourself up in a black hair-do; in some scenes you're smothered in specs; you're doing some trouping. And if anyone thinks you're wasting your spare time mooning around, let them listen to your rich cello-voice on the radio, oppo- site Edward G. Robinson. The best part is, you're still The Prettiest Blonde in the Room. And some day, I think you'll be one of the Big- gest Stars. I'd like to change that picture title to "Big Time Girl." That's you, Claire Trevor.
Claire
Right, Above,
Trevor, trouper the girl herself, in character for new film.
11
There's no spectacle in the world to com- pare with it! A motion picture premiere in the cinema capital is unique among world events, and the reason is devastatingly described here
S ONDON had its coronation, New York its American Legion convention, Philadelphia the Army-Navy 1 football game. These are all very well in their way, nice little shows that draw quite a crowd. But for sheer fun, spectacle, and insane showmanship, none of them can compare with a Hollywood premiere.
They are terrifying in a way, fantastic as a circus. Wallace Beery was so startled by the crowds at one open- ing that he drove away and sneaked in a back door. Harold Lloyd, although never recognized without those dummy glasses he wears for pictures, tries always to find a side entrance. But Hollywood as a whole takes fierce pride in that unique and expensive entertainment, a movie opening.
The show of course doesn't take place on the screen, although the theatre always does conscientiously run the scheduled film. They are always trying something new at those openings. Some publicity man may get the bril- liant idea of not bothering with the picture at all on premiere night. This would save trouble ; and the celeb- rities would come just the same.
A Hollywood premiere is not to show off the picture. Their one purpose is to show off the audience. Well does the audience know this. This is the one opportunity to parade, arrayed in all the splendor of sables, ermines, and dirty polo coats, before real people. These are not cameras watching them, although there are cameras everywhere, but thousands of fans, eager, articulate, wild with en- thusiasm. Even a Wallace Beery or a Harold Lloyd, the most modest actor in town, gets a thrill out of those cheers.
As for a Douglas Fairbanks, he never misses an open- ing. Mr. Fairbanks is always part of the show at each big premiere, enjoying the crowds as much as they enjoy him. With Sylvia Ashley, elaborately dressed, on his arm, he can stroll up the longest theatre entrance without a
^ By Eileen Creelman
trace of shyness or annoyance as thousands stare.
Not all of Hollywood can face those crowds with the aplomb of a Fairbanks. But all of Hollywood turns out for a premiere. There you will find them all, Myrna Loy, Irene Dunne, Virginia Bruce, Charlie Chaplin and Paulette Goddard, Norma Shearer, Ginger Rogers, Paul Muni and his wife, the Fredric Marches, Errol Flynn and Lili Damita, all the hundreds of others whose very pres- ence makes the opening a show impossible to put on any- where else in the world.
Of course they would never think of such a show any- where else. These big openings cost between four and five thousand dollars, half of which goes toward lights. That money is spent to impress Hollywood, to make the industry sit up and take notice. Incidentally, of course they provide hilarious evenings for those thousands of fans who have time and energy to endure them.
Every effort is made to keep these fans happy. It was the Warners who last year thought up the grandstand stunt. They built huge bleachers for the opening of the latest "Gold Diggers" and filled part of them with beau- tiful chorus girls. Fans occupied the other seats.
That started it. Now each company must provide grandstands. Those for "High, Wide and Handsome," at the Carthay Circle, held between eight and ten thousand people. They were solidly packed by five in the afternoon. The show was not even scheduled to begin until eight- thirty at night. At midnight, as the stars sauntered out, the bleachers were still filled, and the streets behind them jammed with people hoping at least to see Fred Mac- Murray or Martha Raye or perhaps Mae West drive by them in an automobile.
Those stars were all there, scores of them, Dorothy
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Gayer than a circus, more clamorous than an American Legion convention, is the Hollywood First Night! Here's a pictorial cross-section: at far left, just a glimpse of the crowds approaching the theatre; next, autograph-hunters being held back by police. Above, the stellar attractions: top row, left to right, Mr. and Mrs. Fred MacMurray, Mr. and Mrs. Errol Flynn, Gene Raymond and Jeanette MacDonald. Lower, Mr. and Mrs. Paul Muni, Dorothy Lamour, Harold Lloyd with his mother and daughter; and, center above, Fredric March at the microphone, with Mrs. March.
Lamour in slim black, Dorothy Jordan in a red polo coat, Virginia Bruce in glittering white. Those fans who couldn't see could at least hear. Announcers saw to that. They announced everything, whose car was coming down the boulevard, whose car was approaching the flood- lighted entrance, who was just stepping under the block- long canopy to walk self-consciously up that red carpet to awaiting microphones.
You couldn't miss anything. The real show was there, outside the theatre, on those painful walks under the glaring lights while thousands of eyes discussed you, on that broad green square surrounded by bleachers on two sides, by the theatre entrance on the third, by the canopied walk, cameramen, lights and policemen on the fourth.
Just for good measure, as though the antics of a Holly- wood celebrity audience were not enough, an elaborate program of entertainment preceded the picture. And this took place outside the theatre, all for the benefit of the waiting fans. Ben Blue, for no reason except that it was a warm evening and that he had a part in the picture, drove up to the theatre in a sled drawn by a team of Alaskan huskies. He was suitably dressed too, in fur coat and straw hat.
Lynn Overman was acting as master of ceremonies outside the theatre, Fred MacMurray inside. The effect was the desired one, that of a three-ringed circus. Judy Canova, with Zeke and Anne, did some of their routines.
Betty Grable sang. So did the Four Yacht Club Boys. Bob Burns, Gracie Allen and George Burns, and William Frawley stayed out in front of the theatre to indulge in expert wisecracking for the crowds. Their amusing revue, broadcast on a coast-to-coast hookup, lasted for an hour.
The breathtaking exuberance of a Hollywood premiere is no happenchance. The natives begin to get excited days ahead ; and the natives are the movie colony.
Jeanette MacDonald and Gene Raymond cut short their honeymoon, sailed back from Honolulu, a five day trip, just to be in town when "The Firefly" opened. That was an evening too, big enough to coax Norma Shearer into the limelights again, to bring Edward G. Robinson back from a vacation. Constance Bennett, probably the most inveterate and certainly the most conspicuous of all the local first-nighters, might not even stop at crossing an ocean in order to see and be seen at a really gala premiere.
All of Hollywood takes part, one way or another, in the show. Even the publicity departments of studios ap- parently unconcerned have to do a bit of worrying. Their job is casting the audience, seeing that the right people walk up that red carpet two by two.
It is usually the young actors who consult the publicity departments. They wish advice about the girls they should escort. This is an important decision for any player. To take a girl to an important premiere is not equivalent to announcing an (Please turn to page 70)
13
Getting
Gay with
Gable
What happens when Clark cuts up
By Elizabeth Wilson
Hollywood swonk means nothing to Gable. He has no cook, no valet, no chauffeur — "I'm not help- less," says Goble when someone suggests that a movie star should have servants.
IF IT hadn't been for East's mild little diamond bid Clark Gable probably never would have gone duck hunting, Claudette Colbert wouldn't have been invited to Walter Lang's for dinner, and I would have gone serenely, well, not too serenely, through life without ever knowing what a duck press is. It certainly had unex- pected repercussions. Up until then the game had been quite a nice little game, not brilliant, but nice, and South hadn't yawned more than five times. But when East made that mild little bid in a weak voice it started a bidding duel between East and West which ended even- tually in a fourteen hundred point gain for North and South. East, who in private life is Carole Lombard, said that she was sorry. West, who is known to millions as Clark Gable, said that there was really no law that forced people to sit down at a bridge table for hours and glare at each other for making foolish bids and that personally he thought it would be more fun to go duck hunting. Fieldsie and Walter Lang (North and South to Mr. Culbertson, but best friends to Carole and Clark) said don't forget to bring back some ducks. And Carole said no pumas this time please.
So the next morning Clark, who is a good shot, brought back a bevy of wild duck and because he lives at a big hotel in Beverly Hills and has no cook, no valet, no chauffeur, no second maid, no China boy ("I'm not helpless," says Air. Gable when someone suggests that a movie star ought to have servants), he dumped them on Walter Lang's ping pong table and said it would be nice to have a couple of people in to help eat them. Walter didn't want any people in because he had just bought a new house and the pictures and drapes weren't up, and Walter, like all directors, wants to have his sets
perfect before the action starts. "When you have duck you have duck," said Clark with a grin and a shrug, which rather expresses his philosophy of life — if you have a treat tossed at you don't grumble, enjoy it — "I'll hang the pictures and I'll make the sauce."
Clark Gable with all his being Screen Lover Number 1 has never been known to make an "entrance," and it's a safe bet that if you invite him to dinner at seven-thirty he will be there at six-thirty, which is another reason why he and Missy Lombard get along so well, Carole being the only glamor girl in Hollywood who keeps her appointments to the dot. So when Claudette and the doctor and I arrived the pictures were all hung and all kinds of little knick-knacks which would eventually be a Gable sauce were gathered about the chafing dish on Walter's bar. Shouts of laughter from the game room announced that Carole and Clark were whipping up an extra edge to their appetite for pressed duck by an ani- mated game of ping pong, not just the usual ping pong, but "match" ping pong, a little variation that Walter brought back from China. Clark is crazy about match ping pong and is the match ping pong champion of Benedict Canyon though Carole is no slug at the game herself. Walter's match bill is terrific. The idea it seems is for each side, East and West again if you wish, to place an opened box of matches on the base line and see who can upset the most matches in the due course of a ping pong game. I'm better at rummy. Claudette is better at parchesi, and Walter promised her she could play after dinner. If anyone would play with her. Movie stars aren't as coddled as you might think.
On a large silver platter the ducks, well roasted and with their meaty parts removed, were brought in from
14
Clark, at left, blinks as the news photographer takes a "grab shot." Carole Lombard is with him. Below, when he goes on hunting trips the studio photographer isn't always along, but this time he was. Clark, however, is actually no phony outdoor fellow, but the real thing.
Wide World
that you haven't been out much. It is a duck press, isn't it?" she said in an aside to Fieldsie. Clark said sh-sh- s-s-sh h, and we all did. It was going to be a Ceremony.
And just so you, my little kiddies, will have something" on the crowned heads of Europe I'm going to give you the famous Gable recipe for pressed duck here and now, and if it brings on a good case of indigestion don't blame me. First of all, you clean and singe and wash wild ducks just as you do domestic ducks. Rub inside and outside with salt and pepper and brush with melted butter. Put a teaspoonful of butter inside of the ducks, onion and celery to help kill the wild taste, place them in a baking pan with a tablespoon of water, and roast in a hot oven for twenty-five minutes, the time depending upon the size of the ducks. When done, carefully cut the breasts off the ducks and place in a warm dish ; then pile the carcasses (if you can get them away from your guests — not a chance if Colbert and Lombard are there) into a platter and one by one drop them into the duck press. When sufficient pressure is put upon the press the juice pours out of a little spout into the container.
And here's where the famous pressed duck sauce makes its entrance. Have a slow flame under the chafing dish and into it put a tablespoon of butter, a teaspoon of very hot dry mustard, a tablespoon of currant jelly and a glass of port wine. Cook it about three minutes but never let it come to a boil. Then pour in the juice from the duck- press container and cook about (Please turn to page 75)
the kitchen and placed on the bar, and everybody stopped counting silly matches and with a "Woo Woo" (Mr. Hugh Herbert really started some- thing in Hollywood) made a wild dash for duck legs and wings. Such picking of bones ! How re- volting ! I unearthed the biggest leg and Claudette, like something starved out of a Dickens novel, snatched it away from me. Really, Miss Lombard and Miss Colbert, if your public could see you now with duck behind your ears ! "Tut, tut," said Mr. Gable whacking away at grasping fingers with a huge spoon, "you aren't supposed to eat that, that's for the sauce. Haven't you been fed today? Hey lay off, I want to show you how to make pressed duck sauce, the recipe for which kings have offered me their crowns."
Well, I always know a chafing dish when I meet one out socially but there was some kind of an apparatus at the end of the bar that had me com- pletely baffled. "What's that funny looking thing ?" I said pointing a greasy finger, "a cocoanut cracker ? Dear me, what will the rich think of next?" "That funny looking thing," said Carole scornfully, though it wasn't very effective with a duck wing in her mouth, "is a duck press, and it is quite evident
tar-
D
ust
Bab
By Margaret E. Sangster
T
"Who told you to say I was beauti- ful?" she asked. "Nobody told me to say nothing," Peter replied, and gulped — "You are beautiful."
CHAPTER II
HE cocktail party was over and done with, and the last guest had been taken out and poured into a taxicab. The drawing room of the Mollineaux house was empty save for the lingering ghosts of a thousand cigarettes, save for an army of sticky glasses. The soft-moving Japanese servants swarmed like moths in the patio, gathering up debris, and a gardener was already busy with a flower bed that had been brutally trampled. But Katrine Mollineaux sat back in a deep chair, with the tips of her slim fingers pressed together, and stared at her publicity man. There was such blazing hatred in her eyes, and her silence was so fraught with meaning that, after some fifteen dragging minutes, Bill Naughton spoke.
"Better say it," he advised, "before you explode !" Katrine made drawling answer. "I never thought you'd put the bee on me," she said, "you snake in the grass — " Bill countered: "Now, now, Katie. The party was a wow, and Peter was a howling success !"
Katrine snarled — "Yeah! Here I had fifteen sob sisters and ten camera men, all set to get a load of me with a little blonde baby in my arms. And then you bring in a big kid with freckles and a black eye. What a razzing
they'll hand me !"
Bill Naughton grinned, but only with his mouth. He said :
"Pipe down, Katie — the kid's in the next room. I wouldn't want to hurt his feelings."
Katrine's eyes weren't blazing any more. The)' were veiled, and as hard as marbles.
"Trot the kid in," she said.
Bill asked, "Why?" His tone was mild. He added, "You're not in any mood to see him, now. Wait'll you cool off."
Katrine said — "If you know your onions, you won't
16
ILLUSTRATED BY WELTON SWAIN
wait 'til I start to jell. You'll take me warm, and like it." She called, "Hey, Peter, come here — "
There was a sound of footsteps pattering on parquet. Almost sooner than you could imagine, a little red- headed boy was in the room. He stopped running, after he'd crossed the sill, and stood — his wide eyes, one badly bruised, fastened on Katrine's furious face. After a moment Katrine said —
"Why are you staring at me?"
The little boy fumbled for speech. "Because," he man- aged at last, "you're so beautiful. You look like an angel in a church."
The dramatically human story of a screen siren whose daring plan to advance her career precipitates a crisis in the lives of three extraordinary people
Bill gave one quick, mirthless snort of laughter. He stopped as suddenly as he had started, and said — "Come here, sonny. Come to Uncle Bill." But Katrine interrupted — "No. You come here, Peter," and the child, with one frightened glance in her di- rection, came haltingly toward her. When he had stopped only a few inches from her chair, Katrine spoke again. Her voice was deceptively soft.
"Who told you to say I was beautiful?" she asked. "Did Uncle Bill learn you a lesson?"
Peter answered : "Nobody told me to say nothing," he replied, and gulped — "You are beautiful. Like an angel in a church — "
Katrine said, "Heaven help you if you pull that line again! Where'd you come from, anyway, and what's your name, and how old are you?"
The little boy said — "I came from th' Good Shep- herds' Home, and my name's Peter. I ain't got any other name."
Katrine began, "Oh, so you're a little — " but Bill Naughton interrupted her. His voice was all at once as sharp as a knife.
"Shut up!" he said. "One dirty crack out of you, and so help me . . ." Suddenly his voice lowered — "The kid's only eight," he murmured, "and he's had a tough time. Go easy with th' whip."
The little boy's eyes were so large that they seemed to swallow up his entire face. He stared painfully at Bill.
"You told her to shut up," he said. "You hadn't oughta do that, Uncle Bill !"
Katrine laughed. "That's all the thanks you get," she said to Bill Naughton. To the child she addressed a question.
"How long have you been calling this bozo uncle?" she wanted to know.
"Ever since I seen him," answered the little boy. He volunteered, "That was yesterday."
Katrine laughed. "So that was yesterday!" she said "I can't help thinking that Uncle Bill might've bought you some decent clothes — "
Bill said: "I hadn't time, really. The papers came through so late today that we only just made it without stopping for a thing."
Peter supplemented: "We came in a big car. We did eighty on th' straight roads — " and Katrine said, "That was just dandy. You must've been in a hurry to get here . . ."
The little boy looked at her with his soul in his eyes. He said simply —
"We was. Nobody ever wanted me a-fore . . ." Bill Naughton drew in his breath sharply. He mur- mured—
"For God's sake, Katie," but Katrine laughed. Her laughter was as sweet and brittle as a New Orleans praline.
"I wonder," she said, "if you'll make as good time going back? Eighty on the straight roads, I mean . .
The little boy's face had been flushed. Suddenly it was so pale that the freckles stood out on it like flecks of nutmeg on milk.
"Going back?" he asked. "You said, going back? Back — where?"
Katrine's laughter was a little louder, now — and if anything more brittle.
"Why," she answered, "back (Please turn to page 67)
17
So you want to make friends among Hollywood's great? Here are some rules to follow — fun, too!
#55
Who wouldn't want to make friends with Ginger Rogers? She looks receptive here, at left in group on set of "Having Wonderful Time," with writers and director. Fred Astaire, right, will beam if you ask him about the songs he has composed.
How to
mpress
T
h
By Helen Louise Walker
EVERYONE seems to be telling everyone else, these days, how to do something or other. How to make friends, how to influence people, how to live alone or in large groups, how to be polite, how to be com- fortable, though married or in Africa. How to antagonize people — how to — well, anyhow, who am I to be left out of all this? With the influx (and what an influx!), to Hollywood these days, it seems that a bit of advice might
be in order about how to get along or not to get along in "the colony." For Hollywood, like Africa, Shanghai, and Berlin, is a rather specialized community, and it is well to know a few of the fundamental rules if you hope to make friends and thereby do something for yourself.
Let's say, for simplicity's sake, that you have come to Hollywood in the hope of making some friends. Let's just start with that. I wouldn't bother, just at first, with trying to influence anyone if I were you — not unless I had a great deal of money or owned some race horses or were related to a big producer. And I shouldn't give much thought to the problem of antagonizing people. You don't need a book for that, goodness knows !
Let's assume that you have come to Hollywood and hope to make some friends. Suppose you are intro- duced— bang! — just like that, to Fred Astaire. It doesn't happen very often but sometimes people are introduced to Fred. He's a friendly person to meet, too. But if you
18
so that we may discover what makes the English go "Ha, ha!" and laugh with them.
Not to be outdone, Paramount will present Beatrice Lillie, another Britisher, whose comedy quells once and forever the erroneous belief that the Anglo-Saxons lack humor ! Bee is the rollicking gal of Broadway's musicals.
George Burns undoubtedly prefers the inimical Gracie Allen as wife, to someone after the style of Constance Bennett. Gracie keeps a fine home for him and the two children. There's nothing funny in her domestic life. But as a radio and screen star, Gracie is the nuttiest of the nuts— for which we are mighty glad !
Several years ago, some movie friends of mine (you probably thought I had none) took me to the hillside home of Nick Grinde, the director. Nick entertained us with slick card tricks and startling declarations. He took delight in foretelling events he believed would come to pass. Talk of Arabian Nights Entertainment! Well, if Director Grinde were not at this moment gadding through China, or some other oriental pasture, I'd demand his instant prediction for Marie Wilson.
Marie is a sort of protegee of his. Hollywood has reported them engaged. When I asked Marie if it was correct, she looked startled and said: "I imagine you would call it that. We like each other's company and go about together. Yes, I suppose you'd say we were engaged."
She didn't seem sure about it. The idea dismayed her. After all, it was her en- gagement, not mine. But engaged or single, Marie is a knockout. Nick might be a prophet in his own chalet, but Marie has predicted what could happen if Warners followed out her suggestion.
In James Melton's "Melody For Two," Marie appeared with a huge cello_ and said to Fred Keating: "If you build an orchestra around me, you'll have something."
If Warners build a cast around Marie, they'll have a sure-fire star. As it is, they regard her with pride, and are training her for leads. There is a good likelihood of her doing the lead in "Boy Meets Girl."
When I met her she had but recently come out of hospital, having received^ a crack on the cranium, following an auto accident. But that did not down Mane. She turned up with a Russian handkerchief round her blonde head, the patch plainly showing where the hair had been cut away.
She takes things seriously — Hollywood, acting, the fans and all connected with them, "if they see me as a good comedienne at the moment," she explained, with terrific earnestness in her eyes, "I'm only too glad to do what they see best. But I'd like to study and get other parts — maybe with pathetic touches in them, even drama. If the chance is given me, I'll take it."
The nymph is wise. There's nothing dumb about Marie. Listen to her talk ; note her wise remarks ; her fluent speech — she's got her head screwed on the right way !
She's a demon for learning, and studies drama, languages, singing, and anything that helps her advance in acting. The results we (Please turn to page 70)
Martha Raye's lusty yells come back in echoes of loud guffaws from the audi- ence. Martha in action, top left. Be- ginning from left, across page, see Doro- thea Kent, Glenda Farrell, Joan Davis, Helen Broderick, and, below, Marie Wil- son— they save many a film from dull- ness. Right, Patsy Kelly, and above, Mice Brady and Gracie Allen, more in demand than many glamor girls.
21
Double -Exposure of Loretta Young and Myrna Loy!
SO YOU want to knc perbly ?" Myrna Loy eyed 1
>\v w
rhv 'Gretch' ticks
•n Mi-
ne alertly. It was noon in her dressing-room suite at M-G-M and stars are suppused to be involved in a thousand flurries during their brief respite from their sets. Myrna behaved as calmly as though she were miles away from it all and had an entire week-end to devote to my curiosity.
"I don't," she offered with a half grin, "call her Gretchen. Even though I'm Minnie to her! And I'm glad I am, for that proves she really is a pal of mine. However, only her family still use her given name ; she has always been Loretta since I've known her.
"It is noteworthy, don't you think, that Loretta has gone on when most of the ingenues who began when she did have fallen by the wayside? I'm not implying that she's aged," Myrna said with a full smile. "As you know, she's just approached her mid-twenties. But she played her first lead at fourteen, with Lon Chaney, and ten years in constant demand and the sort of a future she has indicates that she's away above the average in Hollywood.
"One reason she is, obviously, is that she has talent. Another is that she has great stamina. Determination isn't enough out here. Loretta wanted to be in pictures, was determined to be, and seized opportunity when it seemed to be knocking. You know that story, how at thirteen she reported to Mervyn LeRoy in place of her older sister when Polly Ann was out of town. She's had the push to go after her chances. She was bound to rate recognition — any girl with that much gumption at thirteen would.
"But I've known many ambitious girls, and I know that your determination isn't worth much without great stamina to back it up. Loretta is a fragile vision. But she isn't at all fragile of spirit. She's progressed while other aspiring ingenues have fizzled because she wouldn't
Loretta Young, through the eyes of "Minnie" Loy
By Ben Maddox
be stopped. And then couldn't be discouraged. W hy, when she was doing her first lead she was subjected to a reproof that would have beaten the ordinary girl. The director told her — before everyone — that she was impossible. She cried. That was what he wished, to touch the emotion locked within (Please turn to page 66)
Few Glamor Girls of Hollywood get to be good -friends. Loretta Young and Myrna Loy prove the exceptions. At right, close-ups. Left, Miss Loy with Walter Pidgeon in a scene from her new picture, "The Four Marys."
f m
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Wide World
ER apparent wall ot mystery always was a chal- lenge to me. I wanted to know her well, at first, so I could be certain; learn what she is really like, what her secrets are. I discovered, besides more important things, that she is not mysterious at all. In fact, I also now call her — affectionately — Minnie !
"Crisp glamor is only a part of her, actually. Equally outstanding is this — you are able to talk to her as you are to few people. She is so easy to be with !
"She is the epitome in the eyes of the modern sophisti- cates, yet she wouldn't attempt the terrific pace. She is such a comfortable person. Provocative because she has definite ideas and can be nonchalant about them. Stim- ulating to me because she gets what she wants. But unique among all the women in Hollywood because she is smart and smooth and comfortable !
"She is the most contented star I know. Finally I've unearthed why. It's due to her distinct philosophy ; she is a direct result of a particular attitude towards life. She does have a success system, you see. An explicit one. And although she looks inscrutable, she's quite frank about how she proceeds. She's no stuffy siren of the old school."
It was Loretta Young, speaking candidly. I had gone to her for the authoritative solution to the prize problem of Myrna Loy, for I'd noticed that in these past two years Myrna has shown a partiality for Loretta.
A solitary, enchanting figure she was, in white silk slacks and blouse, at the far end of her fragrant hidden garden. No parasol, no picture hat, nor trailing skirts. Loretta is femininity, with or without trappings. She put down her Noel Coward's autobiography- — "He was a
Friendly group at left; Loretta Young with Mr. and Mrs. Arthur Hornblow (Myrna Loy). Above, Loretta in a close-up with Tyrone Power from "Second Honeymoon."
Myrna Loy, as her friend Loretta knows her
bit precocious, wasn't he? The latter half, where he mentions some of the people I've met, is more interesting to me !" — and rose from her wicker chair. The late after- noon sun jumped over the green roof of the playhouse to catch the transient sparklets in the blue water of the swimming pool at her side ; it revealed her gay freckles, too. Daytimes Loretta scorns all traces of make-up ex- cept lipstick.
"I don't after dusk, when I'm dressing to go out," she stated impulsively. "But take Minnie now ; she has freckles, as I have, but you wouldn't catch her ever trying to veil them off-screen. Not even for a big evening.
"Ours hasn't been a sudden friendship, you know. We've drifted together comparatively recently, though we were cast in several films with one another some years ago. The other night we had 'The Devil To Pay' run off — in spite of all the improvements since then Ronald Colman was still grand ; but we — why, we were so awful !" Loretta chuckled. "And Minnie in her blonde wig — !
"In the beginning I was a little afraid of her, and not because she played the menace, either. It was her quiet- ness that puzzled me. She kept so to herself. When I'd walk onto the set she was polite enough, but strangely aloof. So I'd say good morning and wait to see how she'd take it.
"Then I made a picture at Metro. My last day there I passed her and she declared, T wish we could have had lunch while you were over here !' I was dumbfounded at her cordiality.
"Soon after we met socially and I find that she's shy instead of mysterious. She has to know that you truly enjoy her company before she can relax.
"Naturalness is Minnie's greatest quality. There is nothing forced about her. ('Please turn to -page 66)
23
Companionship by C
amera
"We share each other's good times, see what the other is seeing," Ann explains in this story of how she and Roger Pryor became snapshot fans. Center, right, Ann takes a shot of Victor Moore, on lo- cation. Right, one she took of Roger playing ball. Be- low: circus stunt; Al Scott and George Murphy; Edward E. Horton, Lily Pons, and Luis Alberni on a studio set.
ANNIHILATING distance, hands-across-the-conti- A-\ nent, keeping the separated up-to-date — call it / \ whatever you please — but that's what candid cameras mean to Ann Sothern and Roger Pryor, who have spent so much of their married life in different cities.
"You can share each other's good times, see what the other one is seeing, get a better idea of what it's all about than you can get from letters, if you keep candid camera pictures flying back and forth," smiled Ann, sorting over an envelope of snapshots on the set of "She's Got That Swing."
"As a little girl, I don't think I ever noticed a camera much. We didn't go in for picture-taking as a family, though we were often separated, and think what we missed ! It wasn't until I met Roger that I paid any atten- tion to camera fans, and then it was just that he was interested. I bought him, one Christmas, a German-made camera that was supposed to be very fine, and he was so thrilled over it that I began to wonder if there was really something in it.
"He kept me posing, until it got so that whenever I turned around there was Roger clicking a shutter, or I'd find it had just clicked, catching me in an unguarded moment. I imagine I took it up in self defense. I bought a small camera at first, thinking I'd show Roger how it felt to live with a camera fiend, but next thing I knew I was really interested. Now we have a Leica, too, and whenever I can I borrow the Graflex from the boys on the set.
"This is a shot I made with it over on the Lily Pons set ; she had on her bird costume but she'd wrapped a robe around it, and Edward Everett Horton and Luis Alberni were sitting with her waiting for a new set-up. I didn't fuss over that shot, just used what lights hap- pened to be there and didn't change anyone's pose or anything. I don't think the studio likes people to run around sets with a candid camera, anyway, so I almost never do it.
24
Ann Sothern and her husband, Roger Pryor, bridge miles to enjoy each other's company with their candid cameras
esley
Ann likes to take action shots — and she knows how, as you see in the tennis subject, left; and below, Clyde Beatty in the climax of his circus act with the big cats. Center below, the pic- ture-taker snapped as she takes a Graflex shot of Helen Broderick and Victor Moore. Bottom, dance director and chorus girls.
"I don't do much fussing, though. I know how bored I get with those everlasting 'Wait a minutes' and 'Just a lee-tle to the other side now' and 'Look over this way, please' when I'm not working, so I generally just look in my finder and shoot."
A chorus of "Ann !" sent her flying onto the set, where she sat strumming on a piano while Helen Broderick vainly tried to take a telephone call. They had todo the scene several times because Helen slipped out an "Ann !" instead of a "Carol !" which was Ann's picture name.
"It's the simple mistakes that cause trouble in taking- pictures, too," philosophied Ann, presently, coming back to the snaps. "The first time I ever used my little camera, I forgot to take off the cap over the lens and I shot a whole priceless roll of film before I discovered what I'd done. Some of those things I'll never get again.
"I often make mistakes, no doubt because I'm in a hurry. I see something and can't wait to grab it. But I usually can tell when I look at the negative or the print what it was I did or didn't do. I under-expose or over- expose, at times, or forget about change of light. Roger has an exposure meter that gives the exact exposure, but part of the time I haven't the gadget with me, or I think I can judge.
"Another thing most of us amateurs do is not to notice the background. The figures before us are interesting or colorful and we forget that a distant telephone pole or some old ugly fence is 'way back there, but will show up in the finished print.
"When I take what ought to be a grand shot, and it turns out to be anything but, and I can't figure out why, I take it to the boys on the set and ask them. They usually know. It's amazing the way they can tell at a glance what I must have done to miss."
Roger and Ann have been separated a great deal since she began to be a candid camera fiend, and they hit on the idea of sending each other shots of every interesting event they attended separately. (Please turn to page 74)
CONQUEST — Metro-Gold wyn-M oyer
TRULY a notable motion picture, an achievement reflect- ing credit on all concerned, is this handsome picturization .of certain dashing and dramatic episodes in the life of the Emperor Napoleon. Addicts of Napoleonic lore will find this romantic version satisfying despite historical discrep- ancies; addicts of Garbo will find themselves in a fine poetic frenzy, for never has The Great G.G. been lovelier ; as for addicts of M. Charles Boyer, they will have something to shout about in a big way at last, for this time the fine French actor has a role sufficiently showy to impress his powerful appeal, as well as his artistry, upon the public. Almost, it is Boyer's picture ; almost, but because of Garbo, not quite. She is still the star of "Conquest." It is a fine romantic tale the picture tells, of the noble influence of the Polish Countess, Marie Walcwska, upon the great Bona- parte. Her selfless devotion is shown to inspire and sustain him even through his Waterloo; from his grand triumphs to his final crushing defeat. Somehow, you believe it all, every scene, because of the touching performance of Garbo, the tragically human por- trayal by Boyer. Splendidly staged, expertly acted from stars to extras, "Conquest" is an important film in every sense. Thrilling!
VICTORIA THE GREAT — Wilcox-RKO-Radio
THE finest historical film from England since "Henry the Eighth," Herbert Wilcox's masterly screen treatment .of the life of England's great Queen should be seen by all picture-goers who value dignity and sincerity above sensationalism. "Victoria the Great" is invariably reverent in its references, but it also performs the feat of never being dull, for which the producer-director, Mr. Wilcox, and his bright star, Miss Anna Neagle, deserve loud huzzas. Necessarily episodic, the cinematic account of Victoria's reign must have sweep rather than suspense ; it must depend upon verity, not invention ; and it must have, for us on this side of the sea, at any rate, more of a nostalgic appeal .than a powerful dramatic pull. But because Miss Neagle is successful in claiming audience interest from her very first scene, as the untried girl who becomes England's Queen, and because she manages to sustain that interest as Victoria's amazing career unfolds, and finally because she gradually wins a very warm sympathy which she never loses, this picture emerges as of first importance among current offerings. Anton Walbrook is similarly successful in carving his character of the Prince Consort — a difficult portrait, but an understandable human being.
< &SEALQFJ
Reviews
of the best
Pictures
by
ALI BABA GOES TO TOWN— 20th Century-Fox
I'M NOT quarreling because Eddie Cantor's new picture turns out to be a swing circus instead of the "political .satire" it set out to be. And it's my guess you're not. either. Somehow, screen satires are never much fun — but Eddie Cantor's broad comedies are. Give me comedy when it's as good as "Ali Baba," and let that old sour-puss over there in the°corner keep the "satires," and see how much good that does him. The irrepressible Eddie, who won't be mad if you designate him "that mighty midget of mirth," is at his zaniest as a bit of Hollywood flotsam and jetsam who dreams himself back into old Bagdad, where he proceeds to persuade the Sultan (Roland Young) to experiment with twentieth century methods, such as the New Deal, etc. It's really pretty funny, and with appropriate and stunning interludes for song and dance, and exotic glimpses of Louise Hovick and June Lang and other beauties, and Tony Martin's sultry tones. "Ali Baba" takes his audiences right along to town with him. Mack Gordon's tunes, to say nothing of his partner. Harry Revel's lyrics, contribute a great deal to the gen- eral amusement; in fact, it might be a good idea to have Mr. Gordon and Mr. Revel write all the screen tunes— how about it?
26
HURRICANE— Samuel Goldwyn-United Artists
MAGNIFICENTLY thrilling movie! Frankly, un- ashamedly aimed to amaze and entertain with its smash- ing scenic effects, its lush South Sea Island romance, and its tremendous climax, "Hurricane" is a success from every standpoint. It provides an evening of rousing enter- tainment in the melodramatic manner of the old-time theatre and the silent screen, and it is a tribute to the showman's astuteness of its producer, the fabulous Goldwyn. From the start, "Hurri- cane" enthralled this spectator with its gorgeous tropical setting, its naive and charming native romance between Mamma and Teremgi— Dorothy Lamour and Jon Hall ; its breathless suspense when the handsome hero escapes from the law; and its final terrific climax of a tropical hurricane — done in the Great Gold- wyn's most incredibly spectacular manner. It's true cinema, and honest thriller, all the way. Dorothy Lamour is alluring; Thomas Mitchell very fine. But "Hurricane" belongs to Jon Hall, young Greek god who turns out to be poetically sensitive, imaginative, intelligent — at one leap he takes his place among the Taylors, the Tyrones, even the Gary Coopers; and I think he is already head and shoulders above most of them. He's the hurricane!
STAND-IN — United Artists
HOLLYWOOD laughs at itself again, but very, very gently — more a sympathetic snicker than a genuine . guffaw— in this latest in the series of "inside Hollywood" pictures. "Stand-In" is a really good movie, and it is excellent entertainment ; but it is always pretty much Hollywood's own fond idea of what Hollywood is like. Its particular appeal is none other than the distinguished Mr. Leslie Howard, who after all these years has apparently decided that he is a comedian at heart, and let who will play Hamlet: for here he plays the lightest comedy possible for an actor of his talents. Mr. Howard almost does a Harold Lloyd, in fact; he takes such punishment as Eddie Cantor is accustomed to; he seems to enjoy it— and so, of course, do we. It seemed a very fortunate coincidence that Joan Blondell, one of the few really good comediennes we have, should be around in an important capacity. She lends just the right light touch, always, as the secretary to Mr. Howard's big efficiency man from the East, come to Hollywood to make a big studio pay dividends. Miss Blondell helps — oh, how she helps. You'll probably enjoy watching more wheels go round than you saw in "A Star Is Born," and if you get a little dizzy, why not?
THE AWFUL TRUTH — Columbia
FRESHEST, most original film of the season, and the most fun for and from everybody. I don't know just whom to thank : the authors, or the director Leo McCarey, or the stars, Irene Dunne or Cary Grant. They have all performed wonders. They have made me laugh and I'm grateful to them. But I think it would simplify matters all around if I just thanked Mr. Smith. You have met Mr. Smith before; don't think you haven't; his name then was Asia, and he is, in other engagements, the dog of Nick and Nora Charles. Here, he belongs to Jerry and Lucy Warriner, or Mr. Grant and Miss Dunne, instead of to Mr. Bill Powell and Miss Myrna Loy. Perhaps the pet knows which household he prefers; I'm sure I don't. The Warrincrs as played by Cary and Irene are charming, crazily inconsistent people. No sooner have they decided to separate, and their case comes up in divorce court, than they begin to enjoy themselves hugely. The question arises, who shall get the custody of the dog ? Mr. Smith steals scenes .from the co-stars, they steal scenes from one another. Ralph Bellamy enters the picture and starts stealing everybody's scenes. It's a grand picture. It isn't art; it's far from subtle; but it's the best fun of the month.
THE GREAT GARRICK— Warners
CHARMING high comedy, so rare on the screen, comes into its own in "The Great Garrick." Here is a picture which will appeal only to those who appreciate - fanci- ful, imaginative romance, delightfully acted, beautifully mounted— (this means you, of course). Brian Aherne is trium- phantly cast as that great English actor of the 18th century, Mr. David Garrick. It's a flamboyant part, and Mr. Aherne _ at his best is a showy actor; so he is nothing short of perfection as he swaggers through this screenplay, a picture of manly beauty in the knee-breeched, damask-coated, lace handkerchiefed period costumes; and a flawless performer always, particularly as to mellow voice. It's a fable of Mr. Garrick' s visit to Paris, to be guest artist at the Comedie Francaise. But the jealous French players prepare to play a trick on the English actor which will send him back to London on the run. Their little melodrama, staged at the Adam and Eve Inn, was sheer delight to me; and Garrick enjoyed it, too— but he did not run away. He, greatest actor of them all, played the others right off the boards. Olivia de Havilland.is a joy as the only "non-professional" in the big cast of "actors." Messrs. Horton, Cooper, Alberni are grand.
27
Kay
an
d Pat
WHAT with feuds and floods and flotsams I have seen a deal of Unrest in my life, but never an Unrest that could compare with the colos- sal Hollywood Unrest of 1937. Everyhody was sulking about something. Nobody was pleased about anything. Somebody was happy, I guess, but it wasn't anybody I knew. In the "front offices" there was more stomping of feet than you've ever heard West of the Cotton Club. But it wasn't exactly a Susy Q or a Big Apple. Even if they had consulted a couple of fortune tellers and tried terribly hard Pat and Kay couldn't have picked a worse time to launch a new screen love team in "Women Are Like That." Everybody said that the fur would fly.
It seems that Kay Francis wanted to play the Grand Duchess in "Tovarich" (so did Garbo who pouted something aw.'al) ; in fact, Kay claimed that the role bad been promised to her when she signed her new contract, and so when Claudette Colbert was borrowed for the coveted part Kay, quite annoyed by it all, started suit against
It's an incredible co-starring combination, Pat O'Brien and Kay Francis — but it works! Top, left, a convincing love scene. Above, a gay encounter on the set. Right above, Pat entertains Kay Stammers, English tennis star, and Lana Turner between scenes of "Women are Like That." The big Irishman is a favorite studio host.
her employers, Warner Brothers. And it seems that Pat O'Brien was scheduled to go into "Swing Your Lady" but he didn't like the script (neither did Joan Blondell who walked right off the set and took a course in hula dancing), and Pat didn't want to pile up another sus- pension, so he said hoi}- mackerel and jumping catfish, haven't you got something else around here I can do? And so with a fugitive from "Swing Your Lady" and a would-be Grand Duchess for its stars you can well im- agine that "Women Are Like That" got off to a sour
are Like
That!
start. Despite the usual heat which came in in scorching gusts from the Valley the atmosphere of Stage Nine was as cold as a producer's heart, and so heavy and ponderous that no one dared speak above a whisper. Heavy, heavy hangs over their head. Fine or superfine? A very fine lawsuit, my dear.
A suing actress isn't the most sociable person in the world — instead of the customary one chip she has the whole block on her shoulder — she is utterly convinced that the studio is trying to ruin her, so why should she be pleasant to anyone. The boys and girls from the publicity department hang an imaginary "Small-pox" sign over the door of the stage and keep as far away as possible. Little people like you and me run like mad in the opposite direction. A suing star, it seems, has all the delightful charm of a coiled cobra. But the leading man, unfortunately, can't run, or duck, or dodge — he's got to stay right there and face it, venom and all. Poor Pat, his friends said, he'd better take his heavy under- wear, it'll be awfully cold there in the tombs.
Kay Francis is a prestige star. She is undeniably the "First Lady" of the Warner Brothers lot and gets the best iii everything else, if not always in pictures. On the set she is slightly aloof, even when not suing, and doesn't like to have crowds of tourists gaping at her when she is doing her scenes, or interviewers hanging around
What, the aloof Miss Francis and the genial O'Brien as a love team? Yes — and our ex- clusive story tells why they liked to work together — much to Hollywood's surprise
By Liza
our Mr. O'Brien replied, "If you want to tear down the sides of the stage and put in grandstand seats it's all right with me." So what-to-do-about-the-set was the all- important question when the social Mr. O'Brien met the aloof Miss Francis. But it was a question with only one answer. Poor Pat, his friends said, he'll die of loneliness, we'll send him wires addressed Commander Byrd. Poor Kay, her friends said — oh, I forgot to mention that Kay has some friends too — they've given her a fast-talking Irish mug who hasn't been out of a uniform in years for a romantic lead, why couldn't she have Fernand Gravet ! Or Charles Boyer !
But the funny thing about it all, of course, was that while everybody was poor-Patting Pat, and feeling awful- ly sorry for him, Pat himself was quite pleased with the turn of events. It seems his suppressed desire for a long time had been Kay Francis. Now for goodness sake, don't get me wrong ! Pat is happily married to Eloise Taylor, a society girl who went actress in the Frank McHugh stock company some years ago, and who since her marriage to Pat has completely given up the stage saying that one actor in the family is enough. Pat and Eloise have a lovely home in Brentwood and have adopted two of the cutest kids you've ever seen — one of them a born football player. No, there's no scandal in Pat's suppressed desire for Kay Francis. He merely wanted to co-star with her (Please turn to page 69)
waiting to ask her if she is going to marry Delmar Daves. On the other hand Pat O'Brien, a cordial good-natured Irishman, and as natural as the day is long, likes nothing better than having mobs of people watching him act — in fact he and Humphry Bogart even act better, if that is possible, when they have an admiring audience — and he doesn't care what an interviewer asks him because his life is an open book. When Pat first started working at Warners a guy from production asked him, "Mr. O'Brien, do you want your sets closed or not?" To which
"My happiest engagement in pictures," wrote Paf O'Brien on a picture of himself Kay Francis asked him for, after completing their first co-starring film. And Pat meant it. Left above, director Logan seems to enjoy watching Pat make love to Kay as much as she does. Above, they play man and wife in the picture.
29
in "The Buccaneer" re-lives the high ad- mance of Jean Lafitte in the new Cecil B. production stirringly fictionized here
The saga of a man who saw life as an adventure to be lived dan- gerously — until he found love
Ficiionized by
Elizabeth B. Petersen
THERE was war in those days of 1812. War with England to make the Atlantic a haz- ardous path for American ships. There were pirates too, who sailed the seas to strike fear in the hearts of men and women. And the most feared of all these outlaws was Jean Lafitte, he who had written his name in letters of blood across the beginning of the nineteenth century.
But those who fared forth on the water then wore courage in their hearts as a great lady might wear a rose in her hair.
The Corinthian, trim American sailing ship was alive with preparations for its departure for Europe. Sailor- men ran up the riggings and black men struggled under the trunks they carried on their broad backs and pas- sengers milled around in a flutter of departure.
There was none to wish bon voyage to the little Gretchen, so strong for all that small, fair softness of her, sitting so still near the coiled anchor rope, her knitting in her hand and her dog beside her. She did
not want to go back to her native Holland but her father- had died and there was nothing else that she could do. But someday she would come back. She told herself that and gathered courage from the thought.
Near her, standing close to the gang-plank Annette and Marie de Remy wept as they clung together in farewell. They had been more than sisters these two, more than friends and confidants. In all the world they had felt the need of no other than the two of them until now, grown up to love they knew how urgent another need could be. For Marie was leaving New Orleans, eager and forgetful of everything but that she was going to France with her voung husband. For in her as in all
30
Please See Page 80 for Cast and Credits. Copyright by Paramount Pictures, Inc., 1937
The love romance of the greatest pirate of them all, this novelization of Cecil B. DeMille's im- portant new picture of- fers Fredric March as Jean Lafitte, whose courage and daring was turned to America's cause in the War of 812. These pictures show Fredric March in scenes with Franciska Gaal, Margot Grahame, and Akim Tamiroff.
high born Creoles was that intermingling of the best of Spanish and French strains to quicken and sharpen the love that had come to her.
There was just time for Annette to unpin her mother's jewel-encrusted miniature from her dress and give it to her sister before the going ashore call came. And she tried to smile as she saw her sister and the man she had married take each other's hand as they leaned over the rail.
But her heart was heavy as she stood on the wharf watching as the Corinthian moved out towards the sea, to whatever harbor or whatever danger its fate might decree. She thought of British warships and she thought of pirates, but in her heart the last did not frighten her for hadn't Jean Lafitte assured her his men would never plunder a ship flying the American flag.
He the greatest Buccaneer of them all, who ruled all
other pirates with his strength and audacity, who laughed at danger and swaggered through life and confided in no one but her. Even though she could not accept it, his love was like a safe, warm cloak.
She thought of him as she rode so sedately in her carriage towards the fabulous town in the swamps that was dominated by Jean Lafitte. This pirate's haven, this place they called Barataria was known to the authorities who had put a price on his head, though there were none who dared attack this stronghold where the pirates re- ceived the great of New Orleans to sell their plundered goods in open market. From the far, wild corners of the world they had come these men and they claimed allegiance to no country and to no flag and feared only one man and that man Jean Lafitte.
It was here Senator Crawford of the Louisiana Legis- lature sought him and it was of wine they talked, the finest of Amontillado sherry (Please Him to page 80)
31
His humor often obscures the human
being that he is — but this time W. C. Fields is really
close-upped
FIELDS
SCENE : A stage in the NBC building in Hollywood. A rehearsal is in progress. Or rather, a rehearsal has been in progress, and now they're waiting for someone —
"Clang! Clang! Clang! What is this sound I hear?" The voice comes from offstage in a stentorian bellow.
Charlie, who has been seated pensively beside Bergen, jerks into watchfulness. Bergen speaks in soothing tones. "You know who it is, don't you, Charlie? Yes. You're
not afraid are you? No. Why fear that big noise
?"
"Don't make me laugh. I'll
"Afraid?" pipes Charlie mo-o-ow that big stiff down.
"Meanin' me, I suppose?" Enter our own W. C, with his own rolling swagger. He looks elegant in every sense of the word. His gray suit matches his gray fedora, that slips ever so slightly toward the back of his head. His glasses slip ever so slightly off the bridge of his nose. His face is healthily ruddy, and its ruddiness is concen-
32
without Hedges
trated in no one spot, whatever Charlie may have to say to the contrary. He smokes a cigar and carries a cane. After months of retirement, after wild rumors of what illness has done to him, his appearance fills you somehow with a comforting sense that, in a world of strife and change, some pleasant things do remain the same.
He sits down beside Charlie to talk to Bergen. For a moment his hand rests absently on the hatless red head of his diminutive little chum. In the midst of grave mat- ters, Charlie darts to the attack: "Just a sissy, hey?"
Fields sticks his cigar under the impudent nose. "How'd you like to be a bonfire, Charlie?"
"You "wouldn't need a cigar for that, Mr. Fields. You've got a lighter right in the middle of your face."
"I wouldn't even need that, my dainty pipsqueak. I'm a match for you any day."
"Did you hear that, Bergen? He thinks he's smart because he's all dressed up. At that I can't blame him." He eyes with distaste Bergen's casual costume of green hat, brown suede jacket and denim trousers. "Excuse me, Bergen, but you look like a ploughed furrow. Well, thank heaven there's one gentleman in the family." He flicks his lapel and gestures languidly toward his monocle.
Says Fields: "I always wondered about that damn thing, Charlie. "What's the point of three glass eyes?"
"To look straight through you, Mr. Fields."
"Come on, take 'em out, and we'll shoot immies."
This might go on indefinitely, except that there's work to be done. They sit at a table — on one side Don Ameche and Bergen, with Charlie on his knee — on the other side, Fields. As his enemy opens fire, Charlie turns in what looks like helpless wrath from Bergen to Ameche and back. Fields glares — in his glare an ill-concealed benevolence. His asides must be left, regretfully, to the imagination.
Fields said to me once when he was riding high : "I'm scared — I'm always scared. I've been thrown out on my ear so often. This game's just one merry round of bein' thrown out and discov- ered all over again. You never know when the (Please turn to page 71)
"Along comes radio and makes me a dazzling offer," says Bi" — and how he made the mosf of that opportunity! Immediately below and in two close-ups at right, Fields at the microphone.
Out of the rough and into the fair- way again, Fields enjoys the solid comforts of his home, below. His favorite dish is pies, as shown at near right above — he bakes 'em with an ability that rivals his ca- pacity for eating 'em. Right, two comedy poses — Fields goes from football to golf in his forage for laughs. Bottom right, Bill in a scene for "Big Broadcast of 1938."
33
Are You nsane?
Play as you read! A story that turns into a game: Peter Lorre tells you many startling things about himself and asks you to decide if he too is insane. You will relish this feature!
ARE you insane? This question has the r-\ possibility of becoming a parlor / \ game amounting to a national craze. Good, clean fun to check your friends — and yourself — by asking such questions as : Do you talk to yourself? Do you lose things constantly? Do you think you are Na- poleon? Or a poached egg on toast? Do you forget the name of your best friend? Do you crow like a rooster, bay like a hound dog, act queer when the moon is on the rise? Have you little phobias lurking in the crannies of your mind ?
Peter Lorre and I played the game of Are You Insane t ' F 'or Peter is interested (wouldn't you know it?) in mental quirks and quavers, in abnormal psy- chology, in the behavior, strange and otherwise, of his fellow men. In his youth, in Vienna and in Berlin, he was analyzed by Freud, sat at the feet of Jung and Adler, read Krafft-Ebbing.
"Insanity," said Mr. Lorre, "is a matter of opinion. It's the old cliche of 'the whole world is queer, everyone is queer save thee and me and even thee is a lit- tle queer.' What is sanity to one person's mind is sheer insanity
A fascinating study in contrasts: Peter Lorre, brilliant and entertaining conversationalist, above, and, center, in a film impersonation. Left, a scene from "Look Out, Mr. Moto,' with Robert Kent, Rochelle Hudson, J. Edward Bromberg. Bottom, an informal snapshot of Mr. and Mrs. Lorre at home.
to another person's. And vice versa.
"For instance, I did not sleep one wink last night because Spotty, one of my two cats, disappeared early in the evening. And Blackie, my other cat, cried all night, thin wails of bitter despair. I cried with him. Spotty finally showed up at dawn, a self-satisfied smirk on her face. A reconciliation with Blackie was effected and I went at once to sleep. Now, to many people such behavior over the evanishment of a cat would be labelled insanity. To me, for me, it is utter sanity. It is one of the laws of my being to be so concerned about anything I love. I am the type who does not love many people or things but love the few intensely. I do not spread my affections thinly. Thus they penetrate and are deep in my roots. So it would be, for me, insanity not to be so . worried.
"I believe that each of us has a law, a separate and in- dividual law of our own be- ing. If we follow our own law with the acute and unerring (Please turn to page 72)
34
in
Acti
ction
Photographs by Willinger and Clarence S. Bull.
B
ravo, Baritone! Nelson Eddy kicks his way out of staid musical tradition as a footbalU playing idet in
It may be the radio in- fluence of Charlie McCar- thy— it may be the West Point atmosphere of "Ro- salie"— it may be the magnitude of this new musical movie for which one of the sets covers sixty acres — or it may be Elean- or Powell or Cole Porter's new tunes. Whatever it is, you'll meet a "new" Nelson Eddy in "Rosalie" — robustly reassuring. On this page: Mr. Eddy on the gridiron — he worked out on the field at the Univer- sity of California; as a West Point Cadet; and, at top right, as team-mate to Miss Eleanor Powell.
ca
"Rosalie"
A serene, well-ordered life is possible in "hectic Hollywood," and Fred proves it! Above, he works hard at keeping fit— part of his job. Left his hobby: wood-working in his fully equipped carpentry shop, one of his two extravagances. Center left, cleaning out his own swimming- pool— the other extravagance! Top, left, the proud young home- owner on his terrace. Top right, the fireplace. See amusing table.
First pictures of the "first" Hollywood home of an important young actor, who cannily waited until he was certain of his screen future hefore huildins the house of his dreams
Charlie would rather have vanilla than the razzing Edgar Bergen dishes out when they touch up the McCarthy face for Technicolor. But, right above, comes the revenge, when Bergen gets the glamor treat- ment. Right, just when Bergen and Andrea Leeds thought they were alone, Charlie appeared.
A Day Wit!, Qiarlie
McCartli
Below: Charlie decides the sound engineer can have hts job — "listen to everybody and talk back to nobody — not for me," he says. Next, a big moment — meeting a brunette, Vera Zorina, so beautiful Charlie puts on specs to enjoy the view. Then a scene with Adolphe Menjou. Zorina, and Bergen, of course.
Twice-around Ascot, nothing!" jeers Charlie at a wardrobe worker, above, k* twice around McCarthy's neck-that's what that tie .s. Charlie doesn t e ieve in signs, and walks right on the set while cameras are turning, center Jilnove Another case of love at first sight, right, as Charlie meets Andrea Leeds
for the first time.
Follow the high-hatted heckler around, and you'll know why everybody on the "Goldwyn Follies" set is having a ribbing good time- You can't see the glamor for the gags — they even pop out of the woodwork!
We hate to think it, but doesn't that trick topper and gay scarf Charlie's wearing, below, look very Hollywoodish and just a leetle as though McCarthy may be going grand on us? Left, Bobby Clark another Bergen-McCarthy cast-mate in "Goldwyn Follies, ' seems to be getting a bit mad about something. Lower center, day is done and Charlie leaves the studio for home, riding high on Bergen s shoulders.
No, this young man isn't "Art," but he represents it in ballet form in "The Goldwyn Follies." He's Charles Laskey, called "Adonis of the Dance." Far right, the greatest of all Wagnerian sopranos, wonderful Kirsten Flag- stad, who sings in "The Big Broadcast of 1938." Lower left, water-nymph ballet and, next, Vera Zorina, premier ballerina, in another number from Goldwyn's Follies.
All great artists of musk and the dance find their way to Hollywood
t is positively rampant in Samuel Goldwyn's 'ish technicolor "Follies." Above and at iter left on opposite page, Helen Jepson sing- ! the Drinking Song from "La Traviata," with larles Kullman. At very top left on this page, tta Zorina with a prancing plaster charger in a jjllry princess ballet. The lovely lone ballet L top center, is Heidi Vosseler, an American illet beauty. Top right, the Metropolitan pera tenor, Kullman, now converted to screen ;ollies." And at right, still supreme among usical artists, Grace Moore, in her latest film, '11 Take Romance." Make ours with music!
We Want Auction !
Best sport in Hollywood, most action-full glamor girl of all Carole Lombard! Yup, it's Carole, above, toting that heavy saddle. Across the top are more grand and gay shots of Lombard on a day of horseplay at her ranch. The horse, a handsome Palomino whose mane is as blond as Carole's own tresses, and the dog, Pancho, black and tan shepherd really belong to her — not props!
!
Glub-glub! The Mauch Twins, in two pictures above, may remind you of your own days in the old swimmin' hole. Billy and Bobby haven't yet learned to dive; the pool is borrowed, not their own. Right, graceful Vivien Fay floats through the air like a breeze. Below, and to the left, Fred Astaire in action, doing his new "Drum Dance" for "Damsel in Distress."
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and Rosemarv Lane: "Try to tell us apart, we dare you! One of us you've met often before, in dra- matic roles; the other, you met first 'Varsity Show.' Now we're together, playing a movie star and her stand-in, with Dick Powell in 'Hollywood Hotel.' Here we are again, and is Dick baffled! Even when not made up to look more alike, we're still a case of mistaken identity. As for love scenes- Dick didn't know which was which."
Encore for our snort=snort suh<= jects, with feattire=strength stars
Ronald Colman Goes Calling
Talk about your busman's holi- days! You'd think that Ron- nie would want to rest up after all that sword play for "Zenda." But no! He visits an- other movie studio to watch other actors make a picture! The star attraction is Olivia de Havilland, as you see at left, above. Center, Colman also calls on George Brent and Claude Rains, Olivia's support in "Gold is Where You Find It." At right above, two fine actors talk it over. Now, Ronnie, get right back to work yourself!
The cowboys have taken a new lease of life on the screen with the coming of crooning Gene Autry who has garnered many garlands, deserves more. Right, Claire Trevor wears specs (all the better to keep her eye on Alan Dinehart), in "Big Town Girl." Fine players.
Frieda Inescourt, above, lends distinction to every picture in which she plays — as you know Here she is as the star of "Portia on Trial." Center right, for years he's been giving us action, drama, and romance; so now applaud Jack Holt again.
w
For those mature men, serious or humorous as the script may demand, try and pick more consistent troupers than Alan Hale, Cedric Hardwicke, George Zucco, and comic Henrv Armetta, left to right, above.
Tkese great troupers should take more bows, lor benefits bestowed by great acting. Altogether, now !
WARNER RROS: CHRISTMAS PRESENT!
It's on the way to your favorite theatre now — the grandest love and laughter picture of this or any other year! . . . A glorious Christmas treat for a hundred million movie-goers.
ro THE WHOLE WIDE WORLD!
-/,
/
'Yesterday is done! Tomorrow — who knows? . . . Tonight's our night!"
Tne Most Beautiful Still of tne Mon
Claudette Colbert and Charles Boyer in "Tovarich"
& -4 •», :
tip
Exciting screen event is the translation of the stage success, "Tovarich," with these two ingratiatingly Gallic stars. Mile. Colbert plays a Russian Grand Duchess reduced to lady's maid, while Monsieur Boyer enacts her aristocratic lover who becomes an invaluable valet. It's gay, gallant, tempestuous, as our pictures prove: above, Best Still; left, big moments from the film.
Secrets -or Smart Gir
Madeleine Carroll's own rules for the escape from mediocrity and the capture of romance
By Dickson Morley
*MART girls are the girls who escape medioc- rity, who win real, exciting love and worth- while niches for themselves in spite of all of todav's hectic handicaps. It can still be done, you know !"
Madeleine Carroll, Hollywood's current Exhibit A, wasn't boasting. She was answering pointed ques- tions. I put them to her because she is one screen star with beauty and charm so extraordinary that friends flock to her wherever she goes. Besides, she has what few other actresses actually have — a per- fect, story-book marriage.
No disappointment complexes for Madeleine, and no divorces, either! She's remained happily married to the gallant Londoner who's given her a fashionable apartment in Mayfair, a pic- turesque cottage in the English country- side, and an estate in Italy. She never mentions it, but — as his wife — she's the
Her success secrets really work! Madeleines own life attests to that. Top, the beautiful English girl who has captured Hollywood. Above, as she looked when she arrived in America. Left, in "The Prisoner of Zenda."
only movie star who's ever been presented at Court in London.
The crest of the wave ... a glam- orous career . . . romance — because she contends, she has success secrets !
Talk to Madeleine Carroll in Hollywood, where she works for public approval with all the zeal of a mere novice, and you uncover them. Now she is in an enviable spot. But what she never confessed before is exactly why she got where she is. She admits, finally, that she's employed a system. One she evolved herself.
"A girl needn't have a drab, dis- appointing life. She needn't at- tempt to force herself to be satisfied with half-mea- sures !" Across a luncheon table in the Beverly Hills Brown Derby Madeleine {Please turn to page 76)
51
Bette likes jacket costumes, particularly hers at left, above — dress of brown vel- veteen topped with a jacket of bright plaid wool. Three bright gold buttons mark the front closing. At right above, three-piece suit for specta- tor sports wear, the coat and skirt of amethyst tweed flecked with beige, the blouse of beige wool crepe. The flattering collar of the coat is of lynx, shaded from cream to dark brown. Di- rectly at right, cocktail suit in black and gold; nubby wool skirt and jacket, blouse of gold lame. Bette's turban of black felt boasts a gold feather "fancy." At far right, ensemble of beige ac- cented with brown acces- sories. The dress of mottled jersey shows brown and gold buttons accenting the tabs of the collar.
52
Glamor School picture* of Ilctte Davis by Elmer Fryer, Warm , Bros.
Study in white and gold is Bette Davis in the large picture at left, above. White bengaline with gold lace ap- pliqued diagonally has been used for her formal gown. The bodice is formed by two bands of the fabric which are draped across opposite shoulders and finished with large flat bows of self fabric. Bette accents the gown with a pair of bracelets of beaten gold. At right above, the vogue for metal cloth is indulged in Bette's wine-colored frock, with waistline swathed in a girdle of gold cloth. A binding of gold cloth has also been used to edge the high neck- line. You'll notice that Bette wears very little daytime jewelry — she believes the new clothes, particularly with metal cloth, speak for themselves. At left, the sequin accent is seen on her dinner gown of flat-surfaced black crepe ac- cented with silver cloth showing a sequin applique. And now, at right, a study in black and white. Bette's evening wrap of black velvet has a turned-down collar of ermine, and a small muff finished with ermine tails, like a little girl's muff.
Screen irens Set e Styles!
Sleek sequins! Subtle veils! Fine furs! Our pictures illustrate. Frances Drake, at far left, wears daring princess gown of opalescent sequins in Columbia's "She Married an Artist." Directly below, Frances again, featuring a casual beaver jacket with wide shoulders and lapels. Above, June Lang's cut-out brimmed black felt hat. Upper left, Helen Jepson, song-bird, likes long veils. Olivia de Havilland, left, wears grey kidskin coat, topped with round beret.
54
If it's worn by Hollywood stars, it's fashion news —and good news for you
Graceful Lull Des+i goes exotic, at far right, in classic black evening gown with pink satin scarf caught at center front by two clips which match the large chrys- anthemum clip at her waist. Her cape is blue fox. Below, Miss Desti in her French blue worsted suit with off-face hat with chenille-dotted veiling, sable stole, black suede gloves and purse. Above, a delicate veil for ethereal Vir- ginia Grey. Large, black chenille dots for Helen Jepson's veil, upper right. Olivia de Havilland prefers the softer, shorter veil for her high turban, right.
55
Some suggestions from Hollywood and a few of our own — for glamor and beauty — for more luxury and utility and good times
"What shall I give?" is the theme song of the season. Here is the re- sult of a coast-to-coast scout for you. Get your pad and pencil, run over our list and gift questions answer themselves. Opposite, left to right: 4711 Geranium Rose eau de Cologne. A delicate flower scent and a refreshant. Bath accessories in the same fragrance, too. For real floor cleaning, Hollywood's favor- ite is the Royal vacuum shown. The little fellow, Royal hand cleaner, is for above-floor use, furniture, mattresses, cars. From Bourjois, Kobako perfume, oriental and new, perfect with satins and sequins. Encourage letters by giving paper from Eaton. For Her, metal paper box containing a fine deckled edge Eighteenth Century reproduction; for Him, good taste, fine quality in hunt series boxes. Center left: From Elizabeth Arden, a little idea, that Royal lipstick, specially per- fumed to scent the bag; a bigger idea, Blue Grass perfume and three light blue satin matching sachets.
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mm
4 \ |
Twelve ideas that carry that "just for you" thought — make them gaily mysteri- ous in holiday wrappings and stickers and ribbon
Center right: Little masterpieces in perfume — Cheramy's April Show- ers; next, Cheramy's floral four, muguet, carnation, violette and gardenia. Last, Houbigant's immor- tal Quelques Fleurs, about $1 each. Below, left to right: Lady Esther devotees will welcome a gift box of her famous cream, powder, lip- stick and rouge. For amateur pho- tographers, Kodak Bantam fits the palm but gives pictures larger than itself. "A Gift From Hollywood," Max Factor's great big treatment and make-up box. It's very com- plete. Cutex creates two grand kits, the handsome saddle leather one for masculine good grooming; Mo- diste, the sewing kit design, is for the ladies. Seventeen's cosmetic shelf, ready to hang, holds bath salts, toilet water and dusting pow- der. Last, Hudnut's Marvelous Eye Matched Make-Up solves type prob- lems.Choose by the color of her eyes. The vial holds Hudnut's haunting Gemey perfume. Gifts are for sale in the better stores everywhere.
57
Cheer-o!
LONDON N£WS
What do they think of Robert Taylor — what's Charles Laughton doing now — how's Merle Oberon? Here are answers to these timely questions
By Hettie Crimstead
OXDON'S foggy clays are setting in now but our screen stars — both Hollywood-imported and home-grown — continue to sparkle scintil- atingly. Never before have the British studios been so busy as they are today, with eighteen important productions in the making and over twenty others scheduled to begin very soon.
Down at Denham the biggest stage in Britain has been turned into a grey old Oxford college where Robert Taylor is being educated as "A Yank at Oxford." Bob says he has never had to train so strenuously in his life before, not even in his own college clays way back, for his role calls for him to take a prominent part in many Oxford sports. You'll see him in shorts and singlet rowing in our famous annual Boat Race on the River Thames. (He was coached by King George's own waterman Bossy Phelps for these scenes.) You'll watch him running too, and skating for the first time. Bob has a wonderful sense of foot-rhythm, which is the basis of good skating as well as good dancing, so he is achieving skill on the ice very quickly.
Edmund Gwenn plays the dignified Dean of Robert's college and there's double heart interest in Maureen Q'Sullivan and Vivien Leigh, Maureen as an under- graduate and Vivien as the flirtatious wife of a local bookseller. You couldn't conceive two girls more oppo- site. Merry Maureen with her sweet smile and open-air personality, simply dressed and hardly wearing any make-up. Sophisticated Vivien with elegant town clothes and cool serenity and the latest styles in coiffures and nail-lacquer.
Maureen is escorted around town by her blond director-husband, John V. Farrow. They've' taken a little country house not far from Denham and Maureen's father and mother have come across from Ireland to stay with them. Bob Taylor went over to dine the other Sunday night, eating beefsteak and tomatoes and drink- ing lemonade. He's been put on a special diet and made to give up smoking while he's playing this athletic under- graduate !
The world-famous Worth has designed the clothes which Maureen wears in the film and she likes them so much she has bought them all for her private wardrobe. She has an enchanting suit in pale blue wool and dark- blue velvet, with a tiny upstanding white collar and a natty blue beret cap. Then there's" a plain grey tweed
1
walking coat, figure-flattering and with huge black but- tons and a black velvet schoolgirl collar right up to the throat.
Other clothes notes at Denham are being provided by Merle Oberon. Page her arriving to work in a vivid blue silk suit with quaint pockets and her favorite white pan- cake hat. Merle is doing her best to make up for those weeks she lost while convalescing after her car smash last spring. The very day she completed her scenes as the self-willed Leslie in Korda's rew fTm about Ensfhsh
5S
during that era. Time passes and now Clara, happily married, has returned to the Hollywood front as a cafe runner. The other evening Ronald brought Benita in. He wanted to say hello and good luck to Clara. It was just the red-head's luck to be home with a cold that particular night !
GARBO is the foxy one. There are four gates through which you may drive onto and out of the M-G-M lot. Greta alternates, so it's an impossibility to know where to look for her. The studio em- ployees themselves are so intrigued with this super-mysteriousness that they ex- citedly telephone grapevine reports on where she's liable to exit. If you imagine that Garbo saves her secretiveness for the fans, you're wrong. She won't be pinned down to portrait sittings ; when she's in the mood she phones 'em that she'll be there tomorrow afternoon. Lesser celebs are ruthlessly shoved into the discard at the last moment.
ANNE SHIRLEY and Dorothy Lamour won't go elegant, even though they're successful. Anne's bridegroom John Payne got a salary raise at Paramount, but they're remaining in their bungalow court. "Of course," her studio confesses, "it's no ordinary court. We think of it as 'a bungalow court with a college education."' Anne says it's swell and she dotes on buffet suppers for their gang. _ Dorothy's orchestra-leader husband Herbie Kay is clicking at a local night spot; but she's resolutely signed a lease on a two-room apartment for five years. If that isn't sanity in einemaland, what is ?
THE battling Weissmullers have fought through to a mutual appreciation which is delightful to see. Love at last reigns in both their hearts. And business is pick- ing up for both. Johnny's been re-tagged by Metro. The studio, having passed the "Tarzan" yarns on to an independent out- fit, is going to star him in "The Wild Man of Borneo." Besides tree-leaping, Johnny will render light comedy lines — or so 'tis promised. While waiting to begin he got the family yacht under way to Mexico. Lupe Velez starred in Mexico's greatest film adventure to date, putting in three weeks of acting at — get this ! — $12,500 a week. Who says she's finished? Lupe isn't smacking the slammers ; she's casually showing them her bank entries.
Blonde Annabella becomes a brunette charmer in "Dinner at the Riti," made before she left London for Hollywood. Romney Brent and David Niven appear with her in the gayly intimate little interlude above.
Hollywood's newest behind-the-screen romance! Above, J. Walter Ruben, young director, and Virginia Bruce, long fellow artists and friends, who have an- nounced their engagement to wed in the near future. Left, David O. Selznick, Janet Gaynor and her mother.
P\ ISPATCH from the blissful Gene Ray- mond-Jeanette MacDonald sector : the love birds' Western complex was distinctly not a novel publicity gag to further mark them as different from run-of-the-mill sweethearts. Jeanette went about in those blue overalls and in that plaid shirt because she was secretly learning how to properly characterize "The Girl of the Golden West." She'd always ridden side saddle and for the picture, of course, the riding is definitely Western. She took her les- sons, incidentally, from Buck Jones him- self and he threw in some rope-twirling which she'll spring between songs. Gene's cowboy get-up was for another reason. He was readying for his present vacation. With a pal he's down in the desert herding sixty wild horses to a distant round-up.
ROMANCING with the right guy can be so pleasant. When Joan Blondell waited on table in her parents' restaurant in Santa Monica, back in her high school era, she used to moon over marrying a breezy beau with a swell yacht. That would be some future! She was content with Dick Powell without a boat to his name. But what do you suppose he produced as a present on their first wedding anniversary? Joan looked hopefully under her pillow, then under her napkin at breakfast. No jewelry, no check. She glanced casually into the patio, where a new motor might be parked. No streamy convertible. She was consoling herself with the thought that all wives have greater anticipations than they should have when he told her about the yacht. It is Scotch, an ocean-crosser, and finished in mahogany and teakwood. Mrs. Dick Powell walks about these days with her heels hardly connecting with the earth.
NOTHING is so provocative as an ob- viously startling personality contradic- tion. Wayne Morris, consequently, has certainly set himself. He's not only a tri- umph of unspoiled masculinity, but he's a puzzle to boot. As apparently unpolished as Gary Cooper originally was, Wayne is confounding his native reputation by rush- ing almost all of the Hollywood belles. It was pleasantly touching to learn that his favorite hobby is collecting hotel stickers on suitcases. His genial shyness is enchanting. He seems but a babe in the woods, to be protected against wiles. Then, bewilderingly, comes the news that he's out with still another beauty. Wayne may
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A coloratura who struts with the best of 'em — has the needed eye-taking pedal equipment too! Left, Lily Pons in a dance number for her new film.
JOHN BEAL. according to M-G-M, is J digging a swimming pool in his back- yard. All by himself! It makes a pretty tale of stellar industry. But it seems thai John actually decided to excavate for a badminton court, which is considerably an easier task. And, truth to tell, after one day's furious shovelling he chalked it up as simply a good idea when and while he was in the mood.
ANNABELLA'S welcome party in New > York, day after her arrival with 25 trunks of finery (the press department says so), proved that the Personality Girl from Paris rates 'way up at tops with her American bosses — the scale and opulence of the cocktail party for the visiting star is a sure clue, and this one was a deluxe rendition of the ritual. Shy, almost diffident, Annabella took it all with engaging mod- esty; shaking hands, with that single downward, somewhat vigorous stroke in
be superbly untouched, but the very fact that he gets around so and is avoiding capture by any one Diana hints at a secret savoir-faire.
AT A major preview the other night Gail > Patrick dripped with lovely lynx. She was all any fan could expect. But Gad doesn't have any truck with trappings or elaborate make-up ordinarily. Even to in- viewers she's untrimmed. That's why the press adores her — she doesn't put on the act unless it's absolutely necessary.
Grace Moore and her husband, Valen- tin Parera, arrive in the east, buy an- other new home — a farm in Connecticut.
TOM BROWN wants his bride to become I an actress and he has a definite scheme for transforming her into one. "I won't let her go to a dramatic school," he declares. "Do that and they think of you as an amateur !" He hopes to get her under long- term contract to one of the major studios with a big-time coach. "When they pay you for learning they're a darn sight more 'serious about you," he explains sagely. Meanwhile, the young Browns are going through that first-year adjustment. The very attractive Natalie, who is but eight- een, currently finds it difficult to talk freely and, dance well with Tom. Attempt- ing to be' a splendid wife has given her a complex with him !
Father and son scene in Hollywood. Above, Eric Blore sees his son off to military school. Left, Kent Taylor plays doctor, gets a message straight from Wendy Barrie's heart. Good news, Kent?
the French manner ; smiling and affable as she was introduced to people at the right, left, and in front and in back of her, there was complete absence of osten- tation in an atmosphere that was perfect for "an act." Indeed, Annabella made no pretense of concealing a certain nervous, but unflustered, reaction, by twirling the ring on her right hand with her thumb, and dabbing at an errant lock of brown hair back of her left ear. On her triumphant return to Hollywood (she was over some years ago to do a foreign version film — a riow discarded practice — opposite Charles Boyer in "Caravan") Annabella is to co- star with William Powell for 20th Cen- tury-Fox.
WACATIONING in British Columbia, V Joe E. Brown came across the fastest, roughest, toughest game there is. It's Box La Crosse, played inside. Seven thousand folks applauded the players when he caught an exhibition. At the half he was asked to give the losing team a pep talk. "I've never seen this thing before," he pream- bled, "so I should give advice. But it looks something like basketball to me ; I'd say you're not breaking fast enough." They thereupon broke double tempo and skipped defeat.
62
The new Tarzan and his mate. Right, Glenn Morris and Eleanor Holm, both ■famous athletes, in "Tarzan's Revenge." And don't overlook the monk.
THAT old stand-by about motherhood ' ruining a girl's figure is surely dispelled by Dixie Lee Crosby and Mrs. Phil Regan. The Crosby's fourth child puts them on a par with the Regans. Furthermore, Re- public offered Mrs. R. the lead opposite Phil in his new picture; she's fetching enough to be a film sweetheart. One actor and four off-spring are sufficient, she re- plied. Dixie, to Bing's surprise, still has a hankering to resume acting.
DARBARA STANWYCK has made the D final step, too. When the swank Beverly Hills Tennis Club gave its smooth Cham- pagne Circus at the Troc there was a dis- tinguished committee in charge. You'd expect Mary Pickford, Dolores Del Rio, and Madeleine Carroll to be among the members of it. But so was Barbara, right along with a baron and two princesses to boot. The woman who was so bitterly scornful of Hollywood society has learned
A couple of stout fellas relive thrills of early mail carrying. Above, Bob Burns and Joel McCrea in "Wells Fargo." Right, Alice Faye wears a topper in a scene with leading man George Murphy.
that it can be amusing. Lots of things are amusing, when you're in love gloriously. Barbara was in love miserably when she carried that chip on her shoulder.
CREDDIE BARTHOLOMEW may be ' back at work, and with a salary now raised to $2,000 a week for the next forty weeks. But don't assume that his aunt is buying mink. Aside from supporting his numerous family, as usual, Freddie re- putedly is paying the attorney who helped engineer the squabble into success the sum of $35,000 for legal services. Subtract ten per cent as agent fee, a big slice for federal and state income tax, and lo the poor child will be saving a speck of the bacon by summertime. And he's shot up into long pants, an omen of his fleeting precious im- maturity.
K I OW that Alan Curtis has overnight ' N jumped from bit player to Crawford screen lover jealous onlookers are saying that he's gone Hollywood. Look at the wardrobe he's splurging around in ! More inside data : before anyone cared enough to pan him, Alan still had a handsome va- riety of clothes. He had to be able to ap- pear in any kind of modish outfit, for he earned his living as a model for commer-
cial photographers. The current wardrobe is really last year's essential "props." In- cidentally, the newly-eligible Alan is dat- ing Priscilla Lawson, a stock contractee at Metro. But it isn't a flaming affair. He's turned for friendship to the girl who used to be his vis-a-vis when both were posing.
THIS month the delectable divorcee June I Lang is giving the young and dashing men-about-town the big go-bye. Her escort is A. C. Blumenthal, millionaire who is a behind-the-scenes financial potentate of pictureland. "Blumey," as he is frequently tagged, apparently • finds June the_ most enchanting of all the girls he's invited places. Pie even invites her mama along.
CTRANGE as it may seem, Charles But- terworth is Gloria Swanson's rival when it comes to numerous divorces. He^s chumming with a dashing blonde who's worth millions, Hazel Forbes by name. Gloria, since her split with Herbert Mar- shall, prefers New York admirers. It's easy to see why she would never have to croon torch tunes. But Charles isn't even a scream off-screen. Nor has the camera lied. He has manners, but no sweep of the Col- man calibre. He's languid, but nevertheless he's Lothario No. 1 !
The Paul Munis take a vacation from Hollywood — the actor's first in a long time. Above, their arrival in New York.
63
Sub-
D-l
Warners
Take a dive in an undersea craft the easy way ! You'll come up smiling after experi- encing some thrills but even more laughs from this tale about some boys who belong to the submarine corps of the U.S.N. The fresh lad who makes good is Wayne Mor- ris, dynamic newcomer who proves he be- longs by holding his own in such fast company as that of Pat O'Brien, Frank McHugh and George Brent. Worth seeing.
M-G-M
Robert Montgomery and Rosalind Rus- sell come in out of the shadows to the sunshine of irresponsible comedy romance, and we know you'll like them for it. It is a sort of "Animal Kingdom" about an artist, Bob, who gets caught in the social whirl, and nearly loses his bride, who quit society for the more soul-satisfying life of a Greenwich Village Bohemian Robert Benchley and Helen Vinson also rate bows.
Dr. Syn
A colorful costume thriller with George Arliss playing a lusty character role. It's about pirates, smugglers, and such intone of England's sea coast towns. There's a Conan Doyle flavor to it, with the ex-pirate iwsing as a clergyman and being brought back to his past by a mulatto who, in pun- ishment for his crime against the pirate's wife, was left to die on an island. Very well acted, this makes pretty good entertainnient.
Trie Bride Wore
Red
M-G-M
Scenically this is a treat, and Joan Craw- ford, in some striking Adrian creations, adds to its visual splendors. Add also uni- formly good acting by Joan. Franchot Tone, Robert Young, Billie Burke and Reginald Owen, and you have all there is to this saga of a Cinderella who, on a brief vacation as a fine lady, finds such beauty as she never knew as a bar-maid in a water- front cafe in Trieste. Passive romance.
AGGING
TALKIES
Delight Evans' Reviews on Pages 26-27
Heidi
20th Century- Fox
Just about perfect as a vehicle for the Shirley Temple of today, and something the adult as well as the juvenile population will find as enjoyable as it is fitting to this holi- day season. The translation of a favorite classic about the little girl who brings joy to the life of her grandfather, an embittered hermit of the Alps, makes grand entertain- ment as played by Shirley, Jean Hersholt and a splendid cast. Excellent. Sec it !
Madame X
M-G-M
Hardy perennial of stage and screen, and in this new edition a still potent tear- jerker, but perhaps still more interesting as an example of fine emotional acting by Gladys George in the name role. In addi- tion to this striking star performance,_ there is good direction and a nice production to make this an interesting remake of a fa- miliar story. Warren William. Henry Daniell, and John Beal, are all notably good.
Lancer Spy
20th Century- Fox
George Sanders turns star, Gregory Ratorf turns director, and 20th Century- Fox turns out one of the best thrillers of the season, a war spy story that is meaty, compact, and superbly, acted. Sanders is the British officer who impersonates a Ger- man captured by the English, gets to Berlin and is in constant risk of detection there. Dolores Del Rio was never prettier. Joseph Schildkraut, Peter Lorre and others, fine.
Double Wedding
M-G-M
Going all the way in nonsense, this is something to carry you to the peaks of lunacy for laughing purposes only. William Powell and Myrna Loy, John Beal and Florence Rice, Jessie Ralph, Edgar Ken- nedy and others do an expert job of their acting assignments. They'll have you chuckling most of the time, even if the picture as a whole doesn't come close to "My Man Godfrey" as capricious comedy.
M erry- Go- Round of 1938
Universol
Like seven acts of vaudeville reeled off in one film. Such headliners as Bert Lahr and Jimmy Savo, and Billy House, all of the stage, reinforce Hollywood's own humor brigade, consisting of Alice Brady, Mischa Auer and Louise Fazenda. It is a series of farcical episodes strung together on a thread of romance concerning Joy Hodges, newcomer, who sings pleasingly, and John King. It is mighty amusing in spots.
Alcatraz Island
Warners
One of those more than welcome films that come along quietly, with no outstand- ing stars to give them glamor, but plenty of good sound acting, a substantial melo- dramatic yarn, and good suspense to make your evening entertaining. The famous Federal prison is the "come-on" for most of the interest you take right from the start. You'll like John Litel. Mary Maguire, Ann Sheridan, and Gordon Oliver.
West of Shanghai
Warners
'
Boris Karloff veers from horror to hu- mor, playing a Chinese bandit who is general of his own army. It is an interest- ing change and Boris himself seems to en- joy it immensely. His fellows in this "Good Bad Man" of the Orient melodrama are Gordon Oliver. Beverly Roberts, and Ri- cardo Cortez. in the more prominent parts. This is pretty fair entertainment of the purely fictional sort. Capital, Mr. Karloff!
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Gale Sondergaard, one of Hollywood's best actresses, entertains in the Danish fash- ion. Try her unusual recipes
By Betty Boone
ONE of the proudest home owners in all Hollywood is that dark beauty, Gale Sondergaard. "And a few years ago," she confided, laughing, "if you had told me I'd ever own a house, I'd have knocked you down !"
It's a Spanish house with a red roof and blue doors, set like the eyrie of an eagle, on a high hilltop, and built on varying levels, so that on first view it seems to be honeycombed with red-tiled stairs. Stairs to the bedrooms, stairs to the living room, stairs to the hall that leads to the dining room, and flight after flight roaming up and down hill from patio to patio, from summer-house to outdoor living rooms. If / lived here, I'd have broken a couple of legs by this time, but Gale and her husband, Herbert Biberman, adore their mountain
craS- .. .
One whole side of the white-walled living
took her to Denmark to pay a visit to her grandmother.
"I'll never forget my grandmother's table ! It was ' charming. There were in- dividual vases with forget-me-nots at each place, and a perfectly huge soup tureen with an enormous ladle. I suppose I was fascinated by these things because I adored soup. My mother used to make Danish soup, too.
"At Grandmother's, in Denmark, we had fruit soup occasionally, and that is simply delicious ! You can make it of any fruit juice, but Grandmother used grapejuice and rhubarb, slightly thickened and served pip- ing hot with small slices of toasted bread floating in it. You can use any combination of fruit juices, and it would be rather interesting to try it with California's fruit. Here is a recipe for Rhubarb Soup we have used and found good :"
The dark beauty of Sondergaard is set off by her interestingly decorated dining table, with its tall Russian candlesticks, and black china.
room is lined with open book shelves filled with tempting volumes ; there's a piano, of course, and not an uncomfortable chair in the place. The dominating note in _ the room, however, is a picture of Gale in a blue gown, painted by Herbert Biberman s artist brother Edward.
Gale, in a black dinner gown banded in gold, gold earrings and bracelets contrasting with her shining black hair, sat on a sand- colored chesterfield.
"This is our first house," went on my hostess, surveying the room. "On our way out from New York, we said to each other : 'One thing we will have in California — and that will be a house on a hill!' The very day we arrived, a real estate agent brought us up here to Hollywoodland, showed us this place, and we rented it immediately and moved right in. We hadn't been here very long before we found out that the owners wanted to sell, and we knew some- one else would seize it if we didn't, so here we are — home owners at last !"
Gale is decidedly not a housekeeper, but she remembers fondly the delicious Danish dishes she ate as a child, when her parents
RHUBARB SOUP 1 bunch pink rhubarb
grated
y$ cup sugar
1 lemon rind Yi cup water 1 wineglass (Y CUP) sherry
Cut rhubarb in small pieces and stevy with lemon rind, sugar and water until rhubarb is tender. Put through sieve and add sherry before serving. This may be served hot or chilled.
"Another I loved as a child was Bester- moder Budeing or Grandmother's Pudding. It is made of dried bread rusks rolled out with eggs and milk and steamed for hours. Then it comes in a mould with the most heavenly crust, and you serve it with hot fruit sauce. We used to make a full meal of this, as it is so good you can't help coming back for more and more. It can be served for buffet suppers in the winter time."
DANISH APPLE CAKE 3 lbs. apples ' pt.
cream
boxes sweetened zweibach % cup melted butter cinnamon to taste
Pare the apples and with very little water, cook into applesauce. Sweeten to taste. Add cinnamon. Roll contents of boxes of zweibach into fine crumbs and mix melted butter with them. Butter a deep baking dish. Place layer of crumbs on bot- tom, follow with layer of applesauce. Re- peat until the dish is full, ending with a layer of crumbs. Place in a slow oven for 15 minutes. Allow to cool and place in ice box to chill thoroughly. Turn dish over onto a large platter and remove the pan. Serve with a thick layer of whipped cream covering the entire molded cake.
"A Danish salad is no mere adjunct to a meal. It's a main luncheon or supper dish. This one is very good served with Ry-crisp or Crax Butter wafers."
DANISH SALAD Put the following ingredients in a meat grinder together.
Yi lb. cold, cooked meat
2 cold boiled white potatoes 1 large peeled apple (firm)
Yz small onion
3 pickled beets
Yz stalk crisp celery 1 small dill pickle
Mix well together, season highly with salt and pepper.
Add V/z tablespoons Wesson Salad oil and 2 tablespoons red vinegar in which beets are pickled.
Arrange on an oblong platter and garnish center of the mould with grated egg yolk. Arrange chopped egg white around yolk. Garnish the platter with crisp lettuce.
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Loretta Young
Continued from page 22
her. It was the severest way. But she re- acted as lie suspected she would and even- tually understood that pictures are no child's game. Later she had other disap- pointments to conquer, most difficult one being the marriage that was all romance and then was all wrong. She was tempo- rarily torn from her family and her re- ligion. She wasn't downed, though. Not even when illness threatened her as she was coming into her own.
"This self-reliance is what has de- veloped her so markedly, in my estimation. She has a maturity far beyond her years and appearance, and that is what makes her excellent company.
"She is fun. I like her because she is. She could be taking herself dreadfully seriously. She could have become so spoiled. A Hollywood leading lady at four- teen, going to elegant premiers and the best movie parties and being acclaimed. Loretta contends her first major social triumph occurred when Mary Pickford, at a Mayfair ball soon after Loretta's debut, solemnly addressed her as Miss Young. She floated for days. But only on the in- side ! With all her excuses for 'going into a front,' she never does. She has the cour- age to be herself. To laugh and be demo- cratic.
"Unquestionably her home life accounts for this democratic, streak. Yet, on the other hand, her home life is precisely what Loretta has elected it to be. She wouldn't have what she didn't want. At home she's one of the family; they don't treat her with any privileges because she's the most famous member. She's ever 'Gretch.' be- loved and loyal daughter and sister. She enters into everything any one of the fam- ily is up to, unreservedly. She doesn't want a" lot of friends, but a few who are as true as her own flesh-and-blood.
"She could," declared Myrna reflectively, "be conceited about being the most attrac- tive unmarried actress in all Hollywood. Men can't help falling in. love with her, and that's flattering no end. They can't help it, because she treats them so unaffectedly, with that sympathetic warmth the wise woman acquires.
At this moment luncheon arrived from the commissary. Soon I realized that Myrna was drinking my milk rather than the coffee she'd ordered.
"Perhaps you did want coffee," I inter- posed as gallantly as I could.
Myrna grinned. "Now you've evidence that I'm concentrating!" She located an- other glass and divided the pint of milk. Without the slightest fuss. Serene lady 1 "I consider Loretta remarkable," she continued, "because she is not squandering her potentialities. Because she's making them all materialize. She is an opportunist, as every girl ought to be. She is gloriously adventurous, as all magnetic women are.
"She is, therefore, quick and sure in her decisions. No shilly-shallying or dawdling. If she can't see a benefit she won't do what's proposed. For instance, she was asked to pose for some color portraits the other day. It would have taken a lot of time. 'No,' she said and stuck to her 'no.' 'I spent a whole afternoon with that pho- tographer once. The pictures he took were not good and none of them were used by the magazines. I'll spend all the time neces- sary with someone else, but I'm not posing for him again!' She has learned to work intelligently for results.
"Loretta hasn't complained of respon- sibilities as burdens. She never looks for loopholes, but eagerly accepts duties. 1 hey mean that she is creating a reputation, that she is growing stronger as an individual.
'Loretta is the creative girl at her best. She has created a beautiful home. Each of those ten rooms in her Southern Colonial background reflects the personality Loretta is. There is a gentle elegance that grace- fully compliments her. There are beautiful antiques, carefully gathered— when I hear of a particularly good showing at some collector's gallery, and fancy I may find something for my house, I arrive to watch Loretta or her mother walking out with the prize piece!
"It gives me a lift to note how domestic sne is — Cven if she can't boil an egg, as you say she confessed. I'll have to confer with her about blasting my hard-earned renown as the model wife — an hour-and- a-half to concoct poached eggs on toast for my husband ! I never counted on that get- ting out. Goodness me — well, anyway, Loretta won't even employ a personal maid. She's a working woman and yet she loves to be domestic. She takes care of her clothes, her room. She makes her own bed and she's nutty over neatness. Her bed- room is Directoire and the figurines are delicate Dresden and a speck of dust sends her flying for a dust-rag. However, when I'm invited to Miss Young's I am sure of splendid food and lots of it. Loretta is an epicure — with a gigantic appetite. She's crazy about steaks, thick juicy ones, and French-fried potatoes. She tackles a tur- key like nobody's business. She never is bashful about second helpings.
"Nothing is too much trouble in her work. It was amazing how she wore those bands on her teeth several years ago. She saw that a slight straightening would be advantageous photographically, and so for a whole year she wore bands like children do every time she wasn't acting. When you're in the spotlight and can do that- well, you are in Loretta's grade. '
Myrna found another cup and we poured from my coffee pot. She leaned back in her chair, comfortably. . .
"Right now Loretta believes a definite flair for wearing glamorous costumes on the screen will further her box-office draw. And I think she is reasoning well. So she has no objection to standing for hours for fittings !
"But even in private life she revels in stunning modes and here is where she
Muff and sleeves of ermine tails feature Sonja Henie's suit.
does consult her mother for all details — she always wants her mother's final word on chic. She wants to look at everything the best shops have, and not content with three trips a year to New York for a Fifth Avenue clean-up she's now adding Paris to her routine. When she is fond of a film costume she buys it for her personal wardrobe; she wore five especially de- signed negligees in her last picture and look all five for her own use. She selects her screen clothes with minute care, after extended conferences with exclusive de- signers. She knows that super-flair is a studied effect. She's reached the point where she's even designing for herself, and has taken to cutting and sewing. Her favorite color is French blue, the color of her eyes. She's dippy over hats and will try on and buy another at the least sug- gestion she do so. But she's never pleased with her hair. She blames her hair, not her hairdresser whom she's had for nine years and who is a highly-regarded friend.
"She hopes to marry again. She believes in marriage as a woman's major experi- ence. Unlike myself, she doesn't want to go on acting— in the end she'll be happy being a home body. But I think this is be- cause she fears 'outside pressure.' She's seen how Hollywood life can intrude on two who are in love. The primitive in her cries for guaranteed safety.
"Loretta" thinks of the admirable husband she wants, thinks of him a great deal. Her sincere desire for a successful marriage should make it materialize. She's building toward it to the best of her ability.
"I haven't," asserted Myrna, "come to what assuredly is a basic quality in Loretta. I couldn't mention her without emphasizing it. Loretta is religious, Deep- ly, sincerely so. She is an individualist, a femininist, a canny business woman and not above flirting. But there is something else that's essential to her. This is an answer to an inner soul-cry. She has found the right path for herself. She has a guiding faith. Implicit adherence to the tenets of her church brings her a very real uplift. She is gay, soigne, and all of that— but I myself never think of her without remembering her devotion to the idealistic pattern she- wants to follow. If you were to ask Loretta why she has such stamina, why she has never been defeated or disillusioned, _ she would tell you of her faith. That it is a fundamental inspiration to her."
Myrna Loy
Continued from page 23
When you get acquainted there's no hint of aloofness.
"Her marvelous poise fascinates me. 1 ve never seen her embarrassed; hers is one hundred i>er cent aplomb. I've that kind of mind that would wonder why and how. So I investigated!
"As a child she rode frequently with her father. Her closeness to him must have had a lasting effect; I should say she has a man's mind about values. Complexes? Not a one— they take up too much time!
"Her home life intrigues me. Before she married she wasn't muchly concerned with what a home was like so long as it was comfortable and soothing. She didn't think of furnishings or decorating. None of that touched her. Vaguely she had a dream of a home which w-ould someday be of her own making. When she met Arthur Horn- blow this crystallized. At last she has her very own home and she's made two trips to New York to select the right things for it. It's exactly what Minnie would have. A. charming, rambling farmhouse where life is informal. But conveniently on the edge of the city! There's an orchard instead of
66
fountains. A tennis court. A swimming pool in a dell with the pool irregularly shaped like an old Montana swimming hole. There are flowers scattered freely, most of them by Minnie herself. She's a tool for seed cataloges and she adores digging and transplanting in her garden. She doesn't weigh herself down with any sunbonnet nonsense !
"She didn't want a projection room, even though her husband is a producer and has to see most of the pictures made. When it s movies they step out to previews. That s business. However, she did put in a gen- erous playroom, for Minnie has a weakness for games herself. Not so much bridge and cards as guessing and pencil-and-paper teasers. She has a passion for Sunday morning breakfasts, leisurely ones; after- wards every guest 1 does what he wants. No riding herd on them!
"By way of contradiction in the woman, added Loretta, "I might tell you this : she never entertains buffet. She'll telephone you, which is pleasingly informal, and you join a small group and sit down in conven- tional style. Not to matching china— Min- nie decided why have dishes that match and so none of hers do!"
With a remembering smile Loretta was into an amusing incident. "Minnie's at ease from then on. Last Fourth of July, for example, someone pulled out firecrackers at the table and shot them off. Now there was a situation to daunt any hostess. But she wasn't flustered. She reached for a drink of water, dodging meanwhile.
"Her marriage, it's been reported, has made her more social. Possibly. Still, I couldn't describe her as socially-inclined. She only has friends over when she s in a mood for relaxation. She isn't the fever- pitch, want-to-impress type at all. I sup- pose that's why she is the colony s perfect hostess. We sense that in her home we can be ourselves.
"Minnie even shuns an act when she goes out. Most actresses make big en- trances into night clubs ; she doesn't — the fewer who'll see her the better. She's out for relaxation, not for parading. I guess her marriage, and if I bring it up again it's because it's the tonic that has brought her happiness, is a success because she makes it so congenial. She and Arthur seem to be playing together. Sometimes I've seen her treat him like a little boy, adoringly so. Then she'll rise to irresisti- ble banter. One night he'd been kidding her as a 'movie queen.' When he wanted her to get something for him, later, she re- plied, 'Listen, don't you recall ? I'm a movie queen, and we don't budge.'
"But then there was the evening wed been to the theatre and Arthur confessed he'd like eggs. Minnie hauled me into her kitchen. 'I'm no help . . . I can't boil water,' I announced promptly. I can stare down a camera,' she retorted, 'but now dinged if I'm not up against a more ticklish job. I've got to beat this racket for my man's sake, pal!' For an hour and a half she tried toasting French bread, tak- ing the center out, and dropping eggs m. And before Arthur starved he got a plate that would have done credit to the Derby. She's patient that way.
"There are just sufficient minor surprises in her to season her specific, down-to-earth personality. She omitted the word obey in her marriage ceremony and she'll read the last pages of a book first. Calm in spots that distract most women, she's too scared by mystery stories to try them. And even with that man's mind I mentioned, she abhors details. She dotes on letting Arthur, or whoever else is about at the moment, see to them.
"Much has been made of Arthur's recog- nizing that sirens weren't her forte. He deserves all that credit; yet I can't be- lieve Minnie was ever wholly discouraged
"Season's greetings," says Anita Louise, serving the holiday cake.
at being typed. Somehow she would have painstakingly found her niche.
"I wanted to know about her beauty regime To me hers is the kind of beauty that's fascinating; I'm bored with the candy-box sort. I've burgled her secrets. Well " sighed Loretta enviously, Mm- nie'll' fall asleep anywhere! And it's mere- ly mind over matter. She takes reasonable care of herself, but her motto is : Be Nat- ural. She likes the outdoors; these week- ends she's at her mountain lodge literally roughing it to get cozily settled there. When she's tired she just lies down for a nap- when she's in the mood for fun she may exercise. But no scheduling, no both- ering about now it's time for thus-and-so. 'Rest is a lot better for a gal than exer- cise,' she swears.
"Clothes attract me, so of course 1 ve watched Minnie in this respect. She wears pastels although she threatens to switch to brilliant colors. She's smartly styled, however, because she sticks to simplicity She may pay $75 for a knit blouse and skirt; it won't have a thing adorning it. <\nd she'll be the ultimate in smoothness. Most women who pay $75 for a dress want everyone to think they've paid much more Minnie doesn't over-dress. She can't stand gewgaws. She doesn't go m even for_ cos- tume jewelry; she never collects any junk. She hasn't a bursting closetful ; she'll wear the same ensemble three days in succes- sion if she wishes-.
"She keeps fresh mentally by changing hobbies every year; she's veered from sculpturing to an examination of chemistry. She isn't gushy. If she dislikes someone she takes the easiest out— casually ignores
him." " . , ... a,
Loretta was reminded of her babies, bhe walked to my car with me. Her sleek black town car lurked in the background. She ignored its shadow to see me into my one- of-a-million. ; .
"Minnie's so popular because she s in a class by herself," she concluded.
So is Loretta, and I don't say so in- cidentally. Anyone who can talk _ about another woman and a rival professionally without intruding into the praise ought to be further checked on.
I made a luncheon date with Miss Myrna Lov.
Star-Dust Baby
Continued from page 17
to the Home of the Good Shepherds. Where you came from ..."
The little boy's under lip began to quiver. He steadied it by biting it, hard. He didn t speak and after a moment Bill Naughton broke the silence.
"She's only having her little joke, kid, he said. "Katie's a great joker— you'll find that out the longer you two live together.
The little boy was still holding his un- derlip steady with his teeth. There was a drop of blood on his chin. It had rolled down from his mouth. Katrine, watching him, spoke to Bill.
"So I'm a little joker, am I? she asked. "Practical or otherwise?"
Bill's eyes were hard, now — harder than Katrine's could ever be. He said — n
"Yes, you are. The practical kind . . . He added, "Run out to the kitchen, Peter, and you'll find a nice Jap named Kito . . . Give him my compliments and say I sent you for a slab of chocolate cake and a glass of milk."
The little boy released the lower hp — it had been rather badly tortured. He said to Katrine — , ,
"Can I ask for it? The cake and the milk?" and Katrine said — »
"Oh, for crying out loud, yes! Just so as you beat it!"
* * *
It was only after the little boy had jour- neyed at least four rooms away, that Bill spoke. tt T
"I'd call you something," he said, if 1 could think of the right name. I was brought up just off the Bowery. I haven t got much of a vocabulary — "
Katrine said— "I was brought up on Delancey Street, and I know plenty of things I could call you."
Bill rose and walked over to the piano, upon which Katrine had stood when she made her announcement. He played a couple of chords, aimlessly. He said —
"Only a complete louse would take a kid's heart in her two hands, and crush it to a jelly!"
Katrine said— "All right, I m a complete louse. So what?"
Bill replied slowly. "The kid's not to blame, you know," and Katrine countered— "But you are. You knew what I wanted, and you made a bum out of me. All Holly- wood will be laughing by tomorrow morn- ing. The whole country will be laughing by tomorrow night !"
THE STORY UP TO NOW
Katrine Mollineaux {nee Katie Mal- loy—of Nezv York's east side) decides to adopt a baby, to get publicity headlines she deems necessary to further her ca- reer as a screen star. The press agent. Bill Naughton, upbraids her for the idea as both dangerous and cruel. But Katrine demands, and her orders are final. She proposes to announce her suddenly ac- quired motherhood at a cocktail party for the press. The party advances far beyond the appointed time for the an- nouncement before Bill arrives with the "baby" Katrine ordered him to bring her. Theatrically calling for silence, Katrine announces that she is adopting a baby, and orders Bill to have the child brought in. The press agent calls "Peter," mid into the room comes a boy about eight, red-thatched, freckle-faced, and wearing faded blue denim overalls. Dumbfounded. Katrine looks from Bill to the boy. Nozv qo on zviih the story.
67
Bill struck a couple of new chords. He said —
"What folks want and what folks get isn't always the same thing. You can't pick up blonde girl babies in a couple of hours. I did the best I could — "
Katrine said — -"Oh, yeah?" And waited.
After a space measured by eternity and nothing less, Bill went on.
"The kid's swell," he said, "a regular soldier. Did you see him bite his lip to keep from crying when you were torturing him?"
"If he's such a soldier," Katrine said indifferently, "he can stand the gaff. How soon will you make the return trip?"
All at once Bill laughed. His laughter held no mirth at all.
"Peter isn't going back, Big Girl," said Bill. "Know why? Because you've adopted him in front of every newspaper man and woman on the West coast. You've cracked him over the head with a bottle of cham- pagne, so to speak, and launched him. You may hate his guts — but you've got to go through with it."
Katrine walked over to the piano and stood beside Bill. He played another chord, lingeringly, before she dashed his hand aside.
"You're the one that got me in this box," she said, "and you can get me out of it. See?"
Bill told her — "I can't. You've hooked Peter, for better, for worse — "
Katrine began to play chords herself. The effect was strangely ecclesiastical. As Peter had said, she looked like an angel in a church.
"I could murder you," she said at last, "and bathe in your blood. But I see your point, Bill — the kid's got to stay. A while, at least."
"Bully for you !" applauded Bill. "I knew you'd see the light."
"The light be darned!" said Katrine. "You can make me keep him, but you can't make me like him . . . How'd you happen to pull such a boner, anyway?"
Bill said: "Sit down, and take a drink. Yes, this is the millennium — I'm asking you to take a drink!"
Katrine rang. When one of her servants came she let Bill order Brandy sodas with- out interference. When they each had a tall frosted cylinder, she said —
"Well, spit it out. I'm waiting."
Bill took a long drag from his glass. He needed it. He said :
"In the first place I couldn't get a blonde baby. There weren't any blonde babies nearer than the Cradle in Evanston — and that would have taken too much time."
Katrine asked, "Why didn't you go to Central Casting?"
Bill said, "You're just dumb enough to think of that. Most of your trick publicity has flopped lately — you couldn't afford a big expose about a phony adoption. Xo — I wanted to make something stick. I went to this orphan home I'd heard about, and fiddled around tying red tape into a mil- lion knots — "
Katrine murmured, "You would."
Bill continued. "As I've already told you, there weren't any blonde babies to be had," he said, "that sort don't stay in asylums. They're as much in demand as silver fox furs on West End Avenue."
Katrine took a sip and said — "Oh, yeah ?"
Bill said: "Not being able to get a blonde baby girl, I went after the next best thing. And that's where Peter comes in — "
Katrine murmured, "I see your point. A red headed kid with a black eye is un- doubtedly the next best thing to a blonde babv . . ."
Bill said savagely, "Sarcasm won't get you anywhere. I'll admit I fell for Peter, personally. I like him. He's the kind of a kid I'd want, myself. And he had a bum break, too, before he was an orphan. He had a mother who drank and a father that wouldn't come through with a ring . . . Luckily they both died, and Peter was put in a home."
"Luckily for him," said Katrine, "but not for me !"
Bill went on, just as if she hadn't said a word.
"When the matron took me through the asylum — and it was as bare as a prison," he said, "I saw lots of kids. Some were pretty — not many — and a few were cute. But when I came to the bed where Peter slept, and saw him sitting on it in those faded blue overalls, he got under my skin . . ."
Katrine asked, "Wras it the black eye
that sold you?" And Bill answered briefly
— "He didn't have a black eye — then . . ." * * *
There was a moment of silence. Some- where, far off, a clock chimed, but neither Bill nor Katrine bothered to count the chimes. The gardener had finished with the scattered flower bed. It looked neat and trim again, almost as if none of the radiant blossoms had been smashed. Bill sighed and said —
"Some things are so darn easv to straighten out. But take this child, Peter. Shot from one tragedy to another, and nuts about you. too."
Katrine said : "None of your soft soap, Bill. What gives you the idea that the boy is nuts about me ? Oh, I know you re- hearsed him — that angel in church stuff was too pat to be funny, but — "
Bill interrupted. "As God is my witness."
he said, and there was nothing profane in the vehement expression, "I didn't rehearse him . . . Where'd I leave off, Katie? Oh, I'd got to the place where I saw the kid sitting on his bed. Well, guess what was pinned to the wall over that bed?"
Katrine laughed. Her laughter was sud- denly careless.
"Probably a baseball mitt and a scalp from Sitting Bull's collection," she said. "What do you think I am, psychic?"
Bill >aid, "What I think you are isn't the point of this discussion. The kid had half a dozen pictures of you pinned to his wall — that's what. Among them was the one with the Borzoi that you gave away when you got tired of it . . ."
Katrine said, "Where'd he find the pic- tures ?" and Bill answered —
"The Lord only knows. I guess he cut 'em out of fan magazines and newspapers, and they were pretty ratty. You could tell he'd handled 'em a lot . . . After I'd talked to the kid awhile he told me he called you mother, inside, and said his prayers to you at night. Go on, now laugh some more — "
"Anything to oblige," said Katrine, and laughed long and loud. She added, "I sup- pose the coincidence was too much for you. I know how the Irish are."
Bill said. "You ought to know — " and hesitated. "The black eye," he said at last, "maybe you ought to know the truth about that, too . . ."
"Maybe I should." agreed Katrine.
Bill cleared his throat. If he'd been talk- ing to anybody else you might have thought he was embarrassed.
"When we were leaving the asylum," he said, "one of the bigger boys — a tough, nasty bozo — asked where he was going, and Peter blurted out that he'd been adopted by you. The older boy laughed and said something that I won't bother to repeat, and Peter took a quick poke at him."
Katrine said slowly, "He did. did he?"
Bill answered, "Yes, he did — but he didn't come up to the tough kid's shoulder. Before I could get between them Peter was down on the ground, and his eye was al- ready beginning to close. But he didn't cry or anything."
Katrine yawned. "How interesting," she said. "How very interesting!"
Bill said gruffly — "You're darn right it's interesting. Peter took his first licking for you before he ever saw you — in person. It probably won't be the last licking he'll take, either . . ."
To Be Continued
Rewards for Jane Withers come In bundles of brightly wrapped gifts.
68
Kay and Pat
are Like That
Continued from page 29
because he thinks she is one of the most talented and charming stars on the screen. And boy, after you've co-starred with a submarine, an airship, and an oil tank, a Francis with all her glamor and her Orry- Kelly clothes is a gift from heaven A closed set or no, and a Francis slightly aloof or no, Pat was pleased.
"I never worked with Kay in a picture before" Pat told me, "though she and I were on the stage together in a none too successful play about eleven years ago. For four years my dressing-room has been next to hers on the Warner Brothers lot but we never seemed to be working at the same time so we never did get ac- quainted. After the 'Swing Your Lady interlude I thought well, Pat my boy, they'll probably want you to support a pipe line now." (Interruption from me: That s already been done, Pat. Irene Dunne sup- ported a pipe line in "High, Wide and Handsome," and I thought they'd never finish laying those pipes)— "and so you can just imagine how surprised and happy I was when they told me I would go into Women Are Like That' as the romantic lead opposite Kay Francis. In the first place, ever since I've been in Hollywood I've been eager to co-star with Kay be- cause I think she is a beautiful and glam- orous woman, and a mighty swell actress. Then, too, I was pleased because it gave me a chance to get out of a uniform for one picture at least— I've been in every uniform they've got in the wardrobe de- partment, and it gets monotonous being a cop or a sailor all the time. In this little number I'll have you know I wear white tie and tails ! Even my own mother_ won't know me on the screen." (Kids like to wear uniforms and actors like to wear tails —that's one of my little observations of life and things that don't matter.)
Well, that's all very true, Mr. O'Brien, I said to myself, but I betcha you'll be glad to climb back into your uniform after a session with a suing star. But I have been wrong. And I was again. This time. One bright afternoon when I was "doing sets" at Warner Brothers, I usually _ do sets when there is a swing band in action, I very graciously remarked that we could skip the "Women Are Like That" set be- cause I didn't wear my mittens and sudden cold gives me chilblains. But no, said my escort, that's the gayest set on the lot. You can't miss Kay and Pat romping around like a couple of high school kids. Curiosity got the best of me so I walked right past the "Absolutely no admittance" sign on the door but very cautiously took a stance near the exit so I could run easily if necessary. Oh, that's all right, said my escort whom I considered either an ex- treme optimist or a fool; just don't men- tion her lawsuit and everything's okay.
Well, they were doing a scene, a most amusing scene, where Kay and Pat as hus- band and wife and rival advertising agents meet in the lawyer's office to arrange for a divorce. Kay thinks she wants to marry Ralph Forbes who, suffering from a severe cold (a picture cold), is stretched out on a couch fast asleep. The lawyer is delayed getting there. Kay looks at Pat and Pat looks at Kay. The office radio starts play- ing. "Shall we dance?" says Pat, and the next thing you know she is in his arms, and there is no need for a lawyer. Fade- out! And right here and now I wish to go on record as saying that if any of Kay's friends think that Pat isn't the romantic
type they're due for a change of mind. Fernand Gravet ! Charles Boyer ! Piffle That romantic new screen love team of Francis and O'Brien is really something to write home about on pink scented sta- tionery. Woo! Woo!
At the end of the take the First Lady did not hastily retire to her dressing-room; instead she sat down on a property box and yelled "Pat" at the top of her voice. Followed by a series of giggles and laughs, and if everything else is quiet about Kay Fsancis her laugh certainly isn't. "Pat," she shrieked, "come here, I want to show you my burglar alarm. You haven't got any- thing like that." "You'll need one m Gopher Gulch," said Pat pulling up another prop box— and there they were as cozy and chummy as two bugs in a rug.; "It's been like this since the second day," said one of the wardrobe girls. "Miss Francis was rather aloof the first day, she was worried or something, and Mr. O'Brien seemed to have the attitude that if Miss Francis could be cold so could he. But on the second day of the picture somebody brought Mr. O'Brien the plans for the new house he is building overlooking the sea at Del Mar and in his enthusiasm he showed them to Miss Francis. She immedi- ately sent for the plans of the house she is building in Hidden Valley, and ever since then they have been talking^ their heads off about ventilation, landscaping, etc."
"Don't let all those fine feathers Kay wears in most of her pictures fool you," Pat told me. "She really doesn't give a damn about being called Hollywood's Best Dressed Woman. She'd much rather be called the Gal of Gopher Gulch. Wouldn't you know she'd choose to build her first home in California not in a ritzy sounding place like Beverly Crest or Riviera but in a canyon called Gopher Gulch! She asked me to autograph one of my pictures for her playroom and I wrote on it, 'My happiest engagement in pictures.' And I meant every word of it. Working with Kay has been a lot of fun; in fact, this picture has been more of a romp than any I have ever made. Kay is so considerate of her crew — she has had the same crew for every picture — and I guess they would just about lay down their lives for her. If anyone gets sick she is the first to visit them at the hospital. She spends her time on the set talking over bits of business for the picture, or else when she gets tired of us she retires to her dressing-room and reads a detective story. I've never seen a' woman so crazy about mystery thrillers, and the bloodier the bet- ter. No wonder she's having burglar alarms installed all over Gopher Gulch !"
"But why," I persisted, after all I'm not
going to sit idly by and let the First Lady be turned into a saint, "but why does she dodge photographers and interviewers.'' Unless you're an old friend from way back she will not give an interview during a picture — and not very often between pic- tures." That'll hold him, I said to myself.
"Well," said Pat, "something I heard Kay tell a newspaper reporter the other day rather explains that, I think. It seems this newspaper guy was from out of town and had been stalled by the publicity office for several days. Finally Kay said she would see him on the set. The first thing he asked her was, 'Miss Francis, why are you so hard to see ?' 'When I was an actress on the New York stage,' Kay told him, 'I went into one of the big newspaper offices one day and asked to speak to the manag- ing editor. I waited for quite some time. Finally I took my nerve in my hand and walked right into his office. He told me very patiently that he would like nothing better than to have a nice long chat with me, but unfortunately he had a paper going to press and he was much too busy to see me. I,' said Kay, 'unfortunately, have a film in production.' Does that explain it?"
"That'll do," I muttered, "until some- thing better comes along."
The fact that there was a little lawsuit dangling didn't dampen anybody's spirits at the end of the picture, for Kay cracked through with a party in her dressing-room for the cast and crew that reached a new high in Hollywood parties. If she wins her suit she may not make another picture there but she was going to be awfully sure that everybody had fun while she was there. I recall that when Kay left Para- mount for Warner Brothers some five years ago she presented nearly everybody who had contacted her at the studio with a handsome farewell present. Most stars, in case you don't know, do not bother to give presents after the people can no longer be of any use to them. Pat wasn't going to let Kay outdo him when it _ came to a party so in the midst of festivities he invited everybody out to his Brentwood home the following Wednesday for a bar- becue. The entire cast and crew of "Women Are Like That" arrived practically fam- ished, and who was it that pitched right in and barbecued a mean steak for a prop boy, a hairdresser, a wardrobe woman, and a bit player— that's right, Miss Kay Francis.
"How I hate to see the end of this pic- ture," said Pat with one hand wrapped around a steak and the other around Kay, "it's been fun." Yes, I think we can safely scribble on all the garage doors: Pat and Kay, Are That Way.
Producer Mervyn LeRoy greets Fernand Gravel with the script for his next picture, as the Continental star and hi: wife retjrn to the coast.
69
Hollywood's Fantastic First Nights
Continued from page 13
engagement ; but it docs mean that they are willing to have their names linked in the next days' new spapers. Columnists, pen- cils in hand, and cameramen lie in wait at either end of that flower-strewn red carpet. Young actors, and young actresses too, are cautious about their appearances at these openings. Even the older ones, ar- ranging dinner parties to precede the pic- lure, think twice about their invitations.
While stars are treating themselves to facials and new hair-dos at the beauty parlors, the fans are slowly assembling in those grandstands. By noon there are al- ways a few hundred already seated. Prop- erty men are spreading out the red carpet, hanking it on either side with hundreds of baskets of flowers several feet high. Dis- tracted box office men are explaining to furious celebrities that there are no more tickets for sale, that even the last seat in the top balcony is gone. No matter where placed, each ticket costs $5.50. Publicity departments discreetly assign them, in the order of importance, trying discreetly to keep separate divorced couples, to remem- ber Hollywood feuds, to see that rival producers do not sit too near the critics.
They have all seen the picture before of course, even the critics. They may have seen it in a studio projection room, or at the home of Joan Crawford and Franchot Tone, or Harold Lloyd, or Jack Warner, all of whom love to show pictures. Seeing pictures is a regulation way to wind up a Hollywood Sunday. Sometimes most of Sunday is spent that "way. More hardy than any admirer of double-feature pro- grams, the movie colony can sit through three full-length pictures and three car- toons without a quiver — just a few groans.
By the time they reach the theatre, that part of Hollywood looks like a circus. Searchlights with some 300,000 candle- power pierce the sky, guiding the long line of limousines to the playhouse. Police passes are enclosed with all first night
Attending a preview! Lana Turner, right, poses with her mother.
tickets, as streets surrounding the theatre are shut off to ordinary traffic.
The premiere may concentrate on one personality, as "100 Men and a < lirl" did with Deanna Durbin. Deanna, not yet fif- teen, wore her first evening dress that night, a blue marquisette trimmed with English daisies and velvet ribbons. Even with the eyes of all Hollywood upon her, little Miss Durbin never for a second lost her amazing poise. Her premiere was one of the year's most brilliant.
Sometimes the premieres go in for dig- nity. "The Life of Emile Zola" had the usual bleachers, the thirty-piece orchestra playing outside the theatre, the hundred efxtra policemen on duty, the broadcast presided over by George Jessel, the crowds of celebrities ranging from Charles Boyer to the John Barrymores. But the theatre scornfully refused to go in for circus stuff, even refraining from sailing a captive bal- loon, complete with loudspeakers, above the theatre.
It was at this premiere, however, that weary celebrities were greeted with short speeches, to be read by them before the microphones. The broadcast lacked the usual cozy series of "Hello, everybodies — I'm awfully glad to be here."
These Hollywood openings have only been revived during the past year. They were common enough in the old hoopla days. Sid Grauman used to present pro- logues before the picture, stage shows so long that sometimes the feature didn't go on until twelve-thirty. After the opening of "Rain," you could see celebrities out- side the theatre at five in the morning look- ing for their cars. The fans were still there too.
It was in those days, at Grauman's Chinese, that Wallace Beery did that fatal imitation of Greta Garbo, burlesquing her "I tank I go home" on the stage before all' their fellow workers. It caused a sensation, with Garbo, who doesn't attend premieres, deeply hurt and Beery apologetic for weeks.
"City Lights" stopped all of that. Hol- lywood hadn't noticed the depression yet ; it was still just a word in the newspapers. Charlie Chaplin put on the most spectacular premiere of all time. They had had big openings before, with boulevard traffic cut off, the militia on duty, and all the rest of it. But "City Lights" was shown in downtown Los Angeles, too near the slums. When the stars appeared in furs and jewels, the crowd of twenty thousand or so went mad. They hooted, jeered, rioted, broke into cars, tore finery off stars, and caused many arrests. Hollywood, frightened, stopped going to premieres.
Now the depression is over. The War- ners, with their bleachers and their bands, began the new vogue for premieres a year ago. As each really important picture comes along, every few weeks, its pro- ducers try to put on a bigger show than ever.
Soon someone may come along to top that gag of Wilson Mizner's, the best ever pulled at a premiere. The writer went to a good deal of trouble with his joke, even measuring the amount of gasoline needed to reach the theatre entrance. Then he bought an aged flivver for ten dollars, a dilapidated, paintless, fenderless, topless car with flat tires. Attired in all the finer}' he could find, gardenia in buttonhole, top hat on his head, he drove alone to the premiere. The flivver gave one last gasp as he reached the red carpet. Even the an- nouncer was silent as Mr. Mizner emerged. As he started the long, slow walk toward the microphones, a panicky doorman ran after him. The car, he asked, what of the car? Mr. Mizner turned majestically, beamed upon the silent crowd, and said ;
"The car? Oh that, my man, is your tip."
Lew Ayres, Mary Carlisle, and John Howard, in "Hold 'Em, Navy."
The Scream of the Jest
Continued from page 21
laugh at her work. It is delightfully droll. Her vague, helpless mannerisms make her outstanding in comedy. With this, Marie is content for the present.
If you saw "Wake Up And Live," you saw Joan Davis doing a burlesque Spanish dance that was something not soon over- looked. She is funny. I saw her first in a two-reeler. Once seen, never forgotten. La Davis won a fan. Now she is winning fans galore.
Joan has no secret sorrow over art. She always wanted to be funny. Her heart's delight will be to hear herself called the "Female Charlie Chaplin." Starting out in vaudeville, with Si Wills, they appeared as "Wills and Davis." If the bill gave Joan second spot, she got top billing in Si's heart. Funny or not, Joan got her man. She also got Beverly, now four years old.
At her home, somewhere amid the can- yons of Beverly Hills, I thought myself suddenly transported to Egypt. The archi- tecture resembled what is imagined to be Egyptian. It has a minaret, but no Muezzin to call the unfaithful to prayers.
Should you wish to enter the garden of fruit trees from the road, you must toll a cow-bell over the gate. Instead of a cow, Joan appears and lets you in — likely as not wearing a Florentine skull cap and beach gown, smoking a cigarette.
Art may be art for those that want it, but let Joan get her laughs. Give her her California canyon Egyptian-Byzantine-cine- matic home, Si and Beverly. She's content. She should get dramatic for nothing.
Christmas a jear ago I received a card from an unknown person — Martha Raye. I thought it awfully nice of her, since we were strangers. I swore a royal oath that, come what may, this movie maid should one day be the queen of a story.
Not the languid lady, Martha is buxom and bouncing, possessing a pair of lungs fit for the barker of a carnival side-show. But is she downhearted ? No ! Garbo and Bergner may keep their places. Martha had only to make an appearance at the Holly- wood Trocadero to be clutched to Para- mount's heart as its comic consolation.
Today, she is monarch of all she por- trays-. Not everyone can do her stuff. That is why little Martha can afford to yell and roar. People roar with her.
Patsy Kelly squeaks. Since her first Hal Roach comedies, with the late Thelma Todd, Pat has held her public. She doesn't want to be arty. She knows her stuff and
70
offers it in every picture employing her. Merry and bright, Pat thinks life is just swell. From a Brooklyn environment, she crashed Broadway's musicals, ending for the present in movies.
"I'm content doing my stuff, she squeaks at you. "It's a line all my own." No tears and moans for Kelly. She's out to enjoy herself in the fillums.
Helen Broderick exemplifies the comic comedienne in mind and movies. She never thinks of worry. She is a living representative of what she portrays — a tol- erant, dry-humored lady, knowing _ better than the average person, but putting up with life's oddities.
A favorite star of Broadway, she first came to Hollywood for Warners. Suddenly it was deemed that musicals were anathema to the public. Helen returned to Broadway.
It was merely another Hollywood mis- take. With Astaire and Rogers and Brod- erick, musicals are tops once again.
If I were to tell you that Miss Broderick admits being in her middle forties, you'd laugh, laugh, laugh, like ye old clown. Then laugh, clown, for she does and is. Her twenty-five year old son, Broderick Craw- ford was seen to advantage as the nutty butler in "Woman Chases' Man."
Belonging to a theatrical family, Helen started out as a Ziegfeld Follies' girl. She had ideas of becoming dramatic. This might have been her sorrowful lot had she not met a very nice young man, yclept Lester Crawford.
Our Lester thought our Helen could cash in on her laughs while out front, not back- stage among the chorus girls. With one eye on her, the other on her career, Lester gave wise suggestions. And Helen, with one eye on him, the other on her career, followed his advice. Marriage and Brod- erick Crawford were the happy results. Not forgetting a successful career as a comedienne for our Helen.
Glenda Farrell is our rebellious come- dienne. A swell gal, Glenda thinks it just too daft of all concerned to see her only as a wisecrack artist, when she can get as dramatic as the best of them.
"I made a hit as a wisecracking, hard- boiled girl," she related. "From then on my picture path was carved out for me. I'd like a change. I gained just as good notice for my work in 'I Am A Fugitive as in 'Life Begins.' Anyhow, I do the best I can in whatever comes along."
Glenda's North Hollywood home was de- scribed to me as very modernistic. Sure enough there were modernistic touches but they were all but lost in Louis XVI fur- niture and decorations.
I asked Glenda to supply me with copy for a story on gold-digging. Since her pic- ture roles are well portrayed by her in this character, I took it that Glenda would give me good points on the art. With in- genuous innocence, she told me she had never known any gold-diggers.
Even in my sheltered life, I've met many gold-diggers. Some are quite clever, that you've got to admire them.
I left Glenda with the conclusion that she was at her best as a comedienne.
Alice Brady is the greatest of all. An actress, a comedienne, she knows her art. Her life has not been without trouble. Her mother, a French dancer, left her and her father, William Brady. Alice's own mar- riage did not last long. Her young son was for several years an invalid. But Alice never grumbled to the world.
Among the many inscriptions sent to Marie Dressler's funeral on floral tributes, Alice Brady's seemed to contain the very essence of good common sense, sane philos- ophy, and affection. "I'll be seeing you," was Alice's last farewell.
With the rest of the comic gals, Alice saves many a picture. The picture might be a jest, but all of us must admit that Alice Brady is the scream!
Fields Without Hedges
Continued from page 33
guys with the dough will decide you're through. When they do, it's waste of time and pride to argue with 'em. So you laugh, clown, laugh, and put up a front, till one fine day some big shot says: Why isn t that fella workin'?' And there you are— sittin' high and pretty again, and lookin down over your shoulder for the boot.
I laughed at the notion then. It may have happened before. I couldn't believe it would happen to him again. Well, it did. Not through any loss of popularity, but through a long illness. Still, the cause doesn't mat- ter much when the fact is bleak.
I'm not going to shed any tears over Fields. He hates sob-stuff as he hates few things in this world. Running away from a comfortless home at the age of eleven sleeping in alleys, living on what he could be«- or steal from free-lunch counters, he insists: "I had a swell time. The other kids had to go home at night. I could stay out." Lying in a hospital, assailed by a variety of ills that ranged from arthritis to lobar pneumonia, he snorts: "Never en- joyed a year of my life more. First vaca- tion I ever had time for. Suppose I had a little pain. What about it? What's a little pain compared to a lot of pretty nurses smoothin' your head and makin' you feel like a pasha, without his worries?"
During those long months on his back, he decided he was through. Not because he'd given up. But because, when Adolt Zukor and William Le Baron, his good friends at Paramount, came over to see him the thing they never talked about was Bill's return to pictures. While they were thinking: "We've got to give this guy a chance to get well before bothering him with business," Fields was thinking : If they don't want me, nobody will. I his is the finish the blowoff, the washup, so where do I go from here? I can't sit chew- ing the cud— there's an idea. I ( guess 1 11 start writing my reminiscences."
Zukor came over one day. Bill, I wont feel my Silver Jubilee is right, unless you're in it somewhere. If we send a man liere to hook you up, do you think you could go on the broadcast?" . "If I don't have to lift a piano, or kiss
Baby Leroy— " . .
He was to do a dialogue with Jack Benny. He'd never been on the air before. He had read no lines in over a year. There he lay his leg still hoisted aloft by pulleys to ease the pain. He couldn't hear Benny, nor Benny him. The mixer behind him was to signal his assistant, the assistant was to tap Fields on the shoulder as the cue for his line. .
"I was slightly apprehensive, he says. "We hadn't had a chance to rehearse this double talk. The doctor and nurses were standing around, looking kind and solic- itous. The general effect was that of a wake, with me as its mam attraction. 1 felt a tap on my shoulder, and galloped off. Incontinent mirth. I gawped— gratified, naturally, but with a dark suspicion that it wasn't as funny as all that. I turned, and it was the nurse, her lilywhite hand on my robe de mat, wanting to know do I feel all right I said : 'Bless your heart, dearie, and your soothing feminine touch, but keep it off my shoulder till this hurlyburly s done, till this battle's lost or won, or I m likely to get nervous and eat a finger So they all stood at the foot of the bed where I could see 'em, and the assistant stood behind me, where I couldn't see him, and that way I knew I'd keep my taps straight, business and social."
When it was over, he breathed a sigh of relief. He'd done his best by his friend,
and that was that. He paid little attention to the comments that were freely offered. "Some said it was good. Some said it was terrible, and don't do it again. I said: 'What the hell difference does it make? Marconi won't sue me.' "
Just the same, he began growing restive. This was of course a sign of returning health, but to a certain extent it had been induced by that radio program. The old firehorse had heard the clang, clang, clang of the bells, and all but literally leaped out of his bed.
A friend rented a house for him, he kissed the hospital goodbye and settled himself in. "If you're in jail, you have to be a convict," he reasoned. "If you're in a hospital, you have to be an invalid. In a house, you can be whatever the law and your own instincts permit. I'll find out what I am. If the public's finished with this sideshow freak and gone on to the next tent, I'll find that out too, and lay my plans accordingly."
He didn't have long to wait. Hardly had the news of his having left the hospital got out, when the procession began to form at the right. He was torn between in- credulity and glee. He still didn't realize that it was regard for his health, and that alone, which had kept them away from his door. "I kept pinching myself, till my skin yelled: 'Quit it, Bill.' What's a pinch be- tween friends?' I yelled back. 'Be glad I don't jump straight out of you, like one of those whatchamacallem birds, because that's how I feel.'
"How' would you feel? Along comes radio, and makes me a dazzling offer. Along come the movies, and make me a dazzling offer. Along come magazines and newspapers, and make me more dazzling offers. I thought they were crazy. I de- cided to find out, so I tried to raise the ante on them. They weren't that crazy, so I figured the deal was good and signed the contracts." _
Fields comes back to the screen m ihe Big Broadcast," and Paramount has pic- tures lined up for him as fast as he can do them, which is as fast as Fields himself can work out his always carefully planned comedy. Over at Paramount they laugh at the idea of Fields' being through. "Not till he's through with living," they'll tell you.
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Are You Insane?
Continued from page 34
nose of our instinct, we are sane. If we deviate from this law, allow others to mock us out of it, we are insane.
"We behave, as you may have noticed, entirely differently when we arc alone and when we are one of a mob. The mob psy- chology is well understood. We even re- act to pictures differently when we see them with an audience and when we see them alone, at home, or in a private pro- jection room. I have gone to the theatre, watched some fine and poignant bit of acting, heard the crowd around me roar with insensitive laughter and have laughed myself — always to come out of the theatre sick with myself, a bad taste in my mouth, because I was not my own man, using my own reactions. I was a link in the chain, clanking as the chain clanked, an atom in the mad and maudlin mass of the mob."
He told me of himself, "I have little — ah — phobias. Once, in Europe, while tour- ing with a theatrical troupe I spent one en- tire year and devoted it entirely to trying to make a sour-faced actor laugh. It be- came an obsession with me. I did every- thing from appearing- on the stage in my underwear to laughing in the man's face in an effort to provoke an answering- laugh from him. I never succeeded. It haunts me still, my failure. It was a year out of my life — and without result. Insane? Not for me.
"I drink lemonade all day long ; some- times all night long when I cannot sleep.
'"I order meals with the utmost particu- larity. I am something of a gourmet ; something, if I may say so, of an epicure when it comes to food. I order exquisite meals — and never so much as put a fork in them, leave them untasted. I derive my gustatory delights from anticipation.
"I dream every year of playing- Na- poleon. I do not think that I am Napoleon — not yet. But I am constantly dreaming of how I shall play Napoleon one of these days.
''I love crowds of strangers. I get a warm, rich physical relish out of being jammed and elbowed and shoved and suf- focated by crowds of people I do not know. On the other hand, I have a phobia about being in crowds of people I do know. Crowds where there are those who may slap me on the back, roar greetings, extend moist, effusive hands. I am exhausted, physically, mentally and emotionally if I have to be party to such a crowd.
''The first and only autograph I ever asked for was that of Man Mountain Dean. I wanted it. I cannot say why.
''I adore Hungarian goulash. I abhor milk. I cannot look at milk.
"My favorite hobby is hearing my friends play the piano. They must be my friends. I do not play myself.
''I must have a cup of tea placed right under my nose as I am zvaking. Not after I awaken. For then it is too late. The salutary effect is gone.
"I play badminton and tennis. I take long walks on the beach. Now and then, at such times, I sing to myself. Sing, mind you, not talk. Sea chanteys, mostly. I do not go to many pictures. I do not want to know what other actors are doing. I do not want to run the slightest risk of be- coming a copyist.
''I am, however," said Peter Lorre, his eyes suddenly, sensationally ablaze, "I am a fanatic. I admit it. And because I ad- mit it. it's not insanity.
"Yes, I am a fanatic. I am a fanatic about my work. I would. I have sacrificed everything for it. I ran away from my comfortable home when I was seventeen. I
Charles Bicltford and Evelyn Brent, old favorites in a new •film.
ran away from my mother, father, three brothers, my sister. W e were born in the village of Rosenberg, Hungary, in the dark Carpathian mountains. When I was six we removed to Vienna. We lived our childhoods closely linked, the one to the other. But I ran away from them and lived from hand to mouth because my father disapproved of the theatre and I — I had to go to the theatre.
"I ran away and joined a group of renegade youths who, like myself, found reality only in acting. We played in im- provised theatres. We lived.
"In 1922, driven by hunger and want, I secured a clerk's post in a bank. I ate again. I slept snugly. It is insane, then, to say that while I ate well and slept snugly, / was cold and hungry. But so it was. In a few months I was discharged from the bank because I was always late for my work. My feet were laggard after some- thing I did not want. I stayed up most of the nights with my theatrical troupe, breathing in the oxygen of greasepaint.
"Then, after a bit, I was given a year's contract to do small parts with a company in Breslau. After that year I went to Zurich where a part in Galsworthy's 'So- ciety' brought me my first recognition. Then to Vienna where I played, for two years, roles of both comedy and of drama. It was 1928 when my performance in 'Pioniere in Inoplstadt' was something of a sensation and I was hailed as a star."
Even then, Peter Lorre told me, there were those who told him he was insane to follow the stage. He would be limited, they said, to so few types. He was not, after all, of the proportions of a Conrad Veidt, a Robert Donat. What chance would he have in America, his friends asked, pitted against the Gables, the Coopers, even the late Lon Chaney whose heavy make-ups concealed a well-setup and personable man.
Not long after this Fritz Lang, noted Continental director, saw Peter rehearsing Wedekind's "Spring's Awakening." Then and there Lang asked Lorre to hold himself in readiness for the starring role in a screen production, as yet unselected. Lorre agreed and in 1931 threw Europe into clam- my convulsions with his astonishing por- trayal of the pathological murderer in "M." After "M" people on the streets of Berlin backed against the wall as Peter Lorre passed. When he entered a cafe china rattled, cutlery dropped, women grabbed their children and hustled them out and away. He went, one day, to call on old and intimate friends. The children of the family were in the salon. As Peter entered, bearing his customary gifts of sweets, the nurse herded the little ones out of the room where, before "M," kind
72
SCREENLAND
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(left) Mrs. Bailey skeet shooting at her home in Tuxedo Park, (center) Leaving the Plaza after luncheon.
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73
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''Uncle Peter" had so often played with them.
He was hurt, in his heart, at this revul- sion. They did not realize, then, that a great actor had played, to curdling perfec- tion, a macabre role? He did not want to be typed. When offers came, from all over Europe, to play similar roles, he refused tliein all. He did not want to put on the garb of the pathological horror man and never take it off. He wanted to wear the motley of all men. He left Berlin. He left stardom. He left vast sums of money be- cause he would not permit them to cramp and restrict his work. And — "you are in- sane" his friends and agents said now, ''you have a fortune ready to your hand. In a year or two you will be able to retire." "To me," said Peter Lorre, "they were insane. As if money or retirement were what I sought!"
So, after a few pictures in England and in Germany, Peter Lorre came to Holly- wood. With him, forsaking her own con- siderable career on the stage, came his wife, Cecilie Lvovsky.
"I came to Hollywood, to Columbia Pic- tures," Peter was saying, "and after awhile, after 'Crime and Punishment,' I realized that I was again playing only horror roles. I knew that I must play horror for a cer- tain length of time here in America; that if I did not I would be disappointing my new public who were conditioned to horror by seeing me in 'M.' But I would not go on indefinitely. And so, for months. I did not work. I refused to work. I turned down all offers brought me by my agents. They were numerous offers and, financially, flat- tering. I knew well that I might never work again. It was conceivable. I had be- come typed. I was losing vast sums of money. I was depriving myself and, more, my wife of future security. She stood by me every inch of that difficult way. She believed in me. I knew well what I was risking. I am not insane enough to dis- count the importance of future security. There are those who will label this stand of mine insanity and nothing else. Who is to judge? I think it must be the little monitor inside of us. Some call him Con- science. I only know that I would have embraced poverty, gone without future security, rather than do my work as I do not believe it should be done."
Companionship by Camera
Continued from page 25
'T took shots of the tennis matches for Roger," said Ann, pushing back her long fair hair that reaches well below her shoul- ders now. "I got some good action stuff — see this one where the man is hitting the ball and is off the ground. And I like this informal shot of Al Scott and George Murphy — they didn't know I was at my wicked work. Don't you think the distance in it is good?
"The circus was in town last week, too, and I was there with my camera. Roger likes especially the shots of Clyde Beatty and his animals. I put the lens right up to the bars — that's what makes the white marks at the sides. In this one, Clyde has his chair and the animal is snarling and ready to make its leap. I got it just as he made it.
"Lots of serious picture-takers go in for filters, etching masks, shadow prints and so on, but I'm afraid I'm not in their class. I do it all for fun. I have some light red filters, but I usually forget to put them on. I've never used the dark red ones that they put on to turn day into night, espe- cially for turning the sun into a moon, but that's because I never have any reason to do that."
It seemed too bad there wasn't a color camera around to shoot Ann in her red jacket with her fair hair bright against it and a dull blue glass silhouetting one side of her curls.
"But I don't feel any great urge toward a color camera," she objected. "Do you know what I'd like? And the very next thing I get is going to be a telescopic lens ! That ought to be fun ! You put the lens on your camera and then you can sit 'way over here on the set and shoot things by the door to the stage, hundreds of yards away. I could be in my chair here and you could be over there having a tem- peramental fit over something _ and not knowing I was within miles._ Click ! — and I'd have a close-up of you going into your dance !"
Ray Milland, guest-starring at Ann Sothern's home studio, stops by Tor a 'tween-scenes visit, and Ann gets another picture for her album.
74
SCREENLAND
Getting Cay with Cable
Continued from page 15
three more minutes, stirring constantly, and then add the sliced breasts of the ducks and baste with the sauce until they are sea- soned through. Then serve with wild rice.
It was a great success and Clark took bows none too modestly and ladled out second helpings from the chafing dish and we all practically ate ourselves into a coma.
After dinner there was a definite lull as everybody seemed to be in the mood for a bit of relaxing (the effect of the sauce, no doubt) but it soon wore off and by the time Walter had attached his recording ma- chine, with Fieldsie at the "mixer," the guests had revived one by one. A record- ing machine, in case you don't know actors, is in the nature of a postman's holiday. All day movie stars sing or talk into a mike at the studio, so home they come at night and sing and talk into a mike again. Then it's called fun. If Fieldsie is operat- ing the "mixer" correctly you can "play back" on the machine and hear a record- ing of what you said or sang. You heard Clark sing "The Horse with the Lonely Eves" in "Saratoga" but you haven't heard anything until you hear him sing "Arizona Cowboy Joe," which he sings gustily to its lustv end, and then with a little encourage- ment will start all over again.
Carole then favored with a recording of "Swing High, Swing Low" with "Arizona Cowboy Joe" coming in as a refrain, and the blending, or rather the non-blending of those two songs as rendered by Lombard and Gable would drive a music lover to drink. And in my quiet way I am a music-
Moonlight is so perfectly simulated by studio electricians, that a romantic team like Betty Grable and Leif Erikson readily capture the required mood.
lover. As a request number our host, Wal- ter Lang, contributed "All I Want Is To Be Called Baby Doll" which is the first song he ever sang in amateur theatricals when he was a kid in knee pants with a voice that was changing. Then of course everybody had to follow with a couple of verses of "On the Good Ship Lollypop," though it wasn't nearly so good as Joan Blondell's impersonation of Shirley Temple in "Stand-In." Under pressure Claudette came through with a recording of the little Russian number she sings in "Tovarich"
with Clark strumming away on a tennis racquet and I am sure that it would have been quite lovelv and thrown us into a Russian mood and we'd have jumped off the cliff in the back of the house except that the record showed a none J:oo faint trace of "Arizona Cowboy Joe."
With six years in Hollywood chalked up against me I have seen actors come and go. I have seen them come into the studios sweet, gentle, big-eyed creatures, so eager to do' what's right and please everybody, including me. Perfect little gentlemen. Then
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75
I'LL GO WITH YOU-JOHN
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one tiny bit of success, one good picture, and they suddenly become conceited, in- solent, arrogant lords of creation. But no amount of success — and be lias bad the most of any male star — has ever affected Clark in the least. Hollywood swank means nothing to him. He has a big movie star- ish car but it sits in the garage until the battery goes dead because he prefers to drive about in the remodeled fliver that Carole gave him for a birthday present, or his station wagon — he loves his station wagon (with a big PRESS on the wind- shield) because lie can dump all sizes of guns and things in it and hitch on his horse trailer. He and Carole drove down to the Pomona Fair one day recently in the station wagon, stopped on the side of the road and Spread a basket lunch, and then took in the l-'air, everything from the jelly booth to the livestock.
Rather than attend a smart cocktail party where he is sure to be lionized and oh-ed and ah-ed over by the most beautiful fe- males in Hollywood, Clark had rather pile things into the station wagon, includ- ing Carole, and drive out to the Valley where they can go skeet shooting — and boy, when Gable pops a clay pigeon the pigeon is popped. Carole doesn't exactly knick them either — though the first time she started shooting at them the gun fairly knocked her chin off. Carole fusses over that gun now more than most women do over their hair.
Instead of a dinner at the Trocadero Clark much prefers a good juicy ham- burger at a drive-in — or a hearty he-man meal at the Brown Derby. He has a great habit of ordering two eggs "one of them good" which always gets a surprised look and then a giggle from the waitress. When the eggs arrive he will ask, "Which is the good one?" and the waitress will be a little shocked and then break up completely in laughter. On nights when the movie colony is dressed to its teeth in ermine and white tie for a formal opening at the Carthay Circle, you can be sure that Carole and Clark, in old sweaters and slacks, will be catching up on their back movies at the Drive-in Theatre on Pico Boulevard. He usually avoids all social affairs but every now and then one catches up with him. At a recent dinner party in Beverly Hills he was suddenly missed by his hostess who found him sometime later in the backyard lassoing pots and pans from the kitchen with the clothesline. Carole was seated on the back fence keeping score for him on the side of the garage. If you want to make him deliriously happy give him a paint brush and let him paint your house — or let him sing "Arizona Cowboy Joe."
.Yame Address
Citu State
Ann Dvorak and Leo Carrillo, together in "Manhattan Merry-Go-Round."
Secrets for Smart Girls
Continued from page 51
looked devastatingly chic. She'd returned from two months' vacationing abroad and was ultra- feminine in a blue satin after- noon dress and a Parisian picture hat a shade lighter. At my compliment on her appearance she grinned. "You'll be drag- ging all my secrets from me. Naturally I wouldn't meet you here in slacks !"
"But you weren't ever in the average rut," I declared frankly. She has such a Hair for enchanting people, 1 thought, that her poise makes it easy for her to phil- osophize in a generalizing way. "And America may be the land of opportunity, but the average girl here never gets a crack at the breaks you've had!"
"Oh, but you're wrong," she protested quickly. She isn't afraid to be definite, I observed. "I shan't be so overly-modest as to pretend I ever considered myself just a gaga nonenity. I never did. No woman with any spunk believes in her heart that she's a ninny and is fated to be ordinary. But let me tell you this : I wasn't born with a silver spoon in my mouth — luxury publicity to the contrary is wrong ! Very deliberately I prepared for my breaks.
"I had advantages ; yes. A good home. Fond parents. But I had to leave it and them and I had little money when I de- termined to run away from the common- place. I had no irresistible beauty to bank on — if you're going to bring that up ! I was in England, you must recall, where they don't have beauty contests. I had this same face, but before I started to climb it was called attractive and folks let it go at that. A girl must literally capitalize on herself to make others appreciate her pos- sibilities. I had to study styles in clothes, coiffures, and make-up, you see.
"Every girl, I fancy, is up against these fundamental problems : what to do about work, what to do about acquiring a charm- ing manner, and what to do about the love situation.
"Some girls never have to work ; I was never in that class until I married and, candidly, I still can't understand a person who'd delightedly fritter away her time. I suppose because I so emphatically rank with those who had to learn to be self- reliant."
The daughter of an Irish professor who married a Frenchwoman — "Mother's an angel, for when you get a fine French- woman you've got something wonderful !" ■ — Madeleine was English-born and early slated to be a teacher. You'll remember reading how- dutifully she attended the Uni- versity of Birmingham. She received her B.A. degree and for three months pleased her father by teaching school. Then she exploded.
"So did father! I'd managed to save one hundred dollars and I'd been quietly tak- ing elocution lessons at a neighboring girls' school. I'd decided to become an actress, and so I was off to London to begin ! Mother sympathized with me, as mothers are apt to, but father was adamant. He forbade • such an outrageous course. If I persisted I could expect no future help from him.
"Away I went, nevertheless, to conquer the world on a hundred dollars and with two tailored suits comprising my ward- robe. That's all I had, really, in addition to my ambition ! Fortunately it was spring so I didn't freeze without a coat !
"A smart girl," said Madeleine, accept- ing a cigarette, "will have this kind of confidence in herself even when she has to compete with many others for the big opportunities. I'll never forget how I won
76
SCREENLAND
Blondes prefer black velvet, at least Muriel Hutchison seems to.
my first screen role. It was a lead in the most expensive British picture to date, and they'd tested a hundred and fifty actresses. I'd never been inside a studio. I knew no camera technique. But I wanted that chance to show what I could do. Oh, I wasn't cocky. I really didn't see how I could make a better test than all the rest of them. But I trampled on this thought. Why shouldn't I be as good a bet? Why couldn't I be developed by the studio as others had been? When I'd waded into their make-up and walked before their cameras I simply act- ed for all I was worth— and was chosen !
She paused for a moment. "Here is another secret of mine. It isn't bizarre, as you may have hoped. Girls can't take it like a pill. Yet if it's followed success will come inevitably. I have never deviated. I have had a one-track mind!"
I objected to that. By comparison to most Hollywood women she is mentally cosmopolitan.
"It may not be quite so one-track now, she amended. "But for a long while I had absolutely no other goal outside of acting- success, believe me. I am not super-human by any stretch of the imagination. So I concentrated. Honestly, this has been so essential to me. I've many friends who are much mpre versatile. I know people who can paint, who can play the piano exquisitely, who are brilliant conversa- tionalists. At the same time they can be past masters at entertaining. I envy them. But not too much, for I know that I my- self could never have climbed as an actress if I had tried to excel in everything. I am impressed with them, but not disastrously. I've never tried to shine except in my special field.
"But what," I asked, "of your secrets for charm — and about love?" She toyed with her demi-tasse. "The quickest way to attract a man is to put on a pleasant expression. A man will automatically like you. When I went to London it was then the vogue among the debutantes to appear utterly blase, to wear a condescending, indifferent face. I had no such background as theirs as a magnet, so I fell back upon the three-word recipe my mother had given me : charm is graciousness.
"Incidentally, don't allow the lack of a college education to worry you. As a mat- ter of fact, I hardly recall a thing I learned in college. What it did for me, however, was bless me with sufficient con- fidence for meeting people. I'm not em- barrassed. For ten minutes, at least, I can hold my own on a fairly decent range of topics! But the girl who's going to be
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Gloria Holden plays dramatic roles in both films and radio.
smart can acquire such poise by reading and reasoning. After all, the books that universities use are available in public li- braries and you must study people them- selves to learn how to hold their interest.
"How to hold a man's attention? My secret? Why, just discuss what he wants to discuss. I don't chatter on like a parrot. I take my cue from the man. This doesn't require stupendous effort, obviously ! But here's a minor trick, while we're on this angle. Women should talk to their husbands about their husband's business affairs ! Don't be a kibitzer, nor a nag. But don't be a dummy. Men want divertisement and they want companionship, also. If you don't give them both they have reason for straying. On the continent the women seem closer to their men than American wives, for there they become genuine pals by talking about the conditions which affect him. Read the financial pages. I do. Of course," she chuckled, "there's a time for everything. When I'm dancing to a heavenly orchestra I don't murmur, T see that steel took a drop today !'
"And so what," I probed then, "about a smart girl and love?"
"She won't worry about it. She won't go out looking for love. She won't pay any attention to it until it enters her life so strongly that there's no doubt but what he's the one man. She'll make the most of herself first, and then she'll have the ex- perience in dealing with men and women that will enable her to make him happy. I'd no intention of being anything but a career woman until I was persuaded other- wise by my husband. I'm glad I was that way, that I wasn't sidetracked.
"Never be jealous of the one you love. Treasure him. So highly that you'll make the adjustments which are the basis of mutual content.
"Don't be overly-independent just be- cause you can climb, or instance, I turn over all my picture salary to my husband. He invests it for me. I wouldn't think of being so absurd as to say, T must manage my own affairs.'
"I find life thrilling because I refused to have my life otherwise. This is why I don't agree with those old pessimists who tells girls afire with marvelous dreams that 'Such things are not for the likes of you !' I can't agree to that at all, for I found out they're the type who just lacked the push to go get what they yearned for. I felt there must be so much for me around the corner and — "■ — she waved gayly at Captain Phillip Astley who'd arrived to fetch his famous wife — "well, it's great around on this side!"
How to Impress The Stars
Continued from page f9
Now, if you encounter Joe E. Brown or .Martha Raye, I advise you not to bleat, ".Do tell me how it feels to have such a funny face!" The reason I pair these two is that, while both of them are famous on the screen for their funny faces, either of them will tell you that their faces aren't really funny in private life, as it were. There is a difference between having a funny face and being able to make a funny face, to order for the camera. Which, by gosh, there is !
But you could ask Joe who is his tailor. Joe is certainly one of the best-turned-out men in Hollywood and he must be inter- ested in the subject of masculine attire. You could ask him (and would he love it!), about his friendship with people who ar? famous in the world of sport. You could ask him about his children. You'll get along all right if you stick to those sub- jects.
As for Martha, I reckon it wouldn't do a bit of harm if you were to say that you read somewhere that she had the mo>t beautiful legs in Hollywood. You'll prob- ably get along even better if you know that a famous photographer said that her face is so beautifully mobile, so perfectly sculptured that it is an ideal subject for really distinctive portraits. That won't hurt you any with Martha !
Luise Rainer, like Katharine Hepburn, can't stand small talk (she calls it "little talk"), about weather and how've-you- been? _She isn't embarrassed, as Miss Hep- burn is. She is just cross about it. She likes discussions of Art — Real Art, with idealism, and self-sacrifice, and vision. She will discuss with impartial, earnest en- thusiasm her career, the state of the theatre, symphonies, the growth of mo- tion pictures, dogs, cooking and gardens. You will probably be stimulated by what she has to say about most of these things. Y'ou will be pretty surprised, I'll wager, at what she has to tell you about dogs, cook- ing, and gardens. She is — er — unconven- tional in her views on these matters.
Basil Rathbone bristles slightly — oh, in the most well-bred manner ! — if you imply that he is at heart a domestic soul. Hon- esty compels me to maintain that Basil is domestic, in that he is interested in well- planned, well-run homes, in well-planned food. He enjoys entertaining. He lo-oves being the genial host and don't let him fool you about it. Incidentally, he gives some of the nicest parties in Hollywood. You may discuss these matters with him with safety and mutual pleasure — if you'll just remember not to ask him for any recipes or to burble, "Why, you're just a homebody, aren't you, Mr. Rathbone?" If you make either of these errors, you will see a bristle which is really a bristle !
Ask Joan Crawford about her singing lessons. Do that right away. If you can talk about "resonance," that will be fine. You might even produce a little "mi-mi- mi" of your own and ask her to criticize it. She would probably be very sweet about it' and tell you gently that it takes a lot of hard work and concentration and conscien- tious practice to produce a really superior "mi-mi-mi." Which, by gosh, it does !
But don't — please don't — bring up the subject of dancing. Everyone knows that Joan dances beautifully and that much of her early success was due to her terpsi- chorean agility. But when Joan discovered within herself the ambition to follow in the footsteps of Bernhardt and Duse, she had trouble enough persuading the studio
78
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"IN FAST COMPANY"
That's the tempting title of a feature which will appear in the next, the Feb- ruary issue, and it also seems to us to apply to the February number as a whole! The story itself holds its own in the fast company of other fine features in this issue; and its idea, to show how the mercurial young performers of Holly- wood hold their own in the race for film importance against the terrific competi- tion of the already established stars, has a freshness and originality as appealing as these youngsters themselves — fast-ris- ing players such as Dorothy Lamour, Olivia de Havilland, Kenny Baker.
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and the public to forget how valuable those lovely feet and legs had been at the box- office. She won't want you to bring it up !
Ask her about her little, student theatre. Ask her about her dogs or the price of fresh vegetables. Ask her about Lynn Fontanne. But never, never mention a black lace teddy. Why, you never heard of such a thing — now did you?
Gene Raymond is sensitive about his blond hair and it seems to me, now that I think of it, that it doesn't look quite as blond as it did when I first met him. But he will glow with an engaging, boyish pride if you ask him about the songs he is always composing. Mention his excellent work in some picture and he will view you with suspicion. He doesn't quite believe that you mean it and it is just as well to let that sort of comment go, whether you do mean it or not. But he does like to talk about his songs. And— this is important Gene is one of those rare actors who ac- tually likes to be asked for autographs. Or, perhaps I should say that he is one of those still more fare actors who will ad- mit that he likes it.
If you meet Barbara Stanwyck, ask her, by all means, about her little boy and her stables. But don't— please — mention that the child is adopted or ask her, on any account, whether she is afraid of horses. I'll tell you why.
Several years ago Barbara, who had al- ways been afraid of horses, was thrown from one and suffered an injury to her back which she feared would cripple her permanently. While she was convalescing she became interested in a home for crip- pled children and she would tell you, if she didn't hate to talk about it, that the courage of these tots was the thing which inspired her to get a real grip on herself, to be determined that she would not only recover but that she would never be afraid of anything again — not even horses.
She adopted a little boy. "It takes a^child to teach you what bravery really is," she said. The first picture for which she signed after she was well again required her to ride a horse. "I had to take that part. I couldn't have gone home to my small son and told him that I was afraid!" She made, as you know, a magnificent comeback in pictures. She is successful. She is happy. She owns a stable now and she rides every day.
You see, the child is a symbol to her and so, in their way, are the horses. But you can understand why she'd rather not talk about the significance of them — any more.
Gloria Blondell, Joan's sister, is all set with a film contract.
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79
Pirate Cold
Continued from page 31
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Fictinnizatlon 0/
THE BUCCANEER
A Paramount Picture- Screen Play by Edwin Justus Mayer, Harold Lamb and C. Gardner Sullivan based on an adap- tation by Jeanie MacPherson of "Lafitte the Pirate" by Lyle Saxon.
Produced and Directed by Cecil B. DeMillc
THE CAST
Jean Lafitte Fredric March
Gretchen Franciska Gaal
Dominique Akim Tamiroff
Annette .\largot Grahame
Ezra Pcavcy Walter Brennan
Bchtchc Anthony Quinn
Crawford Ian Keith
Governor Claiborne . Douglas Dumbrille
Gramby Fred Kohler, Sr.
Captain Brown Robert Barrat
Andrew Jackson Hugh Sothern
Copyright 19.11 by Paramount Pictures, Inc.
taken from a Spanish ship and sold now to this man who knew it was stolen. But it was of other things that they thought. Crawford of that dangerous alliance of his with the enemy and of the talk he had had with the British Admiral Cockburn when he had advised him to buy Lafitte's support. And Lafitte's brown eyes fixed on the other so carelessly and knowing that never could he trust this American Senator with his twitching dark face and his eyes that seemed unable to meet another's glance.
But later he forgot Crawford and the strange foreboding that had come to them as he talked. For Annette had slipped away from her aunt in the pirate's market, away to the little place near the bayou where she had met Lafitte so often before, under the old oak with the moss hanging from its gnarled branches as her own fears hung on her heart.
"Annette," even here in his arms she was frightened of the strange love she bore him. Even here with his voice making a caress of her name. "Your hair is softer than sunbeams dancing on silk and _ your eyes are deeper than the Devon springs."
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"Jean, I was in terror that 1 wouldn't see you and in terror that 1 would," her voice broke somewhere between a tear and a laugh. "What are we going to do?"
"You marry me and I'll marry you," his words came so eagerly.
"And I suppose you'd print the wedding invitation on the back of Governor Clai- borne's reward for you dead or alive?'' she laughed.
"My sweet," his arms tightened about her. "You can have the Governor's ears for a wedding present."
"Won't you ever he serious?" She sighed. "We can't hide behind bushes and trees all our lives. I want you to be able to come to my house like other men who are more honored. Can't you understand? I want to be proud of my love. There's nothing in your life that I can share.
"I have wealth." His head lifted. "I have Barataria."
"Barateur is the word for cheap." And an edge of disdain crept into her voice.
"It's a kingdom with a thousand men and ships that sail the Caribbean and the Gulf." For the first time he felt the need for pride with her. "I can give you any- thing."
"But self-respect." Her words can e quickly, tearing at the pride in his voice.
"You can give me that, my sweet," his arms reached out for her and held her. "Your love will bring me that."
"Even if it brings me shame?"
"Annette, I'd pluck the moon from Heaven for you ... I'd . . ."
But he could not quite reach her.
"Francois Villon said that first, Jean." And she tried to laugh.
"Well, then he must have loved a woman as I love you," he protested.
"And I want to save that love." She pulled herself out of his arms, pulling peace and contentment with her. "That's why I won't see you again after this."
"Until I'm respectable?" His lightness closed over the old fear. "I know you're right, but it's too late for me to change. The law puts a price on my head. What can I do but fight?"
"You can give up this terrible life," she said slowly.
"Oh, no!" His laugh came edged with bitterness. "The law won't forgive me be- cause I want to be good, or because I want to marry a lovely girl and live hon- estly. It makes a criminal pay for his crime and that's right and just, but it gives a pirate short shrift."
"You've done the impossible a thousand times," she whispered. "You can do it once again, for me."
Well-groomed "Buccaneer" Fredric March and a fellow pirate.
SO
SCRE ENLAND
Buck Jones is mighty happy to welcome Helen Twelvetrees back to the screen. We're with you there, Buck. Helen plays leading lady tor Cowboy
Jones in a new picture.
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He thought of that as his ship toned her prow toward the Caribbean. And he thought of it again when they sighted the ship flying the Skull and Cross Bones that was pulling away from the burning boat flying the American Flag.
"Get on deck !" he thundered to his men. The little Gretchen held to her courage as she cowered under the tarpaulin one of the pirates had thrown over her and her dog whimpered in her arms. She had seen men and women and children die that day and her tears came softly for the lovely Marie de Remy and her young husband who had clung to each other so desperately in that last moment of living.
But she was to see more before that day was over. In spite of all her resolve she could not help that sudden trembling when the grim-mouthed captain of the pirate s ship discovered her.
"You come this way, lass," he said gruffly. "Where?" she asked and her hps trembled. . . , . .,
"Where?" Brown nodded toward the rail. "That plank will take you quick to Heaven, lass. I've never had any com- plaints about it."
She tried to walk steadily and proudly but in the end her knees bent under her and she swaved a little as she fell and so she crawled to the end of the plank and only that one cry came at the end. 1 hen there was a stir in the water beside her as her dog jumped in after her, barking as he swam toward her and it was the bark that Jean Lafitte heard and that guided his boat toward her.
Lafitte took command then, seated at the long table in the cabin. Nothing from the burned Corinthian was to be sold, though even now his trusted man Dominique was pulling at the spoils in Marie de Remy's trunk and Gretchen was to be kept a prisoner. They could not let her go, she who was the only living witness to the Corinthian's doom.
She looked so like a child that day she came with them to Barataria _ with a pirate's cape slung over her prim little Dutch dress and her dog barking at her heels that Lafitte's heart lifted at the sight of her.
"And how are you to-day? he called to her. .
"I am very well, Mister Captain. She swept him a half-curtsey. "But these men, they say I give them hemp fever."
"Did you hear that?" Lafitte laughed
over his shoulder to Dominique walking behind him and the man joined m the laughter. , „
"A gentleman does not laugh at a lady, Gretchen said primly.
"Dominique, she says you're not a gen- tleman!" Lafitte roared.
"No I say it to you!" Gretchen s eyes flashed. "Your rings tell me. One ring, it is a gentleman. Two rings, it is a vain and foolish man."
But after that there was only one ring on his finger and later that day, seated at his table with his pet cockatoo shrieking from his shoulder, he sent for her.
Her eyes passed over the room scorn- fully, over the spoils* from many countries, over the plunder from many ships.
"A gentleman's home?" Her eyes lifted. "No wonder the fine people of New Orleans, they laugh at you."
"They laugh at—" he stopped appalled and his quick frown came. "How do you know? Were you ever inside their homes?
"Yes." The word came defiantly. 'I worked there."
"And they laughed at me!" He looked at her long and hard. "It's laughter that puts nails in coffins. You've scrubbed their floors but you've got nerve enough to stand there and tell me. All right, since you're such a monument of judgment, you can stay here and make yourself useful.
It was silly to be so angry at this girl scarcely more than a child, but it gave Lafitte a strange unreasoning joy to see her scrubbing his floors as Negro servants had done before. Then came the day when the British Admiral came to Barataria and made him a fabulous offer for his men and ships to fight on England's side. But this time he understood the exultation that came as he refused it.
He went to New Orleans then and offered his services to Governor Claiborne and when they were accepted he went to Annette. Went to her as he had _ never gone before, to the house she lived m and with pride in his heart.
"I'm respectable." His words came al- most in a shout. "They've accepted my offer to save New Orleans. Lafitte, Clai- borne, Andrew Jackson, those names will live in history. I'm on the way to the tail- or's now. If I give them two hundred men it'll be a captain's uniform. Five hundred, I'm a Colonel. One thousand, it's a Gen- eral's epaulettes. The Governor thanked me for my loyalty. Kiss me!"
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81
A Christmas Carol — sung by Shirley Temple, who, even without the sound track, here makes a picture to warm your heart and spread good cheer.
"Oh Jean, you're just an adorable idiot," she whispered.
"Respectability!" Lafitte's eyes shone. "It's really not a bad feeling."
There were wings on his feet as he walked away holding the miniature Annette gave him so happily. Wings in his heart too and that new feeling of honor so strong in him that he could laugh even at Gretchen as she held his new flag so proudly.
"I make it for you. A present," she ex- ulted. "Fifteen stars and fourteen stripes and every star and stripe is a state."
"Thank you, funny one." His eyes soft- ened as he took it from her. "It's splendid. It will make us think of you when we get you home to — what's the terrible name of that place?"
"Dooruspiyk arm Zuider Zee," her face fell. "But that is not my home any more. I will stay here."
"But we're going into battle," he pro- tested. "Women don't know anything about fighting."
"Ha, you don't know anything about women," she said defiantly. "Why do you want that I go back to Holland?"
"You can't be seen here and you can't be found in New Orleans," he said shortly.
For the first time Gretchen saw the miniature on the table before him and her eyes clouded. "Who is that?" she asked.
"A lovely lady who lives in New Or- leans." Strange how even Annette's pic- tured smile could bring that ecstacy.
"Oh." He saw the little pulse beat in her throat, the shadow close over her smile. "That is why you want me to go home?"
"You're a little fool, aren't you?" He laughed indulgently. "You'll meet the Dutch ship at the mouth of the river. I'll give you plenty of money and — "
"Her hair is very pretty too." Somehow it didn't sound like Gretchen's voice with all the eagerness gone out of it. "I will go."
But even as they stood there looking at each other, even as he saw for the first time she was not the child he had always thought her they heard the sound of can- nons and after that there was no more talk about Gretchen or Holland or even Annette. For the ships that were firing on them were American and Lafitte's heart was heavy within him as he gave the orders that no man should return the fire. He had offered everything he had to America and this was America's answer.
For he could not know it was the treach- erous Senator Crawford who was behind it all and who wanting Lafitte's support for the British had convinced the Governor that the pirate chief was not acting in good faith.
Afterward, after he had counted the dead among them and his heart had twisted to find Gretchen's little dog one of those dead and he had seen the living among them marched as prisoners on to the ships and Barataria in flames about him, he saw he was not quite alone after all. Gretchen was there talking quietly beside him as he stumbled toward the swamps and her eyes were as bewildered as his own.
"Maybe you sleep a little now," she said at last. "The stars are out."
"Not for those men lying in the sand back there," his voice was hard. "Not for the ones they've taken prisoners. They'll hang every man they caught to-day. A one day's trial in New Orleans and four feet of rope."
"What those ships did to your men is only what you have done to other people." There, she had had the courage to say it to him at last. "I saw it on the Cor- inthian. When the people fought they were cut down by swords. They were thrown into the water. They — "
"Those were never my orders," he said slowly. "But I am to blame for every man dead at Barataria, and somebody's going to pay for that."
He knew then what he must do if ever there was to be peace for him again in all the world. And he did it, going straight to Andrew Jackson himself and knowing when he looked at that stern face that here was a man he could trust at last.
And Jackson too. knowing this man with a price on his head was telling the truth, told his servant to put away the gun he was holding to the pirate's back as he talked to him.
So the thing Lafitte wanted came true at last and his men came back to him from their prison and like him they were wear- ing the uniform of the American Army and like him they fought at the Battle of New Orleans.
Gretchen too, in the uniform so much too big for her and trying to keep out of Lafitte's way for he did not know she had followed him even in battle. But he saw her and his arm grasped hers furiously.
"What in Heaven's name are you doing here?" he demanded.
"I'm — I'm powder monkey," and she whimpered as a shell burst near them. "If this is what you like more than you do me you're a fool !" she sputtered.
After the battle ihcre was no more talk of hanging pirates in New Orleans but instead a great ball was given in honor of Lafitte whose men had played such a big part in saving the city. And though no one had thought to invite Gretchen, she went just the same in the clothes and jewels that Dominique gave her, the clothes that he had taken from the trunk of the lady who had once been Marie de Remy.
For Dominique loved Gretchen and so he could understand when she said so tear- fully. "I must go to the Victory Ball."
But for all the fine clothes of her, for all the jewels that sparkled at her throat and wrists, she saw that Lafitte had eyes for no one but Annette looking up at him with that new, proud happiness in her eyes.
It was more than Gretchen could endure, seeing them together like this. And with her smile twisting she went up to them and it was then Annette saw that the girl was wearing a gown that had been her sister's and that her mother's miniature sparkled at her throat.
Gretchen stood white-faced as the dancers swarmed around questioning her.
What happened to the Corinthian? After all these months of silence, of not hearing any word from one among those who had sailed, was this the answer at last, this dress, this miniature worn by a girl allied to the pirates?
And Lafitte standing there so still as he said at last, "Gentlemen, the Corinthian was sunk and every soul on board, but one. was lost."
They would have hung him then if it had not been for Andrew- Jackson.
"He fought for us." The words came grimly. "He shall have an hour's start."
An hour's start. Lafitte looked up then. In an hour he could get away from all of them, away to a place that he knew where a ship was waiting. But first he went to Annette and his face tightened as she looked away from him. And even then with the pain new in his heart he knew somehow that it had never been real, the love she had given him. It had been bright and lovely like a star but like a star it had never been really within his grasp. And knowing somehow made it easier as he gave her that small half bow and left.
The nightwind pulled at the sails as he felt the deck of his ship underfoot again and he heard the creak of ropes as men pulled at the riggings. Dominique came to him then.
"What flag we break out, Boss?" he asked.
"We have no flag." Lafitte gazed out to sea. "Steer the course, Dominique, straight to — straight out to sea."
He turned as a hand tugged at his sleeve and something hard and defiant broke in him as he saw Gretchen standing there, in the little Dutch dress that made her look so almost a child.
"You shouldn't have come here," he said softly. But she shook her head and smiled.
"I go where my boss goes. You will need a powder monkey."
"This deck under our feet is our only country." he said then. "And our home port, sooner or later will be the bottom of the sea."
She touched his hand then, and nodded.
"I'll be there too," she whispered. "With you. Boss."
She smiled then and suddenly the hurt was gone and with it the bitterness went too. This girl was real, this dream had sub- stance. And he forgot how distant stars could be, how lost and how fragile, as his smile came to answer her own.
82
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^W- BOURJOIS
1
How healthful Double Mint Gum makes ^o\x^Dcni^f^oyi^c^
To be lovely, charming, attractive to both men and womenyou must look well and dress well. Now Double Mint helps you to do both. Helps make you doubly lovely.
Discriminating women who choose becoming clothes, naturally chew Double Min t Gum . . . Every moment you enjoy this delicious gum you beautify your lips, mouth and teeth. Beauty specialists recommend this satisfying non- fattening confection. It gently exercises and firms your facial muscles in Nature's way. . . Millions of women chew Double Mint Gum daily as a smart, modern beauty aid as well as for the pleasure derived from its refreshing, double-lasting mint- flavor. Be lovely the Double Mint way. Buy several packages today.
Style, what you wear is important. Double Mint Gum asked one of the greatest designers in the world, Elizabeth Hawes, New York, to cre- ate for you the smart, becoming dress that you see on this page. It is easy to make. Double Mint has even had Simplicity Patterns put it into a pattern for you. It's the sort of dress that brings invitations along with the admiration of your friends. So that you may see how attractive it looks on, it is modeled for you by Hollywood's lovely star, Joan Bennett.
^-Thus you see how Double Mint Gum makes you doubly lovely. It gives you added charm, sweet breath, beautiful lips, mouth and teeth. It keeps your facial muscles in condition and enhances the loveliness oj your face and smile. Enjoy it daily.
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THERE are millions who tread the lonely path; who have never known, and perhaps never will know, the sweet- ness of love; the tonic of good compan- ions; the warmth of true friendship. You see them in little tearooms, hun- gering for a dinner partner; sunk in movie chairs drinking in the romance which they cannot share; alone in friendless bedrooms, groping for gaiety through a kindly radio. All have stood at some time, perhaps, on the threshold
of happiness only to find the door sud- denly closed.
Is it worth the risk?
Of all the faults that damn you with others, halitosis (bad breath) ranks first. It is unforgivable because it is in- excusable. Curiously enough, no one is exempt; everybody offends at some time or other, usually due to the fermen- tation of tiny food particles in the mouth. All you need do to stop this, is
to rinse the mouth with Listerine Anti- septic. Among mouth deodorants, it is outstanding because of its quick germi- cidal action. No imitation can offer its freshening effect ... its pleasant taste ... its complete safety. To fastidious people who want other people to like them, Listerine is indispensable. Never •mess about your breath; use Listerine Antiseptic morning and night, and be- tween times before meeting others. Lambert Pharmacal Co., St. Louis, Mo.
HELEN S A PROBLEM. SAYS SHE HATES SCHOOL BECAUSE HER — =-5^-sTtACHER CRITICIZED * HER TEETH, AND SHE
WONT CLEAN THEM PROPERLY BECAUSE / SHE DOESN'T LIKE OUR^ ~\ TOOTH PASTE
JOE SAYS HIS KIDS LOVE LISTERINE TOOTH PASTE
LET'S TRY IT ON HELEN
TOOTH POWDER IN A TUBE!
Who ever heard of such a thing?
That's what Listerine Tooth Paste really is— fine dental powders "creamed" into a paste. You get the cleansing power of powder in the convenient form of dental cream. It's easy to put on the brush ... no waste ... no mess.
And how it makes your teeth gleam! Delicate cleansers and high- fustre polishing agents quickly re- move dingy film from your teeth and restore their natural, dazzling brilliance. Listerine Tooth Paste is available at all drug counters. Get a tube today.
SCREENLAND
JAN -7 1938
EJCIB 302773
The Smart Screen Magazine
Delight Evans, Editor
Elizabeth Wilson, Western Representative Tom Kennedy, Assistant Editor Prank J. Carroll, Art Director
Have You A Trauma?
Everybody's got a trauma. Par- ticularly in Hollywood. So don't be afraid to admit that you have one, when every star in screenland has admitted it and, what's more, tells all about it in a feature story in our next issue.
Want to know what Edgar Bergen is most afraid of? Read the story. Shirley Temple, Mae West, Simone Simon — they're all frightened of something; but what? You'll enjoy reading our feature in the next issue to find out.
That next issue — March, on sale February A — will have a most un- usual program, but we want most of it to be a surprise so we're not telling you much more right now. Just enough so that you'll look forward to a feast of features sensational and romantic, "inside" and amusing, with all of your favorite stars repre- sented both in fact and in photo- graphs. Don't miss the next, the March issue of The Smart Screen Magazine.
February, 1938
Vol. XXXVI. No. 4
EVERY STORY A FEATURE!
21 22 24 27
The Editor's Page Delight Evans
What's Behind the MacDonald-Eddy "Feud"?. ...Elizabeth Wilson
Once Over Lightly Barry English
In Fast Company. Youngsters who have startled Hollywood. ...Liza How Crawford Keeps Glamorous.
Joan Crawford Today Jerry Asher
The Confessions of a Hollywood Secretary.. ..Kathleen King Flynn
"Hurricane" Hall. Jon Hall Adelheid Kaufmann
Benny The Good. Benny Goodman Anne Carples
Reviews of the Best Pictures Delight Evans
Screenland Glamor School. Edited by Anita Louise 54
Fiere's What They're Wearing in Hollywood 56
"Man-Proof." Fictionization. Elizabeth B. Petersen
London , Hettie Grimstead
Star-Dust Baby. Fiction Margaret E. Songster
Paris Stiles Dickenson
Ungilded Lily. Lily Pons Dick Pine
Fay's Magic Carpet. Fay Wray Ruth Tildesley
30 32 34 51 52
58 60 62 64 65 66
SPECIAL ART SECTION:
Powell Pools His Interest. Dick Powell, Rosemary Lane. The Men in Her (Movie) Life. Carole Lombard-Fernand Gravet, Fredric March, Fred MacMurray. Ginger By Herself. Ginger Rogers. Silly Sequences. Mabel Todd, Robert Benchley, Victor Moore, Ann Sothern, W. C. Fields, Shir- ley Ross, Charles Butterworth. Battle of the Babies. Shirley Temple, Jane Withers. Spice on Ice. Sonja Henie. A Star Test for 'Jezebel." Bette Davis. Cary Grant: $250,000 A Picture? Gable or Taylor? The Most Beautiful Still of the Month.
DEPARTMENTS:
Honor Page 6
Screenland's Crossword Puzzle Alma Talley 8
Salutes and Snubs. Letters from Readers 10
Ask Me! Miss Vee Dee 12
Tagging the Talkies. Short Reviews 14
Inside the Stars' Homes. Beverly Roberts Betty Boone 16
Flashes from Film Town I 8
Here's Hollywood. Screen News 68
Time on Your Hands. Beauty Article Courtenay Marvin 70
Femi-Nifties v 71
Cover Portrait of Joan Crawford by Marland Stone
Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York Ciry. V. G. Heimbucher, President, J. S. MacD'ermott, Vice .President ; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530 W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careftil attention but Screenland assumes no responsibility for theit safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class matter Novem- ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 18^9. Additional entry at Chicago, Illinois.
Copyright 1938 by Screenland Magazine, Inc. Memoer Audit Bureau of Circulations. Printed in the U. S. A.
4
Through the doors of that workshop cease- lessly flowed girls, girls, girls . . . each with a dream and a hope heyond reaching. Here is one shopgirl who lives a drama so amazing, so rich in deluxe living, that it will fascinate and excite you. And Jessie might have heen you, or you, or you I
JOAN CRAWFORD SPENCER TRACY
WITH
ALAN CURTIS • Ri
A FRANK BORZj
A Metro -Goldw] Screenplay by Directed by FI
MORGAN
icluction
Picture :nce Hazard
BORZAGE
P
Produced by Joseph L. Mankicwicz
CAROLE LOM- BARD has been ac- claimed for beauty, for glamor, for style-sense. But she has never received the applause she so defi- nitely deserves for her rare flair for comedy. Carole is the one stellar girl on our screens who deliberately de- serts all glamor rules in the cause of comic effect ; she never hesitates to blind us to her beauty to gain the nec- essary gusto. Sometimes Lombard ceases to be a beauty when she goes after laughs; at times in "True Confession" she is far from breathtaking ; but she is al- ways gay. always charming, unfailingly funny when she wants to be. What's more, in "True Confession" she achieves a real characteriza- tion, amazingly believable, of a lovable but rattle- brained wife mixed up in a murder. We hail Carole Lombard as the best trouper among Hollywood beauties.
SCREENL AND
onor
On this page, Carole Lombard in various states and stages of amusing emotion in "True Con- fession," ably abetted by Fred MacMurray.
To Carole Lom- bard, First Com- edienne of the Screen, who can forget glamor to get a laugh
GENTLEMEN obviously prefer..
A
BRMNET1E?
if she
nt Pi'"* *
CHESTER0'
H'R_M.A?0NKl'N
ploy
An Oire«
nu
ted by
A-
"Every Day's a Holiday" all right when you can see the one and only Mae West herself in a roaring comedy-romance-with-mosic set in the hail and hearty days of New York's Gay 90's— a gala and
glittering picture featuring the antics of five of the greatest screen comics of our time... a picture with the dash of Mae's Schiaparelli gowns— it'll have your boy-friend in hysterics and you in a gale of giggles.
SCREENLAND
7
DO XXXS SIGNIFY KISSES?
^
• When people could not write, they used to ''make a cross" — and often kissed it as a sign of good faith. Hence the cross (on paper) came to represent a kiss.*
Today, Campana's label on a bottle of Italian Balm is a "mark of good faith" with von. Close inspection has safeguarded your confidence in Italian Balm from the moment the "raw materials" enter the Campana labo- ratories until the bottled product has been shipped to a store in your community.
Many physicians, dentists, nurses and other professional people will tell you that with Campana's equipment for making a skin protector — plus scientific analysis and control of manufac- ture— there's no doubt that Italian Balm is a su- perior skin preparation. Why not try it— FREE? Get a Vanity Bottle — use Italian Balm for several days. Compare results.
(♦Authority: * 'Nusfgets of Knowledge" ' —Geo. W. Stimpson. Pub.. Blue Ribbon Books.)
Ca/m^xtvrLCLA
Italian Balm
An Exclusive Formula — A Secret Process
CAMPANA SALES CO.
242 Lincolnway, Batavia, Illinois
Gentlemen: I have never tried Italian Balm. Please send me VANITY Bottle FREE and postpaid.
Name
Address
City.
_Stc
In Canada, Campana., Ltd.. S-242 Caledonia, ftd,, Toronto
SCREENLAND'S
Crossword Puzzle
By Alma Talley
ACROSS 1. New Western star, in "Western
Gold" 6. Epoch
9. She's featured in "The Hurri- cane"
14. He's featured in "You Can't
Have Everything"
15. Spanish article
16. Female relatives
18. He's married to Ann Sothern
19. Co-star, "It's Love I'm After"
21. Morning prayer
22. That thing
23. A famous South Sea island 25. "Knight Without ,"
with Dietrich
27. A continent (abbrev.)
28. French article
30. Large grass plot
31. Persia
32. Viper
33. What talcum powder is made
of
35. Paddle
37. Lairs
39. Common bird
41. Her new one is "Angel"
44. At Sea
47. Bird of prey
48. Upward
49. Swede comic in movies
50. His new one is "Adventures of
Marco Polo"
51. Precious stone
52. Judge in a sporting match
56. What you see with
57. Back
59. Greek letter
60. Island
62. To make lace
64. He plays Fh/gelman in "Music
For Madame" 66. Female relative 68. She's featured in "Souls At
Sea"
71. "Double — Nothing," with
Bing Crosby
72. Regulated the pitch (of pianos)
73. Rob
75. Public notice (abbrev.)
76. Semi-precious stone 78. Stale
80. Sentry
82. Star of "100 Men and A Girl"
84. Small fish
85. Softly
86. Fruits
87. Automobile
88. Borders
DOWN
1. Struck
2. One of "Little Women"
3. Frosts a cake
4. Spell, enchantment
5. That man
6. Dancing star, "Broadway
Melody of 1938"
7. Decay
8. His new one is "A Damsel In
Distress"
9. One
10. Co-star of "Seventh Heaven"
11. Rip
12. Month of the year
(abrev. )
13. Restrains
14. Dry
17. To break off
19. Ex-movie star, now
Mrs. Rex Bell
20. To make a mistake 24. He's co-starred in
"Exclusive" . 26. Co-star of ' 'The
Prisoner of Zenda" 29. Co-star of "Seventh
Heaven" 32. Tested (as gold) 34. Part of the leg 36. He's married to Ruby
Keeler 38. She's featured in
"Footloose Heiress" 39- Which person: 40. To knock 42. Monkey
43. Born
45. Before
46. Positive votes
53. His new one is "Nothing
Sacred"
54. What? (Exclamation)
55. Covered pan for baking
58. He plays "The Great Garrick"
61. Produced (as a theatrical show i
62. Frog
63. Ready for battle 65. Allow
67. Indian
69. English lords
70. His new one is "Rosalie" 72. Leading lady in "Carnival
Queen" 74. Organ for breathing 77. What a sheep would say in a
talkie
79. The Lady in "Fight For Your
Lady' ' 81. Dined 83. Since
85. Goddess of earth
Answer to Last Month's Puzzle
SO HB QQHHQ HQ BB
□HHB USEES (DDES
cans aaraa wana aam
HE3H HHHlffl SOdS HHB
aaa cangtta mibhh hqb
BfflHB mum BHHUB BH HQ QUHHB BSS USB
am anna usmma caaBam am crasa
0HHHH dHQSH aHEBH HHBB OOBiaH HHBB
8
SCREENLAND
9ttbv& 1,000 ARTISTS THREE YEARS fix make ttj
The most anticipated picture in 20 years will be the show sensation of 1938 — and for years to come!.. The most amazing advance in screen entertainment since the advent of sound! .. You'll gasp, marvel, cheer at its wonders as you thrill to an experience you've never lived through before!.. Without a human actor, it's more human than all the dramas that ever came out of Hollywood! . . Power to make you laugh, cry, throb with excitement! . . Music to fill your soul— 8 big songs, several as good as "The Big Bad Wolf"! .. Romance, adventure, mystery, pathos, tragedy, laughter and beauty such as you must actually see and feel to believe! . . Truly the miracle in motion pictures — the new wonder of the world!
WALT DISNEY'S
first full-length FEATURE PRODUCTION
and the
Seven Dwarfs
in the marvelous
MULTIPLANE TECHNICOLOR
Distributed by RKO RADIO PICTURES. Inc.
Screen land
9
THIS EFFECTIVE WAY TO CHECK COLDS
AT the first sign of a cold, just drop one or two ' * Alka-Seltzer tablets into a glass of water. When they bubble up and dissolve, drink the crystal clear, pleasant-tasting solution. It's bene- ficial action starts immediately. Continue using Alka-Seltzer according to the directions for colds as explained in the direction sheet in every package of Alka-Seltzer.
Since it is a recognized fact that most colds are accompanied by an over-acid condition which may be retarding nature in her battle against the com- plaint, Alka-Seltzer is especially helpful because it acts to restore your normal alkaline balance. And because Alka-Seltzer contains an analgesic (sodium acetyl salicylate) it gives prompt relief from the dull achy feeling of a cold. Thus Alka- Seltzer gives relief in TWO ways.
AT ALL DRUG STORES
f30c & 60c Pkgs. Also Sold By The Glass At Drug Store Fountains
SONG POEMS
Warned At Once Mother. Home, Love. Patriotic. Sacred, Comic or any subject. Don't delay — send best poem today for our offer.
RICHARD BROS., 28 Woods Bldg., Chicago, III.
Banish Gray Hair
Why look older than your years?
TT IS NOW so easy to get rid 1 of gray hair that no man or woman need look older than their years. Right in your own home you can prepare and use a better remedy. Simply get, from any drug store, a box of Barbo Compound, an ounce of Bay Rum, one-fourth ounce of Glycerine. Mix these in a half- pint of water or your druggist will mix it for you. Comb this colorless liquid into your hair several times a week.
You will be amazed how nat- ural-looking and youthful gray, faded, streaked hair becomes. Nor will this color wash out, color the scalp, or affect perma- nents or waves. To take off 10 years in 10 days, try Barbo today.
Salutes
and
Snubs
YOUNG, WINNiNG AND ABLE
For the kind of acting ability that makes pictures more interesting things to see, I choose Robert Young, who makes the char- acters he plays seem real as well as engag- ing, and the stories more entertaining. Robert Young certainly has the ability to entitle him to the best opportunities Holly- wood can give him.
Dorothy Mae Supansic, Pittsburgh, Pa.
THE TOPS IN TEAMS
My salute goes to the most attractive and romantic screen sweethearts — Don Ameche and Alice Faye. In that delightful musical hit, 'You Can't Have Everything," Don sings beautifully, looks breathlessly hand- some and romantic, and possesses a mag- netism that reaches out beyond the screen.
Sonise Monroe, Peoria, 111.
MAKES 'EM
COWBOY-CONSCIOUS
Grandma hated "hoss operas." But that was before Gene Autry appeared in those grand action westerns. Gene's refreshing personality, his pleasing voice and masterful riding, all combine to make "hoss operas" not only bearable but downright thrilling for grandma — and for me, too !
Elizabeth Selfe, Corona, N. Y.
THE STAR BEHIND THE
SCREEN
My favorite star of Hollywood is Walt Disney — and there should be more said of him in this department. It's a rare treat to see his Mickey Mouse comedies, especially after a week of just fair to middlin' pictures. Disney's rare ability in making us feel young and joyous over the whimsical im- possibilities of Mickey and his fellow car- toon characters is just what we need as inspiration to a happier spirit and outlook on life.
Perry Shanks, Granite City, 111.
WHAT THE SCREEN NEEDS IS —
More Technicolor pictures. The color photography makes pictures so much more vivid, glowing and human — and good box office, as witness "A Star Is Born." New faces ! Joan Crawford, Norma Shearer, Carole Lombard, Claudette Colbert, and all the other established stars are swell — but who wants ice cream at 3 meals a day? And for goodness sake, somebody please tell Robert Taylor to stop looking so smug. He's very handsome, and we all know it, but must he look so smug as for instance in that scene at the piano in the train scene of "Broadway Melody of 1938"?
Jewelle E. Dutton, Washington, D. C.
THAT CERTAIN GREAT ACTRESS
After -seeing Bette Davis in her latest, "That Certain Woman," I must Salute that
The award of honor goes to Robert Young, who, above, occupies top place in the department this month by virtue of votes from our readers.
marvelous little actress. In this part Bette was so sincere in the scene where she gave Jackie up, that I know those tears had to be real.
Louise Rogers, Indianapolis, Ind.
MORE ABOUT MARLENE!
What goes on here ? Why not more talk about Marlene Dietrich in letters from the readers ? They aren't writing as much about Marlene as I think they should. We can't let Glamor Girl No. 1 down, can we? And you've got to admit that Dietrich has done plenty toward giving us more excitement in "Desire," "Allah," and other pictures. Robert J. Creay,
Indian Orchard, Mass.
NOW YOU'RE TALKING TO HOLLYWOOD!
Whatever you have ro say — be it a Salute or a Snub — here's the place to say it. Your letters are welcome here, and the ideas they express are important to stars and producers as well as your fellow film-goers. So send along your thoughts on pictures and picture people to this deportment — your own opinions of films recently seen, performances that were worthy of your ap- plause, or those that could hnve been better; indeed, whatever is on your mind about Holly- wood and its stars. Address letters to: Letter Dept., SCREENLAND, 45 West 45th St., New York, N. Y.
10
SCRE ENL AND
LIGHT-PROOF FACE POWDER!
improvement m uetfM
THIS is what happens when your make-up reflects every ray of light.
SEE the difference with light-proof powder that modifies the light rays.
Luxor Powder is Light- Proof. If you use it, your face won't shine. We will send you a box FREE to prove it.
• At parties, do you instinctively avoid certain lights that you can just feel are playing havoc with your complexion? All that trouble with fickle make-up will be overcome when you finish with powder whose particles do not glisten
in every strong light Many women
think they have a shiny skin, when the shine is due entirely to their powder!
Seeing is believing
With a finishing touch of light-proof powder, your complexion will not con- stantly be light-struck. In any light. Day or night. Nor will you have all that worry over shine when you use this kind of powder.
You have doubtless bought a good many boxes of powder on claims and promises, only to find that you wasted the money. You don't run this risk with
Luxor. We will give you a box to try. Or you can buy a box anywhere without waiting, and have your money back if it doesn't pass every test you can give it.
Test it in all lights, day and night - under all conditions. See for yourself how much it improves your appearance —in any light. See the lovely softness and absence of shine when you use light- proof powder. See how such powder
subdues those high-
lights of cheekbones j and chin, and nose.
How to get light- proof powder
Luxor light-proof face powder is being distrib- uted rapidly and most stores have received a
reasonable supply. Just ask for Luxor light-proof powder, in your shade. A large box is 55c at drug and depart- ment stores; 10c sizes at the five-and- ten stores. ... Or if you prefer to try it out before you buy it, then clip and mail the coupon below.
Don't postpone your test of this amaz- ing improvement in face powder; sooner or later you will be using nothing else.
LUXOR, Ltd., Chicago s- u--2"38
Please send me a complimentary box of the new- Luxor light-proof face powder free and prepaid.
□ Flesh □ Rachel
□ Rose Rachel □ Rachel No. 2
Name .
St.&No.
. State.
SCREENLAND
11
TAKE THE SYRUP THAT
CLINGS TO COUGH ZONE
If there is anything that common sense dic- tates, it's this: a cough medicine should do its work where the cough is lodged ...Tight in the throat. That's why Smith Brothers Cough Syrup is a thick, heavy syrup. It clings to the cough zone. There it does three things: (1) soothes sore membranes, (2) throws a protective film over the irritated area, (3) helps to loosen phlegm. 60<?.
SMITH BROS.
COUGH SYRUP
IMPORTED SIMULATED
15
N G
c
DIAMOND
To introduce HOLLYWOOD'S Newest ORIZABA Diamond re- productions. Dazzling, Brilliant, full of Blazing Fire (worn by Movie Stars) we will send 1/2 Kt. simulated Brazilian DIAMOND MOUNTED IN SOLID GOLD cfTect ring as illustrated, (looks like $150. gem) for 15c sent postpaid. Money back if not delighted. Agents Wanted. FIELD'S DIAMOND CO.— Dept. SU-510 S. Hill St., Los Angeles, Calif. (2 for 25c)
Visual education in the art of the love scene, direct from Hollywood, with Ray Milland and Miriam Hopkins teaching by an example that's mighty exciting.
Ask Me!
By Miss Vee Dee
, ic=-; „»>■" jt v*";
Hibbard M. If I answer all the questions you ask about Claire Trevor it will be a ease of "continued in our next" — however, here goes for a few. Born in New York City, March 8; educated in Larchmont public and high schools ; also, American Academy of Dramatic Art. On the stage in "Whistling in the Dark," "The Party's Over:" signed a contract with Fox Films in 1933 and has been in pictures ever since. She is 5 feet, 3 inches tall, blonde hair and brown eyes, weighs 112, loves living in Hollywood, is not married, and her most recent picture is "Big Town Girl."
Nash G. Of course Fredric March is a grand person, and just wait until you see him in "The Buccaneer!" Let's hear from you again and you don't have to address me formally at all — I liked your letter.
A Sincere Fan. Alice Faye was born in New York City ; began her career as a Chester Hale dancing girl. Gail Patrick was born in Birmingham, Alabama. She is 5 feet, 7 inches tall and can be addressed at Paramount Studios, Hollywood, Cali- fornia. Irene Dunne born in Louisville, Kentucky, is 5 feet, 4 inches tall, with dark brown hair and blue-gray eyes.
Constant Reader. Address Fernand Gravet, care Warner Bros. Studio, Bur- bank. California. He was born in Belgium. No, Ronald Colman is not married. Jean Hersholt plays the part of Adolph Kramer in "Heidi" which is Shirley Temple's cur- rent picture.
Dnddy G. Yes, some of the stars really do autograph their photographs for their fans. You forgot to tell me what particular star's autograph you wanted, so I can't tell you to which studio to write. Why not write to me again ? Always welcome !
Marion C. John King was a radio singer who was brought to California by Ben Bernie with his band from Cincinnati where he had been an air favorite for a long time. He was signed by Universal
and first won applause for his role in "Three Smart Girls." After appearing in several pictures he was given the lead in "The Road Back." King's latest release is "Merry-Go-Round of 1938." Address him at Universal City, Calif.
M. K. F. The feminine players in "The Last Train From Madrid" were Dorothy Lamour, Karen Morlev Helen Mack and Olympe Bradna.
Ann P. Write to Dick Purcell at Warner Bros. Studio. Burbank. California. Yes. Richard Cromwell played in "The Road Back," a Universal picture.
Annette T. Lewis Stone was born in Worcester, Mass.. November IS, 1879. He is 5 feet \0)A inches tall and weighs 160 pounds. His first stage role was in a New York play entitled "Side-tracked." He played in several more Broadway produc- tions, and his first work in Los Angeles was as leading man in the old Belasco Theatre, where he became the matinee idol of the West. His first screen role was in "Honor's Altar;" since then he has played many outstanding roles for all of the lead- ing producing companies. Yes, Mr. Stone is happily married.
Lcta F. The leading characters in "The King of Kings" were as follows: H. B. Warner. Dorothy Cummings, Joseph Schildkraut. Victor Varconi, Jacqueline Logan. Ernest Torrence and Rudo'ph Schildkraut. It was produced in 1927. Sorry, but I can't identTv the picture from your brief description. "Sweetie" was re- leased in 1929. Aren't you interested in any of the recent pictures ? And such swell ones for you to ask about !
Charleie Mae. Another cowboy fan ! Gene Autry was born in Tioga, Texas. Septem- ber 29. 1907. Yes. he is married. Before appearing in pictures, he became populai on the radio, in fact his first broadcast was in 1928. Perhaps it would interest you to know that "Ridin' the Range" and "Cow-
12
Screen land
boy's Heaven," those good old cowboy songs, were written by him. He entered on his screen career in 1934. Unfortunately, I don't know about the freckles.
Marie. Where Jimmy Stewart came from originally? You mean where he was born? Or did he come to the films from the stage ? Well, he was born in Indiana, Pa. Went to Princeton, from there into stock, and now has a long-term contract with Metro- Goldwyn-Mayer. Why not write him that letter you yearn to ? Address it to the above mentioned studio at Culver City, Califor- nia, and be sure to mark it "personal."
Edith L. Ronald Colman is "an extra special favorite" of mine, too ! His eyes and hair are dark brown, he weighs 158 pounds, and the name of his first picture is "The White Sister." And are those all the questions you have to ask about your favorite? Of course you saw him in "The Prisoner of Zenda" ?
Jane B. Sorry, but you will have to be a trifle more explicit in your description of the player in "The Prince and the Pauper," if I am to help you — Errol F4ynn is handsome enough to answer your "rave" and if you -write to Warner "Bros.. Bur- bank. California, with your request for his photograph, you probably will receive it.
Gtvyrm. Nelson Eddy is 6 feet tall and weighs 173 pounds. His favorite sports are riding, at which he rates 100 per cent, and tennis. Spencer Tracy's current picture is "Big City" opposite Luise Rainer.
L. H. It has been said of Jack Holt's fans : "Once a Holt fan — always a Holt fan." So here goes for a little information on your old favorite. He was born in Win- chester, Virginia, on May 31st, the son of an Episcopalian minister, and the direct descendant of John Marshall, Chief Jus-
ON'T BE THE
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YOU WOULD HAVE ROY
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tice of the United States, and John Holt, Lord Chief Justice of England. He re- belled at being a lawyer ; an outdoor life lured him. He became a cowpuncher and a stunt rider ; was starred in many Western pictures, and right now is as popular as ever. He has two children, a boy and a girl. No, David Holt is not his son. His son's name is John Holt, Jr. (screen name. Tim Holt), and his daughter's name is
Woo, Woo! Rosemary Lane bites; Hugh Herbert's eager to imitate.
Elizabeth. His home is in Santa Monica, Cal. Am glad you enjoyed the story on Buck Jones. It would be easy guessing the kind of pictures you like!
/. Baiter. It was Gloria Stuart who was the bandit's sweetheart in "Wanted, Jane Turner," an RKO production. Now here's about her. She has blonde hair, blue eyes, is 5 feet, 4 inches tall, and weighs 118 pounds. She's married to Arthur Sheek- man, scenario writer, and is a proud mama.
Mary H. Of course, I'm glad to answer your questions. The address of Jane Withers is 20th Century-Fox Films, Hol- lywood, California. Deanna Durbin can be reached at Universal Studios, Universal City, California.
Betty J- S. Constance Bennett played the feminine lead in "After Office Hours," and Clark Gable played the male lead. "The Unguarded Hour" was way, way back in 1925; to be exact, it was released in November of that year.
A. S. D. Oh my, but you do make me dig way back into the long ago! Irene Castle's pictures were made by Pathe; short subjects and serials in Universal re- leased "Broadway" in which Evelyn Brent was starred.
West Chester. James Ellison Smith is Jimmie Ellison's real name. He was born in, Valier, Montana, the 4th of May. His home is in Hollywood, and he is married to Grace Durkin.
Josephine C. "Ramona" was filmed way back in 1916 by W. H. Clune. In 1928, it was filmed by United Artists, Dolores Del Rio playing the leading role. The recent Technicolor production, starring Loretta Young as Ramona, by 20th Century-Fox, is one of the outstanding all-color pictures.
Marine F. New York City is the birth- place of Philip Reed, and he is 29 years old. He was educated in Erasmus Hall High School, Brooklyn, and at Cornell University.
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OM, MISS EDNA, TUEY'S BEEN A LOT OF CALLS FO' YOU.' MISTAH ROY-HE CALLED FO' FIVE TIMES.'
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AGGING
TALKIES
Delight Evans' Reviews on Pages 52-53
Blossoms on
Broodwoy Paramount
Hollywood goes to the musical revue well again, tries a blend of that old one about getting a wealthy backer for a show with an attempted new twist that fails to click. Result : Songs by Shirley Ross, specialties by Rufe Davis and others, and isolated instances of fine acting, as when Edward Arnold gets a scene to take hold of, are about all you get. Well staged and played, but grade B a*s entertainment.
Korda- United Artists
Different and entirely refreshing is this English import about the pother that brews when an Irish widow's dog is impounded for license taxes. You never saw a dog innocently start more amazingly amusing things than this Patsy. Why. it starts a romance, almost wrecks a political career, and puts the Scotch town where it all happens really on the map. Vivien Leigh and Rex Harrison head an excellent cast.
52nd Street
United Artists
Everything to make a good show — but what a story ! It's a case of an inane plot getting in the way of a musical revue that might well have justified itself merely from the standpoint of Kenny Baker's singing, Ella Logan, Sid Silvers and Jack White comedy, and characterizations by Leo Carillo and Zasu Pitts. As things stand it is just another musical, gorgeously staged but very spotty as entertainment.
HUting A New High
RKO- Rodio
Lily Pons dazzlingly displayed, both in the visual and vocal planes. A bedizined package of farce this is — one to end, per- haps, (we hope), that stuff about the singer who finally gets that opera audition by singing in night clubs or whit have you. If you don't get its satire it'll seem too silly for fun, but Lily's siiv:'ng and the corking clowning by Jack Oakie, Eddie Horton, and Eric Blore just can't miss.
Boy of the Streets
M ono- gram
Jackie Cooper grows up, plays a youth- ful version of the type associated with Jimmy Cagney, and does a good job of it in a melodrama of the slums. Over- emphasis on the squalor of tenement dis- tricts and sentiment over the boy's admira- tion for his father are its fault in common with most such plays, but this one carries your interest right up to the climax and will delight Jackie's fans. It has punch.
Night
Club Scandal 4
Paramount
Murder will out, and it does here, but not until you have had an abundant quota of thrills as John Barrymore, playing the diabolical Dr. Tindal, has cunningly planted the crime on the innocent Harvey Stephens. It's rather exciting melodrama with good work by Barrymore, Lynn Overman, Charles Bickford, Evelyn Brent and others to make an unpretentious production reg- ister as entirely satisfactory entertainment.
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One of Rex Beach's best yarns returns to the films and has the benefit of better than most photographic settings as it re- veals the rugged Alaskan mining country about which this romance of an Army officer and a supposed half-breed Indian girl concerns itself. In an era of much comedy, something as earnest about itself as this is may be welcomed by you. Jean Parker, James Ellison, Leo Carrillo, fine.
14
SCREENLAND
Edward G. Robinson starring, so you're sure of a powerful and gripping perform- ance. His play is a bit on the sombre side this time— that of a gangster jailed for a long term and living only to get out and kidnap his son. because he loves the boy, and also for revenge on the wife who married another man. Rose Stradner, new importation, is the wife; registers pleasantly. James Stewart also scores.
Second Honey- moon
20th Century- Fox
Frivolity's fascinations in this case are the people who perform it in a new co- starrer for that top love-team of Loretta Young and Tyrone Power. Stu Erwm, Claire Trevor," J. Edward Bromberg and Lyle Talbot are present, so you see there's real talent here. And if Marjorie Weaver isn't the cutest trick, of this and many months, at making a minor part mighty, then you name one ! Highly diverting froth.
Look Out for Love
Gaumont- British
Yes, and look out for Anna Neagle— for she is an actress of much allure and many talents. But recently Queen Victoria, now she's a London gamin with a talent for dancing that makes her famous after a foreign diplomat finances — very honor- ably, you understand — her training. With Tullio Carminati as the diplomat who falls in love with her. it's a fine starring com- bination this entertaining film offers.
M-G-M
The youth, particularly boys, of the land will have a corking time at this show. And adults can find sufficient plot interest to engage them pleasantly throughout the telling of this story about an English boy over with his grandfather and a horse they hope will win a big stake race. Mickey Rooney and Ronald Sinclair are the chief actors, but also pleasingly prominent are Judy Garland, Frankie Darro and others.
Claudette Colbert, Charles Boyer, Basil Rathbone, and the remainder of the distinguished cast who appear in the forthcoming Warner Bros, production "Tovarich" are typical of the group of artists who prefer this glamorous refreshing make-up created for them by Miss Arden. The great stars of Hollywood have found their answer to the relentless cameras, the hot lights, the demand for glamour and loveliness at any hour of the day or night . . .
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SCREENLAND
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15
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THE reason Beverly Roberts chose her bachelor apartment is because it re- minded her of the Latin Quarter in Paris, where she struggled and starved when she was very, very young. She's al- most three years older now, but she doesn't look it !
The apartment is in a tall, narrow house, and consists of a room, bath, and kitchen at the top of a flight of narrow white stairs. There are five windows, each equipped with Venetian blinds but without drapes and curtains.
At one end of the room is a white fire- place, with half -doors at either side leading one to the dressing-room and bath, the other to the kitchen; at the other end is a wide day-bed heaped with cushions, oc- cupied today with a family of gayly colored teddy bears.
"You see," explained my hostess, her brown eyes dancing, "Willie told me he had caught a bear for me while he was up north making 'Robin Hood.' He told me over the telephone and one of the com- pany heard it and sent down the bear family
nside the Stars'
Homes
Hollywood bachelor girl entertains — o gay, informal visit at Beverly Roberts' charming apartment
By
Betty Boone
Now she's a Hollywood heroine. But only three years ago, Beverly Roberts lived in Paris' Latin Quarter — and her new home re- flects that gay informality. Left, our hostess. Below, at ease. See the teddy bears?
so I could get used to the idea!" C Willie is William Keighley, director, Beverly's fiance.)
Her long blue hostess gown made her look taller, but it added to the impression she gives of a little girl playing at being grown-up. Her hair is soft and fair and curls on her neck. She's that pleased that it's growing.
"You can see for yourself that we have no privacy," she pointed out. introducing the occupant of the pint-sized kitchen, whose name is Maudie and who is sub- stantial and dark and sympathetic, with a gleaming smile. "The other night my com- pany was shouting away — everyone seems to yell once they get here, somehow — and we could hear shrieks of mirth from Maudie whenever anything was said that tickled her. Maudie's like that — she weeps when I weep, and shrieks when I shriek!"
We sat down, Beverly in a chintz-cov- ered chair, I in a rust-colored one, the white coffee table between laden with tea and sandwiches.
"But when I serve dinner I use the com-
16
SCREENLAND
bination card and dinner table," confided Beverlv, "it folds up and I painted it my- self and covered it with magazine covers. Am I keen about it! Janet and Margaret Gaynor are coming to dinner tonight. Want to "know what we'll have?
"Maudie's special spaghetti, mixed green salad of lettuce, romaine, chicory and watercress, with Golden Rich cheese and coffee for dessert. Poor Maudie's trying, to reduce and I ought to gain, so she's put- ting on weight! I'm her little picked chicken, you know ; she's here to take care of me, and she'll do it. or else !
"I wish you'd see her go shopping with me! She went with me to buy my wooden plates— Oh, Maud-ie! Bring Betty one of the wooden plates! — and I had to take what Maudie thought we could afford. The ones I wanted cost fifteen cents more. But it was o.k. Then we bought some darling onion soup pots. — Maudie, the onion pots — quick! — Oh, thanks — and now you're here, Maudie, tell Betty how to make— Look, Betty, these are the plates and pots."
Maudie opened her mouth to tell me her culinary secrets, but Beverly broke in, excitedly :
"Wait a minute, let me tell about my onion soup first. When I was in Paris, starving and looking for work, I lived on onion soup. In spite of that, I love it! Listen : you must have some good beef stock. Consomme will do, if you haven't anything else, though. You put in the usual salt, pepper and seasoning. You can use some of the water you've boiled your onions in, if you like. But it's the onions that matter. 'When you've boiled them, you put them in hot fat— not too much of it — and burn them. That's what gives the different taste to my soup — burning the onions. Have your bread toasted, cut in squares, and spread with yellow cheese (Blue Moon).
Ann Graham, who deserted the stage for a career in pictures.
Pour on the heavenly onion soup and you have a dish fit for a king !"
She laughed and tossed back her curls. , "Oh, yes, I'm a cook, if necessary, al- though not often. But Maudie is a real cooking genius. Maud-ie! Come and tell her how to make angel food cake. That's her specialty."
ANGEL FOOD CAKE
Whites of 15 eggs \y2 Cups Swansdown Cake Flour 1 teaspoon Cream of Tartar 1 teaspoon Burnett's Vanilla J4 teaspoon salt
The trick lies in the way the cake is made. Egg whites may be beaten with a wire egg beater, one way, no shifting around. Sift the sugar, cream of tartar and salt together, and sift the flour 4 times. BUT fold in the flour the very last thing of all. Bake it in a very slow oven for one hour. This is important. When it is done, turn it upside down on a pan.
"We like Eggs Bernay at this house," said Beverly. "You poach your eggs and serve them with cream sauce and chopped chives. That's all there is to it."
The telephone rang. It had been ringing most of the afternoon, with Maudie an- swering and subduing the callers.
"Maudie's like that," said Beverly, tap- ping a silver slipper on the rust-colored rug. "If anyone comes or calls up that she doesn't think I should see or talk to, she shoos them off. 'You don't want to _ see him,' she says, and he just doesn't get in!"
The room was full of flowers, but more arrived as we finished our tea. A box of sweetheart roses.
The telephone rang again. We could hear Maudie in the dressing-room shrieking with mirth.
"That was a gentleman who wanted to know was the worm here," she informed us. "He kept asking for the worm, and I says we don't have any, and he says he's the worm's pappy, but he must have the wrong number."
"That's the kind of place this is," giggled Beverly. "Crazy things happening all the time !"
CULTIVATE CHARM
in your Hands''
soys
Joan Bennett with Henry Fonda in Walter Wanger's success, "I MET MY LOVE AGAIN".
(Walter Wanger Star)
,PAGm^-totS>^ -ft
pictures," says Joan Ben£ gvery girl
Sooth hands a hatlds for the sake
Srfd a***" It's easy «b£ of her own real-life r s regularly charming hands Y°
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ELEANOR FISHER... Paramount Plsyer
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All eyes — and that's something for a rabbit; but this one lets his ears take care ot them- selves— because June Lang has made him her special pet.
FLASHES from
FILM TOWN
THE current love situation: Gaynor and I Power are in full flame, with Stanwyck and Taylor ecstatically reunited for the second chapter of their romance. Lombard and Gable continue to care in their own big way. The other day Carole, who even dons high boots to go duck hunting, had the entire "Food For Scandal" troupe in an up- roar. One of those nutty death rumors had mysteriously popped up and it had been reported that Gable was suddenly dead. Rosalind Russell and James Stewart are teaming, but it really isn't a great affair. Eleanor Powell and Wayne Morris VA-°- wise date often, but not with a determined glint in their respective eyes. Since Wayne discovered Eleanor, though, he no longer haunts the night clubs. With her he takes long drives and goes to neighborhood movies. His ex-flame, Dixie Dunbar, pre- fers Kenneth Howell. And so it goes.
ALICE FAYE loves Tony Martin more * than ever since she's found out that, at the age of eleven, he almost went to juvenile court because he insisted on tack- ing up election posters for a man he ad- mired. The police didn't approve of the strategic sites Tony chose. "I think it illus- trates his loyalty," Alice sighs. She doesn't mind if he does collect traffic tickets for hurrying. "He can't be perfect!" She wishes she had time to stay home and surprise him with potato pancakes, his pet dish. They contemplate such a delightful happening be- tween "takes" on their current picture to- gether. Anyway, Mr. Zanuck's presented them with a honeymoon tour of Europe and what could be better?
UNA MERKEL is sporting a gold daisy on her charm bracelet. It is a present from Carole Lombard. They did a picture together and were up on location at Lake Arrowhead. Mr. Gable dropped around often, -to see Carole, naturally. Una's name in the film was Daisy.
THERE is no connection, but Mary I Carlisle has been getting these leads with Bing Crosby since Everett Crosby has been her agent. And now Mary goes places with Everett, who is getting a divorce from his non-professional wife. Bing, by the way,
proved his loyalty to his brother Bob in a concrete fashion. When Bob's orchestra played at the Palomar, Hollywood's pet giant dancehall, Bing made several personal appearances and entertained magnificently.
yOU won't be seeing Elizabeth Bergner in an American production and here's why : Hollywood wants her, but not her director hu-band who has had full charge of her English films. Elizabeth can come on over any time, but she won't work for any other director, and so she'll not be a threat after all. The Bergners' working set-up in London has always astonished the Holly- wood girls. 'Liz relies on husband Paul Czinner like Marlene used to depend on Von Sternberg. But Dietrich could function without closed sets, whereas Bergner can't. Or won't. "A nice system if you can get it," mutter the local ladies.
THERE is nothing, vows Henry Fonda, more strange than the long arm of coin- cidence. ( He ought to know, since he and his ex-wife Margaret Sullavan and her hus- band Leland Hayward are planning to produce plays together.) Henry didn't think of that coincidence, but rather of the one which placed him opposite Bette Davis in a picture. Bette had to remind him. Some years ago, when she was bent on turning actress, she went to the Cape Cod Play- house to ask for a role. They had none for her, so she became an usherette for them. And who do you suppose was starring on those boards in "The Barker"? None other than Henry himself. Bette maintains, how- ever, that she did not swear n'ghtly. "That man's going to be my hero in Hollywood."
18
S GREENLAND
The embrace of lovers their wild flight from an avenging law through the awesome beauty of a South Sea paradise ...Perilous escape that reaches its climax as the roaring hurricane descends upon them in all its thundering fury ! In "The Hurricane" the authors of "Mutiny on the Bounty" have contributed another stirring tale of love and adventure. In cost of production, in the two years of effort, in the fond care with which it was produced, it proudly carries on the Samuel Goldwyn tradition . . . truly a must-be -seen picture.
SCREENLAND
20 SCREENLAND
. - - ■ — — — -
An Open Letter to
Ann Sothern
Ann Sothern could be a Glamor Girl if she'd bother — see portrait at right. But she has been relegated to playing opposite Gene Raymond, right below; and she likes to sit and knit, below. What's the answer? Read our Open Letter here.
"TNEAR ANNIE:
\~J Now that's what's the matter with you. People like me can call you "Annie" and get away with it. This should not be.
You do not look in the least like an "Annie." And yet everybody who knows and likes you calls you that and you take it and like it, too. I wish you wouldn't. I wish you would spend more time looking in your own mirror and trying to realize that you are face to face with a genuine Glamor Girl.
I have a suspicion you don't like Glamor Girls and wouldn't want to be one. But you shouldn't be a Handy Annie, either. You are one of the most gorgeous and scintillating blondes in all Hollywood, but you don't live up to it. What's the latest in your life? Why, you're knitting, in your nice, comfy rocking chair. And you let 'em take pictures of you rockin' in your rockin' chair and knitting away like mad. What a waste. You give out story after story about your long- distance marriage to Roger Pryor, and how you miss each other, and it's all true; and you have home pic- tures of yourself with a mutt dog — a darned sweet mutt, too — when you are so definitely the wolf-hound type for "pet art." And you have kept on playing Gene Raymond's sweetheart in picture after picture, until Gene, not you, decides to pack up his makeup kit and move to another studio where he can get a job playing some other part for a change. Seems to me Mr. Raymond could do a whole lot worse than playing in pictures opposite you; but no star seems to want to be teamed if he or she can help it; and Mr. Raymond
apparently can help it, and is going to.
But what about you? Are you content to keep on making more or less indifferent movies and, between scenes, sittin' in your rockin' chair, rockin' and knittin'? No. I can't believe that you are content. I remember you scintillating in that gay picture with Francis Lederer, and I thought: "Ah, at last, Ann Sothern is going places." But the only place you went was back to RKO to make more Gene Raymond pic- tures. Can it be you are resigned to such a fate — or worse? Think what can happen on that lot. Ginger Rogers can become great-without-Astaire, and Hep- burn can come back; but they also make pictures with Milton Berle and Parkyakarkus; and if you're so sweet and amiable, one of these days they may come upon you sittin' and rockin' and knittin' and say, "Aw, come on, Annie — be a good sport and help us out, just this once." Don't let that happen.
Here you are, one of the really original lovelies in Hollywood; with a grand voice both for singing and speaking; and terrific talent, and a sense of humor — but maybe it's that sense of humor that stops you. Maybe you can't be bothered putting on the old act. If so, I honor you; but I wish that just once you would behave like a Glamor Girl, get that One Good Big Role, and be a beeg success; then I would be satisfied, you would be set — and you could go right on rockin' and knittin' — but in some corner where the camera- man can't catch you.
21
Jeanette MacDonald and Nelson Eddy made movie box-office history beginning with their first film together, "Naughty Marietta" — shown in scene at right. Then they repeated their success with "Rose Marie," at left above on opposite page; and surpassed even their own triumphs with "Maytime." Their next film together will be "The Girl of the Golden West." Now read our timely exclusive story.
MacD ona
■Feud ?
Id- 1 ddy
IT SEEMS I have been playing Rip Van Winkle again. I came to with a start the other day and discovered that for months now one of the biggest feuds in history has been raging right under my nose, and me much too interested in my little gnomes to realize it. I suppose, how- ever, that it is true that ''the family" is always "the last to know." It is always the wife who is the last to know about "the other woman," and the mother who is the last to know about Junior's drinking. So I suppose it is only hold- ing with the tradition that we in Hollywood should be the last to know what everybody else in America seems to know already : namely, that two of the more illustrious members of our big happy family, Jeanette MacDonald and Nelson Eddy, are feuding like mad. I was a little miffed to have to find out about it from Canada, Colorado, Indiana and Texas. Are the mani- curists in the Hollywood beauty shoppes slipping ?
Judging from MacDonald-Eddv
the letters written by the fans — who don't seem to be particularly inhibited — the feud has been going on ever since "Naughty Marietta," but it
become a real good conflagration until
didn't after to an
"Maytime." In which picture, according Eddy fan who evidently went equipped with a stop-watch, Nelson only had nineteen minutes on the screen! A MacDonald fan intimated that that just might happen to be nineteen minutes too much! (What a chump I must have been sitting there enjoying that picture without timing anybody.) Another fan writes, "I'm afraid I'm not converted into a MacDonald fan even with 'Maytime.' I admit she has a lovely voice, acting
22
The real truth about the rumors surrounding the screen's greatest singing team
By Elizabeth Wilson
ability, and she is beautiful, but why did she try to steal so many scenes?" Another writes, "I agree that Jeanette MacDonald has a lovely voice, she is pretty and her acting is fine, but just where would she be if it were not for Nelson Eddy? The box-office records show that she was not quite so successful in pictures before she was co- starred with him. It took him to bring her to the top and yet he is continually given the back seat. Singers who are any singers at all know that without the accom- panying music their singing wouldn't be so beautiful. So it is with her and Nelson Eddy as the accompanying singer." Another writes, "Why all the fuss over Nelson Eddy ? Jeanette was a great singing star long before he was ever heard of in pictures. If she hadn't been so generous and considerate of him in his first picture — and everybody knows he couldn't act — his career in movies might not have been quite so brilliant."
"I hope 'Rosalie' will be such a personal triumph for Nelson," writes an Eddy enthusiast, "that he can demand, and get, his just deserts in the next Eddy-MacDonald film. M-G-M may be a woman's studio, but MacDonald can't carry a picture without Eddy. Her voice is shrill and squeaky and her false teeth just ruin the scenery for me unless a much handsomer man than the calf-faced Jones, and one with a glorious, real voice like Eddy's, is in the offing to back her - up. Thank you." And thank yon, ma'am, but don't you think you're being a bit nasty? Miss MacDonald's teeth are not false, and Mr. Jones in no way resembles a calf. And you ought to go right upstairs and wash your mouth out with soap and water.
Still another fan writes, "People who say the rumors of the Eddy-MacDonald feud are cheap talk are misinformed. Don't they know that Nelson and Allan Jones both went to Jeanette's wedding-circus at the studio's command? It's all true that MacDonald caused numerous delays on the 'May time' set because she was determined to occupy as much footage as possible. She is hurting herself just like Grace Moore did by being a camera-hog." Fine talk! Well, I suppose it is human nature that people should enjoy a good feud ; me, I love 'em, and it is only natural to want to "take sides." It's no fun being namby- pamby in this world about anything, and par- ticularly not about (Please turn to page 86)
23
o
ver
y
...
"Fussiest patron" is William Powell, precise and demanding in the matter of the welfare of his hair and mous- tache— but always likeable.
T ISN'T a Trocadero, or a Clover Club, a Cinegrill, a Victor Hugo's or a Brown Derby; it's no Swing Club, Hawaiian Paradise, or South Seas; it's much smaller than the Roosevelt lobby, less pretentious than the Cocoa- nut Grove, and older than the Paramount Studios. Bnt Hollywood "bigs" have gathered there since the thought that celluloid might be used for something besides combs and toothbrushes was first generated.
Springing from the shop that once was his father's, Bill Ring's Barber Shop on Bronson Avenue is a four- chaired salon where Doug once courted Alary, where Valentino trysted slyly with Mima Banky, where Clara Bow escorted Rex Bell to see that his tonsorial opera- tions were performed to her liking, and so on and so on ; but more important, it can be said with little chance of contradiction that more million-dollar heads are being groomed, more two-million dollar faces shaved, and more famous moustaches cared for today at Bill Ring's than in any other single room in the country.
But let's get a look at some of these big guys in the chair.
'"The customers I think I could count on if all the others decided to let their hair grow," says Bill, "are Dick Aden, Stuart Erwin, Gary Cooper, Bing Crosby, Jack Oakie, and Joe Penner.
"1 think any one of these boys is as much a fixture here as the barber-chairs or the mirrors on the wall," he told me with feeling.
When Oakie is working at Paramount (nearby) he busts into Bill's nearly every day.
"Give me the woiks," is Jack's standing daily order.
"By this we know he means a shave, facial, shampoo, manicure, and shine," interpreted Bill. "Jack doesn't care what he does with his money. Just a big, happy, good- natured guy, spending it as it comes. The fact that he
24
"The holiness of his mous- tache" is held against A d o I p h e M e n i o u , above. Dick Arlen, left, is always smil- ing, and \vell- wearing.
Barber-shop manners, as practiced by some of Hollywood's more luminous males, amusingly revealed
By
Barry English
Title of "most fidgety customer" is conferred upon Fred MacMurray, shown here as he submits more or less patiently to the barber's ministrations.
has bought some twenty* different brands of trick razors from me doesn't seem to have interested him as yet in shaving himself. 'They only make it for one thing,' says Jack in regard to gold, 'and that's what I'm doing with it.'
"After a stretch of good behavior," Bill continued, "coming in every day regularly for a week or so, Oakie suddenly becomes barber-shop enemy No. 1, and then we have to watch him. He simply forgets, or neglects to come in. Two or three days later he appears in the door- way, a sheepish grin on his face, sporting a stubble that might well be used for scouring out pots and pans, and my barbers make for shelter. Running about even with Pat O'Brien, Jack has probably ruined more of our razors than any dozen and a half ordinary customers."
In the chair, Jack again vies for top honors in the competition for title of barbers' chief nemesis. Always talking, laughing at Oakie jokes, or twisting his head to make sure he has an audience, Jack is one of the most difficult of clients to work on. "But don't you think this place wouldn't suffer if Jack stopped coming in here," said Bill in a glow of conviction. "I really should be paying Oakie.
"Bing Crosby is probably our most informal cus- tomer, and the most easily satisfied. His tonsorial^ wants are few. 'Just give me a hair-cut — plain,' is Bing's cus- tomary request. And he never tries to tell the boys how to do it."
Unaffected and alien to forms of vanity, Bing is al- most entirely oblivious to matters concerning his per- sonal appearance. He feels that he can generally shave himself and wash his own face, he dislikes a high polish on his shoes, and when asked if he would like a manicure
25
Bing, before and after shav- ing! Crosby is the barber's most informal customer, and the most easily satisfied. He's alien to affectation or vanity.
lie usually responds in a polite negative. The last time he was solicited for a manicure his reply, typically Crosbian, was this: "If you doctored up my nails, how do you think my friends would identify me in case of an accident?" This he pur- sued with the remark, "And I'd probably bite them off, anyhow, the minute I got outside."
According to Tony, the barber who does most ot Crosby's work, Bing relaxes in the chair and is com- paratively easy to work on. He is ordinarily quiet dur- ing the operations, and quite often will doze off to sleep. "When questioned about one of his various hobbies or enterprises, though," says Tony, "Bing waxes immedi- ately falkative and takes his place as one of our ace 'anecdoters.' His stories about golf, horse racing, and boxing have the added flavor, as contrasted with the usual yarns heard in here, of being based on knowledge and experience in the fields under dis- cussion."
Of Hollywood's more serious males, Gary Cooper is probably Bill's most dependable cus-
Gary Cooper, "most dependable patron," as he looks just before em- barking upon a formal evening, tonsorially and sartorially perfect. Far right, the face you can't mistake, even when cov- ered with lather in the barber's chair — yes, Bi Fields'!
tomer. He has been com- ing to the Ring establish- ment for nearly ten years and has had the same barber, Harry, do his work for eight out of the ten. Even when he is too busy to come to the shop, Gary's loyalty continues and he calls Harry to his studio dressing - room, whether it be on the adjacent Paramount lot or a lot in some remote section of town.
"In the chair," says Harry, "Gary is one of the quietest, most unob- trusive persons I have ever worked on. He rarely speaks unless he is spoken to, he answers questions generally in monosyllable^, and yet he is most polite, pleasant, and on occasions comes out with a witty re- mark that shows him to have a truly deep and keen sense of humor."
Gary is a member of the Bill Ring group known in the inner circle as a "newspaper reader." Along with Melvyn Douglas, Director Frank Lloyd, and Producers Lubitsch and Schulberg, he spends the greater part of his time during a tonsorial session enveloped in the world events. "And half the time," says Harry, "no one except me knows that he's in the shop."
Says Gary, regarding the whole thing: "T believe that to most actors, and especially to those who, like myself, play a large number of historical character roles, the barber-shop is like the golfer's nineteenth hole, or the
oasis in the desert to the weary traveler. With the roles assigned to me in such plays as "The Plains- man,' 'Souls At Sea' and 'Marco Polo,' it has been necessary for me to go weeks on end without a haircut, and for days without shaving. You can believe me it's a relief when the final scene is shot and I can dash over to Bill's and have the whole business taken off. (Please turn to page 74)
26
c
om pa ny
Youth serves itself! The story behind the success of newcomers who leaped to fame playing with the screen greats
By Liza
Dorothy Lamour, signed by her studio for "B" pictures, soon was playing opposite of the best of the stars. With W. C. Fie'ds in "Big Broad- cast of 1938," top center. Dorothy herself, right and above. Andrea Leeds made good^ in a big way. Below, with Adolphe Menjou in "Goldwyn Follies;" left, keeping fit; and with McCarthy and Bergen, upper left.
IT IS all pretty swell how the young kids of Hollywood are stepping into line with the experienced players. I have nothing but the greatest admiration for them. Just imagine be- ing asked to dance on the screen with Fred Astaire, or exchange peppy patter with Pat O'Brien, or co-star with the superb technician, Brian Aherne, or go completely mad in a bit of gooferie with that foremost comedian, W. C. Fields! Why, the very thought of it would scare the living daylights out" of most young people with acting ambitions. But Joan Fontaine did it. Wayne Morris did it. Olivia de Havilland did it. Dorothy Lamour did it. They held their own and not once did they look silly. Those kids, all of them depressingly young and with prac-
27
Olivia de Havilland takes and makes good in roles that would scare many experienced ac- tresses. Right with Leslie How- ard; left, with Errol Flynn; below, smiling confidently. Wayne Morris, right center below, put punch in his first picture; played next with Pat O'Brien and George Brent.
tically no experience, stepped right in and started pitching like troupers. (Several of the more famous glamor girls took a good look at Olivia in "The Great Garrick" and decided then and there that the time had come for them to retire.) So let's give a loud lust}- cheer for the kids who have proved that they can take it, these juniors who are destined to be- come the stars of tomorrow.
Besides Olivia and Joan and Wayne and Dorothy we have Andrea Leeds, who stirred you so deeply as she climbed up the stairs in "Stage Door." Andrea held her own with those two professionals Kath- arine Hepburn and Ginger Rogers and well nigh stole the picture right from under them. Andrea is from Butte, Mon- tana, by way of the Chicago Conservatory, and according to the famous director Ernst Lubitsch she will eventually become one of the greatest dramatic stars on the screen. Her resemblance to Katharine Cornell is remarkable. Andrea, a college girl who has learned to use her head, feels that she can hope to hold her own with the big stars on the screen only in so far as the script is suitable to her talents. After she was well received by the press in "Come and Get It" Mr. Goldwyn, to whom she is under contract, assigned her to the heavy part in "Woman Chases Man" — the role that was finally played by Leona Maricle. Andrea read the script and then called on Mr. Goldwyn iii his office and promptly informed him that she would not play the part. "It isn't the kind of thing I can do," she said, "I would be utterly absurd in it." Mr. Goldwyn stormed. "I've heard many things in my life," he roared, "but I never thought I would hear a beginner tell me how to cast her." He promptly suspended her and took her off salary. It looked as if Miss Andrea Leeds' career would close practically before it was started. But she held her own against Goldwyn, and finally the thought that a young twit of a girl had defied him, the Great Goldwyn, amused him so that he forgave her and loaned her to RKO for a part in "Stage Door" — the part that made her famous over-night. She is working now in the "Goldwyn Follies." Andrea knows exactly what she is doing. She refuses to play the social angle or the publicity racket in Hollywood^-none of that "easiest way" for her — but she'll be a star before
28
Joan Fontaine, duplicating her sister Olivia de Havilland's amazing ac- complishments, played opposite op- eratic star Martini, then was asked to dance with Fred Astaire. Joan affects a sophisticated mood, right.
Marjorie Weaver was all ready to pack for her home in Tennessee when they offered her a part in "Second Honeymoon" with such polished players as Tyrone Power and Loretta Young. Marjorie took it, made it a hit, and now she's on top. Right, with Tyrone; close-up below, and in a revealing study, center below. Isn't she a honey?
you can say Jack Robinson.
"The hardest time I had hold- ing my own with experienced players," says Andrea, "was in the' test I took for 'Come and Get It.' I had to spend the en- tire day being kissed before the camera by Frank Shields, John Howard Payne, and Charles Lowery. I counted back at the end of the day and discovered that I had been kissed 365 times. My lips were prac- tically worn off — I tell you those young men were very experienced kissers."
And there's Marjorie Weaver, the little gal from Tennessee, who, broke and dis- couraged, was all packed ready to go back home when Director Walter Lang decided
to give her a crack at the southern girl part in "Second Honeymoon." Mr. Lang had tested several young actresses for the part but the practically unknown Mar- jorie Weaver seemed to him the best bet. Old-timers Lo- retta Young and Tyrone Power — well, old in experi- ence at least, (Please turn to page 89)
Ik.
HHHb
29
How Crawford Keeps Glamorous
_ Because she never stops living, never stops loving! Read the most colorful of all Joan Crawford close-ups here
By Jerry Asher
NOT so long ago my good friend Joan Crawford asked me to meet her in the studio commissary for lunch. That in itself was an event because Joan almost always eats in her dressing-room, w here she can apply a completely fresh make-up for the afternoon's work. But there was no afternoon's work on this par- ticular day. Joan had just completed her role in "Man- nequin." To feel free and to he able to look hack on an) completed job is always a joy in Joan's life. So in a way, our date was sort of a celebration. Joan could relax and lunch in leisure. We were to meet "sharply at twelve."
Crawford, perennial Glamor Queen of the screen, and how she does if! Far left, on opposite page, latest in her long series of Glamor portraits. Lower left opposite, with her new screen lover, Alan Curtis, in "Mannequin." Sur- prise! Crawford poses for "leg" still for scene in her new film — far right. Above, a Craw- ford kiss with Spencer Tracy as the lucky man, in "Mannequin." Right, a fashion-wise close-up.
Determined to be ahead of Joan just once in my life, I arrived early. At the table next to me were a group of visitors who almost stared themselves into a stupor. It was easy to guess that this was their first time in a studio. And they were not to be robbed of one tiny curious moment. The doors swung open and in walked Joan. There was no unusual sound or unmistakable sign to herald her arrival. But the entire assemblage stopped, turned, and made mental note of Joan's progress toward my table. Studio stenographers looked and almost auto- matically reached into handbags for compacts or mirrors. The men in the room seemed to straighten back in their chairs, tuck in stray cuffs, readjust ties.
Our friends at the next table stared at Joan with open admiration. Thev took in her smart black crepe street dress, her Russian-looking hat with its peasant embroi- dery, her silver fox coat (with shoulders just a little wider than anyone else's shoulders), her black veh'et gloves, her stunning backless laced pumps, her black velvet bag, the star sapphire clip at her throat. They' noted the clear- ness of Joan's skin. The perfect roll of her page boy bob. They stared and they stared. Just before Joan reached my side, I heard one of the visitors say : "There's one thing about Joan Crawford. She certainly does give you your money's worth. She's everything one expects an actress to be."
Truer words could never have been said at that mo- ment. Joan is everything one expects an actress to be — because Joan sincerely loves (Please turn to page 72)
Th
e
C
onressions o
a
'■| 'YE a proposition to make you,' whom I had just been
said the "Do
writer
you d!
to
ay
| checkers?"
"No1 if I can help it," I said, and mentally cursed my luclc.
Most writers
secretaries m
granted what is sometimes called genius
take for there are could get
v\\ I
hut
several better names for it. I wondered how I out of the assignment.
"Playing checkers helps me to think," continued my new Nemesis. "To make the game interesting I propose to give you a fifty-dollar stake, the two of us to play for five dollars a game until the day my six-month contract expires, when the loser will pay off."
"At five dollars a game it won't
take me long To lose the fifty dol- lars." I said. "What happens then?"
'Tf you're clever you can make more than the fifty dollars," said the writer.
Though I had never done much checker playing I did have a high opinion of my cleverness. I agreed to the proposal, determined to win as much as I could. I read hooks on checker playing, analyzed the checker problems given daily in the newspapers, and spent my free eve- nings at a checker club where I kibitzed at games played by experts.
After six months of playing, sometimes starting at nine in the morning, with no break for lunch, for a solid eight hours a day, weeks at a stretch, I retained forty of the original fifty-dollar stake. I know now how Judas felt when he collected his thirty pieces.
How does one get to be a valkyrie in this checker- playing Valhalla? Specifically and naively, I, a young
girl with some newspaper and magazine experience, four years ago left the Middle-West for Hollywood to become a scenarist. I became and contin- ued to be a Writer's Secrctarv.
Our drawing gives you a satirical slant on, of all things, a Hollywood story conference. You'll read all about it in this grand, gay story. Left, Fred WacMurray and Carole Lombard in a scene from a film with an amusing story behind it. At lower left, Thyra Samter Winslow, one of the better screen writers.
Li VI'
o y woo
d s
ecretary
The first time I tried, my second day in Hollywood, on the thirteenth of the month, through no pulling of strings — for I knew no one — I got a job. Sadly, it was not a Friday, but it was as simple as that.
The studio was Twentieth Century. (This was before Darryl Zanuck went on his biggest hunt and caught the Fox.) I had read in one of the gossip columns something about the quarrel Zanuck had had with Jack Warner and that his newly organized firm on the United Artists' lot boded well to prosper. I called, asked for an inter- view, obtained one, and though I admitted not knowing a thing about script form and terminology, with several other girls was put to work on a temporary basis for a rush job, to start at nine the next morning.
At the requested time we assembled in a large room with desks lined up on either side. The immediate con- cern of the department "Madame" was not advice or instruction, but "Have you all an ash tray?"
Shortly after Nunnally Johnson's script came in and all the typewriters were roaring, two messenger boys arrived each carrying a stack of bound
Discovered: a new slant on the inner work- ings of fantastic filmdom, by a sparkling new writer who knows her Hollywood as few know it. You'll be amazed and amused — don't miss this!
By Kathleen King Flynn
scripts. An error had to be corrected. This meant every copy had to be dismantled, the page removed, restencilled, remimeographed and rebound. All because George Arliss, who was to appear in the picture and who was super- vising the script, did not want one word of business to read " 'red' rose in buttonhole," but " 'pink' rose in buttonhole." And the picture was not in technicolor.
Somehow or other, with
At right, Dorothy Parker and Alan Campbell, noted Hollywood writing team. You'll relish reading about them and other "big name" story creators. At lower right, the brilliant Nunnally Johnson, who started as a writer and is now an associate producer, one of the best in Hollywood.
the unbound scripts lying (Please turn to page 95)
33
Webster defines "Hurrlcone" os "Vio- ent whirlwind." That describes Jon Hall's effect upon the ladies in his movie audiences who discovered him in a big way in Samuel Goldwyn's breathtaking picture. Right here, Jon Hall himself. Left above, in action; below, as he appears in his next film.
\
//
//
urncane
a
god
"Terutevaegiai.'
on
heaven's
laughed.
highest
JON HALL, the incredibly Jiandsome young man in "The Hurricane," has an unpronouncable name his Tahitian friends gave him "It means "young white shelf — that's me," he said, and
"I'm. almost read)- to admit it's true at this point. If I'm not on heaven's highest shelf I'm darned near it : one day no job, the next da}' I'm given the lead in 'Hurricane.' Think of that for a break! And 'Hurricane' of all pictures ! What luck ! I was born in the South Seas. I learned to swim around coral reefs almost before I could walk. All the magic and beauty of the islands, the native songs, the superstitions, I knew by heart when most kids are reading 'Huckleberry Finn.' "
"My grandmother was born in France but lived and died in Tahiti. She was a wonderful person," Jon smiled apologetically for his enthusiasm. The natives called her 'Lovina.' Men like Frederick O'Brien, who wrote 'White Shadows of the South Seas,' and Somerset Maugham knew and loved my grandmother. They put her in some of their stories. W hen she died, she was mourned by everyone — English, French, and Tahitians. My grand- dad was Captain Chapman. He was the first Xew Eng- lander to establish tin and lumber trade between Tahiti
34
New whirlwind hero has personal his- tory as romantic as he looksi- Read all about Jon Hall here
By Adelheid Kaufmann
and America. A real pioneering sort, the Captain — " Before I go any further in letting you in on all the things this amazing young man told me I've got to make a confession. Sometimes I forgot to listen ; I just looked at Jon and marveled. He's a young god whether he admits it or not. He's tall and lithe and stunning. He's unspoiled and clear-cut. He has the rare quality of mak- ing friends the world over. In the islands he played around with the natives, heating them at their own games — even winning the swimming and diving cham- pionship of all Tahiti. In London lie was a friend of the former Prince of Wales and the rest of the glittering Mavfair crowd. On the French Riviera Jon was adored by the gay international set (Please turn to page 94 )
Powell Pools His Interests
U
^^^^
Looks nice and easy, doesn't it? Just loaf- ing around with a charming new girl, on the edge of a lily pool, and maybe singing a new song — so Powell calls that work, eh? Well, yes, he does, as a matter of fact. The pool scene for "Holly- wood Hotel" — which occurs when Dick and Rosemary Lane retreat to a garden to rest their feet after dancing — took two hours to film after a half day of rehearsals. Dick is discovered, above, between "takes." Center below, the actual filming of the scene. Far left, as he looks in other scenes, at ease.
A pretty girl, a garden pool — and Dick Powell, getting his feet wet for art
Tne Men In H
(Movie) Life
Lovely Lombard is most in demand to be made love to ty Hollywood's prise actors
"Ooh, la la!" Fernand Gravet, left, might be saying as he contemplates his easy screen job of loving Lombard — if M. Gravet did not speak such flawless Oxford English. But whether accented or not as his roles require, the irresistible import meets the amazing American in Mervyn LeRoy's "Food for Scandal," and the result is — cinema fireworks. Below, Fredric March seems pleasantly melancholy as he doubtless remembers work- ing with Carole in "Nothing Sacred." Mac- Murray Misses Lombard! Anyway, Fred broods as he sun-bathes on the home lotr Paramount, waiting for Carole to complete her Gravet chore and, forgiven, come home to make another "True Confession."
GINGER
"Stage Door " proved she could do it. No Astaire, but a great personal tri- umph for Ginger Rogers. Now in her new picture, adapted from the stage play by Arthur Kober, Ginger reveals again her streamlined tal- ents in the tragi- comic part of a little working girl on her grand and glorious summer vacation. You see, on these two pages, Ginger playing at work and working at play. Above, shooting a scene of Ginger in the "Kamp Kare- i Free" bus. In other shots, she shoots, plays tennis, rides | horseback, plays i ping-pong, canoes, ' golfs. At upper right on page opposite, getting ready for a scene with Douglas Fairbanks, Jr.
— A
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SILLY SEQUENCES
I
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Victor Moore, above, to Ann Sothern: "Fair lady, I can trip the light fantastic on a Big Apple, or even a little core, if it but please you." Ann: "Sweet of you, Victor. Maybe you're no Fred Astaire, but your heart, if not your step, is in the right place."
'a
Mabel Todd, left, speaking: "Hi, folks! I've made it, the old top of the ladder itself. Nice view up here. Hope I can reciprocate, if you know what I mean, and I think you will if I make a turn about for fair play. Gosh, it looks so nice down there I wonder why I came up in the first place."
Robert Benchley tells "How to be a Fireman," left. "Columnists peep at key holes, but firemen must put their ear to anything that even looks like a phone receiver — it may be an alarm coming over the wire or through the hose. Drive, don't walk to danger."
It's the irrational thing to do — hut let7 s skip that and watch star comics go to town for laughs
Encore, and more of it. Above, Ann and Victor. Vic: "Stomping comes natural. Back home we did it to keep fhe tootsies \ warm in zero weather." Ann: "I don't know i what the audience thinks about your grace, ; bur you're game. Now, a final fling at swing."
w\ C. Fields, right: "I have a beautiful little story for you, my radio audience. Oh! If you'll pardon the interruption, there's more seauty here at my side. Name's Shirley Ross. Lovely girl. Sings, too. But she gets in my hair now and then — the sweet."
More pages from Charlie Butterworth's "Dear Diary," right. "Decided to take a spin with Cory- phee, that's the name I've given my new 1908 town car. There was a little misunderstanding when I turned the crank one way and Coryphee's engine turned the other way. But we smoothed things out, and were off, whizzing like the wind."
Most of the movie-going world lo little Temple — see all box-office repoi Here she is in her latest film, "Ret* of Sunnybrook Farm" — not precisely same "Rebecca" of the well-loved bo but with 1938 trimmings. The new edin sings over the radio and plays Cupid Gloria Stuart and Randy Scott, abo as well as carrying out the bucolic and conditions of the plot.
Battle of the Baties
Shirley for sweetness, or Jane for ginger?
The world also wants Jane Withers. She's new Number Six star in recent popularity poll. The clever little hoyden scores again in "Checkers." At right, a nice portrait, complete with pet. At right above, not so pretty, but typical. Below, just Jane.
s
pice on Ice
Salute to Sonja, goddess of glacial grace. May she always have a "Happy Landing"
The paradox of the morion picture hit parade is Sonja Heme, amazing little Norwegian who came to Hollywood to skate and remained to con- quer as an important screen personality. Studio boss Darryl Zanuck says Sonja can be great even without her skates. Do you agree? In her new pic- ture "Happy Landing," she sticks to skating but contributes a character- ization of warmth and charm as well. The two scenes show her at left embraced by Don Aroeche; and, at left above, with Jean Hersholt and
Cesar Romero.
Yes, even the star — Bette Da vis, here — must make tests for clothes and make-up before a single scene is shot for a new picture
IT.
'1
9
Cary Orant: $2,60,000 A Picture?
'Bringing Up Baby" is one more in Hol- lywood's cycle of charmingly crazy films. Cary Grant, as you see at right, even dons a frothy negligee to help the fun along, to the dismay of May Rob- son and Geraldine Hall. Center above, Kate and Cary, so-0-0 whimsical. Top right, a tender scene — for a change.
/
■
W9 MT^*
That's a Hollywood rumor which may come close to fact. Rumor: Cary Grant gets somewhere in the neighborhood of that sum for every picture that he makes, and it's a very nice neighborhood. Fact: Cary Grant is currently most=in=demand free** lance youns leading man in films. "Topper" helped. "The Awful Truth" added. And now Cary is clowning with Hepburn
Emmett Schoenbaum
Clark Gable, America's most forthright male star, is admired by women and respected by men because of his genuine geniality, his un-actorish vitality. Just before starting work in "Test Pilot," his new film, Clark vacationed on a ranch in the San Fernando Valley, where his five- gaited horse, Sonny, took Clark on a daily canter over the South- ern California hills. Here are pictures to prove it. At left below, Gable with a quartet of beautiful Palomino pals.
please:
Take Taylor — and millions of worshipping young women will. Greatest movie romantic idol since Valentino, Bob has been mobbed on two conti- nents by frantic fans. He made "Yank at Oxford" at the M-G-M Studios in Den- ham, England, after a wel- come unprecedented in Lon- don. His new picture marks M-G-M's attempt to build up Taylor as an action hero after the passionate pallor of "Ca- mille." Bob runs for Oxford, left below; he dips an oar in bump races on the Thames — see him at stroke, above; he even has a mellow air of English country squire about him. At right, a candid close- up. Right, below, entertaining Bill Powell on the set, with Maureen O'Sullivan, center, who is Bob's heroine in the picture. Next stop, Holly- wood!
Tfic AAost Beautiful
Still of tKe Montli
Eleanor Powell in "Rosalie"
Eleanor Powell's biggest dance number for "Rosalie" hits a new high in screen extrava- ganza. Performed on a 60-acre set, as shown in our Still of the Month, below, Eleanor's dance follows her as she taps her way down 16 drums, the largest being 16 feet in height, the smallest 10 inches, until she literally flies through the air to land on a platform, as pictured at right, where she is surrounded by the 500 dancers of the ensemble, for a grand finale. Glittering, gay, gaudy, it's a Hollywood million-dollar "touch."
Oraybill
News right off the platter for millions of swing fans! Benny Goodman takes his clarinet into the cinema and the hot licks are let loose
"Benny the Good" comes into the movies in earnest in "Holly- wood Hotel." Above, Goodman, at left, with Frances Longford and Dick Foweli in a scene from the big new screen-musical. At left, above, Goodman with Rosemary Lone.
By
Anne Carples
BENNY GOODMAN, Benny the Good, comes into the movies in earnest with the picture "Hollywood Hotel." Fans of the phenomenon of swing are cheer- ing— now they can get a good close-up. On the bandstand it isn't so easy. The whole ensemble gets so hot and trans- ported that it's hard to keep the eyes focused. The sense of vision gets confused.
When Benny plays the Palomar or the Madhattan Room of the 'Hotel Pennsylvania the crowd nightly around the bandstand: is twenty deep, several hundred in a semi-circle that won't budge. The fascination is Benny, calm and cool, and crowding music until in the swing lingo, "he takes it out of the world." There he is with less tricks than any band leader you've ever seen, no baton, no effort, his face sunburned and imperturbable. Then he takes the clarinet in his mouth and the licks nature has heretofore kept in reserve are let loose.
He says such funny things into the mike. "The gas is lit, boys," in introducing an old-timer. Or he bows to sentiment and sums up the lyrical query, "Don't you know or don't you care?" with the condescension, "We do both, doctor." His swing fans know just how to inter-
pret his continuity for the king of swing is definitely two personalities : one when he plays, and one when he is himself. In his own personality he is laconic, easy, effort- less. He has a warm down-to-earth quality that the band- stand crowders love, and paradoxically a dignity and apartness which they worship equally. "The Good," the sobriquet tossed at him, has nothing to do with common virtue, it's a boxed orchid to the Goodman supremacy and skill.
How much of the Killer-Diller, Sing, Sing, Sing, he will integrate with his personality on the screen as a per- sonality remains to be seen. But if the miracle works, as it does on the bandstand, it will be as if Gary Cooper out of his deep integrity suddenly started erupting V esuvius. The fans which sit at Benny's feet watch for this trans- formation, and when the band takes off and it's on, when the playing is "jive," when it's "in the groove," they just turn their faces to him with an intimacy of recognition that makes it the only contemporaneous thing alive.
The screen has had band leaders before, any number of superlative favorites of the moment in every line, but there is a little difference here, (Please turn to page 92)
51
5 ~~
TRUE CONFESSION— Paramount
THIS is completely mad, and comparatively unimportant; but it is so much fun that I have no hesitation in advising . you not to miss it. It is no small triumph for Miss Carole Lombard, who dashes through it with pretty superb charm and chic, hurdling implausibilities and absurd dialogue with her own special brand of insouciance. For the first time, it seems to me, la Lombard manages to sustain a true characteriza- tion. She is not the Lombard of "Nothing Sacred." She isv if possible, even madder than that. Here, she plays the well-meaning wife of struggling lawyer Fred MacMurray who promises faith- fully to let well enough alone and then gets herself engaged as secretary to a gentleman who is immediately thereafter found murdered. Before she, or you, or any of us know what's happen- ing, she is on trial for her life, her husband is defending her, and the most farcical courtroom scenes in screen history are being unrolled before your astonished eyes. This episode of "True Confession," including John Barrymore as a mysterious tipsy stranger, is well worth anybody's admission money. There are other laughs, lots of Lombard, Una Merkel, and Mr. Barrymore in his most intentionally amusing screen appearance.
WELLS FARGO— Paramount
HERE is our epic, and we can use one. Into the merry midst of so many crazy comedies comes "Wells Fargo" — big, heavy, handsome, highly dramatic — no cream-puff picture, I assure you ; but one you can get your teeth into. If it's a little tough going at times, remember it's an epic, and like it. 1 did. Frank Lloyd has told the stirring story of the founding and progress of the Wells Fargo Express Company in bold, slashing strokes ; he covers his huge canvas with colorful action, strong characterization, and a few lusty fights ; and the result is a motion picture for the American family, of particular appeal to the men who complain because there's too much pink glamor and not enough red meat on the screen. Joel McCrea gives his finest performance as the trail-blazer for the express company, whose devotion to his job alienates him from his beloved wife when the Civil War divides their allegiance. Frances Dee is opposite her husband, playing his screen wife with com- passion and charm. Bob Burns supplies the homely humor in his inimitable fashion. The excellent cast includes Mary Nash, Henry O'Neill, Ralph Morgan, and many other lustrous names. Here is a fine and wholesome film worthy of your staunch support.
; Co SEALOF)|
Reviews
of the best
Pictures
by
L
tress
DAMSEL IN DISTRESS— RKO-Radio
DID somebody say it should be "Astaire in Distress"? The great dancer himself is said to have sent a one-word • telegram to Ginger Rogers following the preview of his solo picture: "Ouch!" was the word. "Damsel in Dis- isn't that bad. But it is a triumph for Miss Rogers all the same. Her gay ghost is present wherever this picture is shown. Perhaps if Mr. Astaire had not attempted to find a new- romantic partner in Joan Fontaine, "Damsel in Distress" would not be haunted by Ginger Rogers. When Gracie Allen is dancing with Fred we can forget all the grand and gorgeous procession of Astaire-Rogers dances; Gracie is reminiscent of Fred's sister Adele, she has truly twinkling toes, and her wise comedy foils Fred's wistful appeal. Too, when Reginald Gardiner occupies the screen all else is forgotten, for Gardiner's is the most exceptional new comic gift to films in years. As the operatic butler in the P. G. Wodehouse castle where most of "Damsel in Distress" spins out, Gardiner is a thoroughgoing joy. Audiences enjoy the fun-house sequence, Astaire's drum-dance, Burns and Allen patter. And now, Miss Rogers and Mr. Astaire, that you have proved it can be done, don't let it happen again, please. Dance and make up !
52
HIT:
"Tovarich" "Nothing Sacred" "True Confession"
MISS:
"Damsel in Distress" "Dinner at the Ritz"
BEST GIRL:
Carole Lombard in "Nothing Sacred" and "True Confession"
BEST MEN:
Charles Boyer in "Tovarich" Joel McCrea in "Wells Fargo" Reginald Gardiner in "Damsel in Dis- tress"
TOVARICH— Warners
ENTRANCING! "Tovarich" is original, refreshing film fare. It presents the two most endearing- leading char- acters you have seen in many movie moons : a Grand Duchess of the Imperial regime and her consort, penni- less hi Paris, who "go into service" to provide their vodka and caviar. They are artless, engaging, childlike Russians, and as they are written and acted they become memorable screen por- traits. Charles Boyer and Claudette Colbert co-star, surrounded by a splendid cast. You'll follow with keen interest and sympa- thetic amusement their adventures as lady's maid and butler in an erratic banker's household; you'll rejoice with them in their new-found domestic felicity; you'll darn near weep with them when they are confronted by a charmingly sinister commissar who recalls none too pleasantly their tragic exile. Charles Boyer, comedian, turns out to be as perfect as Boyer the tragedian; lie is, once more, a revelation in subtle, shimmering acting. Miss Colbert is, as always, a delightful personality: but she falls far short of realizing the potentialities of her priceless part. She is always Colbert, seldom the character. Melville Cooper is the new comedy sensation as the banker. Basil Rathbone is fine, too.
NOTHING SACRED— Selznick-United Artists
MOST provocative picture to be seen these days, and not only once but bearable for return engagements, "Nothing Sacred" is by way of being a screen sensation. It stayed three weeks at Manhattan's snooty Radio City Music Hall — by request. It played to those mythical native New Yorkers and to countless contented visitors, who doubtless went home to see it all over again in their neighborhood theatres, if only to hear the dialogue that was drowned in shouts of laughter —oh, yes, they laugh out loud at the Music Hall. "Nothing- Sacred" thumb's its nose at practically everything hitherto held sacred in the cinema — including even the Grim Reaper, no mean feat when you think back . at the awed treatment accorded old G.R. ever since movies began — remember all the long-drawn-out death scenes you've suffered through? Here's comedy that's unselfconsciously ribald and unconventionally robust. That Fight Scene, of course, is still the high spot of the screen season. Carole Lombard and Fredric March mix it— don't stop me if you've heard this, it won't do you any good — -and the fair heroine, "hangover and all, is knocked out by the gallant hero. Just try to sell us any more old-fashioned lovers' quarrels after this. Cheers !
DINNER AT THE RITZ— 20th Century-Fox
OF INTEREST only because of Annabella. If she is an acquired taste for some screengoers, I suggest they start sampling right now, for we'll be seeing the one-narne French girl in a good many American-made movies. Whether Simone Simon is twice as good as her fair compatriot, I wouldn't be knowing. The little imports seem to be all different, and all delightful — not moulded as our Hollywood stars, but distinctive. Where Simone is all gamine, Annabella is the little lady who can be by turns coquette or aristocrat; in fact, I feel that Annabella is actually one of those protean performers we hear about but seldom see. Yersatile is the word. In "Dinner at the Ritz," a rather bewildering offering, with melodramatic overtones, the star appears in a continual masquerade, in which she runs that gamut from Spanish girl to East Indian, and back- again. There are jewels involved, and a Gang, you see — / didn't because it was all extremely confusing; but fortunately, in addition to Annabella, David Niven is present, and this young Englishman continues the progress he made in "Prisoner of Zenda," and if he can progress in this picture, it proves he's good. Paul Lukas and Romney Brent are also pleasantly present.
53
Lovely as a fragile French Marquise of the 18th century, Anita Louise is Hollywood's "model girl" — in modes as well as manners. The large picture above shows our heroine adding the final fillip of powder to her perfect nose, just before an evening at the Troc. Anita is wearing white net encrusted with silver sequins in a line-and-star motif. At top right, a picture hat for a picture girl: large-brimmed black felt with crown band of brilliant brocade. At right, she steps out in an ensemble of silver fox. Her off-the-face turban shows two pompons of the fur, her scarf cape shows a high neckline, her muff of fabric matching her black crepe dress is accented with two silver fox heads. Debutante elegance in the grand manner.
54
J
!
55
Frances Dee wears mi ddle- American period clothes in "Wells Fargo" for Paramount, so she splurges on her own ward.obe to make up for it! At left, Frances' formal eve- ning gown of gold lame, with interesting draped treatment. At lower left, her cape of blue fox. Dorothy Lamour, at right, wears a dinner gown of black velvet with full skirt accented by bold white lace applique. Her dinner hat boasts a sprightly veil.
They re Wearing ■Hollywood
Songbird Gladys Swarthout, at left, likes her chiffon house gown, designed by Travis Banton: a twisted sash of pale and bright blue chiffon enlivens its soft grey; its pleats and loose-sleeve treatment make it charming.
The "Persian Princess" influence is accepted by Miss Swarthout, at right, who wears this costume in her new film, "Romance in the Dark." Below, Dorothy Lamour goes in for stripes: red, white, and blue Rodier fabric makes a dashing scarf for a simple, straight, navy blue wool day- time dress. Another piece of the striped fabric is pulled through the crown of Dorothy's bright red sailor hat and is tied at one side in the back. Smart note for Spring!
Hollywood brunettes adore grey. Dorothy Lamour, now in "The Big Broadcast of 1938," selected the suit shown above. The skirt is short and straight and mode of novelty grey kasha. The cape is of grey kasha ined in grey crepe and trimmed in grey Persian lamb which also fashions the smart "jumper" and muff. Dorothy's hat is of grey suede and her gloves and shoes blue antelope.
Frances Dee's final ensemble for the season is a black crepe daytime dress v/ith a bolero of mink, topped by a genuinely high- hatted black velour draped into a severe high crown, with one side flanked with ir- idescent blue feath- ers. Joel McCrea likes this outfit!
57
MlMl (Myrna Loy) sees the man s'le loves married to Elizabeth (Rosa- lind Russell), and believes she w never conquer her thought that Alan (Walter Pidgeon) really be- longs to her. But just then Jimmy -ranchot Tone) appeared, and when Hie honeymooners return, Mimi assures Elizaseth that she sti likes, but no longer loves, Alan- and means it at the time.
Adaptation of "The Four Marys" with Myrna Loy, Rosalind Russell, and Franchot Tone
THE bride was so very lovely, so young and radiant and so very triumphant — but nobody was looking at her. It was the prettiest bridesmaid they were watching, the one with the pert, ever so slightly turned up nose who was staring so straight and tragically ahead. The one they called Mimi;
Only once did her eyes lift, at the very end of the ceremony when Alan slipped the ring on Elizabeth's finger. Then they moved for the smallest fraction of a sec- ond to the bride's tranquil ones and from hers to Alan's.
Despair, stark and sick and just a little bit too dra- matic was there for all to see. And someone among the guests tittered and someone sighed, and Meg Swift who had been watching her daughter with that apprehension she tried so hard to keep to herself leaned anxiously toward the young man beside her.
" Jimmy," she whispered, "look at Mimi!'' As if she needed to tell him, as if Jimmy Kilmartin hadn't been watching her himself with something of that same apprehension.
"That guy must have been crazy to have turned her down," he growled.
"That's what I think, but / love her." Meg sighed. ''Oh, Jimmy, I wish you were in love with her !"
"If I fell in love with anybody in the Swift family it wouldn't be Mimi, it'd be her mother." And Jimmy gave Meg that special grin he always had for her.
Meg leaned back as the bridal party moved slowly away. Why, she thought wearily, out of all the men in
Please Turn to Page 7S for Cast anil Credits
5S
If Mimi and Alan are thrown to- gether again, it is really Elizabeth's fault, Mimi argues. But that does not convince Jimmy, and he warns Mimi she is heading for unhappiness
which i< true, and Mimi herself
realizes it when Elizabeth very frankly unburdens her heart in a sit- uation that leads to an amazing climax in the tangled lives and loves of four fascinating people.
Fictionized By Elizabeth B. Petersen
An ultra-modern love story fic- tionized from the screen version of a widely popular novel
tro-GoM-
linraliolt
the world, did Mimi have to be so desperate about Alan Wythe, charming, good-looking, penniless young man about town that he was. If only she could have written her daughter's story how different it would have been. Gay and exciting and happy, that's how she would have written it, just as she wrote those best sellers of hers. And she would have made Jimmy the hero. Jimmy, who for all his happy-go-lucky ways, was making a name for himself as a newspaper cartoonist. But then Jimmy had always been as casual about Mimi as she had been about
him. . . .
Even in the beginning when Minn's eyes were shining all the time and she was always humming the newest love songs and the telephone kept ringing, Meg hadn't been too happy about the situation. Then Elizabeth Kent came along, and after that Alan couldn't seem to make up his mind which one of the two girls he liked best.
It wasn't really that he was a fortune hunter, only that the Kent millions and the important job he was given in Elizabeth's father's office had seemed to be enough to make him finally decide between them.
Meg looked toward the bridal couple and the eager guests crowding around them with congratulations. Then her hand dug into Jimmy's arm as she saw Mimi look- ing desperate and tragic going up to Alan, and her eyes closed as she heard the hurt in her daughter's voice.
"I hope you'll be very unhappy." The words came stark and bitter for everybody to hean'T mean it. Every- thing I hope for, never comes true." m
Jimmy jumped to his feet then and somehow got Muni away But he couldn't get her (Please turn to page 78)
59
DO seem to have been chatting with screen stars in some unusual places _ lately! 'When I went to have tea with Merle Oberon she received me in bed. "I often spend a day in bed," she said. "Rest- ing, reading, listening to the radio and only taking fruit juice and milk. It's the best beauty treatment I know — splendid for the skin and the figure."
Y\ ell, Merle's new bedroom is lovely — the walls painted cream and the curtains and covers of pale pink satin spotted with silver. The bed is an antique one with draperies of rose brocade and there's a fitted dressing-table between the two win- dows with a fresco of cherubs and flowers painted above in old Venetian manner and gold brushes and combs set out on a mirror top. Arum lilies stand on the bedside table, along with Merle's toy bear mascot which she calls Captain, and a wood fire crackles merrily in the open hearth.
I sat in the Juliet chair, given to Merle
News parade of stars who glitter at Mayfair haunts on time off from Hollywood and British studios
By Hettie Crimstead
by her
greatest
friend Xorma Shearer-
Binnie Barnes, left, let her heir down for your London reporter and you find out that Binnie definitely does NOT wear a wig. Above, Lionel Barry- more, another Holly- wood favorite we find in London, where he's working in the film starring Robert Toylor.
60
Norma used it in the bedroom scene in "Romeo and Juliet" — and looked at an exquisite miniature of the giver in a golden frame studded with pearls. "I'm gomg- back to Hollywood for a spell because I want to see Norma again 'so very much. We talk on the Transatlantic phone at least once a week but that isn't sufficient."
Merle has just signed a new contract with Alexander Korda to make two films at his Denham Studios every year for the next five years. As soon as she completes her Hollywood picture with Gary Cooper and David Niven, she will have to' return to London so she has bought this quaint old-world style house overlooking Regents Park for a permanent English home. It has an ancient spiral staircase of mellow stone still lit by crystal candle-holders just as it wa,s in those begone days when lords and ladies in silks and satins bowed and curtseyed their stately way into the salon that is now Merle s drawing-room, a symphony in pastel green and silver with a touch of crimson.
Merle's latest Korda picture is called "Over the Moon." a gay comedy in which she has no less than five leading men, headed by Rex Harrison and Jchn Clem- ents. She's adopted a new type of hair-dressing for it, bunching her chestnut-brown curls at either side of her face and piling up more curls behind. (Merle is defi- nitely not an admirer of those long straight coiffure
styles!) . . _
'Talking of hair, I was called into Bmnie Barnes yellow bathroom and found her brushing out glorious blonde locks that fell below her waist. "So you can see for yourself that the rumors I wear wigs are quite un- true," she announced. After which we went into the sit- ting-room and Binnie smoked a Turkish cigarette and said she was "disgustingly sick" of being The Other Woman. "I hate ail these hard-boiled parts I get. Being a callous vamp so often is making me really unhappy. 1 want to get back to comedy again, those mad. merry parts I used to play before Hollywood decided that blondes should be selfishly sophisticated if they were more than twenty-two years old."
When I was introduced to Lionel Barrymore he was reclining on a stretcher in the ambulance van that was standing near the set at Denham. "No, I haven't had an accident," he smiled. "But the door was open and I thought
I could wait for my call more comfortably like this."
At fifty-nine, Lionel looks at the world with a mellow sense of humor, but his cheery voice and ever-twinkling eyes are tributes to a great heroism. He has suffered so much these last years, making his pictures during brief intervals of respite from the wracking pains of arth- ritis. His twisted hands bear eloquent evidence of what he has bravely endured. Before the camera he keeps them out of sight as much as possible.
Lionel's current part is in Robert Taylor's film of "A Yank at Oxford," and young Bob himself has certainly never been so man-handled on the screen before. He's thrown into the river, knocked down while thoroughly punched and pumelled during a boxing-match and the day I {Please turn to page 84)
skating,
Social side of studio life, left. Bob Taylor and Merle Oberon, with Tim Whelan, Merle's director, and Laurence Olivier right, form the Sappy group our camera catches hore. Heading iron top down, above: Sophie Stewart in the new Re- turn of the Scarlet Pimpernel;" Leslie Howard goes to town from his country place every mat'nee day; Victor Mc- Laglen hasn't missed a boxing match since arriving to play in a British film.
61
Star- dust Daby
By
Margaret E. Sangster
don't want you — and I never did," Katrine shouted at the boy, as Bertrond, unobserved by either Katrine or Peter, stood in the doorway watching the scene with amusement. When she saw the Count, Katrine flared. "Who told you to come in?" she demanded sharply.
CHAPTER III
"O THE casual observer Peter fined into the scheme of things as smoothly and effortlessly as he fitted into the new clothes that Katrine had Bill Naughton bnv f< ir him. To those on the inside he was still an orphan, though a gilded one. His black eye vanished almost as rapidly — and quite as completely — as did the faded blue 1 overalls. But neither the overalls nor the 1 eye were allowed to vanish before Katrine had made capital of them.
"lie got the eye fighting for me," .-he bragged. "He laid out a fellow four times his size." She went on to explain that the overalls were what had caught her interest in the first place.
"Any sissy can adopt a little baby," she said, "but it takes character to bring up a boy . . ."
The public, listening, went for it in a big way, and Peter was much photographed. Unfortunately he didn't take a good picture. The camera brought out odd. elderly lines and hollows in a face that was just losing its infantile contours. So, after a few weeks, Katrine began to send Peter into the house when- ever a candid camera put in its appearance.
"This kid deserves some private life," she alibied. "I didn't adopt him as a publicity gag."
The public loved that, too — but Bill Xaughton had a way of turning on his heel whenever Katrine started along that line.
"I can't take it." he told her simply. "The only thing I hate worse than wood alcohol is a liar !"
Katrine, in public, smiled softly whenever Peter's name was mentioned. But when she surveyed the child in the occasional seclusion of her magnificent home, she did not smile.
"Run away." she'd tell him. "Go play in your own back vard !" Once when he brought her a grubby
62
An imperious screen siren bargains for headlines when she becomes a mother by adoption, but not for the emotional crises her plan provokes
Please Turn to Page 7-5 ior Synopsis oi Preceding Chapters
bouquet of flowers that he'd gathered in a field— some strange sense of delicacy kept him from picking his blossoms in Katrine's full-to-overflowing garden— she said sharply,- "Don't litter up the place with trash!" and dropped the pitiful offering into a scrap basket. As Peter walked stiffly out of the room — his small hands clenched into white knuckled balls — she turned venom- ously to Bill Naughton.
'"For the love of heaven, stop priming him — " she said, ''or you'll be sorry."
Bill countered, "I'm already sorry for a lot of things. First of all I'm sorry I was ever born." He added after a moment, "If you'd only treat Peter one-half as well as you treat that pint-sized Count of yours — "
Katrine laughed. "The Count's in love with me," she said. "I may marry him before I'm through. I'm getting very fond of him — "
Bill said, "Peter's in love with you, too, and he's twice the man that your precious Bertrand is — "
"You wouldn't know," said Katrine languidly. "You suspect Bertrand because he's French and claims a title. But I have reason to know that the guy has what it takes — " '
Bill grated: "Now you're showing off! Shut up."
Katrine said slowly. "Maybe I won't marry the Count, at that. Maybe I'll just have an affair with him. I haven't had an affair with anybody for a coon's age — "
Bill knew that he was being goaded to a slow fury, and vet he was unable to control himself.
"You never had an affair with anybody in your life!" he told Katrine. "Why do you pull that sort of stuff — on me, of all people? I know you're straight — that way, at least !" ,-/
Katrine started to laugh — she sighed instead.
"You only see me during working hours," she told Bill. "You don't know how I spend my evenings . . . Good-bye, Bill," she called after his retreating back. "If you meet Bertrand anywhere, tell him I sent my love . . ."
So it went. Through the whole of a dragging, misera- ble month during which Peter ate balanced meals and drank certified milk and lost weight alarmingly. During which Bill Naughton grew to have a blue line around his mouth — so that he always looked a trifle in need of a barber. During which Katrine Mollineaux worked like a dog on her new picture — and was seen everywhere with the pint-sized Count, named Bertrand, clinging to her like a leech.
"He takes a good photo," she told Bill, when Bill remonstrated — as he did regularly, twice every day. "It's a pity I didn't adopt him in- stead of" Peter. At least I could've divorced him, later."
Bill made no response to that. He couldn't think (Please turn to page 75)
Illustrated By Welton Swain
Because the stars go there to play, the City on the Seine is a swell place to capture close-ups of notables, as this story proves
By Stiles Dickenson
p
ARIS is putting on her best smile and gayest air. be-
cause its beloved prodigal is once more at home. At home, not for just a vaca- tion, but at home to actually make a film. The cause of this joy is Charles Boyer. "When he first went to Hollywood he arrang- ed his contract so as to be free to make one film a year in Paris. Each year he has done this, or appeared on the stage, except last year. Then he could only man- age a short visit but now he is hard at work on the production of "Le Venin" at the studios in Joinville, the Parisian Hollywood. I went out to the studio for a visit with Charles and found him in fine form. In France, after all sorts of hand-wav- ing and shoulder-shrugging of the artistes (in France the actors are called artistes), the directors and electricians, they settled, legally, on the strict eight-hour-a-day program. So the work at the studio starts at noon and ends at eight o'clock at night. Many of the artistes play in
With pardonable pride, Charles Boyer points tor Paris at least once a year. This time he's doing a film there — a scene from which, center below, shows Boyer with Robert Manuel. Ruth Chatterton, at the right, really flies to Paris at every opportunity. Tullio Carmin- ati, bottom center, vacations from film acting.
the theatres so this noon-starting hour pleases them greatly. Also, on the lighter side, those who love parties have all morn- ing in which to get rid of that "morning after" look and feeling. At the comfortable hour of noon I rolled up to the studio restaurant for a bite of lunch with Charles. He was quite the center of attraction, even in the studio restaurant. Somehow, Holly- wood gives one a dazzling halo. Even in other Ava'ks of life the casual mention of having been in Hollywood awakens a new light of interest in people's eyes. Charles didn't have time to finish his coffee as they needed him on the set. The scene was in a poor, sordid French version of a hall bedroom, so I knew I would have to de- pend on Charles' sparkling eyes and sly sense of humor for any lightness in these drab surroundings Every time he cuuld, he would run over between shots and chat with me. As the (Please turn to page 88)
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u
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^ed Lily
A nightingale who loves to skylark, petite Pons proves the prima donna needn't be pompous. Here's a candid cameo of the vibrant coloratura
By Dick Pine
MA.YBE I'm getting old. I'm probably out of touch with the modern stream-lined tendencies in this and that. But there is something in this picture which seems out of drawing, somehow. I am talking of Lily Pons.
I thought that I knew something of prima donnas. I have, in a modest way, been a patron of opera in England, on the Continent, and in this country. I have met several prima donnas; had tea with a few of them; paid my respectful tributes at larger parties. I've closed my eyes reverently while portly ladies galumphed through the Wagnerian operas. What I am getting at is that I thought I knew my prima donna enough to realize that there are hard and fast 'fules governing her deportment, her temperament, the extent of her tantrums. And then again, the love of good music and the beautiful voice of a prima donna overcomes any love ot feminine pulchritude. If she sings like an angel, one should be able to imagine that she looks like one.
All this was before I met Lily Pons. I had heard her on the radio, but I hadn't, I regret to say, seen her. When I did catch up with her, while she was working in "Hitting a New High" at RKO, they had to lead me out and feed me aspirins.
Lily (oh yes, I'm calling her Lily) was wearing a few feathers and some beads. I was assured, solemnly, in answer to my incredulous enquiries, that the befeathered, beheaded wisp of a thing really was a prima donna. I rubbed my eyes, and had another look. Yes, there she was, just as I had first seen her. Five feet of her. About ninety pounds of her. The size I/2 B feet of her. Wearing a few beads and feathers. And here I was — a fellow who had taken a solemn oath never to attempt to interview a luscious young thing. I set out to write a story about a prima donna, and found myself con- fronted with a gay creature wearing beads and feathers (but I think I mentioned that before).
Anyhow, this prima donna had the giggles. She had just emerged from a large tank of {Please turn to page 83)
Spice as well as song for the cameras of Hollywood! Lily clowned with Jack Oakie and Eddie Horton, in "Hitting a New High," above, and found it more fun than work. Below, the scene for which she told the director: "I'll go to the ceety on this," when he asked for lots of pep.
.... .
65
ay s
M
agic
It's a camera! The pictures Fay Wray takes trans- port her back to beloved scenes of beauty and enjoyment in places near and far
By Ruth Tildesley
"All I had. up to the time of that Christmas camera, was a hankering to draw. I did sketch a little, nothing very good, but I always thought that some clay it would be nice to take lessons. You know, those 'some day' ambitions? 'Some day' I'll take up the violin — 'some day' I'll really go in for piano — 'some day' I'll learn to speak really good French — or Ger- man— or Chinese ! One of those things.
"Now. I know that what I want to do is to be a really good portrait artist with a camera. I know it will be years before I am good, but that's the fun of this hobby — so much to learn, so many
"The fun and excite- ment of this camera hobby," Fay says, "is that it may lead you anywhere." Fay has traveled a lot — and has made pictures along the way. The picture of Dolores Del Rio, at right, however, was made right on the beach of Fay's California home.
T
in-:
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excitement
camera and going in for picture-taking as a hobby is that it can lead any- where," said Fay Wray, looking up from the piles of prints that lay be- tween us on the scarlet leather of the couch.
"You might go on from the pictures to writing stories suggested by the scenes you've taken, or writing articles
about the countries your pictures show. Or you become a traveling specialist in some line because you get the wander-bug. Or you might become a real artist.
"I never had a camera in my life until my husband surprised me with a little Leica camera as a Christmas present one year. I hadn't even vaguely thought of want- ing one, but' I was delighted. John — "His. name, as you probably know, is John Monk Saunders — " had a Graflex camera for years. He got it for use when he was a re- porter and has never stopped taking pictures. Somehow, once a camera fiend, always a camera fiend, it seems.
might
People and scenes from far and near, are shown in this group of diversi- fied subjects made by Fay Wray. Center above, the lalce at St. Moritz. Above, charac- ter study: caretaker of a church at Leksund, Sweden. Right, Richard Arlen and his dog.
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Carpet
interesting experiments to make. Portrait-making interests me because I like people. The next thing I get for my camera will be a portrait lens and a good supply of patience. I find that patience — of which I have no over-supply — is more important than anything else. I hope to develop it."
In her navy blue suit, with a blue "beanie" on her red-brown hair, she looked like an earnest schoolgirl.
"I say I want to be a portrait artist, but I'm not good enough yet," she went on. "First, I must learn what there is to know about lighting and focus and so on, and then I'll take the next steps. In the meantime, I've been taking scenery and action shots and informals.
"I know you can buy postcards of scenes at every place you go when you travel, and they will probably be ever so much better than the ones you take yourself, but somehow when I see something beautiful I can't help getting out my own camera. The pictures mean more to me because when I look at them I can remember exactly what we were doing the day I snapped it and live over again the. happy times. It's a travelogue, but a personal one
"When we were in Switzerland, I
Snapshots that show an eye for composition, and set an example for Fay's fellow camera enthusi- asts. Left center above, view of a canal in Sweden. Above, a view of the ski track at St. Moritz. Left, Anita Louise and her Irish setter, Rambler, in Anita's front yard.
Fay says she some day hopes to be a good portrait artist, but she seems to do very well now at portraits as well as scenics and informals. Left, for example, an in- formal portrait of her husband, John Monk Saunders, at St. Moritz.
was sitting at the break- fast table by a window overlooking the lake at St. Moritz when I saw this breath-taking scene. I couldn't wait till I got my camera. I took it through the window pane and you can see the faint reflection of the table. Postcards may give love- lier views, but they won't mean the same to me!
"The ski track picture is another I couldn't help snapping, because it shows the track as it looked from our seats — one of the jumpers was in mid-air when I shot. I love the powder of snow on the trees and the tiny black figures against the white drifts. I used a green filter for the snow shots; it tones down the glare.
"This shot of the ski jumper who landed right in front of us is an example of ' the sort of picture belonging to a travelogue because it brings back a thrill of a moment,
find a dozen
:>ut actually a camera expert can wrong technically."
Fav's ideas on candid {Please
things
turn to page 82 )
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/
ere s
woo
NOW that Garbo has gone home for a long vacation the choicest anecdote about her comes to light. Years ago, when she was a salesgirl in Stockholm, a young man brought in a pair of gloves to be mended. They became friends. In 1937 he showed up in Hollywood and Greta got him a job playing a bit in "Conquest." One day she was completely indifferent, giving him the snub supreme. He was upset all night and next day went right to her to get an explanation. She was as friendly as ever. It appears he had ap- proached her double and — well as he knew the star — had believed the double was Greta. So when you hear their doubles aren't much like them, remember this.
HOW different Sonja Hcnie's current exhibition tour is ! There are the same great crowds and there is an even bigger salary for each grand performance. More fans besiege her for autographs. But there are no orchids impetuously sent -by a tall, dark and handsome lad. There are no more exciting telephone calls from Holly-
Chatter, chiefly cheerfu porting star news and
By Weston East
wood, catching up with her wherever she may be tem- porarily. In Sonja's life there is no more love. Tyrone Power cares for Janet Gaynor now.
AS soon as Shirley ' Temple finishes a pic- ture her parents whisk her down to a fashionable Palm Springs hotel for a sun- shine pick-up. Shirley is so proud of her current tan. She wishes she had a port- able plunge on hand to demonstrate how keen a swimmer she's becoming, too. The Temples employ the hotel swimming in- structor for her. "It is so hard to do that crawl they do in Australia, though!" exclaims Shirley. "Gosh, you have to take all your breath to keep your feet up," Mrs. Temple wisely forbids close-ups of Shirley in the pool; when it's time to relax there shouldn't be cameramen snapping furi- ously.
p\ICK POWELL and Joan L' Blondell have moved from a house to a Holly- wood apartment. They have sold their lot in Bel-Air, dismissed their architect. All those splendid plans for an elegant mansion have been torn up. Not be- cause they don't want a home, or because they've been scared by the stock market drop. The answer, actually, is : the servant problem. They couldn't find satisfactory help and after a series of annoying incidents they decided life would be far simpler if they took an apartment.
IOAN BENNETT has picked herself up -J after her marital mishap. She put her older daughter Diane in St. Margaret's, the exclusive school for girls in Connecti- cut where Joan once studied. Then she took Melinda, her four-year-old daughter, along with her on her road tour of the play, "Stage Door." When romance goes blooey, Joan contends, the only sensible recourse is to carry on as though the past never was. You can't depress a Bennett !
IEANETTE MacDONALD can't help J it. She just has a mathematical, orderly mind. When you snoop in her kitchen, for example, you learn that inside the cup- board above the stove there are two de- Hard to beat — for charm as well as at tennis — is Virginia Bruce, left, snapped on the courts at Del Monte.
tailed lists. One's for Jeanette. and one is for Gene Raymond. Each, in the bride's own scrawl, is headed What I Like— What I Don't like. Neither star cares a bit for pastries. But, as a concession, Jeanette now indulges in sweetbreads broiled on ham, a rich concoction Gene craves.
ALLAN JONES has to obey the red light ^ on his dressing-room door or else. Or else M-G-M will rip out his personal loud- speaker set-up, and he'll be reduced to a good book between scenes. Allan grew bored by the waiting between camera shots so he went into consultation with the prop boys. He emerged with the germ of an idea, which he proceeded to develop. Soon he had a two-way communication line from his dressing-room to the set. With a flick of the wrist he could either talk or receive an earful. It's been some fun hiding his private mike under chairs and behind backdrops, then booming out remarks from a distant hideaway. He has captured some surprising conversations. He generally waits until the
68
ideal second to toss in his absentee two-bits' worth. That always stuns someone. How- ever, he talked when acting was going on — hence the red light warning. When it flashes on he knows they're shooting and he controls that urge.
JOAN BLONDELL'S three-year-old son ^ Norman now attends kindergarten. "And what do they call you at school?" the fond mother chanced to ask the other day. "Cute Baby," replied Norman. Rolling over on the floor and grinning, he added, "Can you blame them?"
WHILE Paul Muni is away seeing the world leisurely his brother-in-law Abem Finkel is busily adapting the story of the Wright brothers for filming. Maybe the wandering Paul will illustrate how airplanes were born next. He wants to do something in a comedy vein, he writes, though.
ANN SOTHERN has checked in from . k El Paso, Texas, where she's spent the past six weeks vacationing. Husband Roger Pryor was leading his orchestra
The Paul Munis continue their vacation. Seen above, left, on a sight-seeing tour of European capitals.
"Why travel? There's such fun and sun- shine at home," say the Jack Oakies, right, at Del Monte.
The honeymoon continues for Francis Lederer and his bride, Margo, left, seen at a California resort.
there. The Pryors had an apartment where milady did every bit of the cooking. Ann turned down the role of Deanna Durbin's mother in the new Durbin film to play housewife. Now she's back in her Beverly Hills home and letting her negro chef bend over the stove. Dining alone she grows wistful over Roger and the hashes she loved to concoct for him.
THERE'S a surefire system if you want to meet Joan Crawford. Just be a master in your own racket. Some day, w:hen you're in Hollywood or New York, Joan will walk right up, introduce herself, and earnestly tell you how much she admires you. It's a habit with her. Incidentally, when Franchot Tone was ordered to make another picture when he was ready to go New York jaunting with her he insisted that she go on and have some big city fun. She hadn't been East for three years. The holiday spirit was exciting. But Joan was famous and feted and forlorn. No Fran- chot !
THE spot to see the stars now is defi- nitely the clubhouse at the Santa Anita race track. It's a Waldorf-like lounge, ritzily apart from the crowd scene. There Hollywood lunches, bets, and luxuriously eggs on the first nags of the nation. Cock- tails are served in the umbrella-dotted stand. Santa Anita is America's swankiest track, thanks to Hal Roach being at the helm. This season Bing Crosby, Joe E. Brown, and Barbara Stanwyck own the best racehorses among the actors. Al Jol- sOn is the biggest bettor. Bruce Cabot is the shrewdest player — he financed a special airline from Palm Springs to Santa Anita, so a star really can't afford to stay down in the dejert for the afternoon !
HOLLYWOOD can afford the best. So now Stokowski is co-starring with Mickey Mouse! You can't blame the crashing of his second marriage on the movies — he had come to an emotional impasse before he came to California to work and live.
WHEN Nelson Eddy moved into a big Beverly Hills home at last he didn't regally order a flock of flunkies to cart
over all his belongings. He gave his mother complete charge of the transfer. That is, excepting his musical possessions. He moved them all himself. Not counting his piano and Capehart !
ONE way to lure a star to your town is to name a theater after him. The good citizens of Lubbuck, Texas, have a fondness for John Boles and so they named the new theater in his honor. What could he do but fly to its opening and meet every- body there ?
IT'S easy to get the axe in Hollywood. I Ida Lupino thought she finally was amounting to something. Her roles at last gave her a chance. Then she was handed an insignificant part in support of Dorothy Lamour. The Lupino realized the Lamour had become the pet of Paramount, so she walked out. Next day Dorothy Howe, an ex-telephone operator in Dallas, was put into Ida's part.
Hear, hear — here's Mae West back in the limelight, starring in a new film, "Every Day's a Holiday."
69
ime On Your Han
FOR several years, I've been doing some private in- vestigation. It concerns the modern man's views on the modern woman's appearance. He has definite likes and dislikes, as you may guess. On some points he is vague. Most men can- not tell yon the color of their loved ones' eyes, nor the shape of month and nose. But on skin, hair, figure and hands, they miss nothing. On hands, especially are men in- tensely sensitive.
Hands tell all to observant people. They speak elo- quently of your character, habits and tastes, and there are three ways in which they speak — appearance, touch and use.
In appearance, we must think twice. We must have soft, attractive looking skin and we must have neat, well- groomed fingertips. It is hardly necessary to impress upon anyone the necessity for plenty of hand cream or lotion in a season that brings chapped, reddened and roughened results. There are so many fine preparations. We all have our favorites be- cause of quick absorbent qual- ities, good results, perfume, perhaps, or handy container. The mention of container re- minds me of the nice, white, squarish bottle on my desk now. It's new and it's prac- tically accident-proof. It has grooved sides that simply cannot slip from creamy hands and a permanent stopper that it's fun to ad- just. The contents are a rich, creamy lotion that does an efficient smoothing and scent- ing job all at once. Please never let yourself be without - -
Hands make that important first impression. Be sure yours speak well for you
By Courtenay Marvin
Exotic nails for the exotic Merle Oberon, but not for every- day girls. That's a grand file, long, flex- ible and sharp. Be- low, the luncheon hour is being de- voted to the drama- tic Katharine Hep- burn hands. They are getting a softening and finishing treat- ment. All hands, both work and play, need plenty of this in winter weather.
some emollient hand aid, espe- pecially before going out in winter weather. If you find your- self without, for the moment, use a little face cream.
Hozv you use your prepara- tions is often as important as what you use. Hands should be
clean before anything is applied. Tepid water and mild soap do that. And they should be really dried — dried until they are slippery and the towel slides over them. As you dry, never forget our grandmothers' beauty secret of gently molding back cuticle. It's a good beauty habit. To apply your softener effectively, hold up your hand, as if a glove were to be fitted on it. Smooth the softener down over it, including wrist and arm. Press and mold your hand, as if shaping it more delicately, and over
knuckles and joints use a rotary movement to do a better job. Always leave cream or lotion about the cuticle, if you are not apply- ing a special cream there. For badly roughened and red- dened hands, sleeping gloves are a boon. They are made for this purpose, or loose old suede or chamois make good substitutes. The soft leather seems to hold the softener better than cotton, unless specially treated. With the short sleeve so popular, arms and elbows must have atten- tion, otherwise they will ap- pear harsh and scaly. After hand and arm treatment, set
70
your elbow in a creamy palm and wriggle it about. This is helpful because the elbow is horny and cream needs to be rubbed in.
A weekly manicure is a necessity. Whether you skip out to a salon or do a neat home job is for you to decide. There probably isn't a star— at least I never met one— that couldn't do a very good self- manicure if she had to.
A friend saw "Vogues of 1938." in which Joan Bennett's small hands were adorned with red lacquer right to the tips. This friend had always gone conservatively pink-tipped because she thought her hus- band would prefer it. Imagine her surprise, during the picture, when he turned to her and said, "Why don't you do your nails like Joan Bennett's?" That just goes to show we can make the boys like almost anything when we do it well and gracefully.
In choosing a color, remember the occa- sion, your own coloring and your costume tone. You can juggle the three and come out with smart, well-groomed fingers. And it's interesting how that term "well- groomed" enters into every demand for charm and loveliness today. Hollywood scouts, in search for new talent, business personnel directors, models' agents and em- ployers—all stress two important require- ments, both of which mean, the same, •'refinement" and "good grooming." They're rated far above mere perfection of features.
I wonder if you've ever stopped to think that the touch of your hand acts like a clear character reading to another. Like a smile, it is genuine, warm and likeable, or it's cold, forced, insincere. Smoothness and softness alone won't give that hand others love to touch. But sincerity and honest evidence of your joy, understanding- and realness will. Remember this when shaking hands. A half shake is worse than none. Make yours firm, sincere for a mo- ment— that's all.
If you were being groomed for the movies, you'd be surprised how much time and patience would be spent in the train- ing of your hands. Watch the stars on their use of hands and take some lessons, because most of us need them. Hepburn's dramatic hands are famous. Margo's hands speak as well as her lips, undoubtedly because she was a dancer before she went to Hollywood. Garbo, Dietrich, Lily Pons— they use their hands with telling effect, ' but so subtly, so artfully that you are not aware of this until you concentrate on hands. That's the way it should be.
Black gloves make the hand skin look shabby. There is no smart substitute for the black glove with a black costume but there are grand washable black suede ones that may be kept so fresh by a flake bath that they will not soil the hands. I have seen these gloves after many washings, still velvety, deep black and new looking.
A few familiar situations : home hands must do lots of chores. There are savers, if you'll use them. Soap flakes, chips or beads for washing jobs from dishes to underthings, and two containers of cream or lotion, one for kitchen, one for bath. Use old gloves for dusting and other grimy tasks.
Secretarial, sales and other business hands are always in evidence. Keep them in the pink of grooming, but use your intuitive feminine sense to "feel" whether brilliant or subdued polish is the thing. Other things being even, promotions and demotions can depend upon some little per- sonal point, like that.
For true sophisticates, there are now portable manicure bars that look like small cocktail affairs. They push about and offer you lacquer tones blended to your every whim. Sophisticated, too, is the idea of a drop of perfume rubbed between the palms for evening. Very, very perfuming!
Our Pre-Vue of New Beauty
The Captivator capti- vates by efficiency.
Unit Magic Milk Mask is o brand new idea.
New Sachet-Cologne by Rubinstein.
HELENA RUBIN- STEIN, ever creat- ing the new, gives us Sachet-Cologne, a four- purpose luxury for after- bath use. It's a pungent eau de Cologne, an in- vigorating body rub and conditioner, a rich body sachet with a dusting powder concentrate and a deodorant, all in one! For neck, arms and back, it gives a velvety finish- in fact, wherever it is applied, and is so easy to use. Think of the time it saves in body groom- ing and remember it for legs and ankles with those next-to-nothing eve- ning stockings and san- dals when bitter winter winds are blowing. For it's soothing because of a moist base. Tricky, tri- angular bottle with a big, gold-colored knob. A grand gift idea.
IADIES carry too many L miscellaneous knick- knacks in their bags, as the boys all know. So along comes the Capti- vator Compact to end this situation. Hand-size, finished in rich enamel, with engraved, cloisonne or jewel motif, as you prefer. I can't imagine anyone needing more than is inside — cake or loose powder and puff, rouge and puff, lip rouge, two tones of eye shadow, mascara with brush and miniature eyebrow crayon. A fine mirror is big enough for all make-up pur- poses. With the Captivator, you're all set for day, night or week-end, cosmetically speaking.
X/OU'RE probably on intimate terms with / Linit Beauty Bath, but have you tried the Linit Magic Milk Mask? Hollywood knows the value of the mask and milk, separately, as skin beautifiers, and here is a new idea that combines the benefits of both. Use about three tablespoons of Linit, one teaspoon of cold cream and enough milk to make a consistency convenient to apply to cleansed face and neck. Apply as
Sophisticated, sparkling Lelong's Penthouse Co logne.
you would any mask and relax about twenty min- utes, like our lady in the sketch, then remove with tepid water. You'll see a finer, firmer skin, soft, smooth, refreshed. Try this after a hard day when you must look your best for a sudden date !
C EM-PRAY Jo-Ve- Nay, meaning "Al- ways Young," is an old friend. For a long time it has made mothers' skin rival that of debutante daughters' and plenty of screen names have en- thusiastic words to say for it. This preparation is a cleanser, emollient, general corrector _ and powder base combined. Very easy to use, too, in a container that serves as a holder. The contents push up, stick-like, to come in contact with skin. Sem-Pray Jo-Ve-Nay^ is protective and soothing for the children in winter and for men after a shave.
AT LAST, some of the problems on powder tone are being solved for fastidious moderns. Poudre Incarnat by Louis Philippe, maker of that very popular Louis Phil- ippe-Angelus lipstick, in- troduces five new shades, two of which belong in the rachel family, two in the naturel, with the fifth going quite exotic for the extreme brunette or one who prefers un- usual make-up. This, be- cause it has been found that most of us belong in the first two classes, so now you have ample choice. A fine, smooth air-blown powder that veils you softly but does not make you look pow- dered. More — if you use the Louis Philippe- Angelus lipstick, and it's surprising how many pro- fessionals do, the powder tones are keyed to lipstick shades, so that make-up may have a rich, harmony in depth of tone. The powder box is gold- tinted in a charming metal design, strong and substantial for constant use and cannot grow worn and shabby as less firm boxes have a way of doing.
THE cosmetics and perfumes by Lucien I Lelong are as chic as are the costumes designed by this famous Frenchman. And so with these Penthouse Cologne triplets Under a gay cover, very sky-scraperish and amusing, are gathered three generous bot- tles of Whisper— after that exciting per- fume—Gardenia and a real eau de Cologne. The bottles are leak-proof with shaker openings, and here's refreshment, per- fumery and luxury for a long time.
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How Crawford Keeps Clamorous
Continued from page 31
every single second of being an actress. All the world acclaim, the glamor and the ex- citement of being a movie star have never ceased to thrill her. She milks every mo- ment dry of its importance. Every time she starts a picture, every time she faces a radio audience, every time she sits for por- traits there is that same grim determina- tion, that breathless enthusiasm, as if it actually had never happened before. It couldn't be any different even if she wanted it to be. Joan has long since become a Hollywood legend. If ever there has been a movie star, it is Joan Crawford, who comes from the stuff of which actresses are made.
When you stop to think of it, Hollywood should be eternally grateful to Joan. How few actresses there are who live up to the traditions of the make-believe world. How few there are who supply that fascination the colorful life of an actress represents. But Joan never lets us down. She puts on a magnificent show, just as all the glam- orous women of theatrical history used to do. And she has a wonderful time doing- it. There is one possible flaw in the picture, if you can call it that. The very things that actresses were hailed for in another era, are the very things that Hollywood frowns on and brands with disapproval.
Unfortunately for Joan, she rose to great fame in a town that reeks of provincial unreality. Being a sensitive person Joan has struggled between resigning herself to the mediocrity of the average Hollywood actress' life or living within the colorful confines of her own creative world. As a result, Joan has been ridiculed, often mis- judged, sometimes disliked and many times offended. She has been accused of taking-
it all too seriously. But just try and get her to take it any other way. Some of her stories haven't been as good as Joan would like them to he. But she always compen- sates in some way.
In spite of her almost super-sophistica- tion, there is a sentimental side to Joan's nature that is remindful of a small town girl just starting out in life. I remember when the I'll Capitan Theatre on Holly- wood Boulevard was taken over for broad- easting purposes, Joan went on a program. She had invited me to see the show from the wings and I was to meet her in her dressing-room. Much to my surprise, I found her in the small dressing-room at the end of the backstage hall, rather than the large front one usually allotted the star. Just before she went on the air. Joan ex- plained why.
"I just couldn't take that room," she said. "It would have been sacrilegious on my part. The last time I was in there Paul Bern took me backstage to meet Pauline Frederick, who was appearing in a play. Miss Frederick had always been a great ideal of mine and I hoped some day to be as fine an actress as she is.
"I shall never forget that meeting. Miss Frederick held my hand and gave me won- derful encouragement. She told me to keep my chin up and if I felt I could accomplish things, never to allow anyone or anything to destroy that thought. I never have. And I've never forgotten her kindness to me."
The name of Paul Bern naturally brings to mind the tragedy of Jean Harlow. After Paul Bern's death Joan never would speak of it. He was a great friend to her when she needed a friend. His loss was a great one. Joan and Jean Harlow never knew each other very well. They had met once at a party, long before either had achieved the golden touch of success. Working on the same lot they naturally came in con- tact with each other. They always spoke but each went her separate way. There was no particular reason why they should have become great friends. But the stories of
Holly- wood's glamor girl in the role she plays with such zest and pleas- ure in pri- vate life —that of ''Aunt Joan,'1 idol of her niece, Joan Le S u e u r, aged 3 . Aunt Joan had a slacks en- s e m b I e Just like her own made for Niece Joan, and was that little girl proud! Especially when this picture was taken.
Crawford chic, illustrated in a recently photographed close-up.
a feud were greatly exaggerated, as Holly- wood exaggerates all rumors.
One day, Franchot who was working with Jean Harlow, came over on Joan's set. When he explained that the company were through for the day because Jean was ill, Joan ran right over to see if there was anything she could do. Joan and Jean met just outside the sound-stage door. Joan offered Jean some nerve tablets that she sometimes used. Jean explained that she had her own but they would not help. That night Joan received a beautiful box ot flowers. Attached was a note of thanks from Jean Harlow. A few days later Joan asked Jean to come for dinner. At the time Jean couldn't keep the date. She never lived to accept a second invitation.
Certain people are born to lead in this world. And certain ones are born to follow. It requires no master stroke of brilliancy to determine in which class Joan belongs. She has defied the time-worn traditions of conventional living with the same ease that a duck flicks water from its back. She establishes a precedent and flees from its limitations. For example, when all the pink and white blondes were being selected as typical Hollywood beauties, Joan went out and par-boiled herself in the sun. Her ma- hogany-colored skin and freckle-spattered face were copied by girls all over the nation. Thousands of grateful letters poured in from freckle-faced girls, whose own in- feriority had magically disappeared when Joan established the homely freckle as a mark of beauty. In the meantime Joan pro- ceeded to bleach herself out and become as pale and interesting as the fragile hero- ine of "La Boheme."
Joan was one of the first to wear men's tailored slacks. But one day she awakened to the realization that femininity had hit a new low. From then on she turned from slacks and is never seen in public unless she is the last word in sartorial splendor. The freedom the slack-wearing craze brought to Hollywood resulted in an in- formality that was nothing short of sloven- liness. Tourists depart from Hollywood with weird stories of having seen five-
72
thousand-dollar-a-week actresses shopping in filthy dungarees and spotted shoes. You will hear that some of your favorite glamor girls can be seen in any corner drug store, their faces bearing unmistakable signs _ of a recent mayonnaise massage. Leo the Lion might easily turn green with envy at the hirsute appearance of some of your dream girls, who comb their hair with electric fans.
But Joan always gives them their money's worth. At home Joan's dressing- room" is equipped with every known kind of boon to beauty. She has a practical manicure table, complete with electric light and wheels. She owns her own store-sized drier for her hair. She has dozens of shelves of shoes, each shelf for a different color. She has every width and color of ribbon by the bolt. She has several closets filled with dresses, and yet with Joan it never ceases to be a problem when it comes to making a selection. Being right for an occasion and looking her best for it means as much to Joan as giving a fine perform- ance. Once when she was invited to the Frank Borzage anniversary party, I saw Joan sit down and sew new jet buttons on a dress, because she wanted to wear this particular dress, but she wanted it to look different. Yet she could have closed her eyes, gone to her closet and blindly selected any one of a number of dresses and looked equally well. Another time I remember Joan gave a dinner party and wore a breath-taking vermilion crepe dress with a white cala lily pattern. She looked so beautiful, it was just impossible to say anything about it. Later on she asked me if "her dress was ugly, because it had gone unnoticed. I pointed out that she always looked her best and one got so used to it, she'd have to look her w-orst, in order to rate special attention.
Other women might want to look like Joan but they aren't willing or they don't enjoy going to such meticulous extremes. With Joan it is almost a hobby. And of course she is oftimes resented. I've seen her enter a room and each woman present becomes conscious of a hat that is off- slant. Or a hem suddenly becomes uneven. The men present suddenly remember to do all the nice little things. The ones that most women never look for. The ones that Joan always expects. I've been in rooms where other actresses walk all over the place trying to find a match for a cigarette. Yet the click of Joan's- cigarette case auto- matically brings a dozen different lights, from a "dozen different directions.
During the years that Joan has been criticized and maligned, she has never ceased to be a good sport. And even if she does appear to take it all pretty seri- ously, she knows when to keep her tongue in her cheek. She proved what a humorous perspective she has when her publicity de- partment asked her to meet a group of Middle-West politicians. Over a period of years Joan has always been the one who is so willing to co-operate when it comes_ to posing with visiting firemen and shaking hands with the "Apple Polishers' Union of America." Garbo just didn't have visitors on her set. And it usually worked out that
Norma Shearer's sets were closed on the
particular days there were visitors on the
lot.
But on this particular day Joan was tired. Everything had gone wrong and to cap the climax, on to the set walked the little group of politicians. Joan blew up and point-blank refused to come over and act cordial. The publicity department was in a dither. They explained to Joan that they had already said how charming and gracious she was. What were they to say now?
"Just tell them," flipped Joan, "that there's another new Crawford."
Patricia Ellis wears navy blue, with trimming of white kid.
On another occasion, Joan pulled an amusing disappearance act. She was at the Trocadero and excused herself to go make a phone call. When she didn't come back Franchot began to worry. He went to the phone booth and she wasn't there. So Franchot asked Barbara Stanwyck, who was in the party, to see if Joan was in the powder room. Sure enough, she was there. And busily engaged in helping Margot Grahame sew a broken strap on her low- cut evening gown. Joan had never met Margot before in all her life. When she walked in and saw the difficult time Margot was having, Joan offered to give her a helping hand.
Speaking of Barbara Stanwyck, one nat- urally wonders about her friendship with Joan. For five years they lived right across the street from each other. They had met but their lives had taken such a com- pletely opposite course, a close friendship had never developed. When Barbara left Frank Fay, Joan realized that she must be facing a terrific ordeal. So Joan sent a message and asked if they couldn't meet again. -
Soon Barbara was driving all the way out from Beverly Hills where she had moved, to Joan's house in Brentwood Heights. Across the street stood the home that Barbara Stanwyck left behind her, where Fay was now living. It's strange that all the time they could have seen each other on a moment's notice, it couldn't work out. But today they are the closest of friends. Joan is very devoted to Barbara. Outside of Franchot's picture, Barbara's is the only other one that Joan displays in her home.
In many ways Joan and Barbara, who have had the same struggle for success, are faced with similar problems. Both are highly sensitive, hard-working, independent personalities. Both are extremely loyal to their friends, expecting little from friend- ship, willing to give twice as much in return. They are, very good for each other,
because when Joan tries to help Barbara, she is actually helping herself. When Bar- bara recognizes certain traits in Joan's nature, she recognizes them because they also belong to her. Barbara is so emo- tionally equipped that in acting she finds escape from reality. But she only seeks that escape through the medium of her work. The rest of the time she retires to her own little world. Joan, with her great beauty, her flair for life and living, was meant and does belong to the world at all times.
There are many people who have helped Joan along the way in her career and these people come first in her heart. Any time Joan has had furniture made, alterations on her home, decorations to be bought, she has always patronized William Haines. From time to time people have come to Joan and urged her to patronize some other decorator. Joan has always given them the same answer.
"Bill Haines was a star when I was try- ing to make good. He gave me a chance in his picture and I have never forgotten it. Bill's business is going wonderfully well. He doesn't even need me for a cus- tomer, but I still would never go to any- one else, as long as Bill will do the work for me."
I remember too how sad Joan was when Renee Adoree passed away. Joan had not known her but she was captivated by Renee's zest for life. When it became nec- essary to sell the Adoree jewelry to pay doctor bills, Joan asked to buy it. Her ambition was to make Renee a present of her treasures when she was well and strong again.
"When the ill-fated Pickfair was put up for sale, an enterprising agent came to Joan and asked her why she didn't buy it. Back in his mind was the thought that Joan had once been refused admission there, when she became the bride of Douglas Fairbanks, Jr. It could have been a moment of triumph for Joan — if there is any triumph in sifting dead ashes. Joan shook her head wisely and the look on her face more than told what a long, long way she had traveled from those days when a date at Pickfair had seemed so important.
Joan's enthusiasm isn't strictly confined to her personal efforts. It involves material, financial and spiritual aid as well. When Joan isn't busy making monogrammed petit-point for Billie Burke, she is trying to find out why Delia Lind (her newest friend) hasn't been given a chance to sing, when she was brought from Vienna almost a year ago. One day finds Joan putting up the money to establish her hairdresser in business. The next day she's trying to encourage Alan Curtis, her new leading man, who hasn't been able to quite relax in front of the camera.
When Frank Borzage learned he was to direct Joan in "Mannequin," he naturally asked to meet her as soon as possible. They talked for a long time and Frank kept gazing inquiringly at Joan. The first day they started shooting, Frank said:
"You know, I have a feeling that .we have met before. Of course I've often seen you on the screen. But it seems to me that I've known you personally, too."
"Do you remember a girl you tested when vou wTere looking for someone to plav Diane in 'Seventh Heaven'?" Joan reminisced. "Well, I was that girl. I wanted that part so badly, but of course you said I w-ouldn't do. When my studio sent me over to make that test, they told me if I didn't get the part, they were going to loan me out to Tom Mix for a picture. It just so happened that they didn't becaus~ they had something else for me. But I made up my mind that someday you would want to direct me in a picture!"
Part of Joan's equipment is her vivid
73
Dolores Costello, very modern and modish, returns to the screen.
imagination. There is an over-compensating quality in her nature which is another rea- son why Joan gives you your money's worth as an actress. Joan is never quite satisfied with things— just as they are. Through her eyes and emotions they must become enhanced. Oftimes I tell Joan the newest story of the moment. She imme- diately repeats it to someone else. But she doesn't tell the same story at all ! She gives it her own version, but it doesn't matter. Most of the time hers is so much better. Recently Joan decided that her hair would photograph better if it were red. So she made it red. But just a little more red than anyone else. Joan was one of the first to wear blood-red polish on her hands and toes. When others started doing it, Joan switched to flesh pink. Originally Joan started the fad of wearing a braid on the side of her head. When other actresses began to sport a braid, Joan unbraided hers and tied it with a tiny bow. When the bow was taken up, Joan put gardenias in her hair. The gardenia phase became a symbol, and even though they still remain her favorite flower, Joan took up the lowly white carnation.
Joan's flair for fads manifested itself recently when she purchased glasses. Joan bought them to wear at pictures and in the theatre, because she found the constant strain gave her slight headaches. Instead of resenting the fact that she had to wear glasses, Joan was delighted. She could hardly wait to get to a place where she was supposed to put them on. To her they were the same as a new toy to a child. What's more, after Joan began wearing her glasses sooner or later she'd ask any- one she met if he or she wore glasses too. If she received a negative answer, Joan almost shook her head sympathetically and conveyed that they really were missing something !
There has been a great deal said about Joan's singing. Actually she takes lessons because she enjoys it. And she is anxious to sing. Beyond that Joan has not com- mitted herself. When the studio suggested that Joan sing something classical for the screen, Joan pleaded that she could not and was not ready to sing for an audience. Un- less you were a close friend of Joan and understood that she was still in the experi- mental stage, nary a note could you get out of her. Then one night Joan went dancing
74
at the Trocadero with a party of friends.
Joan was looking unusually beautiful this night. And she was feeling unusually well. Being Crawford, she just couldn't let it go at that. Suddenly without warning a voice filled the room. Joan, dancing by the bandstand, had quite unexpectedly pulled the microphone over and stood there sing- ing away with perfect ease. When she finished the song the applause was deafen- ing. Joan bowed graciously and acted as if it had all been part of the day's work. If the management had come up to her table and asked her to get up and sing, Joan probably would have been running
yet. ' •
Joan didn't start the gadget bracelet craze in Hollywood. And she didn't take up the style until every other actress had collected hundreds of amusing little orna- ments. Then just as the interest was be- ginning to die down, Joan started to collect miniature hearts. She had them of gold, platinum, enamel and crystal. One had a tiny diamond in the center. Another was decorated with hand-painted forget-me- nots. Joan was pleased because her gadget bracelet was different. Invariably she is criticized for her ever-changing innova- tions. But in the meantime everyone else follows suit.
Joan delights in being first with the latest. I've seen her tear out an ad from the New York papers and air-mail the illustration with her check. Therefore Joan always has the newest, whether it is girdles or gramophones. Burgess Meredith accom- panied me out to Joan's one night, when he was making a picture in Hollywood. On the way home I remember Burgess re- marked that two of the most glamorous women he has ever known, Katharine Cor- nell and Joan Crawford, both own Dachs- hunds. And looked like they should own Dachshunds.
When the fans fight for her autograph, when the police have to get her through the crowds, Joan really gets a huge kick out of it. There have been times too, when she- has been too nice to people through the impulsiveness of her generous nature. Had she used better judgment she wouldn't be cascaded to the depths of despair. But Joan never seems to learn a lesson. That is, she won't turn her back on her own emotion or cease to help people if she thinks she can do them any good. It never occurs to her that there are some people you never can do any good for. But she must be right because she keeps right on going ahead. People keep on going to see her pictures. And she seems to thrive on all the things a less dynamic person might never rise above.
I shall never forget a conversation I had with Helen Hayes, who is one of Joan's greatest admirers. Helen was visit- ing Hollywood and I had called for her to drive her out to Joan's house for dinner. As we drove along Helen confided that she would rather go to Joan's house than al- most any other actress in Hollywood. Helen asked why anyone would criticize Joan or censure her for the very things that make an actress exciting. To Helen, Joan per- sonifies everything that an actress should be. She feels that it is almost a tragedy that Joan wasn't born in another era, when actresses were expected to have the kind of fire, emotion, and imagination that swayed rulers of Empires. According to Helen, Joan was born to sleep in glass coffins and make spectacular entrances. She feels that Hollywood should be grateful to Joan for her struggle against the common- place and her endless effort toward making the career of an actress as colorful and fascinating as the make-believe world should be. There are far too few actresses today who live up to their own tradition — and actually give you your money's worth.
Once Over Lightly 1
Continued from page 26
"Speaking of 'Souls At Sea,' though, re- I minds me of the uproar that was created at Paramount when 1 dashed over to Bill's a little too soon during the shooting of that picture. The final shot was supposed to have been made, the company was dis- missed and, as usual, I beat it over to k Bill's for my reward. Snip, snip snip went the shears, and shah, shah shah went the razor, all to my very great delight. As fl Harry neared the completion of the job the 'phone rang and Bill answered. He was very attentive for a few seconds, then, looking over at Harry and me with a most grave expression he dropped the receiver bluntly and shouted, 'Hey ! Hold every- thing! Cut it out! — I mean, don't cut it! Hold it!' When he was able to regain his breath he went on to explain that it was a call from Paramount's production de- partment and advice had come through that there would be retakes the next day. I was to report on the lot for the extra shooting. Looking down at the pile of hair on the floor, my heart missed a beat as I thought of the reception I'd probably get from Director Henry Hathaway when I appeared on the set, sans hair and sans whiskers. As it turned out, a wig was made which was passable, but while the wig-maker was trying to match my hair Paramount lost several hours' shooting time and consequently several thousand dollars."
Bill's long-time customer is well-wear- ing, smiling Dick Arlen. Dick has been coming to Bill Ring's for his hair-cuts since 1924, and. incidentally, in all that time has had but two of the establish- ment's men do his work. Like Crosby. Dick doesn't care how they cut his hair as long as they get it done, and, as he puts it, "as long as they get it out of my ears." Dick relaxes in the chair, and is easy to work on. As patriarch of Bill Ring's group of clients, Dick has the fol- lowing to say : "I've been kicked all over Hollywood in the course of my jagged movie career, but when things get tough I feel that I can always go into Bill's and get a sympathetic hearing. If not from one of the gang, there's always Bill
Barber shop blues! Spencer Tracy gets 'em it seems, above.
to fall back on. He has yet to fail me as a listener to tales of woe."
Joe Penner does a lot of thinking while he's in the chair. According to Bill, joe puts on a serious expression, says nothing, but just as it looks as though he's going to go to sleep comes out with some crack ' that sends a ripple of laughter clear out to the sidewalk. According to Joe he is Bill's prize sucker, and has an almost pathological lack of sales resistance. "I wonder what Bill's going to sell me today?" is the expression Penner is known by around the shop. (Bill Ring is one of Hollywood's leading pipe and tobacco mer- chants, also sells tooth-brushes, razors, smokers' equipment and general gadgets).
Stu Erwin serves the dual function of keeping Bill Ring's marble games going on merrily and bringing in all the very latest dope on football, baseball, the horses ; and the beauties, health-giving qualities and charm of the Sierra Mountains (where Stu was born — and proud of it.)
The title of fussiest patron of Bill Ring's has been contested about evenly between William Powell and Adolphe Menjou. Precise and demanding in the matter of the welfare of his hair, moustache, and finger-nails, Bill Powell is as pleasant as possible during the maneuvers, but still insists that the work be done in a certain way. "It's a toss-up," says Ring, "as to who uses the hand-mirror more often dur- ing a session here, Bill Powell or Menjou. However, I think I'll give Powell the edge on points, for Bill not only uses the hand- mirror to excess but also at times stands up in order to get a better view. But still I like him," Bill Ring appended.
All that has been said about Powell ap- plies generally to Menjou, with the ex- ception that, when everything is going well, Menjou will soften up and talk about his dogs. "We hold against him particularly," remarked Charlie, the youngest of the tonsorial artists, "the holiness of his moustache. Never, since he has been com- ing here, has he allowed any one of us to lay hand, scissors, or razor to that sacred turf."
"But still," rejoined Bill Ring, "we all like him."
The fidgety customers, according to Bill, are most noticeably Fred MacMurray, all of the Marx Brothers, Eddie Cantor, Jack Benny, Paul Lukas, and Producer Lubitsch. On account of their long legs, Vic McLaglen, Andy Devine, and W. C. Fields are added to the list. For these
high-strung Hollywoodites the barber-chair seems to be designed as a source of dis- comfort, rather than a place to relax.
Contrasted to the fidgeters, Bill boasts of such prize relaxers as Melvyn Douglas, Lloyd Nolan, Kent Taylor, Bob Burns, Mischa Auer, Pat O'Brien, "Skeets" Gal- lager and Jack Mulhall.
Of the gregarious clients, W. C. Fields, Jack Benny, Groucho Marx, and Eddie Cantor stand out. Whether it is that these • gentlemen have a lot of talking to do, or that they have some lagging childhood fear of having their tonsorial needs attended to without company may never be known. The fact remains that only rarely are these stalwarts seen alone in a barber-shop.
"Although we have never, to my mem- ory," said Bill, "been favored with any Adeline-singing quartets in our shop, such foursomes as Ben Bernie, Walter Win- chell, Mack Gordon, and Harry Revel, and, believe it or not, Einstein, Count Tolstoy, Jack Dempsey, and Thomas Meighan have been frequenters (without definite purpose) of our establishment."
Occasionally Bill receives off-campus calls, in answer to which he is always willing to oblige. Outstanding of such summonses was the job that called _ for Charlie to go out and shave W. C. Fields at the Cedars of Lebanon Hospital during his rather recent illness. With all the pain and discomfort that were wracking the fibers of the ailing buffoon, Bill Fields was still able to come out with the statement: "Charlie, I believe that is by far the worst, the dullest razor that has ever come in contact with my epidermis."
Going to the Paramount lot to answer a call from Cecil B. DeMille, this same Charlie received the compliment of his life. Said Cecil DeMille when Charlie had finished, "That, my. boy, is the best hair- cut I have ever had. Why hadn't I been told about your place before?" Charlie didn't know how to answer, but went back to the shop throbbing with the DeMille praises.
"And that," observed Bill Ring, "is the last we ever heard from Cecil DeMille !
"We thought we were going to have Charlie McCarthy to work on the other day," (Bill's expression was that of un- requited hope) "when Ed Bergen brought him in under his arm. We were disap- pointed, though, for Bergen simply stepped up to the smokers' counter, bought a cigar, and walked out. Oh well, maybe someday we'll get McCarthy's business."
Star-Dust Baby
Continued from page 63
THE STORY UP TO NOW Katrine Mollineaux (real name Katie Malloy) orders her press agent, Bill Naughton, to find her a baby to adopt — "it will be headline publicity for me," she argues. The "baby" Bill brings is a boy, about 8 years old. Furious, Katrine tells Bill he must return the lad to the orphanage. The agent says that's im- possible, and tells Katrine how the lad got the black eye that adds to Peter's disheveled appearance. He got it, Bill informs her, "defending you against slurs by another boy." Little affected by this show of devotion, Katrine tells Naughton she may have to keep the lad for a while, "but that doesn't mean I'll like him." Now catch up with the story.
of a proper — or improper one. After a moment Katrine went on.
"That's what gripes me," she said. "You can't divorce a kid — not ever." She paused. "But as soon as the fireworks have stopped, I can send Peter to a boarding- school in the east. I can make arrange- ments to have them keep him during vaca- tions, too — "
Bill said to that: "I'll take care of Peter's vacations — " but Katrine shook her head. "No," she said, "I won't have you spoiling him. In fact, Bill, I think you spend too much time with Peter already! I was going to talk to you about it."
Bill was stung to answer. "Do you want to isolate the kid entirely?" he asked. "He likes me, and he's crazy for affection and he gets thinner every day. If you ask me, you won't have to worry about boarding schools — or vacations or anything else — if this goes on !"
Katrine looked at Bill with level eyes. "Are you accusing me of being mean to the kid," she said, "and not giving him every luxury? Now, Bill — "
Bill answered, "There's such a thing as mental cruelty. I saw that business with the flowers a week or so ago. Peter got up long before breakfast to pick them — " Katrine queried, "What flowers?" Bill told her, "Don't pull that innocent line on me ! I mean the bouquet he brought you — the one you threw away because you happened to be feeling cussed. Peter'll carry a black and blue spot on his soul because of that !"
"Balogney," Katrine objected. "You're making a mountain out of a mole hill. Peter probably found the weeds in a gut- ter. They were more'n half dead."
Bill said : "He'd been holding them in a hot little paw, trying to get up the nerve to give them to you. Katie, I hate you sometimes !"
Katrine went to a nearby vase and took from it an orchid, not quite fresh.
"Here's a posey. If you like 'em this way, Bill, you can press it — and put it in your memory book."
Bill stared at the slim hand holding the flower. The smooth nails of it were tinted with a new rusty shade. Bill loathed the color — it was too much like drying blood to be funny.
"I really do hate you," he heard himself repeating, "you've got something clammy back of your smile. You've got a two- edged sword in your voice. You've — " Katrine said, "Go on! Do!" Bill growled. "I will. I hate you and I wish I'd never seen you in my whole life—"
Katrine drawled, "Do you indeed? I
75
wonder where you'd have been today, if you'd never seen me. liver think of that, Bill ?"
Bill had thought of it. Too often, of late. He replied, very low, "1 was getting along when you took me on to do publicity."
Getting along . . . Katrine, looking at Bill, giggled. "I seem to remember," she said, "that you were doing some adver- ting copy for a cut-rate gents clothing store on Avenue B . . . Radio was coming in, about then — you were hoping to meet somebody who cleaned spittoons for one of the smaller broadcasting companies. Once you were a newsboy, weren't you?"
Bill told her : "I owned a third interest in a swell little newsstand."
Katrine giggled again. "Oh, sure," she said. "You were going to get reckless and put in a line of chewing gum and penny candy, weren't you?"
Bill interrupted. "Listen here, Katie," he said, "you were just starting, yourself, when I began to do your publicity. We came along together. A newsboy — and a hoofer with more figure than brains. You gave me a break, but I got you lineage in the papers. It was just about even — "
"It isn't any more," said Katrine. Just that.
Sometimes eyes can stare into other eyes for so long that they get locked, almost. Bill Naughton had finally to wrench his eyes from Katrine's gaze.
"I guess you're right," he said. "Almost any half-baked publicity man could get you what you want — now."
Katrine nodded slowly. "You said it !" she told Bill. "And I wouldn't have to go to night school, or learn to fly, or adopt kids."
Bill laughed. "This is a joke on both of us." he said. "Am I fired, or do I resign ?"
Katrine put out a hesitant hand toward Bill. The movement was involuntary — with a little annoyed exclamation she snatched it back again.
"If it would make you feel better about it," she said, "you can resign."
"Thanks!" said Bill. He didn't have time to say any more, for Peter stood in the doorway, looking at Katrine with the sad gaze that a certain Borzoi had once worn.
"There's a man to see you," he said. "Kito wasn't around and the man asked me to announce him. It's the Frenchman."
Bill began to laugh. He said, "Some day Katie'll be making a butler out of you, Peter ! He laughed all the way down the corridor until he almost collided with the little Count. Then he jammed his hat hard down on his head and swore and walked rapidly along the avenue, bordered with
Martha Raye whoops it up in "The Big Broadcast of 1938."
palm trees, that led to Katrine Mollin- caux's front gate.
Back in the drawing room Peter stood twisting his fingers together. Instinctively he knew that something was wrong, but he didn't know just what it was. After a long minute he spoke: "Uncle Bill left in a hurry, didn't he?" he said.
Katrine surveyed him coldly. "Yes," she said, "and it's a pity some others couldn't take a lead from him. You picked a fine time to come barging in, Peter."
Peter spoke in his own defense. "But the man sent me."
Katrine said, ignoring the defense, "It you had the sense of a rabbit you'd have told him I was out — the Frenchman, 1 mean."
Peter answered, "But I couldn't. I kneiv you were in."
Katrine had a wild desire to shake the child until his teeth rattled. She found that she was mentally cataloging all sorts of things, obscure and unobscure, that had annoyed her since the hour of his coming. The initial disappointment, the way in which he had absorbed Bill Naughton's interest, the unexpected devotion of the Japanese servants, the hurt expression that came into his eyes when she spoke sharply, even the stray kitten that she hadn't let him keep. She said suddenly and vehe- mently, "Darn it all, Peter — you're just a pain in the neck to me!"
Peter hardly ever answered back ; it wasn't a part of his code of acceptance. This time, however, he broke an estab- lished rule.
"Why?" he asked. "Why am I — a pain in the neck?"
,Katrine, meeting the child's wide, intent gaze, found the question a trifle difficult to answer.
"I guess it's because I don't like little boys," she said at last.
Peter's shoulders seemed to straighten in a dreadful, unchildlike way, beneath the hand-sewn linen of his blouse.
"But you like me, don't you?" he queried. "Even when you're cross — you like me? Even though I am — a boy?"
Katrine found all at once that she was embarrassed, and it was a long while since she had been embarrassed by any male person. Out of the embarrassment she spoke.
"No, I don't like you," she said, "every- thing's been ga-ga since you got here. Bill and I were getting along fine — just like we always had. Nobody butted in, and nobody made me look cheap."
Peter's voice was so unsteady that it fairly ached. "I don't sort of — understand," he said.
Katrine told him bluntly, "Then you must be even dumber than you look," she said. "I should think a kid half your age , would get it. I don't want you — and I never did — and that's that !"
Peter was biting his underlip again, as he had on the day of his arrival. His voice, when he finally spoke, was no longer steady. It was, in fact, almost blurred.
"If you don't want me, an' never did," he asked, "why'd you take me?"
Katrine said, "I didn't take you, Peter. You were wished on me by darling Uncle Bill. It was all a gag."
Peter whispered, "A gag?"
Katrine laughed. She didn't know that her laughter was nearly as unsteady as Peter's voice.
"You're too young to know what a gag is," she told the child. "For gosh sakes, beat it before I say anvthing I'll be sorry for !"
Peter didn't speak again. He swung on the heel of his flat. English-cut sandal, and went very quietly from the room. It was only as he passed through the doorway that Katrine became aware of the not very
Jack Haley and Phyllis Brooks in "Rebecca of Sunnybrook Farm."
large man who stood there amusedly watching.
"Who told you to come in?" she asked sharply of the French Count, named Bcr- trand. "You're a swell guy to stand in a doorway and listen to a private conversa- tion."
The Count interrupted. "I followed the boy," said the Count, "I couldn't help hearing — "
Katrine's eyes were narrowed as she surveyed her suitor. "You didn't try to help hearing!" she said. "You're a slimy little goof—"
The Count laughed. "And you are ut- terly charming when you are in a rage, Katrine," he said.
Katrine's voice was a snarl. "You think- so?" she asked. "You're so bright you ought to be one of the arc lights on the Boulevard !"
The Count was not adroit at reading danger signals. Besides, he. had for a month been warmed by the golden color of Katrine's favors. He said, "The child is very unattractive. I do not blame you for disliking him."
Katrine heard her own voice speaking. It was so different from her own voice that she scarcely recognized it.
"And now you're being psychic," she said. "Who told you that I dislike Peter?"
The Count laughed. "You said it your- self," he remarked placidly. "You said it to the child. Mon dicu, I thought he was going to faint ! It pleased me to hear you express yourself, Katrine. I, too, dislike children. But intensely!"
Suddenly Katrine Mollineaux was blaz- ingly angry. Angrier than she had ever been in her life, to date. Somehow she found herself blaming this blandly amused Frenchman for the way in which she ha l hurt Peter, and the breaking of her long association with Bill, and a million other disconnected things.
"So you dislike children, too, do you!" she raged. "You little bum ! You little half-pint so-and-so! Why — " there was the sound of a smack, so sharp that it might have been an echo from a lost but glorious Fourth of July, and the Count stepped back, nursing a crimson cheek.
"But, cheric, you said — "
Katrine screamed, "It's none of your business what I said! You take it on the lam before I have you kicked out !"
The Count went rapidly — fear stamped, with the mark of five glaring fingers, on his face. It was only after he had entirely vanished that Katrine began to cry. When the tears became a torrent, she threwr her- self upon the floor and beat against the thick piled oriental rug with clenched, im- potent fists . . .
(To Be Continued)
76
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"Man-Proof"
Continued from page 59
"MAN-PROOF"
A Metro-Goldwyn-Maycr Picture CAST
Mimi Swift Myrna Loy
Jimmy Kilmartin Franchot Tone
Elizabeth Kent Rosalind Russell
Alan- Wythe Walter Pidgeon
Florence Rita Johnson
Meg Swift Nana Bryant
Jane Ruth Hussey
Bob Leonard Penn
Tommy Gaunt John Miljan
Director : Richard Thorpe. Producer :
Louis D. Lighten. Screen play by Vincent Lawrence. Waldemar Young and George Oppen- heimer from a book by Fanny Heaslip Lea.
away from herself. And Jimmy had lived long enough to know it would be useless to try to stop her from drinking the cham- pagne she turned to so eagerly. He wished he could do something for. her. She was so super, and she was so young, too, and so vulnerable.
But he couldn't keep her from the cham- pagne, nor from the bitterness, nor even from that last talk with Alan. Elizabeth, dressing in her going-away clothes, heard Mimi's voice outside in the corridor as she hailed Alan. Funny, she had thought she would gloat over Mimi today, for the race had been much too close for comfort. But she hadn't been able to, not with Mimi's eyes looking at her.
"I'm sorry for that crack I made down- stairs," Mimi said, and Elizabeth moved into her dressing-room so that she wouldn't hear the pain in her voice. "I was trying to be smart. It wasn't so hot."
"It was all right," Alan said uncom- fortably.
"No. No, it wasn't." Mimi's hands twisted. "Listen, Alan, the losing lover must be a lovely loser. She had a big part in this play and now she's got to get Jhe curtain down."
"You're lovely enough, Mimi," he said slowly.
"Sure." She made a horrible grimace of an attempted smile. "That's why you mar- ried me." She waited, hoping for words she could hold to her heart and remember afterwards, but Alan said nothing and she went on desperately. "Well, congratulations — and I hope you'll be happy."
"I know you do, dear," Alan said shame- facedly.
"And you will !" Mimi swayed a little. "She's worth marrying and the job her father is giving you is worth a million."
Alan shook his head. "The wine is a funny fellow. Imagine you talking like that."
"I'm not a nice girl, Alan." Mimi looked at him steadily. "I tried every trick in the bag to be the bride ! But I'm this nice, I'm perfectly willing to warn you : when you return, I wouldn't have anything to do with a girl like me. I would put the seven seas between us and wish there were eight !" And then she turned and ran away.
It was Jimmy who found her late that night after Meg had called him in a frenzy. She was sitting at the bar in the tenth night club he had gone to in search of her, her floppy bridesmaid's hat hanging limply from her hand.
He tried to be casual, but she was so
Slink that it didn't make any difference what his approach was.
"Congratulations," he tried another line. "Because you almost won that guy and didn't. Wouldn't that have been a fancy marriage, with a man who has no dough ! What would you have lived on, I ask you?"
"I'll tell you what I think," she edged away from him, "when Alan comes back, you can bet all the cartoons you can draw in a year I'll be waiting for him and — "
"Ah, now you're talking, lassie," Jimmy grinned derisively. "Listen, he doesn't need a guardian, that lad. I le'll get a piece of change out of her all for his own." Sud- denly his voice changed, became almost gentle. "I know you're having a bad time, Mimi. And I know it's no good to say, I don't think love is worth suffering for. Not any love I've ever seen isn't. All I've ever seen is the kind that's all around us and, for my dough, the real thing is something that grows too high on a tree for us to reach."
Funny, how Mimi remembered that speech of Jimmy's the next morning and how her lips twisted remembering it and remembering other things too. For a long time she lay there loathing herself and the champagne that had festered her unhappi- ness into that galling bitterness. She tried to smile when her mother came, much more matter of fact than she felt, to say goodbye before making her train into the city.
"Aren't you going to say something?" Mimi asked wistfully. "Haven't you any sense of duty ? You ought to scold me or console me or something."
"You know I hate to play that kind of mother," Meg said slowly. "There's some- thing so awful about a mother advising you when you've had a crack on the jaw, to say nothing of a hangover with it."
"I want you to, Mother." Mimi reached out for her hand.
"What would you say," Mimi said slow- ly, "if I said I thought Alan had made a mistake and I intended to keep on being eager about him ?"
"I think you're better than that," Meg said slowly.
"Suppose I felt I have a right to Alan, an even greater right than Elizabeth," Mimi insisted. "What would you do then?"
"Well," Meg looked at her steadily, "as long as you were doing what you thought was right I'd be with you, even fight for you, but I'm afraid I — well, I wouldn't have much enthusiasm for the cause."
For a moment Mimi looked as if she were going to cry, then her hand reached out impulsively. "Mother, I guess that licks me." She smiled a woebegone little smile. "You can go now, you don't have to worry about me any more."
Of course it wasn't really a career to
Boots Mallory, of Grand National, peers over a puffed sleeve.
78
SCREENLANE
FOOLISH words of a popular song. But there's truth in them. In his heart, every man idealizes the woman he loves. He likes to think of her as sweetly wholesome, fragrant, clean the way flowers are clean.
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begin with, that job Jimmy got (or her in the art department of his newspaper, but it wasn't long before Mimi was really doing things with that talent she had for drawing.
So after three months she came over to him one day hugging the drawing for the furniture ad she had just done.
"I'm excited, I admit it." Her eyes were shining. "It means so much to me, it means I'm making good and I'm getting such a thrill out of it !"
She stopped as a boy came in with a pile of papers just off the press and took one and turned to the page her ad was on, with Jimmy grinning over her shoulder.
"Here's a paper full of the news of the world, life and death and destiny, and what you're excited about is a furniture ad," he jibed, then suddenly he stopped and her eyes followed his to the social note on the opposite page.
There was only that first sharp intake of her breath as she read that Elizabeth and Alan were back from their honeymoon and were planning a celebration for the members of their wedding party.
"Funny, being in the same paper," Jim- my said, and then he asked: "Will Mimi Swift be at that party?"
She turned to him as if she'd suddenly made a great discovery and he saw her eyes were shining.
"I often wondered what I'd feel like the day that was in the papers," her voice came eagerly, "and I find that I'm still excited about my drawing. Do you get that, Mr. Kilmartin?"
It was all too easy, that party, greeting Elizabeth with the old affection she'd had for her before Alan came between them and their friendship, greeting Alan so casually and meaning it too, as he came over to her on the verandah after dinner, and talking about her furniture ad as if it was the only thing in the world that mat- tered and her heart not skipping the lit- tlest beat when she saw he looked vaguely disappointed.
"Well, this isn't what I expected," his voice sounded almost sulky as he sat down beside her. "I was wondering what we'd talk about when we met again but it's a cinch I didn't think it was going to be about a furniture ad. You see, I was more or less led to believe it was going to be about oceans, or seas as you put it once. That it would be dangerous for us unless there were eight of 'em between us."
'Mimi leaned over to accept a light for her cigarette.
"The wine is a funny fellow, as you put it," she smiled.
"Oh," his voice sounded blank. "Then it was just the wine talking and as socn as I left — all as if nothing had happened."
"No, not so soon," Mimi said quietly. "But- I'm all right now. Aren't you glad, Alan ?'.'
"No !" The word was torn from him. "So this is the end. Somehow it's a little sad."
But Mimi didn't even feel the least bit sad or even triumphant when Elizabeth came toward them and she saw her quick glance of apprehension.
"Hey, come here, you !" Alan hailed his wife. "Protect me! I've been insulted. My ego's gone. All this time I thought Mimi's been carrying a torch for me and now she says she can't believe she ever was in love with me. So it's all set now, we've got it all in blue prints, we're going to be friends. I, she, you !"
"Let me tell her, Alan," Mimi said slow- ly. "Elizabeth, you know- Alan never loved me. He likes me and now I like him. That's all there is to it. And I want you to believe me."
"Thank you, Mimi, and I do believe you," Elizabeth said and she smiled with Mimi as the quick frown knotted itself between Alan's eyes.
I hit for all her talk of friendship Mimi hesitated the day Alan came to the office with two tickets for a prize fight at Madi- son Square Garden.
"I drove Elizabeth to bed talking about the fight," he grinned. "And she told me not to feel bad. That tomorrow would he the happiest day of her life. The fight will be over !"
"I can't go alone with you," Mimi said slowly and then, "Does Elizabeth know you were going to take me?"
"Of course she knows it," Alan grinned. "What about this beautiful friendship you sold me? Are you going to throw it in the ash can before it's even started?"
So after that, there was nothing Mimi could say. She went to the fight and some- how it was almost the way it used to be, laughing with Alan like that, getting ex- cited with him, grabbing his hand once at a knockout punch, thrilling again as he took her hand and he'd it. Once she looked up and saw Jimmy sitting across the aisle and a flush came to her face as she saw the look he gave her. But after that there wasn't time to think of Jimmy.
There were so many things to do, excit- ing things, going to a night club afterward and swinging hands as they walked home through quiet streets and nothing said that couldn't be said and yet all the time old un- dertones were there and old feelings stifled too long rekindling and becoming important and exciting again.
"If it hasn't been the gayest time I've ever had, don't ever give it to me any gayer. I couldn't take it," Alan said as he left her at the door of her apartment.
The excited happy smile was still play- ing about Mimi's lips as she closed the door of her apartment behind her, then suddenly it was gone as she saw Jimmy waiting for her. She had never seen Jimmy look at her like this before. Almost as if he didn't like her.
"Lovely fight, wasn't it? Nice and bloody, or didn't you notice? Oh yeah, sure, you went to the ball to show 'em all how free you were of him; well, you showed 'em tonight all right, sister."
"I just love you in the role of big brother, Jimmy. It fits you so perfectly." Mimi laughed, then she sobered. It was all so clear to her now why Jimmy had been waiting there in the apartment. He had misunderstood things. He had not thought she would be coming home alone. "I am really glad you came around tonight."
Jimmy was taken off guard at that. "Why?" he demanded.
"Well," she hesitated, "you've made me realize he wasn't even thinking about — what you thought — and I'm just realizing why the night was so lovely. What I'm try- ing to say is, you don't know how swell it is for you to be wrong."
She would have been so happy if it hadn't been for Elizabeth. Why did that girl have to be so grand, anyway ? Why couldn't she have been the sort of wile that no one would mind hurting? But after all, that couldn't be helped. Love was the thing that counted.
She was going to play fair, though, she told herself that as she took up the tele- phone the next morning and called Eliza- beth. But she wasn't quite prepared for the happiness in Elizabeth's voice as she an- swered.
"Sorry I missed the fight last night, Alan said it was so exciting. But I think I'd rather have scarlet fever."
"Not me." Mimi couldn't help the tense- ness that crept into~ her voice. "I wouldn't have missed it, not for anything. You didn't mind my going alone with Alan ?"
"I don't mind you, Mimi. Especially after our friendly little .alk."
Mimi spoke softly into the phone now. trying to take the edge of the shock away. "Try to. understand this, Elizabeth. The
SO
SCREENLAND
other night I said a lot of things about friendship. I meant them then, but they re not true any more. What I'm trying to say is I'm still in love with Alan."
There was the sharp little click of the phone in Elizabeth's ear and the sudden fear in her heart. But in spite of that it was Elizabeth who sent Alan to Mimi again that night. And she knew she was doing it too when she pleaded a headache and sug- o-ested he go off for a night at the club.
"That man's here again," Alan shouted the salutation as he knocked at Minn's door. And he smiled as he heard the eager rush of feet inside.
"Carry him in," Mimi laughed as she opened the door.
"Where shall I put him?" he asked, and his eyes were eager. .
"Oh, just dump him anywhere! Mimi laughed but she might as well have said, "I love you." _
"Oh, you can't treat him that way, Alan jibed. "He's marked fragile. He needs a lot of care and kindness ; in fact, what he really needs is more of the same medicine you gave him last night. You're gay, Mimi : you're fun— in fact, you're swell. Why can't things be like this always?"
"Can't they?" she said quietly. "Is this— is this the way you want it to be, Alan? The two of us, always?"
His mood changed just a little. "I know we've got a lot of talking and thinking to do, but let's not do it now—" He stopped as the knock came on the door, and then he stiffened as Mimi flung it open and Elizabeth stood there.
"Hi, dear," she called to Alan, and even her eyes did not show her hurt as she came into the room. Then she turned to Mimi "Well, between three old friends, can I
have a drink?"
Alan poured stiff highballs for the three of them and Elizabeth took ( a drink of hers before she spoke again: "This is
The old well lures the alluring Leah Ray, songbird and screen actress who brings a strictly modern touch to the rural retreat where she spends holidays.
different than I expected to find it. You both look— well, very sure of yourselves. I'm confused by the way you look, Alan. I never saw you look like that before. 1 don't think we have to talk much. I think you're in love with her and all you want is a divorce. .
"I'll tell you why I was so surprised. Elizabeth turned to Mimi. "On our honey- moon I knew that Alan didn't love me. So, having naturally rated him higher than a fortune hunter, I found myself married to a man who had lost his size. Who was just — ordinary." .
She saw Alan staring at her then.
"Then I began to realize something- else." Her fingers tightened around hej
glass. "And it was strange. He was trying to be in love with me, so desperately that I knew Alan had never been in love and never would be. But his not wanting to be like that, made a difference— and instead of hating- him for being ordinary, I found myself sorry for him because he was a very lonely man.
"Well, being in love with him what was I going 'to do about it ? I knew there would be a parade of women, since he would be trying to find love some place, but they wouldn't be getting any of his heart for he had none to give them. And the fact he had married me seemed to say he liked me better than any.
"Not very much to have, but that much,
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Minii. And added to that it isn't everyone who can charm and amuse me. So I was going to let it ride. But I wouldn't want Alan in love with another woman. He wouldn't be very charming or very amus- ing with a heavy heart. So now since he is in love at last — well, I had it pegged all wrong."
She put down her glass and got slowly to her feet.
"I'll pass up the drink. I won't be good at being noble much longer," she said.
It was Mimi who spoke first after the door closed.
"There goes a Major-Gcncral in any woman's army, even though she did lose," she said.
But she saw then Elizabeth hadn't lost after all.
"All this time I've been married to her I've been sitting for my portrait and didn't know it !" Alan looked like a man who had suddenly been startled from a long sleep. "She clocked it, Mimi. You zvcre to be in the parade. Oh, right out in front — you know that, but in the parade never- theless. Then the charm of last night gets busy again, you believed so much that it was a great love and so I thought it was the McCoy at last. And then in comes a wise guy and shoves a mirror in front of my face."
"Are you in love with her?" Mimi asked in a small sick voice.
"No, but — well, Elizabeth does count now. And I know you wouldn't want to count — that way. I guess you're lucky, Mimi."
"Sure." Her head lifted. "Sure. We're both lucky, I guess."
But after he was gone there was that sickness in her heart that was different from that other feeling had been, the first time she had lost Alan. For now it was shame she felt. A sickening, agonizing shame.
She really didn't know she was going to Jimmy when she got out of the house at last. But she did. And when he saw her face he wasn't cynical or bitter with her the way he usually was as he bundled her into his old Ford and started driving her out to Meg.
The night air felt good on her face. Fresh and clean and brisk. And suddenly being with Jimmy seemed that way too. It was almost like getting to know herself all over again, feeling the shame go and laughter coming instead, feeling so calm with Jimmy saying all the things to put a girl right with herself.
It was so grand they kept on riding through the night so that when they came home it was at the breakfast table they found Meg. They tried to tell her of the thing they had found and Meg listened with that wise smile of hers.
"So you've both come to a great under- standing!" She shook her head. "There's no such thing as love. You've put it out of your lives. Friendship rules triumphant !"
"How can you sit there and not get excited?" Jimmy bellowed. "Your own daughter has come out of the ether. She's through with all that romantic mush. She's a real person now and—"
"Jimmy, look at Mimi," Meg said sud- denly. "Not me, her ! Look at her eyes. They're sparkling. And Mimi, look at Jimmy. Where's that old indifference? Where's that lack-lustre look? You idiots, don't you know love when you see it?"
They didn't know it, not for a minute. There was that first startled silence and their hearts bounding and Mimi's knees trembling. But then Jimmy took a quick step toward her and she was in his arms, and after that even a fool would have known what it was all about, not to speak of a smart girl like Mimi.
Fay's Magic Carpet
Continued from page 67
pictures are decided. She never keeps a shot that shows anyone in an unfavorable light.
"People only look as they do in those dreadful shots for an instant," she said. "It may be a trick of light, or a glare in their eyes, or because they have their mouths open to speak, and they look either imbecilic or drunk or hideous. Why preserve that ?
"I don't mean that the people in my pic- tures must be always at their best — always well-groomed and well-dressed — but they should give me an impression I want to keep.
''These shots of Dolores Del Rio on the sands at my beach house aren't the most beautiful pictures ever made of her, but 1 love them because they give me a Dolores mood that I seldom see. Her hands are so expressive, her face thoughtful. It has an old Italian painting quality that I'd like to get oftener."
"I like some of my Swedish stuff. The hay drying on the rails here in Rattvik — this Gota Canal scene. I traveled by boat across the lakes and through little canals. The boats progress through a series of locks ; you can get off and take a walk inland for an hour or so and when you come back your boat may be a hundred yards farther down the canal. In this I like the water reflections and the dappling of sun through the trees.
"When I get that portrait lens, I'm go- ing in for character studies. I don't want just young, pretty faces— I want real char- acter. In this shot of an old caretaker of a church at the village of Leksund, Sweden, you can see the sort of thing I mean.
"When I get that portrait lens I shall probably annoy all m)' friends terribly by telling them to move a little toward that shadow, or draw in that foot, or shift your glance to the left. Or I may get to be a serious artist who will sit patiently waiting for four o'clock and a certain phase of light, before I will shoot. Who knows?
"But I had rather good luck with these two that I shot without waiting a second : Richard Arlen racing across his garden with his dog, and my husband sitting in a sleigh opposite me at St. Moritz. See the snow falling on his coat ?
"I'm not a specialist in animal pho- tography," Fay went on, selecting two more prints from the little heap on the couch, "but here are two pictures of Anita Louise and her Irish setter, Rambler. The house is Anita's. The girl's dark figure against the white fence makes a good contrast. Perhaps the two should both have been shot against the light back- ground, but when I take a picture of a dog, I'm lucky if I get the dog, without worrying over where he is by the time the shutter clicks !"
Fay is convinced that it's a good thing for a husband and wife to share the same hobby.
"It makes for friendly rivalry," she laughed, "especially if you each have dif- ferent cameras. We both take pictures on our trips or at the beach or at the current excitement and then we can hardly wait till the prints come home.
" 'Mine are really quite something this time !' we will say to each other, and it's a triumph when you actually discover that yours are a little better.
"With two people in a family doing it. you feel you must improve. It won't dc to make the same mistakes and have the other one say : 'Your lighting is bad — again!
82
SCREENLAND
Ungilded Lily
Continued from page 65
water, and she should have been dank and depressed. But she, and the whole company, had the giggles. I pieced the story together.
It seems that Director Raoul Walsh had given Lily a pep talk when it was time for her song. "We want plenty of pepper in this number, Lily," he had admonished. Solemnly, Lily assured him. "I onderstand. You wait. I go to the ceety on this one!" I don't know why "going to the city" sounds so much funnier than "going to town," but it just does.
"Do you ever have your serious mo- ments?" I asked, when she and I could get our respective breaths.
She has, of course. You gather that life, on the whole, was pretty serious for Lily until she came to Hollywood, and found herself involved in "these too, too mad pic- tures, which are such fun !"
Lily Pons was one of those sad crea- tures, a child prodigy. She was a seven- months baby, and the doctor who officiated at her birth will attest that she had two teeth. He adds: "If she had waited the normal length of time to be born, she would probably have arrived equipped with rubber boots and a fur coat!" At four or five, she was picking out operatic tunes on the piano. But let's skip it. I can't stand child prodigies, and I like Lily Pons.
The Chamber of Commerce will be jarred to learn that Lily doesn't like the climate of Southern California ! The nights are top cool. So she just pauses in our midst until her picture is finished, and then away she goes to her farm in Connecticut, where she really feels at home. There are twenty- seven acres of land snuggling around her farm house, and she treasures those acres. She raises chickens, and turkeys, and cabbages and things, and has a game pre- serve for wild birds, and a haven for deer.
Domestic ? No, one could hardly call Lily domestic. She simply hasn't had time in her short, busy life to learn to cook, for in- stance. She likes to go to the market, how- ever, and she will come home with the most astonishing pile of things. "The tomatoes, they look so red, I thought I'd buy sev- eral," she will say. Her idea of "several" is really something. "They tell me the feesh
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is nice, so I liave bought some t'eesh." She has indeed bought "some" fish.
I asked her to tell me of the preparations she makes before an important operatic premiere, thinking that here, at any rate, she might conform to the popular con- ception of a prima donna. But it was not to be. She makes no special preparations. She just takes all the rest she can, and then goes on and does her stuff.
She is, as a matter of fact, one of the gayest people you can imagine. The giggles which greeted me when I first met her were not unusual. They are practically chronic.
"One of the things I like best about America," she told me, "is how it laughs and laughs. I like so much your American magazines, the laugh ones, with all the funny pictures. I like the funny motion pictures, too. They have grown funnier and funnier. It's nice, isn't it, to laugh?"
It was Jack Oakie who christened her "Snooky," and she loved it. She liked it so much that she would pretend not to hear when someone on the set addressed her as "Miss Pons." Bewildered property men, trying to observe the laws of po- liteness and still please her, solved the difficulty by calling her "Miss Snooky."
The enti-re studio dissolved in mirth when it heard of Lily's introduction to a "jam session." It seems that she came upon Cary Grant, Jack Oakie, and Eric Blore, in a corner, knocking the living daylights out of Siveet Adeline. "What ees thees?" in- quired Lily. Jack Oakie assured her, solemnly, "This, my dear, is a jam session."
"Eet sounds like fun. I theenk I jam, too, huh?" quoth Lily, and she forthwith trilled a merry obligato to that good old corner-of-the-kitchen ditty, until several people from all over the lot came running to see what went on. "Me? I am jus' jamming," Lily informed them.
When irate critics waxed wroth over Lily's feather and bead costume in "Hit- ting a New High," the studio was upset. But Lily was amused. "I thought it was rather cute, that costume," she commented.
She hates rain and fog, and nothing will induce her to venture forth on a damp eve- ning— except a circus. A first class blizzard won't keep her at home on a circus night.
She likes to arrive as early as possible, and spend hours, if she can, prowling about the animal tent. She exerts an almost hypnotic influence over the most savage animals. She makes cooing noises at them, and they purr or whimper, or twitter, ac- cording to their noise-making equipment; and a good time is had by all.
She owns several dogs, a pair of turtles, and a parrot. She tries always to have some of them with her, even when she is on tour. The turtles present the smallest prob- lem when she is traveling, she declares. Her favorite pet is an English sheep dog, "Pouf." I asked her why he was named "Pouf," and she informed me, "I jus' look at him, and it came to me." When she | had an appointment at the studio to have publicity pictures made with "Pouf," Lily was on time, but "Pouf" was not. She had sent him to the veterinarian to be groomed for the cameras.
People who know Lily very well, who see her every day, will tell you that she has a wistful quality, a kind of cosmic sadness which overwhelms her sometimes. I have never seen it.
She did confide once that she had a theory, a plan, about the future and the function of grand opera upon the screen.
She is in earnest, too, about her plans for retirement. She first "retired" from the stage after notable successes in Paris, while she was still very, very young, and, of all things, before anyone realized that she was a great singer. She has been planning to retire all over again, "in five years,"
ever since. Two years ago, she set the date. "In five years." Now she has bought the Connecticut farm, and avers that she is preparing it for her retirement, "five years from now." She is very serious about it, but I don't believe for a moment that Lily Pons will retire five years, or fifteen years from now. She is too active, too interested in her work, too imbued with the habit of work. Horseback riding, gardening, caring for her birds — these things will never sat- isfy Lily Pons. Or, at least, not for a long, long time, I hope.
Of course, there is her reputed marriage to Andre Kostelanetz. They have admitted their intention to wed "when we have time." It takes only a few minutes, after all, to be married, and there are those (plenty of those) who are convinced that Lily and Andre have been married for some time. But I, and several other million people, do not know whether or not the pair have taken that step.
Lily is deeply interested in children, especially talented youngsters. She works quietly and earnestly, in an effort to see that they get their chance to develop. Aside from these activities which are thoughtfully planned, her charities are impulsive, and unorganized. She likes to make gifts which are surprises to the recipients.
As she doesn't share the traditional opera star's taste for rich foods, neither does she share her taste for jewels or expensive furs. Lily wears strictly tailored clothes in the daytime : navy blue, or any of the tawny or nasturtium shades. She has these made in New York, and she likes to have a hand in designing them. In the evening, she wears white. She is clever about clothes, and no one knows better than she that nothing will set off that dark vivacity of hers as well as crystal or ivory. It gives her height, too. She wall dangle a gem or two on formal occasions, but never many.
She does have one hobby. She collects, for goodness' sake, snuff boxes ! Good, ripe, elderly snuff boxes, of course with historical value. She has one which was used by Lord Nelson.
In fact, she never labors anything. She works hard — very hard — at her music, but she doesn't moan over it. No one has ever heard her mention the "sacrifices" she has made for her "Art." She has loved her music, and she doesn't feel that her efforts have been sacrifices. Life for Lily is gay. interesting, amusing, exciting. She has made it gay, interesting, amusing, exciting, for countless other people. The littlest prima donna — long may she wave and twitter !
London
Continued from page 61
watched him working he had a bicycle col- lision in the cause of his Art. As the newly-arrived student at Cardinal College he goes for a ride along Oxford's famous old High Street and collides with the Dean, otherwise Edmund Gwenn, both falling heavily on the cobblestones. Seven times did they shoot this scene, and then Director Jack Conway congratulated Bob. "Splen- did! You looked as though you really were bruised then." "I am!" said Robert, rub- bing himself tenderly. "That was not act- ing !" And did the extra girls sigh as they watched the studio nurse efficiently_ anoint- ing the manly Taylor forearm with lini- ment.
I haven't seen Robert at any of the smart Mayfair night-haunts yet, but plenty of other screen celebrities are around. I met Gertrude Michael and Mr. and Mrs. John
84
SCRE ENL AND
Lodge dining at the Savoy and Jessie Mat- thews made one of her rare social appear- ances, all in golden net, to sing at a chanty cabaret attended by King George's brother the Duke of Gloucester and his Duchess.
Maureen O' Sullivan was often to be seen with her husband John V. Farrow — usually they were dancing together and Maureen was wearing something white and frilly. Her footwork is so dainty I wonder she hasn't danced on the screen ere this, especially as she seems to enjoy herself immensely on the ballroom floor.
Charles Laughton and Elsa Lanchester threw a party at their apartment the other night with a double purpose, to celebrate the completion of their picture "Vessel of Wrath" in which they repeat their real-life role of husband and wife, and to show their friends the new bedroom which Charles has made for himself. It's all in dull white, chests and cupboards fitted into the walls so that the only piece of -furni- ture is the bed. Charles has it covered with a remarkable quilt made from the soft- est finest white feathers plucked from the breasts of young swans. He can't sleep un- der heavy covering and thought this a marvelous way of combining warmth with lightness.
Handsome Anton Walbrook has been decorating, too. He is shortly going to make another film for Herbert Wilcox who presented him so deftly in "Victoria the Great" so he has taken a cottage on Hamp- stead Heath where he can indulge his fa- vorite hobby of riding. The Clive Brook home is only half a mile away, a Georgian house with a spacious playroom where Clive entertains his friends every Sunday evening.
William Powell was wearing a more ■ than somewhat startling line in red scarves when he looked in on London for a day before returning to California after his European vacation. But the masculine fash-
A gold-miner and his girl! Victor McLaglen and Grade Fields, make a perfect tintype in character for their parts in "He Was Her Man," a new English film.
ion prize this month undoubtedly goes to Victor McLaglen for his sumptuous ap- pearance as the town dandy of Johannes- burg in the good old gold-rush days.
Vic is playing in "He Was Her Man" with our blonde comedienne Grade Fields on the new Twentieth Century-Fox lot where it is authoritatively said that Shirley Temple will be working next spring. When he isn't required to do a little gold-mining or drinking in the bar-room, Vic changes into very quiet clothes and drives off in his big black sports car to a boxing match or a football fixture.
Most of the new British pictures are technicolor — wait until you see the full beautv of Merle Oberon's creamy com-
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At a recent film premiere Madeleine Carroll appeared in becoming turquoise chiffon, exactly the color of her eyes, with pearl and diamond jewelry and her tall husband Captain Philip Astley as devoted escort.
Even Anna Neagle appeared, which was decidedly a departure for Anna prefers the quiet life at her country home twenty miles from London. She looked very young and gracious in her pink dress and white fur coat, sitting beside Herbert Wilcox who discovered her as an unknown chorus-girl in one of Jack Buchanan's musical shows and built her into a famous film star.
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What's Behind the MacDonald-Eddy "Feud"?
Continued from page 23
movie stars who, like it or not, must live their lives with as little privacy as they might expect in a Saks Fifth Avenue show- case. But it isn't fair to either star to dis- tort and misrepresent . the truth ; that's carrying enthusiasm a little too far. If the writer of the letter quoted will return from her crusade for a few moments I'd like to acquaint her with a few facts which have been corroborated, she might be inter- ested to know, by Nelson Eddy.
Neither Nelson nor Allan was com- manded by the studio to attend Jeanette's wedding. Allan Jones and his wife, Irene Hervey, are close friends of the Gene Ray- monds, and it was Jeanette not long ago who gave Mrs. Jones her baby shower — and you don't go around giving baby showers to casual acquaintances from the studio. Allan thoroughly enjoyed the Raymond wedding, and was terribly em- barrassed when he read in the paper the next day that his shoes squeaked. He has been shoe-conscious ever since. It was Nel- son himself who suggested to Jeanette that he sing at her wedding, and Jeanette nat- urally was delighted. (By the way, Nelson and Gene Raymond used to play tennis together a lot and were very good friends long before Jeanette and Gene even met each other.) He decided to sing the con- ventional 0 Promise Me and / Love You Truly before the ceremony. Then one day he came to Jeanette on the set and said, "Jeanette, I want to sing something special at your and Gene's wedding, not just the usual songs, and so I went through several of my old song books last night and have selected a little known but perfectly beau- tiful prayer set to music, called Oh. Perfect Love." Jeanette, as well she should be, was deeply impressed. As a sort of benediction, while' Jeanette and Gene were still kneel- ing. Nelson sang Oh, Perfect Love.
The "numerous delays on 'Maytime' " which our indignant fan accuses Jeanette of causing were explained away quite effec- tively in an interview Nelson gave at that time. "Jeanette is one of the world's best sports," said Nelson. "You could see an example of that right here on the set_ a few weeks ago. She was in torture, with sun-poisoning she got over the week-end on a yachting trip. Her face was peeling, her eyes were burning, and her lower lip swollen, discolored, infected. She should have been at home in bed. Hang the delay to the picture. But there she was instead, trying to smile, going through the re- hearsals for the Jump Jim Croiv dance in 'Maytime.' " Further on he says, "Nobody got sore when she picked up this sun- poisoning and delayed production. Every- body said, 'Sorry you're in such misery.'" Those fans (and count me in) who could have done with more of Nelson Eddy's brilliant singing in "Maytime" might be interested in knowing that they have only the studio to blame, and not Jeanette MacDonald. Jeanette does not nave the right to select her pictures. She does what the studio producers tell her to do. "Maytime" always was, and I suppose alwavs will be, a woman's picture. She didn't demand "Maytime," she just hap- pened to get "Maytime." In "Naughty Marietta" and "Rose-Marie" I believe, though I didn't have a stop-watch with me. Teanette and Nelson had their songs
equally divided. In their latest co-starrer, "The Girl of the Golden West" (which, by the way, was turned down by a number of other singing stars so shouldn't be con- sidered too great a "plum" for Jeanette) as far as I can gather from running over the script the songs are just about fifty- fifty, tliciugh Jeanette has the title role. You'd be surprised how very little the glamorous ones, under contract to a pow- erful studio, have to say about their parts and pictures. You don't tell producers, even though you are a prima donna with red hair and a temper. They, little kiddies, tell you.
And oh yes, while we are clearing up things, those fans who write into magazines and plead, both politely and belligerently, "Why don't you give us more Nelson Eddy stories?" might like to know that Nelson Eddy is one of the most difficult people in Hollywood to get stories on. He's one of the stars — and whether he is right or wrong is still another argument — who insists em- phatically upon having his private life pri- vate. He does not like to give interviews about himself, or his friends, or his home; he doesn't like to give interviews. He is kept so busy with his four-square career — he makes pictures, he broadcasts weekly, he makes records, and he goes on an annual concert tour — that he has very little time for romance and the gay social life. He is a conscientious worker and he spends sev- eral hours of every day personally reading and answering his fan mail. From his mail he chooses the four songs he sings on the radio every Sunday afternoon, so eager is he to give his fans what they want. Though I say it as shouldn't, I admire him for not stooping to cheap publicity tricks, like escorting a glamor girl to the Trocadero several nights a week, so the photographers can click their cameras and the columnists pop out with juicy tidbits. But alas, all work and no play makes a movie star very "bad" copy. So if you can't find a story on Nelson Eddy in your screen magazine every month don't blame the editor, don't blame the studio, don't blame Jeanette Mac- Donald, and for heaven's sake don't blame me — just blame Mr. Nelson Eddy, who "won't talk."
Of course as soon as I faced Nelson and Jeanette with this feud thing, they strenu- ously denied it. "Feud believe what you see for a change and not what you read." began Jeanette, who can't resist a pun even when she is choking with rage. And
Nelson Eddy and llona Massey, in a romantic moment from "Rosalie."
86
SCREENLAND
Jeanette is right. That old bromide about actions speak louder than words contains a mighty lot of truth. No movie star with two grains of sense is going to say to me, or to any other member of the Press, "I loathe that ham" or "Who does she think she is, Mrs. Metro-Goldwyn-Mayer ?" Oh, no. Oh, no, indeed.
Whenever she starts a picture, whether he is in it or not, the gallant Mr. Eddy fills Miss MacDonald's dressing-room with flowers. Does that smell of a feud? Because of hard work Nelson isn't much of a diner- outer but he finds time ever so often to have dinner at the Raymond home where he and Jeanette and Gene, shouting at the top of their voices, solve the musical prob- lems of the universe. Though he was fa- mous on the concert stage Nelson was practically unknown in pictures when he was assigned the lead opposite Jeanette in "Naughty Marietta." Jeanette was already Hollywood's Singing Star Number 1 and had she wanted to she could have ritzed Mr. Eddy something awful, for the babes in their mothers' arms know more about picture-making than Nelson did at that time. But Jeanette went out of her way to be helpful. She could easily have taken advantage of Nelson's lack of picture tech- nique and stolen every scene from him. But she didn't. Instead, she threw scenes his way. She took time to put him wise to the tricks of the trade. "She wasn't a bit like a prima donna," Nelson told a friend, not a reporter, "she was like a pal. She did such a good job of making an actor out of me that when the picture was finished the Front Office wanted to bill my name in big letters too. Jeanette didn't have to stand for that. She was a star, and I was only her leading man, and all she had to do was to remind the Front Office of that fact and my billing would have been quite small. But she didn't. She was a pal."
If you know Hollywood, and how jeal- ously most stars guard their stardom and try to thwart any competition, you can appreciate, as Nelson Eddy did, how much Jeanette contributed toward getting - him off to a good start in his picture career. Nor, once he was established, and his fame and popularity as great as hers, did Jeanette do a right-about-face and turn on him — which is an old Hollywood custom and has been done many times by a jealous star who can't take it. She seems to be just as pleased today to be working opposite him in "The Girl of the Golden West" as she was three years ago when she was showing him the ropes in "Naughty Marietta." And ditto Nelson Eddy. His fans might have squawked about those nineteen minutes in "Maytime" but there is no record of Nelson resenting his lack of footage in that film. Like Jeanette he cannot pick his pictures, but he can raise cain when the part doesn't please him. He didn't. Jeanette's perfectly willing that he get the break on the footage next time. "I have always been content to let M-G-M assign me to my pictures," says Jeanette. "I have been both happy and pleased that they have let me do four pic- tures with as fine an artist and as charm- ing a person as Nelson Eddy. I hope there will be many others."
And that, my friends, is saying a mouth- ful. Because the big glamorous stars of Hollywood do not want to be teamed with the same person all of the time. They say it destroys their individual personality. Only this morning I read in the Hollywood Reporter: "Loretta Young's request to Twentieth-Century-Fox that it cast her with a_ different lead than Tyrone Power to avoid being typed has resulted in the indefinite postponement of 'Accent on Love,' scheduled as the next for the co-stars." Ginger Rogers objected to being co-starred with Fred Astaire (and vice versa, I hear) for so many pictures, and now Ginger is
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on her own, and so is Fred. Myrna Loy is raising a rumpus in the Front Office these days because she does not think it wise for her to co-star again with Bill Powell. Gene Raymond and Ann Sothern managed to break up their team by Gene leaving the studio. Stars just don't like to "team" these days; it hurts their personal- ity, they say — but Jeanette and Kelson, who are supposed to have a "feud," are the only ones who go teaming merrily along without complaints.
How do these Hollywood "feuds" orig- inate? There are several possibilities. In Hollywood now there are thirty-eight peo- ple who broadcast Hollywood gossip one or more times a week. There just isn't that much gossip. These thirty-eight air chat- terers have any number of stooges or op- erators or legmen working for them. There are also over three hundred and sixty bona fide writers and columnists who have pages, but endless pages, to fill every day, every week, every month. Everybody wants a scoop. The town has just gone mad with gossipers. They'll grab at anything. "Just give me a lead," they mourn in the pub- licity offices. "I'll make it into a story." A "little thing like accuracy, in this race for news, has simply collapsed and died by the wayside. So all that is necessary for a good first-class feud is the follow- ing: "Hello, what goes on with your little dream children today? Did the new Mac- Donald-Eddy picture start? She didn't smile when he came on the set? Thank you, my lad, we've got something there." It's on the air in another hour that Jeanette and Nelson aren't speaking. All the col- umnists pick it up and so do all the other air chatterers. In less than twenty-four hours it is all over the world that Jeanette MacDonald and Nelson Eddy are having a feud. As casual as that.
Then, too, a feud is always good publicity for the two stars supposed to be indulging in it. And of course I wouldn't throw stones, not from the front porch of my glass house, but poor young men in pub- licity offices, realizing the publicity value in a good feud — it gets more space than the sweetness and light stuff — are not a bit averse to stirring one up occasionally to toss to the Press.
And last but not least we have the fans themselves. Whenever there is a team they seem to feel called upon to "take sides" at once. If anyone says a kind word about one half of the team, immediately fans of the other half become wildly indignant. You can see from the excerpts from the letters given how violently partisan they have become. Jeanette and Nelson may like each other tremendously but the fans aren't going to have it that way. Their idol has been neglected. So it's a feud. There is something very earthy and American about a feud, and I say that if the fans want one, let them have it. But no distorting of facts, no false teeth and calf-faces, mind you. And remember, as Jeanette who loves her pun says, "Feud believe what you see — "
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Paris
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afternoon wore on I wondered why he seemed to enjoy chatting • with me. Later on, I found out, for shortly before I left he grabbed my hand and said "You are really wonderful for here we have spent the whole afternoon together and you haven't once mentioned Garbo's name, or asked a single question about her !" I told him. with a smile, that I was much too well brought up, cinematigrafically speak- ing, to do such a thing. Confidentially, I know a great deal about that young lady so don't have to pester friends with ques- tions about her. Now, after such boasting, will continue on the amiable subject of Charles. He seems younger, happier and much less nervous than on his former visits. Why shouldn't he be? With a lovely young wife, success the world over and, at the time I saw him, back home in Paris among old friends. The work in the sordid bedroom continued. Then there was a sud- den general movement as everyone pre- pared to leave the scene. It was four o'clock and tea-time, my dears. Yes, all work ceases and everyone goes to the studio restaurant for tea, toast and the far-famed French pastries. It makes such a pleasant break in the otherwise long stretch of steady work. As all the companies stop at the same time the artistes have a chance to visit with friends from other sets and companies. All too soon the bell rings and they must fly back to their respective jobs. Charles told me that he had been to the Exposition several times, which he found magnificent, in spite of the endless stairs one has to climb and, naturally, descend. At other times, he is busy seeing the plays and old friends. He is still a son of the theatre and loves everyone and everything connected with it. Then too, his mother and. relatives come up from Auvergne to see their Charles. I must admit that the sombre hall bedroom scene sort of bored me, so I skipped off to another set where the action was livelier.
While on the continental flavor, another delightful star is in our midst. Tullio Car- minati, just winding up his holidays in his native Italy, decided to linger in Paris before facing a cold, foggy winter of work in London. Carminati is a most interesting fellow. Equally at home in English, French and Italian, he radiates charm and wit — a real sense of humor. We were at several cocktail parties together and I heard Tullio chatting away with the guests in all these three languages. He has the same suave polish off that he has on the screen, only more so. Just next door to Tullio, at the George V was another American fa- vorite, Ruth Chatterton was over in Paris to meet her mother, just arrived from America. That looks as though Ruth were planning to settle in Europe for a while. I say settle in more ways than one when speaking of this air-minded young lady who only seems happy when in full flight in a plane— her own or a chartered one. Other gals fuss about face lotions, massages and diets and never seem to look any better for their trouble. Ruth bothers about none of these — eats and drinks everything she likes and looks younger and lovelier than ever. Maybe she gets something from those high altitudes when flying that gives her that radiant smile and certain sparkle in her eyes. It wouldn't surprise me if Ruth burst into a French film, for of late she has been in close conference with several film heads. She speaks French beautifully so the language would present no diffi- culty. If she does, I will haunt the studio for Ruth is one of those grand persons one loves to be near.
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In Fast Company
Continued from page 29
though not in years— had to stay right up on their toes to keep little Miss Weaver from stealing their scenes. Indeed it was she who was the "talk of the picture" after the preview, with most of the preview cards reading "give us more Marjorie Weaver." Majorie has unpacked her bags again and decided to stay — and why not, what with Twentieth Century-Fox groom- ing her for stardom. "I guess, by all right of reason," says Marjorie, "I should have been afraid of going into 'Second Honey- moon.' I knew that the film's eventual_ audi- ence would see me with such experienced players as Tyrone Power, Loretta Young, Claire Trevor and Stu Erwin. I knew, for that reason, that every mistake I made would show up all the worse by comparison with the work of the experts. And yet I wasn't afraid. In the first place I felt that Mr. Lang would never have permitted me to take such an important role if he had the least suspicion that I'd fail. The truth is that / wasn't sure of myself, but his confidence in me gave me confidence in myself.
"And then there was another marvelous thing, which made me feel that I'd just have to do well. Everybody in that cast felt that my role would be the stepping stone to something really important. And they all tried to help me. It was just as if they saw, in my efforts, themselves at the be- ginning of their careers. Every one of them, particularly Miss Young and Mr. Power, encouraged me and gave me advice — advice that had cost them many years of labor. I don't see how I could possibly have failed with all those wonderful people believing in me."
Ella Logan brings her bouncing brand of humor into this little seaside sequence with Kenny Baker and Andrea Leeds, very attractive in her beach attire.
And there's Jane Bryan, a Hollywood High School girl, who held her own so beautifully in those difficult scenes she played with Basil Rathbone, the most suave and finished of actors, in "Confession." So sincere was her performance that there were those in the audience who sighed quite audibly when Kay Francis came on the screen and Jane became a minor character. Other kids who have held their own beside experienced troupers are Kenny Baker, who arrived in pictures via radio, and Jon Hall, who had the ladies swooning after "Hur- ricane," and Joy Hodges who used to
warble with a band, and Lola Lane's two younger sisters Rosemary and Priscilla — and don't forget the girl genius, Deanna Durbin.
But how do they manage to walk on the screen with such overwhelming aplomb and savoir fake? Why aren't they petrified with fear? It takes a lot of nerve for a rank amateur to stack up with those pro- fessionals, most of whom have been in the theatre for years. Just in case you think the stars of tomorrow are a new race of gods and goddesses utterly devoid of such human emotions as fear and embarrassment
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and humiliation I hasten to inform you that the kids are simply scared to death.
"Oh boy, was I scared when I had to stand there and sass Pat O'Brien.*' said Wayne Morris who recently emerged from Warner Brothers' "Submarine D-l" witli flying colors. "I kept thinking to myself, 'Kid, you're only a dopey little twirp, how are you going to hold your own with the fastest talking actor in the business? Winn he finishes with you you'll look like some- thing the cat brought in out of the rain.' " Despite the fact that he claims his knees were shaking and his teeth chattering in all his scenes with Pat, George Brent, and Frank McHugh (he felt a!l right in his scenes with the girls he admits), young Wayne acquitted himself nobly in a regular Jimmy Cagney part, and the studio must have been well pleased for they gave him second billing.
Wayne Morris was born in Los Angeles on February 17, 1914, and attended the Los Angeles Lligh School and Junior Col- lege where he distinguished himself in football and basketball. He thought he'd like to be a lawyer but then when his fam- ily moved near the Pasadena Playhouse School of the Theatre he decided he'd be an actor. Casual just like that. Although he had lived most of his life only a stone's throw from Hollywood he had never been inside of a studio gate and so for his graduation present he asked the Playhouse to get him a pass to a studio so he could see how movies are made. He never got to use the pass because the week diplomas were awarded Irving Kumin, assistant cast- ing director at Warner Brothers, saw Wrayne playing Private Dean in "Yellow- jack" at Pasadena and sent him a note backstage asking him to come to the studio the next day for an interview. The inter- view ended in a long term contract.
Wayne's first real break came in "Kid Galahad." "And was I scared having to do scenes with Bette Davis !" says Wayne. "She was an Academy Award winner and tops in my estimation. I thought it all over and decided that there wasn't any point in my trying to act around such professionals as Miss Davis and Mr. Robinson so I just tried to be natural." Wayne's "naturalness" was a terrific success. Girls and women ■went mad about him. His real name is Bert DeWayne Morns and his present ambition is to "get famous."
"I felt like a silly fifteen-year-old school girl when the studio told me I would play Brian Aherne's leading lady in 'The Great Garrick,' " said pretty little Olivia de Havilland who has reached the ripe old age of twenty-one. "Mr. Aherne had al- ways been my favorite actor, and for sev- eral years I had worshipped him from afar as one of his most ardent fans. I think he knows more about acting than anyone in the profession and I just couldn't bear to have him find out what a miserable little actress I am. He would probably make me look ridiculous — and that I knew would break my heart." Poor little frightened Olivia timidly intimated to the powers- that-be that maybe she shouldn't play the girl in "The Great Garrick" and especially with such an important actor as Brian Aherne. but she couldn't talk them out of it so there was nothing for her to do but bite her lips (Olivia always bites her lips when she gets nervous), and face the lion in the den, who in this case happened to be her favorite actor on the set. She saw him act out his lines in front of a mirror with a sinking heart — she would never be able to hold her own with him. It would be the most humiliating experience of her life. Better Leslie Howard and Bette Davis any day than the great Aherne. So imagine Olivia's surprise one day near the end of the picture when Brian Aherne wanted her to have lunch with him and during the
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luncheon asked her if she would consider doing a play on Broadway with him. She almost choked on her tomato juice, much to 'Brian's amusement. "You're a very tal- ented little actress," he said. "You definitely have a future in the theatre, and a season- in a legitimate play in New York would do you a world of good." Now Olivia doesn't have to worry over whether or not Brian Aherne will make her look ridiculous, but she does have to worry over whether or not she should accept his offer of a New York play.
No one in Hollywood can wear cos- tumes so beautifully as Olivia de Havil- land. She may have taken your breath away in "Captain Blood" but you haven't seen anything until you see her in techni- color as the lovely Maid Marian in "Robin Hood." In "Call It A Day" and "It's Love I'm After" she proved that she could hold her own even without fluffy ruffles and furbelows. Olivia's one boast is, "I may not always know how to read my lines, but at least I know them." She is a keen observer and rapidly absorbed movie tech- nique. She claims, however, that it was Brian Aherne who made her camera-con- scious as he insisted all during "The Great Garrick" that she be given the close-ups and the advantage in the two-shots. Her real name is Olivia de Havilland and she has large brown eyes and reddish brown hair. Camera men love her because she_ is one of the few people in Hollywood with such perfect features that she can be photo- graphed from any angle.
One year younger than Olivia is her sister Joan Fontaine who is rapidly making a name for herself at the RKO studios. Joan's and Olivia's mother married a sec- ond time and when she signed a contract Joan, eager not to trade on the name of her already successful sister, took her step- father's name. When "Call It a Day" was produced as a stage play at the El Capitan Theatre in Hollywood Joan tried out for a part and won it. The opening nightfound the famous producer Jesse Lasky in the audience and before he left the theatre that night he had signed Joan to a contract. She was given a fairly important role in Katharine Hepburn's "Quality Street" and through no fault of her own landed on the cutting room floor. It was decided that if she remained in the picture Franchot Tone would become an unsympathetic character so except for a few seconds in a party scene she was completely cut out. But Joan Fontaine had found a friend and a cham- pion— none other than Katharine Hepburn herself, who proceeded to tell all the right people at the studio that Joan had amazing- talent. She asked to have Joan play one of the studio club girls in "Stage Door", but in the meantime the executives had been running over Miss Fontaine's "rushes" from "Quality Street" and decided to give her a leading feminine role opposite John Beal in "The Man Who Found Himself," and later opposite Nino Martini in "Music for Madame."
When Joan heard the rumor that Ginger Rogers would not appear in the next Astaire picture and that the studio was looking for another leading lady for Fred she immediately started taking dancing les- sons. She was tested and selected for the English girl in "Damsel in Distress" and trouped so confidently with Fred through a dance routine . that she is now the fair- haired girl at RKO. She had to sing with Nino Martini and dance with Fred As- taire. That, I think, can safely be called holding your own with experienced troupers.
Dorothy Lamour, Charlie MacCarthy's beloved Dotty, is another young girl who is traveling in fast company. Dorothy is twenty-two years old and was born in New Orleans. In 1931 she went to Chicago where
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she worked as a model, and then later in nearly every department, at the Marshall \- >< M departnieni store. From childhood she had been a friend of the late Dorothy Dell and when Dorothy, a great hit at that time in the "Ziegfeld Follies," came to Chicago she persuaded Dorothy Lamour, who had a natural voice, to sing at celebrity night at the hotel. She did so, and Herb Kay, a well known orchestra leader, heard her and asked her to sign up with his orchestra, which she di(J. He later asked her to marry him, which she also did.
With her eye on a movie career she came to Hollywood and it was only a mat- ter of a short time before Paramount had her all signed up on a contract. "I know from nothing about acting," Dorothy will tell you, "and as a matter of fact I know from nothing about singing. I never had a voice lesson in my life, there never was enough money, until I came to Hollywood." Although her salary has been doubled since she first signed at Paramount it is inter- esting to note that Dorothy lives in the same apartment, drives the same car, and runs her life as simply as she did before. In fact, she took a five-year lease on her very small apartment in a none too fash- ionable district just so she wouldn't be tempted to "go Hollywood" and buy a lit- tle something extravagant in Bel-Air.
She was "frightened to death" when the studio put her in "High, Wide, and Hand- some" with Irene Dunne, both an accom- plished actress and singer, and she doesn't know how she managed to survive. Con- cerning Dorothy Irene says, "In the com- paratively short time Dorothy has been on the screen she has proven herself in a wide range of pictures to be an actress of un- limited dramatic possibilities. She has a fine voice which is an added asset to any star. I enjoyed working with her in 'High, Wide and Handsome' during which time I learned she is as charming off the screen as on."
When the studio first signed her they weren't terribly impressed, but she'd be all right for "B" pictures, they decided. So they stuck her in "Jungle Princess," one of those Tarzan Things that every studio feels duty bound to make ever so often. The picture wasn't so bad as jungle pictures go, nor was it so good, but every- thing stopped when Dorothy sang, Moon- light and Shadozvs. It immediately became a hit picture just because of 'the way Dorothy put over the song. The studio also demanded that Dorothy cut her hair when she started her first picture and wear a wig. This Dorothy refused to do. She has very long hair and she likes it. Nothing makes her more furious than to have some- one accuse her of wearing a wig.
Her first "A" picture was "Swing High, Swing Low" in which Carole Lombard starred. Dorothy was so unimportant in those days (it was just last year) that she didn't even have a dressing room on the set. And her part in the picture, a heavy "heavy," was so nasty that it would take her years to live it down. Dorothy wasn't at all happy about that picture but she decided that what with Carole Lom- bard, Fred MacMurray, Jean Dixon and Charlie Butterworth all being so very important it wasn't up to the likes of her to say anything. But Carole said plenty. First of all she shared her dressing room with Dorothy, and second she proceeded to rewrite the script. Dorothy was still the "heavy" but a nice "heavy." Little chil- dren didn't have bad dreams because of her. "I didn't have to try to hold my own with the stars in that picture," says Dorothy. _ "Carole saw to it that I kept right in line with them. A beginner is cer- tainly lucky to have the opportunity of working with Carole Lombard."
After weeks of broadcasting with W. C. Fields on the Chase and Sanborn Hour she
feels that she has absorbed a little comedy technique and she welcomed the chance to do a dizzy scene with him in "The Bio- Broadcast of 1938." She is working now in "Her Jungle Lover" which is the third time she has had to cavort about in a native costume which is plenty revealing. The Lamour legs are very easy on the optics. Her ambition is to be given a role some day in which she can wear orchids and swish around in something terribly chic by Haltie Carnegie.
Benny The Good
Continued from page 51
in that what Mr. Goodman is good for. is worked out before your eyes. The best that you hear is improvised, spontanei the inspiration of the moment. That is why the crowd hangs on so. A clarinet is also a clarinet but not when Benny Goodman, enraptured, plays it outside of himself.
He'll act and talk in "Hollywood Hotel " Just now he thinks they'll make a movie hero out of him over his dead body, but it's probably not in his hands. He talks like a Texan, in a low infectious drawling delivery. "That's because I'm from south Chicago — near the stockyards," he explains affably. But in his monosyllablic retorts he thinks Hollywood swell because it does things. This movie acting sort of shies him up. "No, nothing romantic." He hopes it isn't romantic. Well, he hopes he won't be spied for that. Just pals around with Dick Powell in the picture. "Ye-us, I did feel shy acting at first, but hell, you get too tired to notice anything. Broadcast rehearsals, the studio at eight in the morn- ing, playing every night until two. There is a kind of glamor but you haven't time to sit down to it."
The particular flavor of Benny Good- man's soirees ought really to be described just to get a line on the king of swing. "That," says the crowd at the Palomar, "is Benny Goodman." Where? "Oh, over there at one of the tables on the floor. You can go up to him. We never did, but I guess it's all right." And they don't, but when he rises from the table where he has sat out an intermission, the tense, adoring respect finds hands and arms with which to signal and touch him.
Benny looks not a little like Patric Knowles and he also has a feeling about him of Randy Scott. He is not as tall as Randy, and the screen may show him shorter or taller than he is, but there is something of Randy's clean shagginess. He may be a very good actor because he has magnetism and unselfconscious poise. If the transfer is successful, it will also be interesting to watch something else. With the crowds over the land Benny has the edge as a masculine idol. The escorts storm the situation, not that the girls don't do their best, but the boys set themselves up as authorities. And Benny says their feelings more for them perhaps.
Benny The Good was born in Chicago twenty-eight years ago. His first clarinet came from a mail-order house and was paid for in installments. He played it in a boys' band at Jane Adams' Hull House. In the Goodman family there were eleven little Goodmans with Benny eighth in the procession. At ten he was a professional, appearing on a local vaudeville stage. He had to leave school at fourteen but the Dead Ends of a city even up, eventually they right themselves, and by having to leave school he was on deck at the right time to play with Bix Biederbecke and Frank Trumbauer, the pioneers of the first barrel-house style known as Chicago. That was almost swing, but it got snowed under,
92
SCREENLAND
and jazz went sweet. The half-grown Goodman toting his long clarinet to Bix Biederbecke's band as an extra musician was to bring it back.
Of his first New York days, the word- charv Goodman says he was "in radio and such." It wasn't all easy going. He played with his band in the musical comedy "Free For All" on Broadway and it folded. At the Hotel Roosevelt Grill the orthodox patrons thought his music too unorthodox. In all he had a few years of what in the play "Stage Door" is beneficently summed up as preparation for a career. One of the men who recognized him early was Billy Rose, that small emperor of monu- mental ideas who had him in Billy Rose' Music Hall. But in the next few years he showed them, at the Ritz Carlton Roof m Boston, on the air, at the Urban Room of the Congress in Chicago, at the Palomar in Los Angeles, on the New York Para- mount stage where his appearance created riots. He appeared briefly in a scene of "The Big Broadcast of 1937" but strictly with the band. On the side last year he turned out Stomping at the Savoy in col- laboration with Edgar Sampson.
In his present band are Krupa, drums, Reuss, guitar, and out of the quartet, Teddy Wilson and Lionel Hampton, all names alongside Goodman's own and whom you will see on the screen. When the quartet swings out, Goodman, Krupa, Teddy Wilson and Lionel Hampton, that s top in swing. They ad lib and shoot from the cuff and the madder and hotter they o-o the more they go extemporaneous.
What is swing? "Well, you explain poker to me, and I'll explain swing." Why is swing popular? "Well, because people like it." Why do they like it? "They just do, that's all." Mr. Goodman will of course have to learn to regard news about himself as exciting and meet the press in beautiful
The Ritz Brothers get a little pep talk fro what to expect when the boys put on
dressing gowns, and have ultra hobbies, and not consider his biography past history unless it's present indicative and then about the band, and not keep all his nice phrases to say over the air where he can breathe them almost silently into the microphone.
Over the radio for the Camel ciggies Benny calls the roll call of the swingsters in language that is as freshly minted as his impromptu solos. He calls the roll low, sly, and rumbling. "All right boys, let's take Dinah over the railroad tracks." Or with indigo irreverence, "Deal out the Carmen Gene." Or with a cavalier ta-ta to the
m Vera Zorina, and you get an idea of their high jinks in "Goldwyn Follies."
compromisers, "Swing it from the heart boys, good and sweet — but warm."
He thought mastering one art is enough, but you know how it is. A career these days has a subpoena in every pocket. Somebody thinks up a new way in which you've got to be good. Besides he's been a movie fan all his life. Barbara Stanwyck steals in to hear him and the band, and he's had Barbara as his favorite actress for a pretty long time. And Spencer Tracy. Benny smiles his particular triangular smile kiddingly. He's got to go off now and play Me, Myself, qua! I.
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Hurricane" Hall
Continued from page 34
but they know him as Charles Locher, his real name.
Jon is reluctant to talk about his past. I had to plead with him to tell me even these bits from his life.
"My grand-dad, Captain Chapman, used to take my mother with him when he went trading to the other islands," Jon explaine d. "Once when she was a tiny little kid they were caught in a typhoon and three of the four men were lost. Exhausted after being lashed about by stormy seas for three days mother and grand-dad were washed ashore on a cannibal island where natives bound him to a stake intending to sacrifice him to their gods, but luckily their superstition saved him.
"My mother, who was only seven years old, had hidden in an empty apple barrel mi the ship. After three hours she climbed out and saw the cannibals doing a war dance around her father. Terrified, she ran to him. The natives, seeing her golden hair and white skin as she sped across the sand, believed she was a goddess. Grand-dad told her in French (which the natives couldn't understand) to make motions that he was a good man, to fix his boat and to give him men to return or else their whole island would blow up. Afraid of volcanoes and thinking she had the power of destroying their island, they hurriedly patched the boat sails and loaned grand- dad five men to return home.
"Such stories as these made me long for adventure too," said Jon. "Gouverneur Morris and Zane Grey, the novelists, used to tell me thrilling tales of the outside world. I longed to see it for myself, so my parents sent me to school in the United States and then to Geneva, Switzerland, where I studied for the diplomatic service. Later I entered Badingham College to specialize in law and Latin to prepare for Oxford where I planned to continue my studies in diplomac)'. In those days I never dreamed of the stage.
"I only came to Hollywood to see mother and dad, who had moved here while I was away at school. I expected to return to England after a short visit in California but I met my old friend, Gouverneur Morris. He also had left Tahiti. Morris introduced me to E. E. Clive, who was putting on a play called 'M'lord the Duke' at the Hollywood Playhouse. Bob Taylor, his juvenile lead, had just been signed by M-G-M. Clive was a good sport — he let me take Taylor's place, although I had never been on the stage before.
"Clive put me in three of his plays before I was given the juvenile role in 'Charlie Chan in Shanghai,' my first picture. After two other small parts on the screen I de- cided to chuck it all and sail for the South Seas or some other far-away place. Just as I was packing to leave for San Fran- cisco to look for a job on a steamship line, John Ford, director of 'Hurricane,' had returned from Samoa and learning of the talent hunt for someone to play Terangi suggested me, the boy next door. We hardly knew each other. It was divine providence, that's all !"
It isn't only Jon who is in the clouds these days ; the producers of "Hurricane" also found themselves alongside Jon on heaven's highest shelf, when they discovered him. Jon is the newest, most exciting heart-beat in Hollywood today, but aside from his romantic appeal, he is a hair- raising dare-devil. He isn't afraid of any- thing. The tougher and more hazardous things they give him to do, the better he likes it. In fact he thrives on danger. Jon
hooted at the mere mention of a double !
At Catalina, where they were making retakes, some live sharks which had been imported for this particular scene savagely attacked the dead ones Jon bad to hold up and struggle with in the water before the camera. Jon was miles from shore but kept on swimming. Sharp-shooters, real- izing the sudden danger of the attacking sharks, began firing bullets that whizzed within three inches of him. It finally be- came so dangerous orders were given to stop shooting. Jon thought it was fun and all in the day's work.
Jon isn't married, although four times Hollywood reporters have published ru- mors of his engagement and are still linking his name with first one girl and then another. He lives with his parents and young sister in a long, low California house tucked into a Hollywood hill. The specious verandah with comfortable chairs, little woven reed tables, ash trays of huge flat pearl shells, and a garden full of fra- grant blossoming bushes take you back- to Tahiti.
In the drawing-room Jon has several fine canvases, lush, green, tropical paint- ings of Tahiti done by George Biddle. There are always fresh flowers and inter- esting books about. Small lacquer tables and an ancient Chinese chest match the soft vermilion slip covers on the sofa and chairs. Here you feel closer to Jon's native- Tahiti than to Hollywood ; the conversa- tion even seems to drift across the seas.
Women already idolize Jon Hall. But he has feet of clay like all the others. The next twelve months will prove whether Jon can _ stand success; whether he can take it in his stride and not go balmy. Clark Gable and Gary Cooper are two great examples of fascinating he-men who rode through on the crest of the wave, growing more popular with each picture.
Right now Jon shrugs his expressive shoulders and grins when love is men- tioned. Probably he has been warned not to talk about romance; it's usually a dan- gerous subject.
He said, " 'Hurricane' may or may not be the beginning of a career for me. Of course I hope I'm on my way — acting is the work I love best. I want to be a suc- cess. Right now I should concentrate on learning everything I can. Personally I don't think careers and love mix partic- ularly well. It's difficult to try them both at once, at least not until you've both feet on the ground. To be honest with you I think love is — well, it's so absorbing that if you let yourself fall in love nothing else seems to matter!"
He blushed suddenly, obviously realizing he had betrayed the fact that he already knows plenty about romance, and why shouldn't he?
This bit of information is going to give the blondes a jolt — Jon prefers brunettes! I got him to admit that, even though he- did it reluctantly.
"It's true — I definitely like brunettes. Perhaps I'm prejudiced: the brunettes I've known have all been terribly interesting girls. They seem to have more dignity, more charm than any blonde I ever met. I know perfectly well that blondes can be darn charming but up to date I haven't happened to meet one I could be wildly enthusiastic about. Some day I want to marry and take my bride to the South Seas. My uncle has a treasure island that we can explore to our heart's content."
There's quite a legend about this island — hidden there supposedly in its depths are millions and millions of dollars in gold.
"Right now, I feel as though Hollywood has turned out to be my treasure island. I want to keep on digging, for I don't trust too much in the name my Tahitian friends gave me," he said — and laughed again.
94
SCREENLAND
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The Confessions of a Hollywood Secretary
Continued from page 33
on the floor in the center of the room, this was done along with shooting schedules, breakdowns, wardrobe plots, and Mr. John- son's script.
Fortunately, there are few stars who have the right to supervise scripts ; usually it is the producer who attends to such salient discrepancies as " 'red' rose in but- tonhole" for " 'pink' rose in buttonhole."
Nunnally Johnson, who authored that first day script, is a good example of what a little rolling will do in Hollywood. Para- mount would not raise his salary. He quit and got a job at Twentieth Century at twice what he had previously demanded. He is now the white-haired boy of the Twentieth Century-Fox lot and one of the highest paid scenarists.
Hollywood is a confusion one inevitably accepts with calm. My calmness came, as in any foreign country, with a knowledge of its language. All Hollywoodians are sup- posed to know and apply in their ordinary conversation such words as "Fade in," "credit titles," "dissolve," "closeup," "me- dium shot," "trucking shot," "long shot " "full shot," "Camera Zooms," "Montage," "sequence," "fade out" and words not ap- proved by the censors, which of course in- clude profanity. In a script, God is never spoken of or to unless in prayer, darn is the substitute for damn, and words in the strain of pimp and flowsy should not even appear in the first version.
Script form varies slightly in the differ- ent studios but all follow a similar pattern. A script should not be more than one hun- dred and twenty pages long, if that. It is divided into sequences, of which there can be any number but are seldom less than five or more than seven. The sequence is to the scenario what the act is to the play. Each begins with a "Fade in" and ends with a "Fade out." Sometimes sequences are named with the letters of the alphabet, as A.B. C. or D:, and sometimes not. Curiously the letter "I" is never used. (Probably too much in demand as a pro- noun. )
"Fade in" is nothing more than that — Fade in. A cutter, the man or woman who shortens scenes by cutting the film and then arranges them in the desired order, told me that starting at its apex, "Fade in" is a V-shaped widening of light on the
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dark film until the entire square is covered. "Fade out" reverses the process.
SAM SNODCRASS presents Wanda Gulch in "Blossoms on a Cactus." Original story by John Shakespeare and Peter Einstein. (Credit title) Screenplay by Joe Doe, Tom Teenth, Eve Gay and Malcolm Montgomery. (Credit title) Tech- nical adviser, Dr. Ludwig Von Loon, Phd.
(Credit title) Gowns Gargo. (Gowns
are always more original if their creators use only one name).
Let us imagine we are adapting a storv for the screen in which Joan Crawford, Franchot Tone and Douglas Fairbanks are to play the leads. (It is a favorite trick of producers to feature stars who have been in some phase of romantic interest.)
The first scene is generally a STOCK SHOT. (Films taken previously and kept in the perma- nent files of the studio. Pictures of Times Square, Piccadilly Circus, and newsreels of forest fires, floods, and current events are stock shots.)
Each movement of the camera is a scene and numbered so our first shot will be A-l — "A" for the sequence and "1" for the scene. If the sequence is not named the first scene is simply "1" and the number of the first scene in the second sequence will follow that of the last scene in the first sequence instead of being B-l
Our STOCK SHOT will be of the French Riviera. A-2 will be a LONG SHOT— CHATEAU ON RIVIERA (A long shot is just what it says, a long shot so that a full view is obtained.)
A-3 INT. LIVING ROOM OF CHATEAU — WIDE ANGLE (As much of the room as can be is included in the "frame" or picture.)
Then in its place on the page reserved for business:
A woman is standing in the center of the room, apparently waiting for someone. CAMERA MOVES CLOSER (each movement of the camera is typed in capital letters) and we see that the woman is JOAN. Her face lights up as she sees something out of picture. We CUT TO: (A "cut to" occurs when there is a change of scene in running action.)
A-4 FRANCHOT ON STAIRS — FULL SHOT (entire figure) He is descending the stairs.
A-5 FRANCHOT AND JOAN— MED. FULL SHOT (upper half) He kisses her. Thev start walking toward the patio, CAMERA TRUCK- ING WITH THEM. (The camera is being pushed.)
A-6 FRANCHOT AND JOAN— IN PATIO —MED. CLOSE SHOT (shoulders and heads) They are engaged in animated repartee.
10AN: It's a lovely day.
FRANCHOT: Yes, it is ... a lovely day.
JOAN: (suddenly, a horrified expression on heT face") Look! She points to the sky.
A-7 PLANE IN SKY— LONG SHOT The pilot has obviously lost control and the plane is crazilv banking in circles.
A-8 JOAN AND FRANCHOT They watch, helpless.
A-9 PLANE IN SKY— LONG SHOT It starts to fall in a straight line to the ground A-10 PILOT IN PLANE (TRANSPARENCY) His face is distorted with fear. (Because of the difficulties of photographing the interiors of moving vehicles most scenes in planes, auto- mobiles, buggies, and boats are transparency effects. The stationary vehicle is placed before a screen on which pictures of the background are run. Wind machines help give the effect of speed; the bouncing of the automobile or jogging of the buggy is done (out of picture) by some of the kind gentlemen on the set: and telephone poles whizzing past are frequently pencil-size wooden sticks which are flashed before the camera at regular intervals by an equally agreeable gentle- man.)
A-1 1-12-13-14 MONTAGE EFFECT (Name of the man who invented it) showing the thoughts which race through the aviator's mind as he falls to almost certain death.
The background of our Montage will be the head of the aviator. Dissolved into it we see a child kissing his dying mother goodbye; the same child, only older, seeing a dog killed: a youth winning a race. The tense face of the youth, which we do not clearly see. becomes the tense face of the aviator, racing to death in a plane!
A-l 5 PLANE IN SKY— FRANCHOT AND lOAN'S VIEWPOINT It crashes to the ground. CAMERA ZOOMS UP CLOSE (rapid action on the part of the pushers) as the plane bursts into flame.
In its special place on the page:
SOUND EFFECT: The sound of plane crash- ing and bursting into flame.
Franchot dashes into picture. (Heroes never do anything so common as "run".)
After several shots of Franchot trying to rescue the aviator he succeeds.
A-20 JOAN, AVIATOR AND FRANCHOT —IN PATIO— MED. FULL SHOT The limp figure of the aviator is lying on the ground. Joan is again her animated self and is brushing gay tears from her eyes. Tenderly, then, she removes the aviator's helmet and goggles. She starts back, amazed.
A-21 AVIATOR— CLOSE SHOT (Just the head in picture) It is Douglas.
A-22 GROUP SHOT— MED. CLOSE Doug- las comes to. (If a nice person call characters by Christian name, if villain a terse Bligh or Hyde is more menacing.) He gives a start of recognition.
You can tell by her smile that Helen Vallcis has a film contract.
DOUGLAS: I'm not dead? Joan slowly and silently shakes her head. DOUGLAS: Take me to a hospital, please. A-23 FRANCHOT AND JOAN She looks at Franchot with beseeching eyes. JOAN: Please.
Franchot nods his head in assent. A-24 GROUP SHOT
JOAN: (smiling animatedly) You're going to stay here with us. Douglas, until you get well. The CAMERA MOVES AWAY from the group and STOPS on the dead leaves on the ground and we DISSOLVE INTO:
(A dissolve denotes a lapse of time. It is not ' so long as a Fade out nor so short as a cut. Before all of one scene has melted out the new one is coming in. Hence the word "dissolve".)
A-25 THE BUDDING LEAVES OE A TREE CLOSE SHOT (A standard way of showing that time marches on)
A-26 INT. BEDROOM IN CHATEAU — DOUGLAS IN BED— MED. CLOSE SHOT He is smiling happily.
DOCTOR: (not in picture) I think you can get up today, son.
CAMERA PULLS AWAY to give us a WIDER ANGLE OF THE ROOM and we see Franchot and Joan at either side of the bed. (The doctor is standing near a door.)
DOCTOR: I've done all I can do. You two will have to do the rest. He looks significantly at loan and Franchot.
A-27 THREE SHOT— FRANCHOT, JOAN AND DOUGLAS
lOAN AND FRANCHOT: (simultaneously) We will.
The three exchange smiles of great under- standing.
IOAN: We've decided to be pals. A-28 DOCTOR He smiles, too. in under- standing.
A-29 JOAN, FRANCHOT AND DOUGLAS They are gazing at one another with even greater understanding.
A-30 DOCTOR He turns, tiptoes out the door and closes it softlv behind him.
A-31 CLOSE THREE SHOT Unaware of the doctor's departure, Joan, Franchot and Douglas smile at one another with the greatest of under- standing as we FADE OUT.
The number of writers assigned to a picture depends upon its producer's pocket- book, for each writer's salary is charged against the picture whether or not his script is the one used — one why of the high cost of production.
Generally, two writers collaborate. More often than not, no sooner do they finish their script when it is passed on to an- other pair to be polished. The polishing process may last until every writer on the lot has had a crack at it and nothing of the original story, novel, or play, for which the producer may have paid as much as one hundred thousand dollars, remains.
Who, then, receives the cherished screen- play credit? According to the new film code only two writers may do so. However, if a team both members must be mentioned, so a maximum of four names can follow the "Screenplay by." The names will be those of the persons who have contributed the major part of the script which is filmed.
One of the most successful teams in Hollywood today is that of Walter De Leon and Francis Martin, who specialize in comedies and musicals. Walter De Leon (one of his best was "Ruggles of Red Gap"
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with Charles Laughton) ranked second in the official 1936 screen year book for hav- ing the greatest number of box office hits for the preceding five years. (Robert Lord of Warner Brothers received first honors.)
De Leon is a former juvenile and vaude- ville actor and has had little formal educa- tion. He is probably one of the sanest people in Hollywood and leads a quiet, happy domestic life.
Francis Martin was baker, gambler, song and dance maker before he started writing for Mack Sennett. Now he never eats bakery stuff, still has a penchant for plaids, and collects pipes. While De Leon, who stutters slightly, dictates, Martin paces up and down the small cubicle that is a writer's room, chewing the stem of one of his weirdly-shaped pipes. He interrupts occa- sionally, saying :
"Walter, don't you think this is a good spot for a revised version of the traveling- salesman joke?" Or, "Walter, how about pulling that old gag we used on the three- a-day? It's always good for a belly laugh."
That hilarious pair of scenarists in Bella and Sam Spewack's play, "Boy Meets Girl," is said to be a composite of the teams of Ben Hecht and Charles Mac- Arthur, and William Slavens McNutt and Grover Jones, who parted ways a year ago; McNutt to go to M-G-M and Jones to a producer's berth at Paramount.
"Lives of a Bengal Lancer," an Academy award winner, is the product of McNutt
and Jones in collaboration with Waldemar Young, called one of the Twelve Apostles of Hollywood. (No one has bothered to name the other eleven.)
Mr. Young, who has been writing for the screen for eighteen years, is a kindly old bear and the only person to score ninety in the word game the writers play as another source of inspiration. What this game has cost the studios can only be imagined but the average family could live its span luxuriously on the interest.
Any number may play the game. _ Each participant is required to have pencil and paper. Make a large square. Divide that into little squares, five across and five down until there are twenty-five. (Grover Jones had some printed and distributed them among the writers to save time.) Someone give a letter — anyone. Someone give an- other, or it can be the same as the first. As the letters are given the players are supposed to put them in their little squares.
The winner is the person who, when all are filled, has the most words; ten being- high as each word must begin in one of the first squares at the top and left side. The, scoring is ten points for a five-letter word, four points for a four-letter word, and three points for a three-letter word. Proper names and foreign words do not count.
Sometimes the writer does not get the inspiration, but the producer does. Once, when working for Philip MacDonald, author of the Anthony Gethryn detective stories, "Menace" and "The Lost Patrol," Arthur Hornblow, Jr., his producer and husband of Myrna Loy, returned from a trip abroad with an idea for a film for George Raft.
While walking the boulevards of Paris he had seen and heard a man playing a concertina. CONCERTINA! A swell title for a story! The fact that George Raft did not play a concertina mattered not at all. Also, Hornblow had paid two thousand dollars for a hitherto unused detective story in Hungarian in which the hero is a little boy, the action takes place aboard ship, and subsidiary characters are some detec- tives en route to a convention in New York City.
Arthur Hornblow, Jr.'s, instruction to Philip MacDonald amounted to _ this : "Write me an original story, the title of which is to be 'Concertina ;' the hero, George Raft; the place aboard ship; and throw in five detectives just to get my two thousand out of the Hungarian detective story."
The outcome was a film with Fred Mac- Murray and Carole Lombard playing the leads, called "The Princess Comes Across." George Raft would not play in the picture because he said the cameraman gave Lom- bard all the breaks, and Lombard's con- tract stated she could have any cameraman she wanted.
Unlike the late Edgar Wallace, who could write a complete novel via the dicta- phone in a few days' time, the majority of writers do not dictate spontaneously. Most frequently the material is first written in long-hand and then dictated. Some use notes or work from an outline, and the mouthings of many come so slowly that several girls have knitted dresses _ and sweaters while waiting for their geniuses to think of the next word.
Of all the writers from whom I have taken dictation Thyra Samter Winslow (it would be a woman) author of "My Own, My Native Land" and "Picture Frames," could best and longest maintain an unin- terrupted flow of words that made sense.
To see Dorothy Parker and Alan Camp- bell around the studio (when they are) one would never credit her with being the wit she is supposed to be. She is very quiet (Alan Campbell does all the dictating) and greets one with a sweet and vague smile from under her bangs. Besides "hello," the
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SCREENLAND
97
Three darling daughters of the studios take the pause that re- freshes by perching be- tween hikes! Jane Bryan, Jane Wyman, and Mary Maguire are the pretty railbirds pre- sented in the vivacious view on the left.
only thing I ever heard her say was in the ladies' lavatory. (The one on the fourth floor of the W riters' Building at Paramount is very small.) I bumped into her when I was going out. She said, "My, but it's congested in here!" Ever since I have been trying to decide whether or not it was in- tended to be clever.
But the life of a celluloid secretary is not always so disappointing. There are story conferences.
After five weeks of work Mr. Hose (Hater of story conferences) to_ whom I was assigned, and his collaborating team, Mr. Nih (New in Hollywood) and Miss Atga (Anxious to get ahead) turned in the first rough draft of a script.
Something was wrong with it, said the producer, Mr. Mitta (More intelligent than the average). He did not know Just what, but definitely there was something- wrong. Consequently the following Sunday a story conference was to be held at his house. All concerned were to be present. This included the director, Mr. Abow (Abstaining be- cause of wife) and Miss Enigmatic, the producer's secretary, and myself. The two secretaries were to be prepared to take notes and possibly retype the entire script. The conference was to start at ten o'clock.
I came at eleven. A Filipino butler took my things and showed me into the living room. It was a large room, a very large room, with Persian rugs, heavy brocade drapes and the furniture Italian Renais- sance, ornately carved Spanish, and com- fortable American. At the far end, before a fireplace in which was burning a four-foot log, sat the biggest Great Dane I have ever seen and all the story conference par- ticipants with the exception of Mr. Hose, who had not yet arrived.
What actors and actresses would best portray the characters in the film was the subject of discussion.
"I'd like her in the picture," Mr. Mitta was saying. "But she's so much trouble. Have to keep a nurse on hand to sober her up."
I spotted my typewriter and the supplies on the grand piano and went over and got a notebook and several already-sharpened pencils. I sat a short distance from the
others near a low table piled high in Roman carelessness with fruits, nuts, and sweets.
Mr. Hose arrived. "Only chance I had to talk to my lawyer about my divorce," he explained as he joined the group. (Al- though he was not living with his wife and had no intention of getting a divorce, this was a beautiful alibi. It always worked and everyone was always sympathetic. I had heard him use the same excuse several times.)
"Now we can get down to business," said Mr. Mitta, utterly delighted with the assembled group. "Before we start, would anyone like a Martini?"
"None for me," said Abow, the director, an old-time Mack Sennett man.
Everyone else, including the two secre- taries on the payroll at time and one-half — for it was Sunday — accepted.
The Martinis were served and work be- gan. The script was to be gone through, page for page, and each point analyzed in an effort to find the lost link of the story. Mr. Mitta started reading.
The first fade-out was reached with the third Martini and no criticism.
"We're progressing splendidly," said Mr. Mitta, as he put down the script. "Now I think we can have a spot of lunch. We'll just have to take pot luck today because Mrs. Mitta is down at Palm Springs and I'm rather baching it."
Mr. Abow, who had been restlessly pac- ing the floor during the reading of the first sequence, was the first to reach the wrought-iron fence, behind which were drawn portieres and the dining room.
Mr. Mitta pulled a cord, the portieres fell back, the wrought-iron fence swung open, and we all went into lunch. It was a simple little meal consisting of assorted cold meats and chicken, cheeses, halved avocados with French dressing, hamburgers (yes, hamburgers), fruit salad, ale. Guin- ness stout, and coffee.
At its conclusion Mr. Mitta suggested that we have a romp in the patio with the dog. ' -
We romped. We had to. All our salaries were being charged against Mr. Mitta's picture. The Great Dane turned out to be
an affectionate creature, quite fond of .standing on his hind legs and caressing one and all with his fore-paws.
After we had all romped to the Dane's partial satisfaction we turned to the living room, our respective places, and the sec- ond sequence.
"How about a Scotch and soda to pick us up a bit?" asked Mr. Mitta.
Everyone but Mr. Abow, who seemed more restless than ever, welcomed the sug- gestion. Mr. Hose was almost cheerful. Miss Atga made endless mouths and eyes at our host. And the bewildered look in Mr. Nih's eyes was growing.
We peacefully digested the second se- quence. But the third, with of course an- other Scotch and soda, was really exciting. Everyone talked at once and agreed with nobody. It was becoming more and more obvious that there was definitely some- thing wrong with the story. Miss Enig- matic, Mr. Mitta's secretary, and I even made a few criticisms though we had yet to put symbol to notebook.
During the fourth sequence Mr. Hose began to be directly rude to Miss Atga and Mr. Nih, whom he had grown to hate dur- ing the past five weeks, and I noticed Mr. Abow with a scotch and soda in his hand. (His wife divorced him a month later.) The Great Dane dozed fitfully.
"It certainly shows what can be done when you settle down to serious work," said Mr. Mitta, glowing with pleasure as he began the fifth sequence.
"Mitta," interrupted the no longer rest- less Mr. Abow, "remember when we made 'Desert Cinderella,' the time we had get- ting Alister Stair on a horse?"
Mr. Mitta chuckled. "It wasn't a bad scene, though, when we got through with it." Between them they told the story. And many more stories. All I remember about them was that they were screamingly funny.
The Filipino butler brought in a tray of hors d'oeavres. Mr. Mitta mixed up another batch of Martinis. I looked at my watch. It was seven. Miss Enigmatic and I were now on double time.
Dinner was a symphony and jazz battle of food, wines, and voices. At its crescendo, Mr. Nih, in a loud voice which no one but myself heard and I did not think necessary to answer, asked: "Where am I!" Then, apparently shocked by the sound of his voice, he subsided into silence and spoke not a word the rest of the evening. (When the script was eventually finished Mr. Nih demanded and got a leave of absence.)
Of the fifth sequence there is not much to be said. At eleven o"clock Mr. Mitta reached the final fade-out. He still felt — although we had done a splendid day's work — that there was something wrong with the story. Yes, definitely wrong. We were dis- missed.
Haggard and ravaged Mr. Hose came into the office the next morning at the unheard-of hour of nine-thirty.
"Get Mitta on the phone. Quick!" he said. "If I have to give up my fifteen hundred a week, yesterday's was my last story conference," he continued vehement- ly as he waited for the connection. "Had nightmares all night long." Then into the phone :
"Hello. Mitta. Hose. Say,_ I think I've found out what's wrong with the story. Yes. Came to me last night in bed. The heroine should be the villain." Even more positively: "I said the heroine should be the villain!" Slight pause, and then in an elated tone, "You agree !"
Mr. Hose winked triumphantly^ at me while he listened. Abruptly his joy left him. "All right," he said in a dead voice. He put down the receiver and turned to me. "Phone Atga and Nih. Tell them as soon as they can to get down to Mitta's office. We're having another conference."
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Philadelphia ... Mrs. Barclay Warburton, Jr.
Although of an old and conservative Philadelphia family, Mrs. Warburton has many interests besides society. She has a marvelous fashion sense, is an excellent cook, and ranks high — both in Palm Beach and Southampton — as a tennis player. As for smoking, "All I want to smoke is Camels," Mrs. War- burton says. "Camels give me a lift!"
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LISTERINE M COLDS
JEAN HERSHOLT ETHEL MERMAN CESAR ROMERO
BILLY GILBERT RAYMOND SCOTT QUINTET WALLY VERNON ■ LEAH RAY
Directed by Roy Del Ruth
Associate Producer David Hempstead Original Screen Play by Milton Sperling and Boris Ingster
SONGS! SONGS! SONGS!
"Hot and Happy", "A Gypsy Told Me" "You Are The Music To The Words In My Heart", "Yonny And His Oompah" by Sam Pokrass and Jack Yellen
It comes to you, of course, from DARRYL F. ZANUCK and his 20th Century-Fox hit creators!
18
SCREENLAND
up, and add to the batter. One batch of waffles is served with the fruit, the next with nuts.
Occasionally, a MacDonald specialty called Apple Strudel appears on the break- fast menu. Until you've tried this, you haven't lived !
APPLE STRUDEL
2 cups flour, 4 teaspoons Royal Baking: Powder, ]/2 teaspoon salt, *4 cup brown sugar, -/i cup milk, 2 tablespoons sugar, 2 tablespoons butter, 6 tablespoons Crisco, 2]/> cups chopped apples, Burnett's Cinnamon.
Sift flour, salt, sugar and baking powder together. Cut in the Crisco. Add milk to make a soft dough. Turn out on a floured board and knead gently. Roll out in rec- tangular sheet one-fourth inch thick. Spread with butter, cinnamon, brown sugar and apples. Roll jelly roll fashion. Curve into semi-circle in pan and bake in hot oven (400 degrees) thirty minutes. Cover with white frosting made as follows :
2 tablespoons hot water, ll/> cups con- fectioner's sugar, 1 teaspoon Burnett's Vanilla.
Add water to the sugar and beat until well blended.
Add vanilla and spread on warm strudel.
"After breakfast, it's every man for him- self," said Jeanette. "Four of us usually play I go, a fascinating Chinese game we Drought back from Honolulu. We play it on a barrel-shaped table in the game room. Others play ping-pong upstairs in the ping- pong room, and those musically inclined go down to the studio. Everything is very in- formal and home-folksy. The party breaks up around four o'clock."
The MacDonald-Raymond house, of stone and shingles, is set on a hill in Bel-Air, with stables and dog kennels in a hollow- back of it. The studio is a little white
Gladys George and Franchot Tone in "Love is a Headache.
house reached by a picturesque rock walk shaded by over-hanging trees. It's a one- room studio, with a big fireplace and two white pianos, one for Gene and one for Jeanette. (Gene composes, you know.) Along the mantel-piece march a collection of jolly little dance bands — dogs and cats and tiny men — a hobby of Jeanette's. The pictures are framed in MacDonald plaid and the love-seat is upholstered in the same material, which also borders the Venetian blinds.
From the entrance hall of the Tudor
JL
"Hands
SHOMD BE GLAMOROUS
/J Oat
says
(COLUMBIA PICTURES STAR)
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house, you go down a short flight of steps to the living room. There's a burgundy rug and burgundy-figured drapes : an organ as well as a grand piano; and a high balcony.
Next to the living room is a library lined with books; adjoining it, too, is the game room with its stone floor and fire- place, bear rugs and connecting bar.
"The dining room was decorated to match the Belgian blue glass in the cabinet," related jeanette, proudly. "The rug was dyed to match the glass and the drapes are blue and gray in the same tone. The Wedg- wood china is the famous blue and white.
"I brought back this linen and glassware from Hawaii — see the hibiscus pattern?"
A silver bowl centerpiece was filled with nasturtiums. The bowl was initialed "J.A.R." as is all her silver. Her initials used to spell "J.A.M." "If they spell a word, it's supposed to be luck}'," she smiled. She is lucky !
"Talking about matching things" — we weren't, but now we had moved on into the breakfast room — "we did this room to match the love-birds !"
There's a white rug on the floor, blue chairs, yellow and blue drapes, yellow and white china, and the two corner cabinets are lined with Dutch blue as a background for the china.
Except for formal dinner parties, when the Raymonds have from twelve to sixteen dinner guests, most of their entertainments are casual, friendly gatherings.
Every other Sunday, the servants have a whole day off, so the young Raymonds go to dinner with their in-laws, like other young married people the country over. But in the evening they are likely to bring- back with them some friends.
"Somebody sets the table," said Jeanette. "somebody else mixes his idea of a salad, (Please turn to page 91)
Luli Deste with John Boles in "SHE MAR- RIED AN ARTIST"-* COLUMBIA PICTURE.
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e Stars omes
Jeanette MacDonald's menus make parties at the Gene Raymonds very spe- cial Hollywood occasions. Learn her favorite recipes
By
Betty Boone
i
The first time Jeanette MacDonald saw Gene Raymond was on the doorstep of Roszika Dolly's house, when they arrived simultaneously and both tried to ring the doorbell at once.
The second meeting was on the doorstep of the Lewis Schwartzes', where the same thing occurred. They were invited to a waffle breakfast this time and the repetition of the doorstep contretemps brought about an extra interest in one another.
"Perhaps that's why we like to give waffle breakfasts ourselves," smiled Jeanette, slim and vivid in her white hostess gown. "We have them on Sundays, because most of us work on other days, and as a rule our guests are the Harold Lloyds, the Schwartzes, the Allan Jones, the Johnny Mack Browns, the Hargreaves (Helen Ferguson), my sister and her husband."
Gene and Jeanette usually go riding to- gether before the breakfasts ; the Bel- Air bridle path runs through their grounds, so all they have to do is mount their saddles and off. The guests do as they please — go to church, sleep, swim, or play tennis — and all of them meet at the Raymonds' Tudor house at noon for the breakfast.
"The menu isn't elaborate," explained my hostess. "We serve tomato, orange, or
Waffle breakfasts at the Raymonds have become a gala gustatory event in the film colony. Above, Jeanette presides at one of her Sunday morning gatherings.
prune juice first; then scrambled eggs with bacon or sausage; waffles — of course; mar- malade, maple syrup, and coffee.
"A variation of the scrambled egg dish is often served. Instead of bacon or sau- sage, take kippered herring, which comes in small cans. Pull it apart and when the eggs are about half cooked, sprinkle the herring over them and stir into the eggs. "This is a grand dish for after theatre parties, too, when you want something hot."
Jeanette's cook has a special waffle recipe which she offered to Screenland's readers :
WAFFLES 4 eggs beaten separately (whites very stiff), 2 cups flour — well sifted, 4 teaspoons Royal Baking powder, 1 teaspoon salt, 2 tablespoons sugar. Add milk to make a thin batter. Then add 6 tablespoons melted butter. Add egg whites last of all, folded in very lightly.
Sometimes, as a variation, the Raymonds put sour cherries or nuts into the waffle batter. You drain the cherries, chop them
All set, but casually inviting, is the table, above, all ready for guests of the Gene Raymonds at their Bel-Air home.
16
SCREENLAND
Love and
Hisses
20th Century- Fox
Walter Winchell and Ben Bcrnie carry on their well-publicized "feud," and Simone Simon makes her debut as a singer. Credit all three with success in their efforts, and if you find this below Winchell and Bernie's previous show, "Wake Up and Live," credit the former with great superiority, this with no mediocrity. It's a thoroughly entertain- ing film, with a wisp of a story but enough "show value" to interest and satisfy you.
Lady Behave
Republic
A pleasingly unpretentious and entirely satisfying dramatic comedy that will keep you entertained from opening to fade-out. Sally Eilers plays with winsome effect in the part of the young woman who tries to extricate her irresponsible sister from a scrape and in so doing finds love, and marriage, with Neil Hamilton; also giving a sound and telling characterization. Joseph Schildkraut and others lend good support.
The Girl Was Young
Gaumont- British
Romance that builds up to a fever pitch of repressed excitement, thus living up to the standard of its director, Alfred Hitch- cock, master of the suspense' technique/ Nova Pilbeam, a child star not long ago, essays her first adult role and displays consummate skill as the girl who falls in love with a murder suspect and aids him to escape and prove his innocence. A fine cast makes every character realistic. Good.
Daughter of
Shanghai
Paramount
Good routine melodrama whipped up to a stirring pitch of continuous action by capable acting and direction, this is a pic- ture to appeal to all those who love the out-and-out adventure fantasy about smug- glers— this time of Chinese into the U. S. — and the theme of vengeance which spices such yarns. Anna May Wong is interesting. It's good to have her back. Charles Bick- ford, Larrv Crabbe and others are good.
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Delight Evans' Reviews on Pages 52-53
A major effort in gorgeousness, and a lot better show than usually results when magnificence is multiplied for the purpose of knocking your eye out. Nelson Eddy is not too happily cast as the West Pointer, but his singing voice makes the songs_ a musical treat. Eleanor Powell, as the prin- cess of the mythical kingdom, who loves America, and Nelson, dances and acts at her best. Frank Morgan's comedy is swell.
Every Day's a Holiday
Paramount
West is West, and ever the quaint cos- tumes of the gay nineties and dialogue that goes double shall meet in her movies. _ Mae's followers will not be disappointed in this offering. She plays a gal who takes things, especially other people's money, as she finds them ; is followed by the cops, and makes the most of that; falling in love with one and getting him elected mayor. Edmund Lowe heads an excellent supporting cast.
Checkers
I Met My Love Again
United Artists
A "Vehicle," but a good one. Jane Withers will more than please her army of admirers in this homespun tale about race track people and a horse that finally comes through to win a bundle of happiness for its backers. Jane has excellent support, what with Stuart Erwin and Una Merkel alongside her in this wholesome, amusing and always appealing story. Stuart and Una take care of romance as well as comedy.
Transcribing the novel "Summer Light- ning," with Joan Bennett and Henry Fonda imparting to basically unreal characters a depth and sentimental appeal that captures and holds your interest all through a series of interesting but unconvincing episodes concerning young lovers parted, and later seeking to recapture their romance. In an excellent cast Louise Piatt is outstanding. Loads of charm for feminine film-goers.
Wise Girl
RKO- Rodio
It will hand you some big laughs, and if you make the most of them "Wise Girl" will sum up as a show you'll be glad you saw. There are lapses where Miriam Hop- kins and Ray Milland, for all their able efforts, are banefully handicapped. This is light comedy that goes slapstick whenever it seems to the authors a laugh is in sight, and shows Miriam and Ray as gayly absurd people who fight until they fall in love.
You're a Sweet- heart
Universal
A bright and breezy musical revue. Alice Faye and George Murphy make_ an ex- hilarating and attractive team, in song, dances and romance. They have a sparkling- background in a fine production of a not new, but thoroughly good story about the vicissitudes of staging a show. Ken Mur- ray, Charles Winninger, and lots of others give grand support. Specialty acts, lively tunes, and dance numbers also help.
Crashing i Holly- j wood
RKO- Radio
Lee Tracy starring as a writer who crashes Hollywood doing stories so real- istically about actual crimes that a gang- leader and detectives come in to supply an "action finish" with hero slugging jt out with villain. It is mechanical movie fiction, with some inside film studio stuff, comedy and romance tricking it up. Lee Patrick, Paul Guilfoyle and Joan Wood- bury playing principal roles. Program fare.
14
SCREENLAND
Comedy relief punctuates the arias in Gladys Swarthout's new starring film, in which she has the able assistance of John Boles and John Barrymore.
signed her for pictures in this country. Her current picture is "Dinner at the Ritz." Annabella is now working in Holly- wood for 20th Century-Fox, opposite Wil- liam Powell.
Dottie Mac. Yes, Frieda Inescort has played on the stage. She appeared in "The Truth about Blayds," "The Merchant of Venice," "Springtime for Henry," and ''When Ladies Meet." On the screen in "The Dark Angel," "The Green Murder Case." "Give Me Your Heart," "Call it a Day" and "Portia on Trial."
Mary Elizabeth C. Thanks very much for your letter. So you liked Spencer Tracy in "Captains Courageous." Who could blame you for that ! You'll be seeing Freddie Bartholomew again very soon: he and his producers have kissed and made up. No, Ken and Kermit Maynard are not twins — perhaps you meant Billy and Bobby Mauch ! Cesar Romero was born in New York City in 1907. He has black hair and brown eyes. He was well known on the stage before he appeared in pictures.
Toots G. I'm glad you finally got your courage up to ask some questions. Why not? Yes, Bonita Granville played in "Maid of Salem," and Tyrone Power is that young man's honest-to-goodness real name : as a matter of fact, he is named after his illustrious ancestors who made stage history in the days before movies came into existence.
Carol A. Carl Laemmle, Jr., wrote, cast, supervised and edited the Universal Junior Jewel Series "The Collegians," after which he was appointed general manager, in com- plete charge of all production, in 1929. He produced "All Quiet on the Western Front," which won the Gold Medal Award
of the Academy of Motion Picture Arts and Sciences for the year 1930. He was born in Chicago, April 28, 1908, was edu- cated at boarding school near New York, and Clark School. He resigned as vice- president and general manager in charge of production of Universal, April, 1936. Now he is producing on his own.
Lucia Marie B. Lionel Stander is 6 feet tall, weighs 160 pounds, has brown hair and eyes, was born in New York City, where his parents and a sister and a brother reside. His theatrical career began
when he was 19 years old ; since then he has appeared in various stage plays, and on the radio. He made his screen debut in 1932. His favorite screen role was that of the wily publicist in Columbia's picture, "Mr. Deeds Goes to Town."
Miss Sincere. Joseph Calleia was born in Malta ; he toured Europe on the con- cert stage and later appeared on the Eng- lish stage in drama. He came to the United States in 1918. A few of his more recent pictures are "Riffraff," "Exclusive Story," and "Tough Guy," for M-G-M.
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Helen M. June Gale appeared in "One in a Million" a 20th Century-Fox picture. Joel McCrea is married to Frances Dee. They have a ranch, a real one of 1000 acres, in San Fernando Valley and when Joel is not making pictures for Samuel Goldwyn, he rides the range among the herds of steers, shouting orders to the cowboys, as dusty and overalled as the others. And you should see him as a real plowman! "Private Worlds," "Splendor," "Barbary Coast," "These Three," "Internes Can't Take Money," "Woman Chases Man" and "Wells Fargo" are a few of his pictures.
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Patricia Ann. Your admiration being so strong for Lionel Stander, naturally you want to know more about him, and I'm just the one to tell you. He was born in New York City, January 10, some twenty- odd years ago. He is 6 feet tall, weighs 160 pounds, has brown hair and brown eyes. He made his debut as a featured actor in "The Scoundrel," a Hecht-MacArthur pic- ture. He has since appeared in "We're in the Money," "Page Miss Glory," "The Gay Deception," "The Milky Way," "If You Could Only Cook," "Mr. Deeds Goes to Town," and several other pictures. Yes, he has a brother and a sister, both younger than he.
Elinor Adams. She was a brat, all right, in "These Three ;" but really, she is a very talented, nice little girl, 13 years old, by the name of Bonita Granville. Born in Chicago, daughter of Bernard and Rosina Granville, both of the stage. She appeared first on the screen in "Cavalcade," later in "The Life of Virgie Winters," "Cradle Song," and "Oh, Wilderness." Her more recent pictures are "The Plough and the Stars," "Maid of Salem," and "Call It A Day."
Eileen M. John Litel has played in stock all over the United States ; as a matter of fact, his stage career has been continuous ever since he began at the age of 26. He now has a film contract with Warner Bros. He is married to a non-professional, is quite domesticated, likes to cook and en- joys fine foods and wines, is fond of all sports, but playing bridge is his favorite recreation, with the exception of the time he spends with his Lion dog, "Simba," and is he proud of that dog!
Edward F. "The Prince and the Pauper" is a Warner Bros, picture. Their studio is at Burbank, California. Errol _ Flynn? First, you wish a list of his American pic- tures, so here goes : "The Case of the Curious Bride," "Don't Bet on Blondes," "Captain Blood," "The Charge of the Light Brigade," "Green Light," "Another Dawn," "The Prince and the Pauper," and his latest, "The Perfect Specimen." He was born in the north of Ireland, June 20, 1909. All I know about his father is that he was a professor of biology at Queen's University, Belfast, and also at Cambridge. Sorry, I haven't an idea as to whether Errol answers his fan mail. Why not try addressing a letter to him in care of the Warner Bros. Studio, Burbank, California? \nd be sure to mark it "personal."
but has .lived most of her life in Holly- wood, as her family moved there when she was 7. Miriam Hopkins is a Southern gal, born in Savannah, Georgia. It was through her outstanding dramatic abdity on the stage that she was offered a long- term movie contract. Now with Samuel Goldwyn Productions. She is a decided blonde, with blue eyes, 5 feet, 3 inches tall and weighs 103 pounds. In real life Miriam is Mrs. Anatole Litvak— he's a director for Warners.
GO. Harvey Stephens was born in Los Angeles, California, is 5 feet 11^4 inches tall and weighs 175 pounds, has brown hair and eyes and is married to Beatrice Nichols. He was well known on the stage before he appeared in pictures. His forth- coming picture for Paramount has not been finally titled, and I'd forfeit my reputation with you if I gave you a tentative title!
Lukle C. Sorry, you lose your bet! Kay Francis is 5 feet, 5 inches tall. And as for the size of shoes worn by certain film stars, your guess is as good as mine.
Mildred W. Address Ray Milland, Para- mount Studio, Hollywood, California. . Clark Gable and Nelson Eddy at Metro- Goldwyn-Mayer, Culver City, California. Fernand Gravet, Warner Bros., Burbank, California.
Anna L. Write to Universal Studios, Universal City, California, for a picture of Deanna Durbin; and to Metro-Mayer- Goldwyn, Culver City, for a photograph of Mickey Rooney. Two grand youngsters, aren't they?
P. McD. You seem to be all "net" up over this little French gal, Annabella, who was born in Paris, July 14, Bastille Day. She was educated in the schools of Paris, and afterward enrolled in a girls' college outside of the French capital. The one ambition of her life was to become a movie star. Opportunity and success came almost simultaneously. She was a well-known European film star when 20th Century-Fox
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Barbara D. "The Scoundrel," opposite Noel Coward, was the picture in which Julie Haydon scored. Previous to this per- formance, she appeared in various stage plays. She was born in Oak Park, Illinois,
Dolores Del Rio again co-stars with George Saunders.
12
SCRE EN L AND
FLYNN FAVORITISM
Amidst all the fuss over who is the most popular screen star, I find one young man whom I consider by far the best suited to hold the title of most popular actor. Errol Flynn possesses a certain inescapable charm, undoubted acting talent and skill, a fine physique (generously displayed in "Per- fect Specimen," incidentally), a profile even Barrymore can't beat.
Irmgard Mittler, Madison, Wise.
HUNTER-INESCORT TEAM
Hollywood is being terribly unfair to one of its finest actors, Ian Hunter. After "Call It A Day" he and the exquisite Frieda Inescort should be teamed in other equally charming pictures. Sequels are often dis- appointing, but if a good script were pre- pared by Dodie Smith herself, I should love to see a sequel to "Call It A Day."
Margaret A. Council, Des Moines, la.
URGES UN-TYPING OF STORIES
Films are many and varied, and many are outstanding, even brilliant. Even so, why not have fewer pictures of the light type and a larger proportion of the more intelligent, thoughtful kind, with some good humor? Stars like Norma Shearer and Fredric March ought to refresh the public with a revised "Smilin' Through."
E. L. Dodson, Epsom, England
CRITIC OF CRITICS
All the reviews I read of "Ebb Tide" gave much credit to Oscar Homolka, Ray Milland and Frances Farmer, and barely mentioned Lloyd Nolan. I think he should have received more notice for his fine work in this picture, because from where I sat Lloyd Nolan's characterization literally "stole the show."
Nancy E. Reid, Reno, Nevada
SALUTE TO KARLOFF
As one who enjoys fine acting, I suggest that Boris Karloff be given a holiday from those monster roles in which he has been cast with such regularity. For Karloff is truly an accomplished actor and should re- ceive his merited opportunity to take his Munis, Laughtons and
place among Boyers.
the
Richard L. Treadwell, Brooklyn, N. Y.
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The night was glamorous and the music was good— but Bill's interest died with the very first dance. Ann had thought a bath alone could keep her sweet— and one hint of underarm odor was enough for Bill. Others in the office
noticed, too. Ann lost the job she wanted —the job that might have led to love.
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SCREENLAND
TAKES THE ODOR OUT OF PERSPIRATION
11
Irene Dunne smiles in the spotlight of letter writers' favor, gra- il^ ciously responding to your plaudits.
m
Salutes and Snubs
BING HEADS THE PARADE
I have a long list of screen favorites, but the one who tops them all happens to be genial Bing Crosby. Yes, very definitely, it is Bing, with his charming personality and magic voice who thrills me most.
Mary Laurence, Montreal, Canada
SOMEBODY SLIPPED
I think somebody, or somebody's secre- tary, should read the studio fan mail more carefully. I sent a letter to a certain star (male) containing rather severe criticism, and a few days later received a card thank- ing me for my inquiry about his portrait, and telling how I could obtain one. It happens I am one of his fans, despite the criticism. Nevertheless, the laugh's on him. It's also on me, as it turned out, for I sent for his portrait.
Miriam Galley, Casper, Wyoming
DECLARES FOR DAVIS
I'd like to say what I think about Bette Davis. I've seen most of her pictures, and will continue seeing them. I liked her so much in "Marked Woman" and "That Cer- tain Woman," in which Bette gave grand performances. So, if I may name my choice among the Hollywood actresses, I'm say- ing : I'm for Bette Davis.
Lucille Benner, Toledo, O.
TAKE A BOW, DICK BALDWIN
In the Ritz Brothers picture, "Life Be- gins in College," there was a football player whose name is Dick Baldwin. He's a good actor, and very good looking. So I'm hop- ing we'll see more of Dick Baldwin, and so too, I'll bet, will many others who may get to see him in other parts on the screen.
Lois Martzahn, Davenport, la.
SPLENDIDLY-DUNNE COMEDY
Irene Dunne was an ingratiating heroine in "The Awful Truth," and this writer be- lieves that her success lies in more assign- ments with a comedy flavor. The excellent "Awful Truth" proves that the also ex- cellent "Theodora Goes Wild" was no ac- cident, so let's hail Columbia for allowing Irene Dunne to reveal her sparkling flair for comedy.
Albert Manski, Boston, Mass.
BETWEEN YOU AND THE STARS
This department is your own private secretary. Just call on it to "take a letter," to your fa- vorite film person, or a message to Hollywood in which you wish either to Salute or Snub what you like or don't about pictures or perform- ances. Your ideas are welcome here and when they have something that will interest Holly- wood and your fellow filmgoers, they will ap- pear— and be read. Please try to restrict each comment to 50 words or less. Address: Letter Dept., SCREENLAND, 45 West 45th St., New York, N. Y.
10
5 C R E ENLAND
Make a FR&H start
and swing over to a FRESH cigarette
Virginia Bruce in a romantic scene with Dennis O'Keefe.
RASHES from
FILM TOWN
CPENCER TRACY can dish it out, too. «-} He's been working with Gable and at the conclusion of each shot Spence cries, "Bravo! Taylor couldn't have done better." And since Clark and Myrna Loy won first place in a recent newspaper popularity poll, Spence insists upon addressing them as King and Queen.
AS SOON as Constance Bennett starts 1 to work you hear tales of her sensible co-operation. She has, one discovers, spent the last three Sunday afternoons posing for publicity pictures. Then when you are on the verge of forgetting all the cracks about her imperial ways you stumble upon a story like this one. An interviewer was taken on the set to do a story on Connie's leading man. The Bennett spotted the two- some immediately, demanded to know who the visiting woman was. Upon being told she was an interviewer, and was there to see the Bennett foil, Connie is said to have ordered, "Throw her out of here !" Say it isn't true, Constance!
WONDER if Jean Dixon is getting that "Just tell him (her) that you saw me and when you saw me I was looking good" line from both ends? She's Joan Craw- ford's best woman friend in Hollywood; now she's doing a picture with Douglas Fairbanks, Jr. Doug the younger is too concerned with effecting his impressive come-back to be rushing any girl these days.
RALPH BELLAMY is the latest to learn that everything comes to him who waits. Finally he's getting decent roles, but that isn't all. That oil well he financed down in Louisiana is a gusher, to the tune of $3,000 a month.
GAIL PATRICK thought she had this poise stuff down pat. She has painstak- ingly studied chic, the proper carriage, and how to win admirers and influence folks. Then at the Biltmore Hotel the other night she was called upon to make a speech. Four hundred diners were in a dither of anticipation. Calmly, regally, Gail arose and bowed graciously. She wanted to be particularly nice to her old home-staters, who were prominently present for an Ala- bama reunion. She opened her mouth, and to her horror said, "My old soaks from Alabama. . . ."
Fresh Start made a Fresh Star
esgirl in a department store, Joy Hodges de a fresh start. Landed in the movies! rred in " Merry-Go-Round of 1938"! ow charms Broadway in "I'd Rather Be ght"! Joy's fresh start made a new star who brought fresh joy to millions.
YOU'LL miss a lot in life if you stay in the rut of old habits and never risk a FRESH start. Take your cigarette, for instance. If your present brand is often dry or soggy, don't stay "spliced" to that stale number just because you're used to it.
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Here's why the O.G. package keeps 'em fresh
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Outer Cellophane Jacket Opens from the Bottom, sealing the Top |
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Copyright, 193S, by P. Lorillard Co., Inc.
SCRE ENLAND
9
SCREENLAND'S
Crossword Puzzle
By Alma Talley
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Try Italian Balm yourself — as a protection against chapping and dry, coarse skin texture. See how quickly it softens and smooths your skin. You'll feel the differ- ence in ONE MINUTE after applying it.
Test Italian Balm before you buy it. Send for FREE Vanity Bottle. Mail coupon today.
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Gentlemen: I have never tried Italian Balm. Please send me VANITY Bottle FREE and postpaid.
A*ame_
Ar1tJress_ City
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In Canada, Campana, Ltd.,
SC -iI44 Caledonia Hoad, Toronto
ACROSS He married Jeannette
Donald Co-star of "Conquest" A film try-out
Co-star of "A Star Is Born" Constellation Co-star in "Hitting
High" A painful experience The lady in "Fight For Your
Lady"
His new one is "Hawaiian
Buckaroo" What you see a movie with Embraces
She is Mrs. Al Jolson
Before (prefix)
Act
Victim
Compass point (abbrev.) Postscript (abbrev.) He's married to Ruby Keeler Space, range
He played "The Great Gar- rick' ' Continent (abbrev.) Her new one is "Jezebel" Arrived Rowing
"Uncle Tom" heroine To state To rave
His new one is "Crashing Hollywood"
The most famous child star
Team of workers
Famous radio and screen comic
The elder (abbrev. ) . His new one is Chicago' '
Competent
Right (abbrev.)
Printers' measure . Sun god . Challenge . Belonging to . Title of nobility . Wagers
. What everv extra longs to play . Exclamation
. Star of "Blossoms On Broad-
91.
93. 94.
"In Old
way
84. Hawaiian wreath 86. He's featured in "Navy and Gold"
88. Omit (as syllable)
89. Co-star of 'Nothing Sacred" Star of "Ali Baba Goes to
Town" 92. Enough (poetic) Consent To rip
DOWN
1. He plays Marco Polo
2. Finished
3. Born
A. A city in Greenland
5. " West, Young Man," a
movie
6. To get up
7. To get free of
8. A male hog
9. " The Avenue," a movie
10. She plays "Sugar," in "The
Women Men Marry"
11. What you hear a talkie with
12. Jumps about
13. Row
14. He stars in "Wide
Open Faces" 17. Compass point (ab- brev.)
19. She's Mrs. Johnny
Weissmuller. 21. Star of ' 'Beloved
Enemy' ' 24. Her new one is "I'll
Take Romance" 26. To employ 29. A cereal grain 31. Sweet potato
33. By
34. Encourages
35. Bar used for lifting 37. Kingdom
39. At this place
40. From birth
41. To scorn
42. Actor's manager 44. Scotch cap 46. Roauish 48. Sick
Changed direction Conscious of Cooking vessel
58. "The Bride Wore —
with Crawford 60. The M-G-M lion 63. Pussy
65. He's featured in "Danger Patrol"
67. You'll see him in "I'll Take
Romance" 70. She married Tony Martin
72. Co-star in "I Met My Love
Again"
73. Look
74. Not working
75. To concoct (as beer)
76. Refuse, from metal
78. What stars do to lose weight
80. One who inherits
81. One of the comedy team, in
"All Over Town" 83. Stir, fuss 85. To make a mistake . 8". Poem
89. Pa's wife
90. The boy friend
Answer to Last Month's Puzzle
8
SCREENLAND
A
gallant with the ladies . . . beloved by every belle in all of New Orleans . . . feared by those rats of the Seven Seas . . . his bold, bad buccaneers . . . Jean Lafitte. . .the gayest lad who ever sailed beneath the Skull and Cross- bones lives again in the grandest historical romance ever to swing across the screen... Cecil B. DeMille's flaming adven ture - epic . . . "THE BUCCANEER." In the thrilling role of the dashing gentleman pirate, who took
time out from his pirateering and his romancing to help Andrew Jackson win the Battle of New Orleans and save America from the British . . . Fredric March reaches new heights of screen adventure. As the little Dutch girl whose love forced the dashing pirate to strike his flag . . . Franciska Gaal, beautiful new Paramount star discovery, makes a fitting team-mate for that gentleman pirate Capt. Jean Lafitte.
Screen Play by Edwin Justus Mayer, Harold Lamb and C. Gardner Sullivan • Based on an Adaptation by Jeanie Macpherson of "Lafitte the Pirate" by Lyle Saxon
SCREENLAND
7
YOU know Walt Disney as the man who gave us Mickey Mouse and the Silly Symphonies — spiritual father of Donald Duck and Pluto, Minnie Mouse and the hysterical hen and all that fabulous family. Now, with the release of the new, seven-reel Tech- nicolor animated cartoon feature of "Snow White and the Seven Dwarfs,'' you must consider Disney in a new light, as the most important producer in Hollywood — or in the world. For his marvelous movie, based on the be- loved fairy-tale, is an achievement marking a milestone in motion picture history. Imagine, if you can, a heroine whose charms, though she is only a cartoon character, surpass those of a flesh-and-blood actress; a group of grotesque drawings whose collective comedy is funnier than Fields' — excite- ment, and suspense, and beauty, and gaiety — here is glorious enchantment.
SCREENLAND Honor Page
To Walt Disney, Hollywood's one genuine genius, whose first full-length film, "Snow White and the Seven Dwarfs," is the screen's first great fantasy
Walt Disney, in center of page, looks at his newest creations, the Seven Dwarfs. Top left, Snow White in the forest; top right, her friends the Dwarfs. Left above, the hilarious new Disney character, Dopey. Left below, #1 Snow White's delightful dance; and at right, the wicked witch.
6
-4 ILHA
©C1B 36815 1
The Smart Screen Magazine
Delight Evans, Editor
Elizabeth Wilson, Western Representative Tom Kennedy, Assistant Editor Frank J. Carroll, Art Director
Even Sna kes Have Charm'
There's a title for you! And there's a story for you, in the next issue of Screenland, that you will not want to miss.
Picture a movie actress, all fire and flash and glamor — in other words, dynamite! Picture another screen star, a girl all serene loveliness and soft charm. Put them in the arena together, for they are, they must be enemies — and watch the fireworks! Of course, there's a man in the case. But there is also their careers, so they must fight, each with her own weap- ons, to the end.
Sounds dramatic? Of course it is. You have never read any story quite like it. You may want to try to iden- tify the girls as real movie celebrities. Try it! You may wonder just which part is fiction, and which fact. But you will read it, and we believe you will agree with us that if is the most breathless and enthalling serial ever written about that strange world of Hollywood.
"Even Snakes Have Charm" be- gins in the next, the April issue of Screenland, on sale March 4th. Be sure to ask for it so that you will not miss a word of this really unique romance.
March, 1938 Vol. XXXVI. No. $
EVERY STORY A FEATURE!
The Editor's Page Delight Evans 19
Big Plans for Shirley Temple's Future Elizabeth Wilson 20
Screenland Snoop! Liza 22
Siren of the Old South. Fictionization of "Jezebel"
Elizabeth B. Petersen 24
Have You a Trauma? Linn Lambert 26
Merry Man! Errol Flynn Ida Zeitlin 28
Bobby's Guiding Star. Bobby Breen Ben Maddox 31
Medals and Birds S. R. Mook 32
Confessions of a Come-Back. Douglas Fairbanks, Jr.
Dickson Morley 34
New Glamor for "Gamby." Maria Gambarelli Tom Kennedy 51
Reviews of the Best Pictures Delight Evans 52
Screenland Glamor School. Edited by Anna be la 54
Screen Style Slants. Hollywood Fashions 56
Aden Rides a New Hobby. Dick Arlen Ruth Tildesley 58
Star-Dust Baby. Fiction Margaret E. Songster 60
London Hettie Grimstead 62
Paris Stiles Dickenson 63
What Eleanor Powell Has Lost! Charles Darnton 64
SPECIAL ART SECTION:
Call Them "Laugh Teams" Now. Carole Lombard, Fernand Gravet. Shall We Be Arty? Or Shall We Be Candid? Dorothy Lamour, Ray Milland. Nice Work — And They've Got It! The 7 Wonders of the An- cient World. The 7 Wonders of Modern Hollywood. Rushing the Season. You, Too, Can Crash Hollywood, IF — ! Ilona Massey, Marjorie Weaver, Gail Patrick, Priscilla Lane, Lynn Carver, Dolores Del Rio, Claire Trevor, Myrna Loy, Anna May Wong. Sideshow Scenarios. W. C. Fields, Edward G. Robinson, Jane Bryan, Bobby Jordan. Beatrice Lillie, Claude Rains, Fay Wray. This Way Folks. Bing Crosby. The Most Beautiful Still of the Month.
DEPARTMENTS:
Honor Page 6
Screenland s Crossword Puzzle Alma Talley 8
Flashes from Film Town 9
Salutes and Snubs. Letters from Readers 10
Ask Me! Miss Vee Dee 12
Tagging the Talkies. Short Reviews 14
Inside the Stars' Homes. Jeanette MacDonald Betty Boone 16
Here's Hollywood. Screen News Weston East 66
From the Neck Down. Beauty Article Courtenay Marvin 70
Yours For Loveliness 71
Cover Portrait of Alice Faye by Marland Stone
Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S. MacDermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530 W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription Si. 50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us five weeks in advance of the next issue. Be sure, to give both the old and new address. Entered as second-class matter Novem- ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, 1P}0- Additional entry at Chicago, Illinois.
Copyright 1938 by Screenland Magazine, Inc.. Aiemeer Audit Bureau of Circulations. Printed in the U. S. A.
5
Two-fisted American college student goes to Oxford! Oh, boy, here's a drama that packs a wallop every minute of the way!
A YANK AT OXFORD
with LIONEL BARRYMORE
Maureen O'Sullivan • Vivien Leigh
Edmund Gwenil • Griffith JoneS • From an Original Story by John Monk Saunders
Directed by JACK CONWAY • Produced by MICHAEL BALCON A METRO GOLDWYN MAYER PICTURE
4
SCREENLAND
"I'd be a very Beautiful Woman if I'd taken care of my teeth and gums"
Neglect, Wrong Care, Ignorance of the Ipana Technique of Gum Massage -all can bring about
"Yes, dear lady, it's your own fault. You know that —now. You used to have teeth that glistened, they were so white. And your gums were firm and strong. "Then, if you remember, there was a day when your tooth brush showed that first tinge of 'pink'— a warning that comes sometimes to nearly all of us.
"But you said: It's nothing. Why, I imagine everyone notices the same thing sooner or later.' And you let it go at that.
"Foolish you! That was a day important to your teeth — important to your beauty. That was the day you should have decided, 'I'm going to see my dentist right now'!"
No Wise Woman Ignores "Pink Tooth Brush"
IF you've noticed that warning tinge of "pink" on your tooth brush— see your den- tist at once. For only your dentist can tell you when there's serious trouble ahead. Probably he'll tell you that your gums are simply lazy —that they need more work, more stimulation to help keep them firm and strong.
Many a child in grade school could tell you that often the food we eat is too soft, too well-cooked to give gums the exercise they need. Realize this— and you understand why modern dentists so frequently advise- the Ipana Technique of gum massage.
For Ipana is especially designed not only to clean teeth but, with massage, to help the health of your gums as well. Each time you brush your teeth, massage a little Ipana into the gums, with forefinger or brush. This arouses circulation in the gums— they tend to become stronger, firmer. Teeth are brighter —your smile sparkles with a new loveliness!
* * * DOUBLE DUTY— Perfected with the aid of over 1.000 dentists, Rubberset's Double Duty Tooth Brush is especially designed to make gum massage easy and more effective.
SCRE EN L AND
3
An Open Letter to Nelson Eddy
MY DEAR MR. EDDY: I realize when I address an Open Letter to you that I am committing lese majeste and malfeasance, not to mention hara-kiri. The Nelson Eddy Fan Clubs will probably be madder at me than they ever were at Jeanette MacDonald, and will accuse me of murder, mayhem, and just plain meanness. But before I prepare to duck and run, I have got to make my protest, let the snubs and clubs fall where they may; and if I know your fans, Mr. Eddy, they will, on my head.
First of all, may I remind you — and your fans — that SCREENLAND was the first screen
mag-
azine ever to interview you, when you went into pic- tures? Not only that, but an Honor Page was awarded you, and every time you burst into song on the screen, we burst into loud editorial applause. We liked you, Mr. E. We still like you. This obvious fact didn't stop your fans, however, from writing to berate us for according equal honors to your screen-mate, Miss MacDonald, or protesting because several issues of SCREENLAND appeared without stories about you. You have a slew of very sensitive fans, Mr. Eddy. They have more chips on their shoulders than Charlie McCarthy. But we fail to see why, having accorded you all possible honors, we cannot also come out in the open and criticize you just as we would another star. So, without further apologies, permit me:
Don't step out of character, please! It may be the influence of the Immortal Dummy, but it does seem that you are on the verge of becoming too coy for com- fort— certainly too coy for Nelson Eddy. Undoubtedly with the excellent intention of offsetting any possible accusation of stolidity, or stiffly sedate performances, you are apparently trying to unbend, be more casual, more carefree, go even a little gay for the photogra- phers. But somehow the results don't seem too happy.
Eddy's new role, above, in "Girl of the Golden West." Left, a portrait. Left above, Nelson amusing his fellow player, Priscilla Lawson.
The "folksy" line may be all right for some stars, but de- cidedly not for the maturely handsome man with the mag- nificent baritone and definite dignity and prestige. It may be funny to see some act- ors making deliberate faces, though I doubt that; but you are not the type. Nelson Eddy cutting capers, whether on the radio or in publicity pic- tures, is just about as effec- tive, to me, as Snow White impersonating Mae West. Of course we've had Grace Moore making her noble effort to be one of the gang with Minnie the Moocher; and Lily Pons putting on a Dietrich leg show. Let them. But you be smart; leave the clowning to others. It's all in fun, I know, but sometimes I think we may be having a little two much "fun" at the movies these days, when it comes to Myrna Loy and Bill Powell getting all messed up in "Double Wedding," and Cary Grant running around in a fluffy negligee in the new Hepburn num- ber— we might welcome one upstanding star who had the courage to take his art seriously. The high stand- ards which made you and MacDonald mighty at the box-office in "Maytime" and your other hits will crash if you permit any cheapness to creep in. You, Nelson Eddy, are an artist. Be true to your art.
19
Don't miss our exclusive in- terview with Shirley's mother
By
Elizabeth Wilson
jig Plans for
The greatest box-office star in the history of motion pictures is growing up, will be nine her next birthday. What will the little star do next?
Shirley Temple's Future
T has happened again this year !
For the third consecutive year now Shirley Temple
of the golden curls, hazel brown eyes, and cute dimples has been voted the most popular box-office attraction on the screen by American theatre exhibitors. The votes for 1936 and 1937, the second and third years, were extended to English theatres, and in that country, too, Shirley led all other players, adults and children.
There are all kinds of popularity polls. Countless polls are taken yearly by local newspapers, magazines, colleges and clubs, but it is the exhibitor's testimony and his ac- count books' evidence that are definitely the infallible jury of public opinion. The exhibitor knows what player drew the largest number of patrons to his theatre, and the exhibitor alone. When his box-office speaks the de- cision is final, irrevocable. And so, it is accepted without a moment's quibbling that Shirley Temple, eight-year- old Twentieth Century-Fox player, is the Biggest Money Making Star in the entire movie industry. And has been for three years. Shirley can take a bow. Unfortunately,
however, it's the Garbos, the Dietrichs, and the Hep- burns who take the bows.
Shirley Temple stands in the most unique position a child has ever attained in cinema history. Without excessive ballyhoo or build-up, without aggressively striving for fame or wealth, she has achieved both — and it has been done without sacrificing the least iota of her most precious possession, the happiness of childhood. Shirley may be the most famous little girl in the world, but she is completely unaware of her importance to the world. She is like any other little girl in any American city — healthy, happy, gay and energetic. But unlike other little girls she has for her playground one of the most fascinating places imaginable — a moving picture studio.
Mrs. Gertrude Temple, a tall, gracious woman, of ex- ceeding patience and charm, is the buffer between Shirley and the world. Since the hour of her baby's birth in a Santa Monica hospital on April 23, 1929, Mrs. Temple has never been separated from Shirley. It is thanks to her wise mothering that Shirley is the same healthy un-
20
spoiled little girl today that she was in 1932 when she first entered pictures. "Shirley gets more out of life than any other child, and yet she loses nothing any other child has,'" says Mrs. Temple. "If I saw the least sign that she was changing from a normal little girl I would take her out of pictures in a flash. But she hasn't changed, and I'm glad of it. It has meant a great deal to her future. All that she ever has earned is hers, and will be ready for her when she grows up."
And Shirley is growing up ! She will be nine her next birthday. She is in 5-A — Los Angeles Board of Educa- tion rating — and attacking fractions.. (And I am pleased to note that she is rather mystified by them.) Shirley is no longer the precious baby who danced and sang and
her for it. Will this nation that made a star out of Shirley Temple stand by her as she grows up?
If they will, and 1 think they will for the public really isn't so fickle, it is my opinion that Shirley will continue on the screen indefinitely. She has three more years on her present contract with Twentieth Century-Fox. And after that? Well, if the public remains loyal to its fav- orite you can be sure there will be other contracts, plenty of them. Of course no one can tell what the far distant future will bring. -But the "immediate" future is some- thing else again. Mrs. Temple, a thoughtful, judicious mother, has made plans for the next few years for Holly- wood's Number One Box-Office Star.
"Fate has been good to Shirley in her picture work,"
Shirley at play at Palm Springs, below; and at her studies with her teacher, right, in the schoolroom at the studio.
Randy Scott is Shirley's new lead- ing man in "Rebecca of Sunny- brook Farm." Center below, our
girl grows up
smiled her way into your heart in "Little Miss Marker," "Now and Forever," "Bright Eyes," "Curly Top," and "The Little Colonel." At the rate children grow up these days she soon won't be the darling little girl of "Wee Willie Winkie," "Rebecca of Sunny- brook Farm" (in which pic- ture her famous curls are combed into pigtails for the first time). Soon she'll be a young girl in her teens. W nat then? What about Shirley's future ?
Shirley came in the middle of a great depression, people were sad and discouraged, and the whole world looked pretty black and dismal. Immediately -he smiled her way right into the hearts of a nation. When people left the theatre after seeing Shirley they felt more cheerful and encouraged. Her honest little charm, her sin- cerity, her unpretentious ef- forts made them believe in themselves — and they loved
says Mrs. Temple. "If she hadn't liked to dance and sing and act in pictures, she never would have done it. I have never made any formal plans for a career for Shir- ley. My only plans* for her have been to give her a thor- ough education. I think that travel is a part of education, and I want her to have it. Mr. Temple and I are plan- ning to take Shirley on a tour of several eastern States this spring, with visits in the South and Xew England if we have time. And next year, when Shirley is older, we hope to go to England and the Continent. But that, of course, will depend upon Mr. Zanuck, as we are un- der contract, as you know, for three more years.
"The plans at present are to leave on our vacation about the same time in March or April that Mr. Zanuck le.aves on his vacation. We will (Please turn to page 74 )
21
SCR££NLAND SNOOP!
T WILL take a heavy load off your mind, I have no doubt, to learn that romance goes on in Hollywood much as usual. There is a rumor going about that this year's crop of Dream Princesses have defi- nite Narcissus complexes and are so much in love with themselves that they can't pos- sibly become interested in a mere mortal like a man. There is also a rumor about that a producer once told an extra girl that he would make a star out of her if she would go out with him some night. But you just mustn't believe such things about poor maligned Hollywood.
Anyway, I thought I would close my book (and just when the seventh body had been found too!) and gad about one night re- cently and see for myself what romantic whimsies the gay young people are going in for now. So I swirled my veil around me — you simply aren't chic in Hollywood these nights without a veil or a doodab in your hair — and did a giddy-up to the Trocadero which is neo-Greek now and very pretty too if you don't like Louis Quinze. It was a night. And I got an earful and an eyeful. And so, here I go, telling all I know. '
The newest romance in Hollywood is that of Loretta Young and Stanley Kahn. Stanley Kahn, it seems, is "private people" and so the romance hasn't been pub- licized as much as if Stanley Kahn had been Robert Taylor. Loretta met Stanley while she was vacationing in New York, and he has scads of money, and when Loretta left New York to return to Hollywood Stanley followed her, just as they do in the movies. When last seen Loretta and Stanley were breakfasting on dough- nuts and coffee at the Crossroads of the World (oh, Hollywood's modest about everything) on account Loretta had an early appointment at the House of West- more directly across Sunset Boulevard. When a rich young man gets up early to breakfast with a girl before she has her shampoo it must be love. Anyway it will do for love until something better comes along.
And what of Joe Mankiewicz, with whom Loretta had been romancing these past months? Why, their
Gay goings-on in Hollywood, caught by The Snoop. Top left, David Niven squires Norma Shearer. Above, Marlene Dietrich and the Earl of Warwick. Right, Jack Warner, David Niven, Norma, and Nigel Bruce at the Basil Rathbones' party.
friends, not to mention the columnists, practically had them right at the altar. Well, Producer Mankiewicz, 1 am told, has gone to New York to try to arrange a. rec- onciliation with his wife, the former Elizabeth Young, but no relation of Loretta's. Some say that Joe had that in mind when he broke off with Loretta. Others say that it only came to his mind when Loretta returned from New York with Stanley in hot pursuit. I say: I don't know.
Another new Hollywood romance that's causing a lot of comment is that of Kay Francis and Baron Barnoco. After all these years of going steadily (it must be three years at least) 'with Delmar Daves, Kay suddenly ap- pears at the Troc, at the Countess di Frasso's Black and
22
By The Snoop
{Otherwise Liza)
Beware the Snoop! Bane of Holly- wood stars' lives, but your benefac- tor— for Snoop sees all, knows all, and tells practically everything. Be- gin to follow this new monthly fea- ture revealing the real low-down on the romantics of the movie colony
T.cn Weissman Photo
What's Cesar Romero whispering in Loretta Young's ear, above? Upper right, that Niven lad does get around — see him dancing with Simone Simon. Left below, new pub- licity romance of Priscilla Lane and Wayne Morris. Right below, Binnie Barnes, Jean Ne- gulesco, and Nancy Gross at the gala Rathbone party.
White Ball, and numerous other places, with the very distinguished looking Baron Barnoco. The Baron is a German, I understand, his title is quite bona fide, and he has lived in America for fifteen years. He isn't a fortune hunter. In fact, he isn't even head man in Kay's life. He's merely standing-in for "Del" who is out of town for several weeks on a much needed vacation. Kay's friends say that the Lady of Golpher Gulch is still very fond of big blond Mr. Daves who writes excellent dialogue for the screen. But anyway, the Baron is taking his standing- in very seriously.
Ah ha, my little pitchers, a Real Snoop for you ! The Priscilla Lane-Wayne Morris romance isn't on the up and up at all — it's just a little something done for pub- licity. Studios always try to get (Please turn to page 82)
23
o
fth
e
Please Turn to page 7C Complete Cast awl Or
ei
She lived and loved recklessly, until there came the day of reck- oning. Read this vivid fictioniza- tion of Bette Davis' latest and biggest picture, "Jezebel"
fiction/zed by
Elizabeth B. Petersen i
T was different this time, being engaged to Preston, Tulie thought. Different from -the last time she had been engaged to him and the time before that and the irst time of all when she hadn't really known the full- ness of her feeling for him at all.
For every time they were parted it had been harder until they got together again even though she knew all the time she had only to flick that imperious little finger of hers to send him running back to her.
Yet the last time they had quarrelled she had been frightened for it had been months before he had sought her again and she had known without his telling her, that he had fought her charm and her disdain and her wilfullness as if' it were a scourge. And because she was perverse it pleased her, even while it maddened her that she couldn't completely control him.
She was smiling now as she sat in the Victoria beside her aunt Belle who was all the family she had. twirling her absurd little parasol as she looked up at the Dillard Bank and waited for Preston to come rushing at her summons.
But her smile faded just a little when Ti Bat, the small black groom, came back to the carriage alone.
"Did you tell him to hurry. Ti Bat?" she asked, and in spite of herself she felt the angry color rising to her cheeks.
"Yas'm, Miss Julie, I tell him," Ti Bat hopped nerv- ously from one foot to another and the whites of his
eyes were like marbles rolling frenziedly in the small black face, for all the Marsden slaves could tell the signs leading to one of their young mistress' tantrums. "But he ain' come, that is. not jes' precisely. He say you please to go along, cause he can't see you till later."
The twirling parasol became rigid in Julie's small hand, and her ruffled crinoline swayed about her as she jumped out of the carriage. She heard her aunt call her name in quick appeal but nothing could stop her now. It was always like that when she was crossed in even the smallest thing. Almost as if there was something untamed in her, compelling her to tear into shreds the things she valued most.
"Pres, are you coming, or aren't you ?" Her words came bitten and hard as she faced him in the small re- ception hall outside the directors' room.
"Now Tulie," Preston Dillard held himself in check with a visible effort, "please try to understand. This is important !"
"I only understand that you promised," her voice was choked. "I suppose it isn't important that I've spent a month having my dress made for tomorrow night ! And that you promised to come and see it fitted. In fact, I don't' suppose it's important what I wear to the Proteus Ball!"
His smile came tenderly as it would to a child. He mustn't let her quarrel with him now, he told himself. For a week he had been fighting singlehanded against
24
the president of the bank and the other directors trying to force them to see that things were changing and that they needed another railroad in New Orleans. They clung so stubbornly to things of the past, they wouldn't see that river traffic had been declining in the last years and that if they didn't step up with the future their city and its prosperity and power would be doomed.
They had fought with him and jibed at him but he had held his ground. But it was even harder holding it with this fragile little wisp of a girl who for all the yellow of her hair and wide blue eyes, who for all her ruffled crinoline and absurb little parasol and tiny beribboned waist had a will stronger than all of them.
"Honey," the old endearment came almost beseech- ingly and for a moment his smile swept away the tired lines of his face, "right now I'm having the fight of my life in there, a grand fight! I've got to get back, but later, tonight."
"Don't trouble !" She edged away from his hand seek- ing hers. "I'm sure you'll be too exhausted from your terrific struggle. Good day, Mr. Dillard. I'm so sorry to have troubled you !"
Strange how underneath the surge of her temper she knew she was doing wrong. But the seeds of destruction were in her heart and Julie had never learned the need for self-discipline. Her eyes were almost black with fury as she stood before the pier glass in Madame Poulard's dressmaking establishment and even the new dress with its ruffles and ribbons and tiny festoons of rosebuds couldn't soothe her.
"Mais oui! Ravissante !" Madame smiled complacently for this was the loveliest of all the gowns she had made for the Mardi Gras ball. It was white, as was traditional for a young New Orleans girl yet unmarried, and there wasn't a girl in the city who could wear white as Julie could.
"I don't like the neckline," Julie's eyes clouded. "And the sleeves aren't right." She stopped as a midinette went by carrying a ball gown on a hanger, a gown of scarlet satin as strident and bold as the white one Julie was wearing was ethereal, and young.
"Why, it's the most becoming thing you've ever had, Julie," her aunt said soothingly. "If Pres isn't simply bowled over by it, I won't (Please turn to page 76)
The dashing, glamorous days of the Old South are re- created on the screen in "Jezebel," with Bette Davis as the alluring heroine, Henry Fonda as her lover — seen with her on opposite page. Below, high drama when Fonda brings his Northern bride (Margaret Lindsay) to "Jezebel's" plantation home. George Brent, at lower right, is one of the siren's conquests. Reading up: Richard Cromwell, Henry Fonda, George Brent in a tense scene; Brent with Bette Davis; and at top, the big scene of the picture in which "Jezebel" tries to win back the love she has lost.
Most amazing of Hollywoodians' secret fears is pos- sessed by Edgar Bergen, and it concerns Charlie McCarthy, too; talcing his ease with Boss Bergen at left. Glenda Farrell, upper left, loves cats but hates — well, read and you'll learn in the story. Above, Cary Grant seems to be recovering from just such an encounter with his Trauma as occurred in the episode our story reveals.
HAVE you any old acrophobias, nichtophobias, or zoophobias that you're not using? Don't be afraid to admit that you have a secret fear all tucked away somewhere. The stars aren't. After all, being afraid of great heights, afraid of the dark, or afraid of animals, isn't as bad as it sounds in those technical terms, is it? Why not compare yours with the Trauma Alphabet of Hollywood ?
Don Ameche is afraid because he isn't afraid of- any- thing! Tall talk, but you've got to admit he has just about everything it takes. Looks, personality, a charming singing and talking voice, perfect diction, social talent, and besides all that, he's a perfect husband and father. But he's alwavs afraid it's too good to be true !
Joan Bennett is in a constant dither that someone might up and call her "Dearie." It infuriates her. Reminds one of the story about Ethel Barrymore. When a com- parative stranger called her Ethel, she quipped: "Don't be so formal. ]ust call me Toots."
Edgar Bergen fears what the probing profs would call "demoniac possession." He's afraid that his dimin- utive friend will end by possessing him. Charlie has taken on such a vivid personality and has been such a motivating factor in Bergen's life, that the line of de- marcation between Bergen's and Charlie's personalities is naturally becoming somewhat blurred in Edgar's mind. For Charlie has been through as many cycles as any human being. In Chi- cago, when Edgar first put the breath of life into Charlie's little wooden frame, he be- came food-and-drink, bread-and-butter to his creator ; and now he has become champagne-and-caviar. Little wonder that Edgar has invested Charlie with all of the better human qualities.
Charlie helped him earn his way through North- western University. That was way back in Charlie's unso- phisticated days, when he was just a fresh little mug with a heart of gold and a tongue of brass. Then they took the bumps together, literally and figura- tively, playing one-
Simone Simon puts on an amused expression when she tells about the dream that resulted in a Trauma she can't shalce off. Nevertheless the Petite Parisian would be terrified if her odd aversion ever caught up with her.
ave iou
By Linn Lambert
a
Tr
aum
Chances are, you have — but will you be as frank in admitting it as the stars are in revealing theirs?
night stands and the four- a-day. But when vaude- ville died, did Charlie just fold up and give himself up for old kin- dling? No. In his su- perlatively iconoclastic fashion, he went smoothly so- phisticated, , donned white tie and tails, monocle and custom-made boots; a miniature Prince Charming with royal sap in every limb, a master of the Retort Discourteous, embryonic butt of W. C. Fields' pathological persiflage.
He has taken such complete possession that no one can tell who is the master and who the automaton, for it is utterly impossible to think of them as two separate entities. Charlie has his own stationery, with his silhouette on it a secretary to answer the fan-mail, his own make-up expert, and can be depended upon to steal the show from man, woman, child or beast Bergen's will is a mute testimonial of his feelings towards his profitable pal. He has bequeathed $10,000 to the Actors' Fund of America to keep Charlie in good condition, and perpetuate the art of ventriloquism. But without Edgar, Charlie would just cease to exist, and vice versa. Oh, let's not go on, I'm breaking my own heart.
Grace Bradley fears people will stop smoking pipes. She owns a pipe factory, you see. Just to keep business going, she smokes one herself occasionally. That gal could smoke an underslung meer- schaum and still look dreamily dainty.
It probably was Glenda Farrell who originated that one about "Easter and Not an Egg in the House !" She can't stand the sight, sound, nor smell of an egg ; as she says : "I have a vague (Please turn to page 73)
Don Ameche, calm at left above, and emphatic in describing his secret fear, above; Shirley Tem- ple, above, Joan Bennett, left — what do they dislike? Ben Blue, below: Trauma demonstration.
27
^ M£RRY
He's Robin -Hood!
He's mOl RYNN!
By Ida
ONG and lithe and laughing, Errol Flynn strode out for his first scene in "Robin Hood." A shout went up from com-
pany and crew, part derisive because that's the tradition.
part acclamatory because they couldn't help themselves. "Yay! Hero!" With a sweep of his feathered cap to his heart, Flynn made them a low mocking bow.
Basil Rathbone's eyes sparkled. To his English heart, the legend of the outlawed Saxon noble is near and dear. His tone was fervent. "If there'd never been a Robin Hood, they'd have had to invent him so Flynn could play him."
Most men, even actors, feel a lack of ease on their first ap- pearance on the set in costume. Flynn wore his jerkin and tights as if he'd been born to them. Indeed, watching him, you felt that he ought never wear anything else. They set off his ease and grace of movement. But it wasn't that alone, or even primarily. There seemed something curiously akin in spirit between clothes and wearer — a lilt, a dash, a devil-may-care impudence that laughed in the face of life and that death couldn't touch.
He created a similar atmosphere in "Captain Blood." With all its spectacle, that picture would have been a meaningless clutter without Flynn's charm, Flynn's zest, Flynn's spirit, symbolizing the spirit of his environment, to fuse and weld it into a significant whole. With-
Flynn is the fiery Robin Hood to the life. On this page, with trusty cross-bow, and with the other merry men; at upper right, with Alan Hale as Little John and with Olivia de Ha\ land as Maid Marian; and above center, with script girl and Herbert Mundin.
28
MAN!
He's Peter Pan at -Heart
Zeitli
in
out Flynn, Warners would probably never have made the picture. For there isn't another actor now in Holly- wood, who carries his head with such an air or his heart so high.
It's probably because the boy who lives in most men lives more freely, more joyously, with fewer inhibitions, in Flynn. If you called him an embodiment of Peter Pan. he wouldn't thank you. Yet, with the difference that he hasn't found the secret of staying small — and wouldn't know what to do with it if he had — the comparison has point. In the sense that growing up means a fettering of the feet to earth, Flynn hasn't grown up. Act first, think second, is the law of his nature. He'd rather get into a tight spot and take a chance on fighting his way out, than spend the whole of his life on an easy one. As far as he can. he lives in a never-never-land — that is, in a land of whatever ad- venture may lie along his twentieth-century path.
It may be the adventure of running away from school, as he did at fourteen, to exchange stodgy discipline for the lure of the South Seas. It may be the adventure of a trip to revolution-torn Spain. Or of feeling wind and spray on his face as he pilots his yawl through difficult waters. It may be the more homely ad- venture that any boy worth his salt can manufacture for himself in the course of a long, full day.
It was first the color and excitement of the movies, and second the money, that drew Flynn into them. That's a statement always
At right, fenc- ing for dear life. Top right, a close-up. Top left, on the sidelines with Olivia; and then with Lili Damita (Mrs. Flynn) after a strenuous day on location.
29
Here's "Robin Hood" Flynn getting his whiskers trimmed by master makeup man Perc Westmore, right. Below, strong- arming Pat Knowles to the microphone — see story for par- ticulars. At right below, Pat and Errol with their pets.
open to suspicion. In the case of Flynn, it's a fact. Offered twice as much in a bank, or three times as much to sit at an accountant's desk, he'd have grinned his crooked grin, thumbed his nose pleasantly and walked out. An adult is under the regrettable necessity of earning a living. The movies offer the means of satisfy- ing it, together with a passport into the world of storybook romance. You can be a pirate to- day, a soldier of the king tomorrow, a rebel against the tyrant next week. You can work, make money, have fun, all at the same time. What small boy could ask more?
To Flynn, swordplay is fun. Shooting with the bow anud arrow is fun. He gets paid for perfecting himself in these and similar arts. To be sure, he gives his employers their money's worth. Meantime, he uses the skill he's acquired in pastimes of his own.
In a deep forest of magnificent oaks and beeches, crossed by clear-running streams, he lived for six weeks. He fished salmon with the bow. He rode, he swam, he hunted boar. One day an excited boy ran into camp with news of a wildcat in a paddock nearby.
"Let's get him," said Flynn to Howard Hill, the archery expert, who can all but split hairs with his bow and arrow.
As they started off, they were halted by a voice behind them. '"I'm coming too."
"And there was Damita," he chuckles, "armed with a big stick, running after us for all the world like a kid tagging the grownups."
"What do you think you're going to do with the stick?" he demanded.
"Defend myself to the end," she announced calmly.
Arno, Flynn's gray Schnauzer, reached the paddock-
first and stood leaping and yelping like a maniac at the foot of the tree to which he'd driven the enemy.
Flynn drew a bead on him and shot. Hill stood by with his arrow, lest the cat should jump. Lili just stood. When the animal came down, he was dead. Once the men had satisfied themselves of that detail, Lili marched over and gave him a poke in the nose, "so Flynn shall not say I brought my stick for nossing."
Damita, incidentally, makes no effort to inter fere_ with any of her husband's singular exploits. "I shut up," she says, "because it will do me no good to not shut up. In- stead, I go with him if possible. {Please turn to page 72)
30
BOBBY'
G
uid
Here is the story behind Bobby Breen's rise to fame
Ben AAaddox
AN angry fifteen-year- /-\ old completely defied
/ \ her family, and so
now a new star is born in
Hollywood !
"We're leaving !" she cried
then finally. "You can't do
anything for him. But I can.
And believe me I will !" There was the impact of
sudden silence in the shabby
living-room. Her mother and
father and older sister and
brother gaped at her and at
the curly head in her arms. "Don't worry," added the
girl, large brown eyes soften- ing as she took in at a glance
their bewilderment, their fear
of life. "I'll see that he gets
his chance and I'll send
money home to you. But
we're going — tomorrow."
"How ?" Her mother was querulous.
"I've saved our busfare to Chicago and seventy dollars
besides. That'll keep up going until he gets his break !" .
The boy in this extraordinary situation was a four- year-old, then just one more poor kid slated for a con- tinual battle against poverty. Sally Breen, approaching her mid-teens and late of Toronto's Silver Slipper night club, had given the surprising speech. It wasn't mere talk, though, but a firm declaration of determination. It led, amazingly, directly to fame.
When Bobby Breen's name went up in the bright lights one person alone was really responsible. Not Eddie Cantor, as you may have supposed. Not shrewd pro- fessional promoters, either. Of course they've played helping roles and it's Bobby's own rare ability which is drawing the applause. But actually the credit belongs to a comparative nobody who schemed and fought for
When Bobby Breen's name went up in lights one person alone was responsible for the final recognition accorded his talents — his sister Sally, with Bobby in the picture at top left. Above, Bobby, his mother and father. Left, the boy star at play.
Bobby. Against all odds Sally Breen literally transformed the child's fate. How she made her younger brother a star is one of those almost incredible tales of today.
Imagine setting forth on your own from Canada at fifteen to sell this modern world on another wonder child. Tackling this busy world that can't be troubled with nobodies ! It proves once more that miracles can still happen if you swear to make them happen.
At nine Bobby is the new rave of the movies and radio. He has, authorities proclaim, the voice of an angel. He has, obviously, exceptional per- sonality appeal to match.
Yet no one gave Bobby a boost until Sally insisted. Together the two practically ran away from home with nothing on their side but the boy's talent and charm, and her resolution. They were crazy, their family contended. A hopeless adventure, attempting to escape their birth- right ! And none of the dragons and none of the severest slaps downed them. Not until you hear of this love story behind Bobby's rise can you fully appreciate the depth of one sister's devotion.
"The Breen family was getting nowhere fast," de- clares Sally now. "Someone had to do something or we'd have all starved." The mother and father couldn't cope with the illness and unemployment that swamped them. So at thirteen Sally, burning (Please turn to page 94 )
31
rr\on<3 Rosalind Russell rates, fcddVSe°^ed. and gets, the best.
e P
res
AST year "Medals and Birds" celebrated its wooden wedding (did I hear someone mutter "wooden _ head"?) and I thought — maybe I even hoped a ittle — that that was the end. When you're young it's sort of fun to be sophomoric and go around screaming your opinions from the housetops. But five years pass
and you aren't young any more and five years can change you a lot. And here it is six years since I started all this and I am looking at a sheet of paper the Editor of Screenland has sent me. At the top of the page, "Medals and Birds" stares at me accusingly. Me, who hasn't had a good hate on in a year !
But shall a Mook let you down ? Never ! I'll work up a few hates and enthusiasms if I have to kill the whole bottle of Scotch I was saving for the poker game Wayne Morris in- vited to my house for dinner, drinks and
CMS
a
nd
By
S. R. Mook
Bird
s
Bette Davis: favorite person, fine actress.
Alice Faye seems a little disappointed.
Kay Francis has good reason to be happy.
B r on
1 n g
vour
Anne Shirley prepares to take a nice bow.
Jack Benny, as usual, is modest about it.
Ginger Rogers — i special award fo
flowers, your chest of medals and VI YE LE BIRD.
The first flowers of the season — the American Beauty roses- — go jointly to Carole Lombard and Myrna Loy because they are my two favorite actresses and because, as far as I'm concerned, they have the glamor market completely sewed up. And when a dame who used to specialize in pithy conversation as Carole did, can make a guy who "knew her when" believe she's glamorous — baby, that's not only glamor, it's ACADEMY AWARD acting.
The first medal of the year goes to Richard Arlen because he's had the first medal ever since this depart- ment started ; because this year he practically started his cinematic career over again without becoming embittered, and because after playing in golf tournaments for years with no results, he finally won one !
To Irene Dunne go the petunias because she is one of the figures to whom the industry can point with pride. No breath of sea idal ever touches her and because with not a cent's worth of glamor to bless herself with, she con- trives to get into the most successful pictures of the year.
W. C. Fields gets a medal because he is my favorite comedian, because he's good copy and because when you interview him he really "gives" even though occasionally he may ask you not to print what he "gives."
Claudette Colbert gets the bed of calla lilies, with my compliments, not only because she is more beautiful off-screen than on. but because she has developed from a fine dramatic actress into one of the best comediennes in the business.
Fernand Gravet rates a medal because I like him personally, because he isn't swell-headed or tem- peramental as most foreign stars are, and because
t's a her
I think he's going to be the next screen sensation.
32
Una Merkel makes be- lieve she's surprised.
Tyrone Power smiles as he takes his bow.
?''Wo de M •» desert h„ ,'"<"><*
>0 M
Annual frolic of a Hollywood Boswell dis- tributing love and hisses according to his likes. You're free to cheer or jeer his awards as the stars march by
I'm handing over the bed of nasturtia to Joan Craw- ford because they're as vivid as her personality and be- cause she gives as much thought and worry to her parts now as she did when she was fighting her way to the top. There's one girl who will never be content to rest on her laurels.
Oh, shush! If anyone is reading this it's only to find out who gets birds. So we might as well start handing them out.
Just as Arlen always gets the first medal, so Hepburn always gets the first bird. You were swell in "Stage Door," Katie, but aren't you ever going to get next to yourself and stop putting on that shrinking violet act? You're about as timid as a battleship.
And a bird for Nelson Eddy because I'm sick of read- ing about the "woman trouble" he has on every concert tour and because there ought to be a law against anyone who sings as beautifully as he does, being such a rotten actor.
And yet another bird for Jean Arthur because, with everything in the world to be thankful for, she's devel- oped a persecution complex and all she does is sulk.
There! We'll proceed with the awards. The peonies go to Bette Davis because she is one of my favorite people, because she is the least tem- peramental star I know, and because when you' query actors on who is the best actress in pic- tures those who don't say "Barbara Stanwyck" invariable say "Bette Davis."
Fred MacMurray rates a medal because he's such a swell guy and is still as tractable as when he first began getting the breaks. But, gee, Fred, can't you do anything about your acting?
The sweet Williams are for Ginger Rogers
"Or
« °f>o/
because Ginger is also always so sweet. She's going to say something good about people if it kills her and — more important— she's the most graceful dancing girl on the screen.
An improved 1938 fourteen carat gold medal for Spencer Tracy because he is still the finest actor on the screen.
Virginia Bruce and Loretta Young can split the bed of camellias between them because that is the only flower I know comparable to their delicate beauty. Girls as lovely as these two need very little else to make life one grand sweet song for any man — or themselves, either.
A medal this year (of all things ! ) to W arren William — not because my opinion of his ability has changed but because he is mak- ing fewer and fewer pictures. I wish you all the luck in the world, Warren, and hope {Please turn to page 84)
Claire Trevor — it's orchids tor you, Claire.
Irene Dunne, naturally, is picked tor honors.
Helen Broderick wears the smile that wins.
Florence Rice: charm claims its just reward.
Ronald Colman con- tinues to get prizes.
Martha Raye smiles, but does she mean it?
33
f
WHAT lies untold behind Douglas Fairbanks, Jr.'s return to Hollywood importance? An inside tale worth telling! It has an un- suspected twist, too — this absorbing, well-hidden drama of the "lucky" crown prince of the movies. Amazingly, he has never been lucky at all !
Suddenly he lost out. He had so much, apparently. The sweeping devotion of Joan. Crawford. A valuable, long-term starring contract. The prestige of being the sole heir of filmland's first family.
With appalling swiftness, with little warning, every- thing that mattered most to him seemed to crash down upon his head. He was finished with his exciting mar- riage, with Joan who had meant all there was of love to him. But emotional bewilderment was only part of what lie had to face. Before that year was over, that bitter year, his star deal ended, also. A final, ironic slap of fate was the break-up of Pickfair.
Douglas dropped out of the bright spotlight. He went to England to begin anew, making but infrequent ap- pearances here. Yet today, after a lapse of four myste- rious years, he is once more a significant figure on the Hollywood scene.- He's teaming to applause with the foremost feminine stars, is in great demand on the radio.
I found him on a busy set, looking and feeling better than he ever has. The hundred men and women RKO had lighting and photographing and accentuating him in "The Joy of Loving" mulled' about us and Douglas wasn't distracted in the least. Irene Dunne had with-
onressions
of a
Come-Back
What's behind "Young Doug's" dramatic return to Hollywood impor- tance? Here's his own vital, unvarnished story
By Dickson Morley
That smile belongs to a young man who has been a part of Hollywood history ever since he was born. Today, after four experimental years, he returns to big movie jobs with zest, playing opposite Ginger Rogers, Irene Dunne. Left above, with his father, Fairbanks the first. Right above, when he was Joan Crawford's "Dodo."
drawn to her swanky dressing-room while the director went into an involved conference with an ace scenarist.
I said, "Wouldn't it be easier for us to talk if we re- tired to your handy dressing-room?" He laughed. "Per- haps," he admitted, "if I had one!" I remembered, at this reply, how he"d been when first a star. Then his set retreat had been conspicuous. He had the finest portable star lounge in Hollywood history. Joan gave' it to him — the best was none too good for Dodo.
Dodo? This intelligent, capable actor called that often in public places? Yes. in his past. When he was raptur- ously in love Joan called him {Continued on page 89)
34
She started it all! "My Man God- frey," "Nothing Sacred," and "True Confession" €S- tablished Carole as the leading femme zany of the screen. Now she's teasing the popular French- man, Fernand Gra- vet. Although the stars had never met until the director introduced them on the set for the first day's shooting of "Food for Scandal," they began laughing and they haven't stopped since.
Left, the first scene 'shot" for the Lom- bard-Gravet co-star- ring sparkler. Above, -three close- ups of Hollywood's loveliest clown. At left, below, pro- ducer-director Mer- vyn LeRoy explains the next scene in one of the few seri- ous moments on this carefree set. At right below, Carole and Fernand go in- to their giggle. The gay American girl and the debonair Frenchman share a flair for comedy.
Call Tli
cm
Laugh T
earns
No
w
The old Hollywood "love team" is dated. Today, a star like Lombard demands humor in her screen mates, and Fernand Gravet supplies the satirical note in heroes
ft
1
8 V 1 *;
»5V .
C. Kenneth Lohden
As carefully posed, expensively photo- graphed, meticu- lously retouched art studies go, these of Dorothy Lamour and Ray Milland in "Her Jungle Love" are skilfull and eye- filling — especially Dot, at left, and at right below. With Ray, the Lamour loveliness poses ex- otically for the amorous episodes, at right and below. Now, is this your idea of satisfying Hollywood "art"?
7
4v
ft
SU! We Be Arty?
Here are typical //Hollywoodl art studies" of a beautiful girl, a Handsome man, and nature being lush. How'd you like it?
V
1
It's up to you! Readers, and lookers, of Screenland may make your choice. If you select the beautiful, but obviously posed type of art as exemplified on the oppo- site page, we'll give you most of that, not so much of this! Personally, we think the candids on this page are more fun. We know Dorothy Lamour is a real beauty, and admire her the more for sub- mitting to candid camera inquisition when she's all bedraggled between strenu- ous scenes. Below, Dot and Ray rest while repairing ravages of swimming scene. Center, a candid close-up. At left below, the weary but game stars wait while a member of the technical staff tests for the cameraman.
Or SLII W« Be Candid?
Now, Here's the other extreme in Hollywood art, the frankly imposed, actually //candid// stuff. Which do you prefer?
Busby Berkeley, director of "Hollywood Hotel," had the pleasant task of telling Dick Powell just how to make love to Rosemary Lane. Below, and ight, Mr. Berkeley is illustrating. As Mr. Astaire would say, "Nice work if you can get it."
You might think the director of a $2,000,000 film for Sam Goldwyn would have his troubles. And you'd be right. But he also has his moments, as George Marshall, megaphoning "The Goldwyn Fol- lies," proves in our pictures, be- ginning at left center and conclud- ing directly at left. Mr. Marshall first gives ballerina Vera Zorina a little lecture on love-making, then warms to his work and proceeds to a soul-searing demonstration. We hate to report that it's all for a comedy love scene with one of the Ritz Brothers. Bam — another beeg
lih,s'on eong:
Director Lubitsch of the world- famous "touches" enjoys his work, and no wonder: roses from his star Claudette Col- bert, cigars from co-star Gary Cooper. Left, a laugh be- tween scenes of "Bluebeard's Eighth Wife" — yes, Gary at left. Then Lubitsch pacing for inspiration; and, at far left, the game of "Brushing the Dime" off David Niven's hand. Try it: put dime in palm of your hand and let someone try to brush it off with a whisk broom. Well, try it and see how easy!
I TK
/
ey vc
G
ot
Directing Myrna Loy and Clark Gable may be hard work to Victor Fleming, but it looks good to us — upper right center. Bob Leonard directs Jeanette MacDonald in western scene below; Priscilla Lawson (Mrs. Alan Curtis), center below; and Miss MacDonald and Walter Pidgeon, at right below- all for "Girl of the Golden West." Yippee!
THE HANGING GARDENS OF BABYLON
THE MAUSOLEUM AT HALICARNASSUS
He 7
ers oi the
THE PHAROS OF ALEXANDRIA
Ancient V^orU
THE STATUE OF ZEUS AT OLYMP1A
SAMUEL GOLDWYN'S PRODUCING GENIUS
Colossus of cinema mag- nificence and daring enter- prise — and m i s p r o - nounced words — but never a dull picture
4>
FRED ASTAIRE'S DANCING FEET
Speak of hanging gardens, but give us Fred's suspended poetry in motion
GRETA GARBO'S EYES
That old Pharos of Alexan- dria boasted a beacon, but none so glowing as Garbo's eyes, and art
PAUL MUNI'S DISGUISES
The Pyramids remain a mys- tery— but could those Egyp- tians ever have penetrated a Muni disguise?
tf'
The ancients thought they had something there; hut to hear Hollywood tell it, they never had anything!
— (
111 ;3
IS
THE GREAT PYRAMID
THE TEMPLE OF DIANA AT EPHESUS
THE COLOSSUS OF RHODES
ers
of
AAodern Hollywood
m
Hi m
SHIRLEY TEMPLE'S CHARM
That Temple of Di- ana was exquisite, but Shirley is a miniature temple of ageless art
ROBERT TAYLOR'S SEX MENACE
Mightier than an- cient wonders — con- sult any 'teen-age girl fan
MARLENE DIETRICH'S LEGS
It was about the statue of Zeus that it was written, "The sight of the figure would make a man forget his troubles." The same goes for matchless Marlene
I 'i
On this good earth there's nothing more exciting than the thrill of sailing, says Dick Powell, who, as you see above, has become a right good seaman. He's handling his own boat, the Galatea — a 64-foot yawl. Gene Raymond and Jeanette MacDonald like to ex- plore the countryside on horseback, left, and they are busy getting their favorite saddle horses into good trim for a Spring of activity on the bridle paths.
Carole Lombard, left, and Ginger Rogers, below, don briefly smart togs and go very near the water — Carole to the seashore and Ginger to a mountain lake for some canoeing.
Hollywood, as usual, takes the lead and hurries ahead into the sunshine to speed up Spring and hring on playtime
Wayne Morris couldn't wait for Spring to get into a real tennis stride. Here Wayne is, below, out on the practice courts receiving and returning all the hard ! shots his instructor can think up and shoot over the 'net. Right, Ann Sheridan and her husband, Eddie Norris, are enthusiastic about fishing off the surf, and it looks like they know how to hook and pull in those finny fellows that swim about Pacific shores.
Eleanor Powell does some bicycling on her holiday from the studios, as shown below. Right, a brand new note in beach and play wear is struck by Frances Drake.
SIDESHOW
Ml
The candid camera turni on between^scenes byplay and you see some fun thr screen missed
Cause and effect takes a funny tu , naturally, with W. C. Fields. What it doctor ordered tasted bad, smelled wot but Bill downed the dose, far left, a then decided he was entitled to go p > with his toys. It's the logical folk through, says Bill: when they order y around like a boy, for the good of yc health, be a boy and maybe some go will come of it. A borrowed motor hi can be fun, at that.
V
Above: Edward G. Robinson receives a visit from his son, Manny on the "A Slight Case of Murder" set, and leading lady Jane Bryan joins the group; next a close-up as the star gives some good advice to Bobby Jordon, whom you saw in "Dead End." Next, time out for lunch; and finally, Eddie entertains his youthful cast-mates with a stirring yarn.
SCENARIOS
trice Lillie, of stage, io, and sometimes the » vies, didn't need a script t show her how to be |f ny on the set. In "Dr. \l /thm" she discovered '/ dy Devine, a fellow player i: Bing Crosby's new pic- I :, and tried the broad- ,t ing facilities of an oxy- m tank, and then went on ft n there to a mammy song H by easy stages to some- y thing really angelic.
■ /
Stories in action! Left, opposite page, Claude Raines gets a 12th century head of hair from a hairdresser on the staff of Perc West- more, for his part in "Robin Hood." Below from left to right, Fay Wray works her play up to a. winning shot in a ping-pong match that gave her the laugh over her opponent in the sport at which
Fay excels.
Ling and the boys grow younger; below, Rufe Davis, Sterling Halloway, Andy Devine and Crosby recall their (movie) school days. Bing, Andy and Big Ann the elephant swing it, top right, and win the affection of the chimp, center. Bing and Andy talked about it so much at home their boys, Bing's son, far right, and Andy's, lower right, came to see the show. Above, Andy undergoes repairs. Right, Bing, need- ing some rest from the circus on the set, relaxes.
It's a carnival of fun wKen the thr« ring circus comes to Bing Crosb set, with a side show between eve camera take for /7Dr. RHythm''
THE KID COMES BACK
The laughing, larruping hero of
"Kid Galahad"!
Speeding to stardom faster than any other screen hero in years! Here's the daring, dashing new thrill in boy friends, with the devil in his eyes, a wallop in his mitt and heaven in his arms! Winning millions of hearts in every role he plays! See him now — more exciting than ever— in the tingling romance of a fightin' fool who knew how to love!
WAYNE
Shooting another love punch straight to your heart in "The Kid Comes Back"!
A WARNER BROS. PICTURE
ew
amor or
amby
By
Tom Kennedy
\
x.
0 ELY WOOD wouldn't believe her, so the little ballet dancer whose name had blazed along- side that of the Garbos, Shearers, and Craw- fords in electrics head- lining" attractions at one of New York's most famous picture theatres, went sailing away to Europe to play a dramatic part in a pic- t u r e — j ust to show Hollywood she could. You know the little ballet dancer by a nickname that became famous over the radio, as well as her full name of Maria Gambarelli — the same "Gamby" who thrilled audiences at the Capitol theatre during the Roxy regime of pictures, symphony orchestras and elaborate ballet presentations.
Gamby came sailing back to these home shores not so
Maria Gambarelli, christened "Gamby" by the late beloved "Roxy," was the baby of the famous "Gang." Now she becomes an interna- tional screen figure and heroine of the glamorous "Com- mand Performance" related in this ex- clusive story. The two close-up por- traits show her as the star of the European picture, "Dr. Antonio."
How a brilliant ballet star decided to "show Holly- wood" by turning to drama, became the pet of royalty, and embarked on a new career. Maria Gambarelli's more-fasci- nating-than-fiction story
long ago and, this being a story not about defeat but one of a thrilling triumph, she was not disillusioned, de- spite the fact that snuggled close to her as the most prized token of her trip to Rome was not a sample reel of the film she made there, but a portrait enclosed in a silver frame with a royal crest set in gold on its upper border. The portrait is that of Italy's queen, bearing Her Majesty's signature "Elena" across its lower right corner. A queenly reminder of that most thrilling of triumphs that come to the artist receiving the distinction of selection for a "command performance at court."
Many a storybook, play and picture has enraptured the public with its dramatic theme resting solely upon the stirring climax wherein the heroine achieves the ultimate success of appearing before the king and queen in their palace and winning the applause of royal as- semblages. We found the little Gambarelli's recital of her Command Performance in court at the Eternal City as exciting as it was illuminating of the thoughts and emo- tional reactions that fill the mind and palpitate the heart of an artist on such a supreme occasion of her career.
The stories of "Alice in Wonderland" and "Cin- derella" oddly merged to make a fictional parallel we un- consciously sought for this story the petite blue-eyed dancer unfolded as she told us what happens when a star gives a Command Performance.
Wide-eyed, in vivid recollection of the bewilderment that comes with the realization of nearly every per- former's ambition to make a Command Appearance,
(Please turn to page 86)
51
IN OLD CHICAGO— 20th Century-Fox
BEST screen show you can find anywhere— don't miss it! Movie spectacle in the gaudily grand manner, it is also .curiously convincing. Mr. Darryl Zanuck's Chicago Fire is a four-alarm epic, but it is not the whole show of his big picture. What we might call the prelude is good, too. "In Old Chicago" is solidly built on a foundation of strong, believable human drama— its O'Leary family become the most believable flesh and blood people of the screen season ; caring what happens to the tribe is the real reason for your excitement at the Fire— which lasts a good half hour, singes your soul and almost your eyelashes, and sends you out wanting to decorate today's brave and efficient fire laddies on both cheeks. It's a magnificently awesome sight, Mr. Zanuck's fire. But his robust, romantic melo- drama of old Chicago before the big blaze, recorded with so much gusto and bluff good humor, also is something to see. Tyrone Power plays a handsome rogue, pride and despair of Mrs. O'Leary's heart, in dashing, daredevil fashion — his best per- formance to date. Alice Brady is a grand Ma O'Leary— her best job, too. Alice Faye as the notorious but nice Belle Fawcett sings and acts vibrantly — how you'll like those Rabelaisian love scenes !
hi SEAL' 0F| £
Reviews
of the best
Pictures
MANNEQUIN— M-G-M
gggk SEEING Spencer Tracy as a Cinderella Man has almost (j&Sffil unnerved me, so I can only advise, as to "Mannequin," ^§8jigL that all Joan Crawford's fans must not miss it. and all doubters must look twice before they leap to the ticket window. You see, it is the super-Cinderella picture. Not only is Joan Cinderella again, which is all right if you can take it: but Spencer Tracy becomes the Cinderella Man, his first altogether unbelievable acting job, and not his fault, either. He's a self-made tycoon with a heart of gold— all right so far. He falls in love with Joan, very much all right, too. But when he takes to seeing her ghost on the terrace, and mooning around generally— then not even the Terrific Tracy can make me believe it. Manufactured to formula as all Crawford pictures seem to be these days, "Mannequin" may appeal, with its gimcrack glamor, to some eager addicts. It has a lavish fashion show, Joan in many guises, and the false appeal of the rags-to-riches plot. There are some scenes at the start in which the star shows considerable emo- tional power and poignancy, with Alan Curtis, the newcomer, playing her caddish lover in acceptable style. In fact, Mr. Curtis didn't seem a cad. He's the film's most honest contribution.
52
SNOW WHITE AND THE SEVEN DWARFS— Disney-RKO
/gmjs. MOST daring picture on current screens! "What, you say, (Sam a Walt Disnev picture, and daring? And I repeat— yes, definitely daring. Producer Disney has taken the boldest step of his brilliant career in making a full-length fairy- tale with cartoon characters. He succeeds in this as he has in everything he has ever undertaken— for Disney is a real pioneer in a new art medium ; a great artist with the biggest canvas ever stretched. Here is the good, old familiar fairy-tale by the Grimm Brothers, told in terms of animated drawings, all in color— with more suspense than any other screenplay of the season— well, perhaps we can except "In Old Chicago," if you insist— and more true humor, and charm, and liveliness, and imagination, and beauty. You will, I swear, be captivated by the little heroine, enthralled by her adventures in the wood, her encounter with the Seven Dwarfs, her bewitchment by the wicked queen : you'll rejoice at her rescue by Prince Charming— in a word, you'll be young again. New and delightful Disney animals — rabbits, deer, other woodland creatures — to charm you; Snow White herself is a miracle of girlish grace; the Dwarfs— well, you'll be hum- ming their jolly Hi-Ho song and counting 'em in your sleep.
SUPER-SHOWS:
"In Old Chicago" "The Buccaneer"
RARE TREAT:
"Snow White and the Seven Dwarfs"
BEST MUSICAL:
"Hollywood Hotel"
SMASHES:
Tyrone Power in "In Old Chicago" Alice Brady, Alice Faye in "In Old Chicago"
Fredric March in "The Buccaneer"
DISCOVERIES:
Francislca Goal in "The Buccaneer" Snow White
THE BUCCANEER — Paramount
DIRECTOR Cecil B. DeMille's annual spectacle does not disappoint. It's another super-show from the veteran .showman, produced with speed and spirit, acted with admirable gallantry by a splendid cast. Mr. DeMille, bless his heart, soul, and puttees, is still making true movies. Of course, they are more sumptuous than of old; they boast sound effects — in fact, the finest, noisiest sound effects anyone could ask; they employ bigger and better actors, enlisting in this case not only Swashbuckler Number One of the Cinema, Mr. Fredric March, but a graduate of the Moscow Art Theatres, a new Continental charmer, a British beauty, and Ian Keith and Montagu Love — an histrionic circus if there ever was one : but in spite of all these impressive modern improvements, DeMille pictures never forget to keep moving. There may be too much carnage in "The Buccaneer" for your special taste, as for mine ; but since it's a picture about the pirate, Jean LaFittc, swash- buckling is quite in order, and DeMille makes the most of it. It's really a grand show. Mr. March is immeasurably better than in "Anthony Adverse." New charmer, Mile. Gaal, stresses her charm. Akim Tamiroff and Margot Grahame are excellent.
HOLLYWOOD HOTEL— Warner Bros.
THIS is double-barreled entertainment — fun for film fans, fun for radio fanatics. For the first time, Hollywood .turns the table on radio and puts an air program upon the screen. Louella Parsons' popular "Hollywood Hotel" hour is lifted bodily from the broadcast lanes into the jumping gelatines, with all the attractions intact, including Louella — who becomes the first lady chatterer to take the leap from etherizing to movie emoting, and with apparent ease and assurance. The radio program is only part of the entertainment which this pic- ture has to offer, however. It's a breezy burlesque of both the radio and movie industries, with those "inside" glimpses of Holly- wood ; with Dick Powell at his ingratiating best, and the Lane Sisters, Rosemary and the more familiar Lola, providing potent girl appeal. Lola plays the temperamental movie star to end all such caricatures, and plays it to the hilt. Sister Rosemary is the actual heroine who impersonates the star — how this girl can put over a song. Speaking of songs, there's a slew of singables here. The high spot for me was Benny Goodman's number ; for others, it may be Raymond Paige's specialty — both standout. You'll giggle at Hugh Herbert, enjoy Johnny Davis and Glenda Farrell.
MAN-PROOF— M-C-M
THE Society for the Rescue of Myrna Loy from Silly Pictures will welcome "Man-Proof." It gives our Myrna .a chance to stop giggling for a moment and, in the absence of Thin Man Powell, to pull herself together and give a sensible performance. Oh. I don't mean too sensible. But she does NOT get herself smeared up as she did in "Double Wedding," and she DOES manage to sustain a genuine char- acterization, something I always suspected she could do if the scenario would give her a chance. She plays a thoroughly modern young woman who fancies herself cured of an infatuation for Mr. Pidgeon, particularly after he marries her rival. Rosalind Russell ; but no sooner does she congratulate herself upon her emancipation than the endearing Loy wackiness crops up and she discovers she really loves Mr. Pidgeon, after all. From then on "Man-Proof" becomes fairly brisk entertainment, involving Mr. Tone's hopeful constancy, Mr. Pidgeon's lovable caddishness, Rosalind Russell's good sportsmanship, and always the Loy charm, which proves it is not dependent upon Bill Powell but can e'and on its own. For women, "Man-Proof" should be fun: for men, too, if they like Myrna Loy, and if they don't, they're mice.
Simone Simon adores dashing prinls. At far left, white butterflies chase themselves on her wine-colored silk frock. At i e Ft. her royal blue silk dress dotted with tiny white stars. Below, Ann Sothern chose black and orange Persian brocade for her high pleated turban banded with black velvet ribbon, and her pouch handbag.
G
ay or
ran
56
The British beauty, Vivien Leigh, below, who appears in the siren's role in Bob Taylor's English film, "A Yank at Oxford," wears a coat of cream serge stitched with nigger-brown silk and fastened with brown grained wood buckles. Wendy Barrie, at the bottom of the page, is gay in her natural menclo cloth slack suit.
Very grand end formal in the authentic Chinese fashion is Anna May Wong, at left, in her personally designed tunic of white satin brocade with a gold butterfly pattern. Pip- ings of gold braid are fastened with tiny gold butterflies and a gold ame cape matches pleated trousers of the same fabric. Miss Wong, internationally distinguished for her exotic beauty and gor- geously simple clothes, as well as for her fine acting, poses below in another creation from her personal wardrobe — this time a dress of black satin piped in antique embroidered braid, ond a black gauze cape which Is striped in blue, red, and green silk thread.
57
A
r en
Rid
es a
N
ew
obby
TAKING pictures as a hobby was all but forced on Dick Arlen! "Actors get so fed up with still pictures that it's a wonder the sight of a lens doesn't give us hydrophobia," he commented, as he emptied an envelope of negatives onto the couch between us. "Every time you think you have a free hour, along comes a man with a little black box, crying: 'Hold it!' or 'Would you mind just putting on this hat? or standing on the running board of this car? or downing a mouthful of this breakfast food and li ii iking pleased ?'
"When I first broke into films, I thought anyone who owned a kodak he didn't have to use because it was his job, must be crazy.
"I remember one year I went to New York' to do a pic- ture and the gang at the studios there presented me with a camera, a make called 'Pressman,' sort of Graflex type with a big box that you look clown into to find your sub-
ject. T thanked them, and was glad they liked me well enough to spend their money on me, but privately I won- dered why anyone wanted such a tiling. It seemed to me that a fellow who spent half his life in front of a lens ought to avoid spending the other half behind one.
"Then I got married. Join' had a box camera she liked to use sometimes, and I thought she was cute with it, but a little screwy.
"But cameras wouldn't let me alone. People gave them to me — I found a Leica on my Christmas tree, and an Ansco among my birthday gifts. Of course I said : 'Thanks. Just what I wanted !' and put them safely away for what I thought was keeps.
"Then came the candid camera fad. I suppose it had been here all along, but it didn't bother me until I found that wherever I went my friends were all bringing out their little machines and going 'click,' and exhibiting their results and boasting about the shots they got at the
races and why yellow fil-
red
Snapped by Richard Arlen: Virginia Bruce, her daughter, Susan Ann Gilbert, and Dick's son, Ricky. Bottom right, the Bing Crosby twins. Below, Lake Louise. Center left, hunting scene. Bottom, Charles Farrell and Jack Oakie.
ters are better than ones, or the other way around. It began to sound interesting, and I got out my cameras again.
"It's just one of my hob- bies, though, even now. I like golf and boats, too. The trouble with my pic- tures is that after I've taken them and looked at them once, they sort of dis- appear. People pick them up, if they happen to be in them, or I lose them.
"Up to now, I haven't had any amazing success with the Leica. I can't tell much from the tiny nega- tives and by the time they're blown up I've forgotten what stop I used, so I don't know how to regulate the next one in reference to that. I expect to master it shortly.
would have try his luck with pictures when he
58
Dick baffled the candid fever long and bravely, buf now — nexf to golf and sailing — he gefs his biggest kick sharp- shooting with a camera
By Ruth Tildesley
was "in England, but he didn't have any of his cameras with him.
"There's so much fuss at the customs if you have a camera," he explained. "You must have a permit to take it into a _country,_ and then they want to see your pictures, and if you didn't happen to take any they want to know why. Joby said she wouldn't go through with it ; she was sure we'd land behind bars ; so we played safe.
"However, I did take a camera with me into Canada when I was on location and got what I call my prize shot one day when we didn't have to work. We had gone duck shooting. The dog was sitting up in the boat and the ducks we'd bagged were tied to the sides ; it looked like an interesting shot and I got it. I remember liking the look of the hills in the background. But after all, it wasn't the hills that made it a swell shot, it was the water and the reeds — gives it a sort of etching quality.
"Maybe most amateur photographers get their best stuff by luck. I often think mine comes when I'm not expecting a lot, when I just point the lens at some- thing and go 'click.' I know that when I fuss over shots, changing filters and measuring the light and so on, the re- sults don't justify the excitement.
"Here's an example of a lucky shot — taken through a plate glass window at Lake Louise, with the silhouette of the window, the terrace, the lake, the moun- tains, and the snowy slopes beyond. I happened to have a light red filter on the Ansco and I used that.
"I had the same filter on it for this shot taken the other way — from across the lake, showing the hotel in the dis- tance. See the cloud effects? You must have a filter to get them.
"But I got this sbot of Joby by the lake after the sun had gone down. We were walking, and I thought the snow banks across the water looked interest- ing, so I said : 'Stand still a second,' and it was all over (Please turn to page 92)
"When I got married," says Dick, "Joby had a little camera. I thought she was cute w;th ft — but screwy, because I couldn't see how people who were acting for cameras could have fun working one." But now it's different. Above: Joby, taken by Dick; and Dick and Babe Didrickson, famous girl athlete, on the golf course, taken by Joby.
59
Fate fashions an amaz- ing climax for the dar- ing adventure of a Hollywood glamor gir
Margaret E. Sangster
CHAPTER IV
KATRINE lay on the drawing room floor and cried until she was very nearly exhausted. She never did things by halves — she had a simply dandy case of hysterics. When she was reduced to a pulp — and her frock was ruined — she became as still as a tomb, and started to pull threads out of the design in the oriental rug. They pulled hard — it was a very good rug. After she had demolished a couple of inches that it had taken a man nearly a year to weave, she began to think.
Thinking, at that moment, wasn't easy. Katrine had a lot of actions and reactions to justify. She started back- wards, as usual, and asked herself why she had taken a sock at Bertrand — the French Count whom she had half- heartedly planned to marry. After all, Bertrand had only been a parrot — repeating what she herself had already
60
said, what
that stark white look to Peter's small, drawn face. She'd needed no prompt- ing.
No, Bertrand had been slapped — but through no fault of his own. Going back to her slum childhood — where the fittest had sur- vived by sheer muscular supremacy, but a person
who kicked another person in the tummy was out — Katrine realized that some innate sense of fairness and
decency had made her strike blindly at the little Count's smirking face. She had hit him because he was phony. And because — deep in her consciousness — she hated phony things.
Of course Bertrand's title was genuine — she'd had that searched the moment the guy came buzzing around. It was an old name and a fine one, dating back to the Cru- sades and Joan of Arc and all sort of grand opera motifs. It was the fawning grin that he gave her that was phony, and the way his hand clung damply to her wrist, and the way he kissed her fingers.
Bill Naughton never did any finger kissing — but then Bill was real. And Naughton was a good name, at that. No title went with it, but it was a good name . . .
Katrine yanked viciously at a bit of yarn — are oriental rugs made of yarn ? — that wouldn't give. Bill Naughton led to Peter by a straight, undeviating line. Peter — well, n|ustrated By the kid wasn't phony, either. And he had v/elton Swain no name, at all — except the name that, through fate and by benefit of a court of law, she herself might one day give him . . .
Katrine, lying on the floor, began to kick her feet up and down — which was a sure sign she was feeling better. She start- ed to have a little emotional orsrv
about Peter — -who would one day bear her name. Not Mollineaux — which didn't belong to her legally — but Malloy. Malloy was a name like Naughton — sturdy and standing for this survival business . . .
Peter ! He hadn't asked to be adopted, at that. By the merest chance he had chosen her likeness from a fan magazine- — chosen it to worship — and the coincidence was too much for Bill, on a baby shopping binge. Naturally she had been disappointed when Peter appeared instead of a tiny blonde girl, but nobody could blame her for that. She was only human. In fact, (Continued on page 97)
jihE^BII
|
4, |
||
|
"jf % |
It was Katrine who reached Peter first. She jumped from the Please Turn to Page 97 car while it was still moving and knelt at the side of the
for Synopsis of Preceding Chapters boy before Bill could bring the machine to a full stop.
61
There's glamor in British film studios, even as in Hollywood. Meet some film favorites in a different setting in this sparkling story
By Hettie Grimstead
ONE of the nicest things about our stellar visitors from Hollywood is the way they remember us when they are hack home in California again. Dolores Del Rio writes regularly for the lovely woolly things hand-knitted by a London stylist — she's just ordered a peach-pink jacket of exquisite wool lace to wear for spectator sports. Douglas Fairbanks, Jr., gets all his suits by mail from England, and that ardent antique glass collector Xeil Hamilton often cables a famous W est End shop enquiring for details of their rare pieces.
Before Marlene Dietrich sailed for Xew York she visited her local boot-maker and had the famous feet measured for some pairs in the latest London models. He has just despatched her very high-cut town shoes in black matt kid with a row of six little black and white buttons down each side. Accompanying instructions say that Marlene's million-dollar legs should be encased in bright ginger-brown stockings when she wears them.
Otto Kruger, who divides his time between fishing and films, habitually sends for rods and tackle to a tiny old-fashioned shop in St. James's where King George and the King of Norway and Franklin Roosevelt, Jr., are also on the list of customers. At the moment Otto is able to choose his tackle in person, being here to make another film at Elstree Studios. It's a gay comedy of school life called "The Housemaster" and you will see Otto careering around in college gown and spectacles with never a sugges- tion of his customary screen self-sacrific- ing. "Am I tired of being a noble martyr !" he remarks feelingly. This time be actually gets the girl and beats all his rivals to it. Phillips Holmes and demure little Rene Ray are in the picture too.
Otto unfortunate- lv crashed his car driving to the studio 'in a London fog the other morning" so he Please turn to p. 92
Starting at top, Otto Kruger; then Neil Hamilton, collector of old glass; above, Rex Harrison, new bet, and Vivien Leigh. Left, Genevieve Tobin; right, Maureen O'Sullivan. Left, below, Roland Young, Jessie Matthews, Jack Whiting, and whoopee; below, Noel Madison, Mr. Young, and Mr. Whiting, and ah, me!
62
Lionel Barrymore, left, was a beloved visitor to la belle Paris. Paul Muni, left below, inter- ested the intelligent- sia. The new girl in town, below, is Charles Boyer's latest leading ady, Michele Mor- gan. At left below, popular Madeleine Carroll. At bottom of page, find director Anatol Litvak — Mi- riam Hopkins' husband — and Mr. and Mrs. Paul Muni at Paris party in Muni's honor.
There's gaiety in Parisian picture cir- cles, what with native players and visiting Americans. You'll enjoy this French slant on cinematics
By Stiles Dickenson
ONLY the radiant presence of Madeleine Carrol saves this department from being labelled "Gentlemen Only" this month, what with writ- ing of Robert Taylor, Paul Muni, Lionel Barrymore and Lewis Milestone.
Robert Taylor must have taken off his make-up on the plane coming over, so quickly did he appear in Paris after finishing the last scene of the picture he made in the London Studios. Evidently Paris has great charms for him—so much so that he cancelled his original sailing date on the "Normadie" so as to stay over here a bit longer. Paris fell in line with the rest of the world and Bob's every move was followed by adoring crowds and written up in the newspapers. At the same time he was here, "Camille" (called "The Romance of Marguerite Gautier" in France) was being shown in the theatres and all the tear-stained audiences have fallen for the Taylor beauty. Must say that he bore up very weU with all the adoration and still seemed a cheerful, unaffected youngster. He was intensely eager to see and do every- thing he possibly could in Europe in a short space of time — and he succeeded very well in spite of the curious crowds his now-famous face assembles. Usually Paris just gives a smiling nod to visit- ing celebrities and lets them alone to enjoy themselves — but not so with the Taylor. Even the blase habitues at the Bagatelle, the smart night club of the moment in Paris, got excited when he appeared there and poor Bob had to autograph dozens of menus and scraps of paper. He then set off in a plane for a hurried bird's-eye view of this Europe. The Scandinavians went wild at his approach and the illustrated papers showed him being presented with huge keys made of flowers. That's say- ing "Welcome to Our City" very romantically, I should say.
Lionel Barrymore came from Holly- wood to play (Please turn to page 75)
WHAT El P
eanor
owe
as
Lost!
And what she has found! Here's a heart-warming story of the currently popular dancing personality with self-told facts never before revealed
r
By Charles Darnton
Our new pictures of Eleanor happen also to be exciting ccivonce fashion news! The Powell smile is surrounded, cbove, by the very newest sun hat of blue and white plaid strew, with a big red apple beneath the brim. At right, Eleanor proves her love of children by helping Robert Spindola, "Donkey Boy" of "The Firefly," fly his new kite.
GOIXG to see Eleanor Powell in her Bev- erly Hills home just before she was leaving for a month's New York vacation was like going to a family party. What with her- self, her mother, her grandmother, and her dog in the living room it was quite a cosy little gath- ering. But at first, with nobody in sight but the glacial butler — he had on an ice cream suit — it looked as though the occasion might prove a bit stiff and formal.
Nonsense ! Things warmed up the moment Mrs. Powell, glowing as a red apple and nearly as round, bustled in and wanted to know if I minded her calling me by my first name. Mind ! I loved it. She made it very homey, sitting on the arm of my chair and singing the praise of her gifted daughter who herself was singing for the first time in her new picture, '"Rosalie."
Swish ! In breezed Eleanor, spick and span in blue silk pajamas and talking a blue streak. Smack !
"How do you like it?-' She meant the house,
64
not the kiss. "Think of me having this," and she waved spaciously, "after all I've lost!"
What, in particular, I wondered ?
"Four toenails ! One in each of my pictures, 'Broad- way Melody,' 'Born to Dance,' 'Broadway Melody of 1938," and now 'Rosalie.' My 'Rosalie' one is just be- ginning to grow in again, see — "
She whisked off a sandal, and all of a sudden the arm-rest of my chair became a foot-rest. What price dancing was revealed by a dainty bare loot, one of the two most wonderful of their kind in all the world.
"And maybe you think that doesn't hurt !" She shod it tenderly, then bounced into a chair. "I said to the doctor, 'How many toenails does God allow you?'"
Higher statistics not forthcoming, we left the ques- tion in the more or less heavenly air.
"Now I'll tell you something," she volunteered, hav- ing indeed shown me something. "I've always been kind of different. Maybe it's because I was a premature baby."
Here, then, was an Eleanor Powell story starting right at the beginning and promising to go through with more personal details than are dreamt of in the philosophy of "Who's Who."
"Just a seven-months' baby, that's all I was, so I had
That Spindola young- ster made such a hit with Eleanor that she bought him the boats you see in the picture, below. New fashion notes: Eleanor's Aztec print frock of red, yellow, green, and blue; and her white straw hat with bright bandanna.
tined to become a rich part of it. This was most wel- come, since her bland presence and pat comment gave it authoritative background.
"But with everything I lost, the pleasures of girlhood because of working all the time,"' Eleanor was saying, "I've just found something new — my singing voice. It's now in pictures for the first time. People thought it was me they heard singing in my other pictures, but it wasn't. All I did was 'sync,' match my lips with the words of a song, you know. Eddie Sutherland, the director, once said I was the best 'sync' in the business." "Must be quite a trick," considered Grandma. "It was always easy for me," said Eleanor. "But I was never satisfied with it. I wanted really to sing. Mar- jorie Lane had always sung my songs for me. She was waiting to do it in 'Rosalie' when she married Brian Donlevy. Then he had to go to London to make a pic- ture, and Marjorie wanted to go with him, so she asked me if I'd try to have the studio let her do a recording of my one number, 'Strange New Rhythm in My Heart.'
This was done, and away went Marjorie to England. But when we got to that point in the picture, Van Dyke, the director, shook his head. He said the song wouldn't do as it was, that he wanted something different — you know how blunt Van is — wanted a swing to it like this, zip !"
She swung her lissom body into swaying undulations, breath panting, eyes flashing, fingers snapping.
"You see, Marjorie is a ballad singer, and she sang the number standing still, just as she'd been used to doing at the Troc and over the night spots where she'd made a big hit. The recording was beautiful, but Van said, 'Some- body else will have to sing it. What's the matter your doing it?' he (Continued on page 88)
to be brought up in an incubator. I had no toenails, no fingernails, and no eyelashes. They didn't begin grow- ing till three weeks later. I certainly must have been a funny looking thing without any trimmings. When they — oh, here's grandma !"
It was an unexpected pleasure to meet Mrs. Susie Torrey, a dear, gen- tle, white-haired old lady whose eyes twinkled merrily through her steel- rimmed glasses.
"I was just telling Charlie," ex- plained Eleanor, "that when I was born I didn't have any toenails or anything."
"That's right," confirmed Grand- ma, comfortably settling herself. Evi- dently the good old soul enjoyed that form of Hollywood torture merci- fully called an interview, serenely unaware that she herself was des-
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The Gory Coopers, proud parents by reason of the recent arrival of a baby dcughter, and one of Hollywood's most popular couples, step out to the preview of an important new picture.
Into a woman's world of teacup conver- sation, steps a man servant, and Billie Burke stops listening to Constance Ben- nett to gaze back at Alan Mowbray; scene from "Merrily We Live."
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WHEN Joan Crawford was in the fierc- est pangs of new love she used to hook rugs with astounding zest. Janet Gaynor, due to the Tyrone in her life, is making her own hats. She produces the sauciest little numbers. When Tyrone's slaving be- fore the cameras and reading scripts be- comes tiresome Janet hies out to Warner Brothers to visit Margaret Lindsa}- on Maggie's set there.
IIMMY STEWART hadn't had a date -J for three months. Then suddenly he realized that Rosalind Russell existed. Ever since came-the-dawn the two have been considerably intrigued. Like all the more vivid colony romancers, these two are held together by sophisticated wit. Roz is a Dorotlry Parker, minus Dot's cynicism — a volatile, talkative, gay person. Jimmy's slow, his humor dry. But both of them have just settled in new houses, so how could they get married?
CAROLE LOMBARD will have an in- come as well as high old memories after stardom. A girl working in a shampoo parlor reports it's really no gag about Carole minding her companion-manager Fieldsie when it comes to spending. The amateur sleuth happened to be idling at a magazine stand at Hollywood and Vine when Carole was bent on buying a new magazine there. "But you already have that one at home," stated Fieldsie firmly. "I haven't!" shrieked the Lombard. "I'll take it," she added to the clerk. "Oh no, she won't," muttered the stellar watch-dog, giving the star a push onwards.
Trio! In song, three's not a crowd, so Fanny Brice, Allan Jones and Judy Gar- land get along famously in swing; with Fanny hitting a few solo notes.
Going places and seeing people who put romance in the news from Movie Town
By Weston East
OF COURSE the Wayne MorrL-Pri- cilla Lane romance is booming, but don't take their devotion too seriously. Re- member that last month the lady of his dreams was Eleanor Powell. And before Eleanor there were half-a-dozen other cinema beauties. The lad's a demon for variety. Priscilla, incidentally, met him socially in a different way. Someone -in- gested to Wayne that it would be a snappy idea if he asked her out. He sat down and wrote her a letter. Evidently this gallantry, in these days of fast telephones, was over- whelming. Or maybe Priscilla knows a swell date when she sees one. Anyway, she responded post haste.
WHILE Claudctte Colbert is honey- mooning at last in the South of France, her pals pass on their favorite tale about Claudette. It seems a fan wrote for a photograph and Claudette was all sympathy
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JPHP W&tk
Alice Faye and Tony Martin, who chose the tropical setting of a popular Holly- wood cafe to dine and talk things over, had just the right lighting when this twosome shot was snapped.
Dancing at a Hollywood party, right: Anita Louise and Darryl Zanuck. The young star and the famous producer were among the many celebrities seen at the Basil Rathbones' recently.
when she came to the paragraph about his being a cripple. She hurried off the best likeness she had. By return mail she re- ceived thanks and the comment: "Your picture now hangs in my room with fifteen photographs of my wolf-hound who died under tragic circumstances."
HOW high do movie wages bounce? Consider this -inside figure in the case of the Ritz Brothers. Night club entertain- ers not much more than eighteen months ago, they have just received a contract calling for three pictures within a year's time at $80,000 per film. By next month every blonde in town will realize^ she sim- ply must have a Ritz in her private life.
CO ROBERT MONTGOMERY swore ^ he'd never build a home in Southern California. Not Bobbie, Mrs. Montgomery's smart son. He was going to make his pile and get out. He bought a Connecticut farm
with a Colonial farmhouse, and there he's been retiring for three months of each year. So what? So now he's just fallen for California harder than anyone else. He's had a huge home designed — there are six gorgeous bedroom suites, for instance — and therein he's settled permanently. He talks about how keen it'll be for his children Bob and Betty. He points out the antiques Mrs. Montgomery found. He's consulting an expensive landscape gardener this week!
WHAT'S in those notes that Myrna Loy and Bill Powell keep sending to one another? Myrna's working at Metro, the old homestead, while Bill is making "The Baroness and the Butler" over at 20th Cen- tury-Fox with Annabella. At least four times a day notes are exchanged between them, and the minute the recipient reads one it's obvious that something most amus- ing is contained therein. The most likely explanation, Hollywood, is that Myrna is
helping to keep Bill cheerful. He was still none too recovered from Jean Harlow's death when he returned from the vacation that was supposed to make him forget. If a few scribbled lines can put him in stitches he won't harp so on what might have been.
WHILE Kay Francis and Humphrey Bogart do hot scenes for the cameras, their most recent mates have found one another in New York City! Kenneth McKenna, K. F. husband No. 3, and Mary Phillips, H. B. wife No. 2, returned to the stage when the movies weren't too kind — and now they've learned to care. Mean- while, to keep you straight, Humphrey has bought a house and gives indications of turning family man at last. Mayo Methot is his reason. And now, to further mix you up, he's back to work after a fight with Warners, too. They suspended him when he objected to playing a supporting role in a Wayne Morris film.
NEXT year you can hear Jeanette Mac- Donald sing in person. She's_ decided to make a formal concert tour, just like Nelson Eddy. Only it's going to be much more of a task for her, because she'll have to worry about her looks — take a hair- dresser and maid and a wardrobe along. And she has a love to leave behind. Still, it's a step up, professionally speaking, and Gene Raymond understands ambition.
CO YOU think Joan Crawford is slipping? ^' She got on a train the other day and they held the streamliner three minutes while her baggage was loaded on, too. What does that prove? Well, what?
THERE is nothing casual about Dick I Powell's return to radio. He remained muted until the proper set-up loomed, and now he is relying on his "best friend and severest critic." Joan Blondell loyally for- gets her own stardom, even about dashing
Triangle! Warren William seems menac- ingly confident, though Virginia Bruce gives him the cold shoulder for Melvyn Douglas, in "Arsene Lupin Returns."
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Severest critic! Hugh Herbert's wife tweeks his ear, and the comedian knows the joke he tried out during lunch at the studio isn't funny enough.
home to the baby, every Wednesday at 6 p.m. She hurries to the broadcasting station to park in the front row center. Dick wants to be able to glance down at her often, to be sure he's doing exactly as they've planned.
PvOROTHY LAMOUR celebrated her L' first day off in two months by grabbing her best suit out of her closet and going to Santa Anita for the afternoon. She always has to work Sundays, on her radio program, you know, so she's not even had the ordinary let-up. Her husband Herbie Kay didn't land a Grove engagement with his orchestra ; he's making music in Chicago.
A ROLE LOMBARD'S learned to ride Western every Sunday and to roast a nifty duck; she jounces happily in a sta- tion wagon when she might be languish- ing in a limousine. All for Clark Gable's company! Now she's resuming her interest in flying. In "Test Pilot" Clark's had to fly so much for the director that he has enough hours in the air to get his pilot's license. Carole took lessons out at the municipal airport a year or so ago, and
she's on the verge of starting over. She'll never let it be said that she isn't a swell sport. She isn't going to be a fool about the top salary she's commanding, either. The other day, on the set, she inquired how much the owner wanted for a sheep dog acting in her picture. He replied, "Five hundred dollars." A prop man popped an inquiry, and the answer was "A hundred and fifty." Carole didn't buy Snoopy, and Snoopy's papa is no doubt sorry he under- estimated this star.
UNCENSORED data on the younger set: for those who are bored reading about the too-sweetness of youthful won- ders— Mickey Rooney dropped in to the publicity department at Metro recently for an interview. "Where have you been, Mic- key?" asked the press agent brightly. "Smoking my pipe," replied Mickey tersely. "Why, how long have you been smoking?" demanded the amazed p.a. "For three years," retorted the honest Mr. Rooney. (He's seventeen now.) Item Two: it's a fad to drop into the Troc and sing a song
Dilemma! Below, Frank Morgan in a dither that has delightful aspects — the one on the left, Mary Astor, for example, as well as the one on the right, Florence Rice. Below, right: Newlyweds: Alan Curtis and Priscilla Lawson, both in films, study homekeeping.
Comedy relief! Edward G. Robinson turns from drama to humor, very suc- cessfully, judging by Rosemary Lane's smile — at Warners' recent party.
for your fellow guests, if you're a celebrity and able to croon. Who's fashionable now but Bobby Breen! When he went Troccin' he stood up and gave all he had.
NEXT best thing to Charlie McCarthy, in the estimation of the more discern- ing women about Hollywood, is Eddie Ber- gen. His wit, his flair — ah, superb ! Con- sequently, he's shrewdly invited to the best parties. For more exact details about his fascinating ways, check with Andrea Leeds. The ace Samuel Goldwyn girl is most favored with his attention.
CINCE the Mae West radio faux pas, the stars are being doubly cautious about their air acts. The exception is Bob Burns. He alone doesn't prepare his comedying in advance. At the final rehearsal, a couple of hours before it's time to go on with Bing Crosby, Bob is still ad Jibbing. He trusts to his own instincts when he rallies with the cues flung at him.
BETTE DAVIS was so pleased when she heard how well she could sing in "Jezebel" that she had records made from the playback and has been distributing
i
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The bicycle not built for, but used by two, above, fits in with Olivia de Havil- land's costume and George Brent's hair- cut; frolicking between scenes. Table talk by George O'Brien, right above, amuses Joan Blondell, Dick Powell, and Pat's wife, at a studio party.
same to her intimates. "Mali goodness," she whispers in Southern accent at the begin- ning of the record, "who'd ever have thought little me would be a song bird?" She concludes with, "Ah hopes you stood it, honey lamb."
DOBERT YOUNG patriotically claims it 1^ could only happen at his studio : Metro has been quizzing expectant mothers to cast the dauphin of France in Norma Shearer's new epic. The son of Marie Antoinette has to be of tender age at a certain stage of the film and the shooting schedule having been worked out it's up to someone to line up a baby of exactly the proper days. Well, Bob, it's a good story, anyway !
ALLAN JONES rates our award for 1 being the ideal husband of the month. When his new child was born it wasn't in any great hospital, but right at home in the fully-equipped room Allan had designed for his wife Irene. He insisted she be at home where he could constantly watch over her himself.
DASIL RATHBONE'S son, just come of D age and to Hollywood to change Eng- lish life for American, is dying to get into pictures. Papa Basil therefore lets him visit him whenever the cameras are grind- ing. But Rodion doesn't want to be an actor, even though he has the looks. He majored in electrical engineering in college and so hopes to wangle into a technical de- partment. The fashionable Rathbones threw a formal dinner to introduce Rodion socially, rustling up Anita Louise, no less, as his partner.
GRACE MOORE can't be stopped. Hollywood had practically decided that Grace was going to be the victim of poor vehicles, that she was washed up again. Then came news of the fine Georgian home she was building in Brentwood. A whole hill-top. Gracie always does things with a splash, and this was quite a splash for one who was nearly licked. Next she was heard starring in a radio drama, not simply sing- ing but acting most competently. Now she's being starred at the Metropolitan, and — Miss Jeanette MacDonald — here's some- thing you can try for when you can find time to get around to it ! Gracie's returning for more pictures, and the plots aren't going to be that same old one, either.
DRIAN AHERNE has only to fall in D love to complete his metamorphosis. He's become so jolly, so anxious to please. Once disdainful of curiosity about himself, he now beams at the press. Once scorn- ful of Hollywood — Irving Thalberg was soundly rebuffed when he dangled a keen long-term contract before Brian — he has now agreed to work steadily for Hal Roach. He's become an aviation enthusiast now he's flying around Mexico on between-pictures jaunt.
V
Clara Bow confides some "IT" secrets, which Martha Raye seems to find new or startling, or, more likely, both.
ERY spryly, and successfully, Jackie Cooper has made the jump from child to youthful roles. While growing up, Jack e has kept his place in the limelight, and his first young man role netted him citation by the National Board of Review for one qf the year's outstanding performances — i Chuck in Monogram's "Boy of the Streets _ In proud recognition of Jackie's feat, hip company gave a party in his honor at swank New York hotel recently.
WONDER-what's-become-of-Sally dept. : Corinne Griffith is moving into the beautiful home she and her business-man husband have built in Washington, D. C. Buster Keaton is directing Francis X. Bushman, the first Taylor of the screen, in a two-reel comedy at M-G-M, where Buster was once a star himself. Alice Terry has redecorated a small house in Hollywood and is living quietly there until husband Rex Ingram returns from his archaeological expedition into Mexico. Rex, who discovered Valentino and Novarro, has done so well in his study of antiquities that the museum in Cairo, Egypt, has turned over a room to him. Evelyn V en- able, now mother of two children, has returned to acting — she's making "In Old Kentucky" for Monogram. And if you watch current films closely you'll see many old favorites in bit roles ; like Bryant Wash- burn as chauffeur in "Crashing Hollywood."
Singing in the woodland — birds please copy — are Kenny Baker and Lana Turner, located on a location stroll, above.
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SOON, we shall put aside the Persian lambs, the caraculs and the furred coats that have seen us through the winter. Then we may have a few figure surprises. In spite of their luxury, chic and warmth, winter coats do something to us from the neck down. They seem to pull clown the figure, to slacken our posture generally, so that the trim little suit into which we emerge is rather a disappointment. The truth is, we don't look trim in it.
The tailored suit, like the bathing suit, demands a good, buoyant figure, and so I sought out Gladys Swarth- out for a word of counsel. Miss Swarthout is a screen, opera, and suit star ! She adores suits and knows how to wear them. Here are her words : "After winter, I think we all need a general pick-up, physically and mentally, before our figures and faces have the right fashion points that give individual style and vitality."
This general pick-up, this springtime feeling, is not a matter of routine exercises or diet, unless you are over- weight. It is merely a matter of taking hold of yourself and putting some spirit and verve into the way you
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Gladys Swarth- out, suit star of Hollywood, illustrates the soignee effect of tailored chic. The suit demands good posture and a spirit of vital- ity. In circle, Miss Swarth- out's favorite day coiffure, because the smooth back hair is espe- cially good with a flat forward or beret type of hat. Today, back hair is just as impor- tant as the front, so please look backward in your hand mirror!
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Neck Down
You can take off inches here, put them on there — build a new figure by posture
By Courtenay Marvin
stand, walk, and sit and express yourself in action.
Now curves make the feminine figure, but where you have them makes it good or poor. Often we go too far in at the back in a swayed curve, which in turn makes another curve, a front one in the form of too much abdomen. This happens when the back pushes the front forward. And shoulders that should be a nice, straight line curve or droop in a depressed manner. We might well begin at the chinline and mentally check up on our- selves in the following order.
After winter, the fairest of necks have a dull look, and the skin often seems coarser than the face. The constant caress of fur collars, cold wind, and weather do this. A week of nightly treatments will lighten and refine this skin until it is^ a lovely background for spring pastels. First, bathe the neck with warm water and soap. Miss Swarthout, by the way, is a soap and water fan. She likes that fresh, cleanly scrubbed look. Use a complexion brush or rough cloth with plenty of suds and rub until the skin is pink and glowing. Rinse, dry, and then apply plenty of cream. If your neck is aging, lined or crepey, use a special neck cream. These creams are especially rich and really do good work. If your neck is in fairly good condi- tion, then your regular face cream will do. With creamed palms smooth down from the jawbone to the collarbone, then up. Work from the sides as well as at the back, and
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give about ten firm strokes to each. Avoid pressure over the very front. The cartilage and bone there are sensitive. Sleep with the cream on. Remove in the morning and dash on very cold water. This is a real neck beauty cocktail! If your neck is very dis- colored—if you have been South, for ex- ample— use a good bleach cream after the general treatment outlined. First remove the lubricating cream, then apply the bleach and sleep with it on. There are chin straps, very helpful for the wandering chinline, too.
Recently, I attended a lecture by an out- standing figure authority. "As we grow ,,lder," she said, "the head has a tendency to push forward, as if looking for some- thing, instead of remaining in a straight, upright position." You should have seen the heads that immediately adjusted them- selves to a good lift— all a little self- consciously! A good lift is necessary to style and appeal. Not that arrogant, very- very-grand-lady manner, but a natural, eager vital lift. These are the heads that wear 'hats with spirit and style. You'd be surprised, too, how this lift smooths out contours and unbecoming shadows. It makes you look good— radiant and full of the joy of living. - ' .
Here are fashion points of the suited fio-ure to remember: straight, fairly wide but relaxed shoulders. A firm, lifted chest. Relaxed arms. Straight back and smooth abdomen line.
Before you start straightening up your fio-ure I'd suggest two helpful props— a brassiere that really meets your special needs and a light but firm supporting girdle. They will not only give you a better figure but good support that encourages correct posture. And they help prevent you from slumping.
To put forth your best suit figure, stand. Let weight rest on the balls or broad part of the feet. To be sure you have this, lift heels from the floor. If you can maintain balance, then you have. Now try to imagine that a strong band is pulling you down and under from the back waist downward and coming up over the abdomen, lifting you here, not pushing in. When you feel this muscular control working, relax your shoulders, then move your arms slightly so that palms are just a little back of the hipbones. That, readers, is good posture! The effect is amazing, as you'll see if you watch yourself in a mirror. Back has a good straight line. Shoulders straight, but not rigid, abdomen smoother, chest high. You have an alert, interesting look. There is nothing hard or tight about this figure.
If Hollywood had just picked you up on a nice little contract, this, in part, is some of the posture training you'd go through for hours. And it's worth it for what it does for you. Whether you're tall or short, large or petite, it is posture that gains ad- miring glances in business office, school- room, or grand ballroom. There is just something about it that gets attention— and the right kind.
If you will keep some body consciousness in mind when you sit and sit well back on your chair, you will never have that dis- couraged, all-in look that comes when you sit on the edge and collapse at the waist- line. This sitting is a great aid in keeping a slim waistline and neat hips, and since so many sit poorly, those who sit well again command attention. A figure authority has taught me to sit for hours at a desk without tiring. Sit well back on the chair and bend forward from the spine base in a direct slant, no shoulder droop. When at your desk, sewing, or driving a car, remember this. It works.
Miss Swarthout has a good figure, small, well-rounded, and alert. She believes clothes should have a feeling of action. Her skirts, (Please turn to page 83)
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Looking Toward Spring
moanna-
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Aurora Bobbed Hair Pin Curler curls in twenty minutes
THE Aurora Bobbed I Hair Pin Curler saves the hair situation time and again. Sketched above, this innocent look- ing affair is practically ambidextrous. It will make you one or a dozen curls and you use it cold. For unruly ends, for way- ward wisps, dampen, roll up, catch with a pin, and in twenty minutes you're beautifully curled. Our pet costs a trifle. .
Coty's Air-Spun Loose Powder Vanity gets an enthusiastic award of merit from this department. It has everything— style and beauty, big powder well and two fine puffs, plus a packet of powder in rachel- nacre tone. The case, in burnished gold effect, looks like a fine watchmaker's art. The center disc comes in red, blue, green, ivory, black, or plain metal for initials. The vanity is palm-size, so you'll always have plenty of powder at hand — and it won t spill. Surprisingly modest is the price for this personal prize.
If you've always felt that the home shampoo must be followed by a vinegar or lemon rinse to free the hair of any residue and add a sheen, here's a time- saver and a beautifying-conditionmg sham- poo treatment— Admiracion ! Admiracion Olive Oil Shampoo, that cleanses perfectly without lather, is the secret of many lovely heads. But— if you like a headful of billow- ing lather, if that makes you feel more shampooed, then try Admiracion Foamy Oil Shampoo. Both do a fine cleansing job, are easy to use and need no final rinse. They leave hair soft, manageable, shimmering with life and color. For scalps below par, try the two-purpose Ad- miracion Hair Tonic before and after shampoos. It's a scalp tonic and hair dress- ing combined. Our lady below is having a go with the Foamy type.
Fifth Avenue Modes has a bright idea that helps you stretch your dress budget and that is a blessing to the hard-to-fit figure. It's known as the Finish-at- Home Plan. This means you choose your favorite fashions from a catalogue
Winx Mascara gives eyes a soft, new beauty touch
and order to individual measurements. The gar- ment made, except for hem and fitting seams, comes to you complete with in- structions, thread and all finishings. If you can sew a seam, you're practically safe. Perfect fit and good savings are thereby as- sured. The fashions are well chosen, too ! Good news for the Elizabeth Arden fol- lowers ! Velva Cream Mask now comes in a less expensive size. This quick treatment, so easy to use, so effective in results, is the secret of many fine, youthful skins. For helping to erase lines, refining texture, giving the contours a general "lift" — all the benefits you'd expect from a lengthy facial — this preparation deserves much ap- plause. It's truly a helpful idea for that new Springtime face. After a hard day, it's your salvation for big occasions.
That new hat deserves attractive eyes. In fact, the eyes will make the hat. For the most telling touch, there's nothing like the subtle use of mascara. Among the good brands is Winx, a great favorite. It is easy to apply, tear-proof, non-smarting. If you aren't a Winx-er, here's a sensible thought.
Try the n Foamy Oi haii
Merry Man!
Shuffleboard became the popular pastime of principals in the "Robin Hood" cast during a location trip. Here, Basil Rathbone and Olivia de Havilland have a game.
Continued from page 30
Much better than to sit home and worry."
The shooting schedule called for his ap- pearance in virtually every scene. He worked SO hard that nine o'clock generally found him in bed. Hard work had no effect on his healthy good humor. He laughed all day, ; t anything, at nothing — because Gene Pal- lette made a noise like a sheep — because Herbert Mundin slipped on a wet leaf and went sprawling — because Olivia de Havil- land, catching sight of Pat Knowles in the blond wig of Will Scarlett, promptly dubbed him Scarlet Sister Mary — because Basil Pathbone, playing Sir Guy of Gisbourne, answered cheerfully to the name of "Nicky (.e Ginsboig."
lie is not of the poor-spirited breed, how- ever, who wait for fun to come to them. He a so goes out to make his own. In this, 1'atric Knowles is his sidekick and chief ? bettor, "I don't understand why he thinks I'm crazy." Flynn will tell you with knitted l.rows. "Because he's the one who's really crazy." To the bystander, there's little to choose between them.
One evening the two men took Lili to the only night-spot in town— a little restaurant where the floor show consisted of a single ('.ancer, and tone was added by having the lights turned so low that you couldn't see her.
Flynn turned to Knowles. "Did we pay money to see this show?"
"You ought to know."
"Then we're going to see it."
Exit Flynn, to return ten minutes later with three flashlights. The girl was dancing again, "though the only way I knew it was by this pall of gloom, supposed to be mys- terious, but just damned annoying." He pressed flashlights into the hands of his companions. "When I say apple," he whis- pered, "turn them on."
As the music reached a moment o'f rev- erent hush, "Apple," said Flynn in a loud voice, and three lights were shot full upon the performer.
She stood blinking in bewilderment for a moment. Then Flynn rose. "You're very pretty." he said courteously. "This is merely a protest against your being kept in the dark."
Her jaw dropped. "It's Errol Flynn!"
"The biter bit," murmured Knowles. as the customers surged round them.
But Errol had swept Lili up with one arm and escaped into the night.
With the aid of Herbert. Mundin and some others, he also framed Max Adelbert Baer. On Flynn's British tongue, the Ger- man Adelbert becomes A-eW/-buht. It was by this elegant title that he would invariably address Maxie, who would cock a suspicious eye and growl : "Where the hell does he get that A-<W/-but stuff?"
"It's your name, isn't it?"
"Adelboit," said Max firmly, "an' I don't talk about it."
Maxie was refereeing some wrestling matches in a nearby town and, at his re- quest, the company attended in full force. "Now if I ask some o' you guys to take a bow. don't be bashful, will ya ?" he en- couraged them in advance.
Flynn gathered a few choice spirits and set forth his plan. On the appointed night the beaming Maxie called them up, keeping Flynn for a climax. The latter mounted the steps like a bashful schoolboy, acknowledged the applause with a deprecating air and then, as if overwhelmed, dipped coyly behind the referee. This was Mundin's cue. He hauled off and smote Maxie square above the belt — a blow which took that worthy so completely off guard that he sat down abruptly and was straightway buried under the flailing arms and legs of Flynn and his muscle men. A few moments of pandemonium, from which Flynn and his victim emerged, still on the floor, Flynn's right arm clasping the other's shoulder, his left hand holding Maxie's high, his voice shouting: "A-dell- buht ! The winnah !" The effect was colossal. And if you don't think it's funny, ask any of the boys in your family from six to sixty and listen to their howls of glee.
After dinner Flynn would generally de- vote an hour or two to the development of Arno's character. Perfectly willing to dash after a wildcat, he was less eager to tackle his own kind. He may have been too proud to fight. He may have gone soft, having spent some weeks with family friends who babied him. In any case, whenever a certain sheepdog hove into sight and offered hostili- ties, Arno would whisk a disdainful tail and seek shelter with his master.
His master didn't relish the spectacle of a he-man he loved deteriorating into a sissy. With no desire to urge aggression upon his clog, he did feel that he should be prepared to defend himself. So he made it a practice to wait with Arno for the arrival of Blackie. If Blackie showed himself peaceable, well and good. If, as more often happened, he seemed bent on taking a chunk out of Arno's throat. Flynn would bar his own dog's
escape, give him a talking to and stand by to see fair play.
At first Arno put his tail between his legs, threw Flynn heartrending glances which the latter ignored, and let the other dog maul him. There was nothing gradual about the cure. The idea seemed to hit him between the eyes one day, he lit into Blackie, wiped up the floor with him, all but dusted his paws, and walked off serenely beside his master. Which of the two was the prouder, it would have been hard to say.
It's possible, though not easy, to divert Flynn into serious channels. One thing he'll talk about with a degree of sanity is the pic- ture. It's his most important since "Captain Blood." Warners have begrudged neither time nor money to the making of it. Aware of how well beloved are the story and char- acters, they have cast it with special care, so that each player seems the inevitable choice for his part. Only the casting of "Gone with the Wind" has stirred greater interest. Olivia de Havilland is Maid Marian, Una O'Connor is her serving- woman, Claude Rains is Prince John, Basil Rathbone is Sir Guy Gisbourne, Ian Hunter is King Richard. Patric Knowles is Will Scarlett, Alan Hale is Little John, Eugene Pallette is Friar Tuck, Herbert Mundin is Much, Melville Cooper is the Sheriff of Not- tingham.
"Of what our story will be like." says Flynn. "I'm the worst judge in the world. I think it has charm. Whether it's serious enough or good enough or too good or too serious, I shan't presume to say. For one thing, I never look at rushes. I went the first day to see if my tights buckled at the knee. Once satisfied of that, I quit. I don't enjoy myself on the screen. That's no af- fectation of any sort, I promise you. I keep looking at myself and saying (an untrans- ferable sound between grunt and snort). I stay away, if only to avoid my ears. This time, thank God. they're covered with hair. I was appalled by my first glimpse of my ears. They've got marcel waves in them." (Ed. — He's being either facetious or hyper- sensitive. His ears are nice.)
"One thing I can tell you. They're de- liberately avoiding any similarity to the Fairbanks version. No flying or leaping. Nothing fantastic. Realism's the word — to create the illusion that these guys lived and breathed at a time when the tailors made clothes like that.
"Another thing I'm sure of is that the action won't lag. In color, you can't slow up. Walk slowly past a beautiful crimson
Spencer Tracy and Clark Gable, cast-mates in "Test Pilot."
vine, and no one's going to look at you. They'll be craning their necks and mutter- ing, 'Out of the way, lug.' When I go past that vine, I go like this — " his hands whisked.
The action begins with Robin still on the legal side, and ends with the return of Richard Coeur de Lion. "In one way," says Flynn gravely, "it's a bitter disappointment. They won't let me die. I love to die in pic- tures. There's something so sweetly final about it. The more movie heroes put out of the way, the better pleased I am. In fact, I'm in favor of starting a pogrom among movie heroes." ■
He and Pat Knowles started something closely resembling a pogrom against them- selves. Work on location was finished. The company would be heading south next morn- ing. Damita had departed a day or two earlier.
Flynn took Pat aside. "If we fly back, we'll gain a day."
"That's a useful thing to gain," agreed Pat.
"If they say, why didn't you tell us, we can always say, you didn't ask us."
The various manoeuvres necessary to bring off this coup delayed their start. Mean- time, they'd discovered that the only plane they could charter bore no lights. They took it anyway. "Live in the day," said Flynn. "In the past a little, in the future not at all. That way you can squeeze each moment of its own particular juice, and life doesn't rush past you."
They lost sight of the fact that the days had grown perceptibly shorter. They also lost their way. It grew darker and darker. Realizing by this time that they couldn't make Los Angeles, they headed for what they hoped was Sacramento1. It grew still darker.
"We may have to light our way down with matches," said Flynn. "Got any?" "No."
"That's funny. Neither have I."
"Well, there's one comfort. We're bound to squeeze the juice out of this moment.' How does it taste ?"
"Slightly acrid."
Flynn insists that it wasn't as reckless as it sounds. Maybe not. They must be good pilots, since what they hoped was Sacra- mento zvas Sacramento.
For some reason they missed the light- flooded airport, but caught sight of some lesser lights in a field beyond. They landed safely. Next morning they took off and flew to Los Angeles.
They gained no time, but they lost nothing either.
The gods look after their own !
Have You A Trauma?
Continued from page 27
recollection somewhere in my subsconscious of being frightened by an egg at one time."
And would you think Cary Grant would throw fits 'at the sight of catnip? All his life he's had to keep away from catnip and similar w^eeds because he is allergic to them. And Then Life Caught Up With Him. While working on the "Awful Truth" at Columbia, Grant was garbed in a ridic- ulously long nightshirt and was down on all fours toying with a cat as an excuse for following the feline into Irene Dunne's bedroom. Cary was frisky enough, but the cat was a bit on the bored side. After they had tried calf's liver, fresh cream, and funny stories to no avail, they sent for a lot of catnip. They tossed it into every nook and corner. Result : Very giddy cat and much giddier Grant. A studio nurse applied smelling salts. To Grant, I mean ; and last seen, both cat and Cary were doing well.
Bill Robinson is afraid of almost drown- ing. "Almost is worse," says Bill. "And don't let anyone tell you that you do down but three times. No, sir ! My dunking ex- perience occurred at a seaside resort years ago, but I've never forgotten it. And rhy- thm saved my life. Sounds like a title, but I mean it. You see, after I recovered from the first frozen panic, and just when I thought I was going down for what must be the last time, I heard the faint strains of faraway music. I thought sure I was done for then. But soon the thought regis- tered that it was the tinny, mechanical rhythm of a merry-go-round. Not being able to swim, I had already despaired of being saved, as there was no one else in the water, and there was too much noise on the beach for my cries to be heard.
"But when my feet heard that music, they just naturally started tapping out the rhythm. In this way, I stayed afloat long enough to attract attention." But these drowning sequences with music are hard to find, so no wonder Bill has this secret fear.
Simone Simon — bugs. Of course I mean she's afraid of bugs. She won't permit a letter sealed with wax to be opened. She had a hideous dream one night that some enemy sent her a deadly spider under a wax seal, so vivid she never got over it. And snakes! We hope she never goes on a location set under the direction of that inveterate practical joker, Woody Van Dyke. One of his favorite gags is to have someone slowly draw a rope over his supine victim, while he yells "Snake !"
Ben Blue is afraid Ben Blue is lost for- ever and only exists as a composite char- acter. It's like this : Several years ago, Hal Roach was searching for a new comedian, but the best. Ben was being tested, along with W. C. Fields, Ed Wynn, and many others of like calibre. The producers sat back and said, "Now be funny." After agonizingly watching these funny-men work hard all day, Ben went home with the admonition ringing in his ears "to come back tomorrow and be funny."
Walking the floor that night, he hit upon a characterization — a composite of the lot of them. So the next day he used Hardy's double-takem, Chaplin's walk, Ed Wynn's swish-buckling hip gesture, and so on. He was signed. A year later, the gateman on the Roach lot wouldn't let him in, saying Laurel & Hardy were the only comedians on that lot. Ben is now doing all right at Paramount, but he must bring out the mat- ing instinct in producers, for they're still putting him in pictures with other big- comedians like Jack Benny and W. C. Fields.
When Ben had- his own night club on the continent, the then Prince of Wales was a steady customer. One night Ben got a call from the Prince, asking him to come out and tell him and his guests a couple of stor- ies which the Prince couldn't tell correctly. Naturally Ben went. Listening to the Prince laugh, Ben unwittingly mimicked it — that's how the Blue laugh was born. It amuses the Duke as much as it does every- one else.
Norma Shearer is afraid she'll become a Venus de Milo. The exquisite Shearer chews and chews her little fingernails when in a thoughtful mood. Remembering the post- card that Alexander Woollcott sent a friend, showing the Venus de Milo, with a little note by Alex The Raconteur to the effect that "this is what happens to people who bite their fingernails," no wonder Norma is afraid of becoming a Venus de Milo.
With Shirley Temple it's elephants. She sincerely believes that elephants never for- get, and to add to the horror, she has re- cently read about a circus elephant who was tormented by a child, and years later, as he was being paraded through the streets, he caught sight of the child and went berserk, charging through store win- dows as though they were so much paper, in search of his prey. Now Shirley realizes that there are many little Temples around the country, or children who resemble her as closely as possible, and she figures that somewhere, sometimes, one of these proto- types might have incurred the wrath of one of these beasts, so she goes on having elephant-trouble, in spite of the comfort- ing words of her pal, Bill Robinson.
And all directors in Hollywood are afraid of crickets and similar insects. Recently, on the "Marco Polo" set, Director Archie Mayo had to stop shooting because of a cricket. They were unable to find the annoying insect, and finally Mayo cried ex- citedly: "Somebody keep that insect quiet. Do you realize this is costing a thousand dollars a minute?"
"Cheap," chirped the cricket.
"O.K. O.K.," said Mayo. "Two thousand, but not a cent more."
Another good one they tell about this very plump director, is the one connecting him with the blimi that drifts its advertis- ing way over Hollywood. At a party one night, he received a wire, sent by a friend, which read : "Why don't you stop floating over Hollywood with the word Goodyear painted on your belly?"
Hillbilly harmony with a flute is essayed by Buddy Ebsen.
73
Life of a Hollywood leading man! Dick Baldwin, comparative newcomer, busy, and glad of it. His work is romance, as with June Lang, left, and Simone Simon, right.
Big Plans for Shirley Temple's Future
Continued from page 21
be gone about two months. Shirley is very eager to visit Washington, so I imagine that will be one of our first stops. When Mr. Hoover (Mr. J. Edgar Hoover of the G-Men) was in Hollywood he prom- ised Shirley that he would show her his machine guns and that she could ride in an armored car when she came to Wash- ington— and Shirley was so excited over the invitation that she can hardly wait. She has also expressed a desire to visit the mint and see money being made. In New York she wants to go to the Zoo first thing as she has a great love for all animals. Then she wants to see the Statue of Liberty and the tremendously high buildings that she has heard so much about. Boston seems to be a bit confused in her mind with the Boston Tea Party which she has been reading about in her American history.
"At some point or other during the trip we will go to Canada to visit the Dionne Quintuplets. Shirley knows each little Quint by name and I am sure that the visit to Callender, Ontario, will be the high spot of the trip for her. I'll probably never get her away."
That Shirley is so fond of the Dionnes makes Mr. Zanuck very happy. There is a rumor going about the studio that "the big boss" plans to put Shirley in the next Quintuplet picture. And wouldn't that be fun?
But back to Mrs. Temple : "I would like to return home by way of Bermuda, Havana, and the Panama Canal, as I have a feeling that the trip will be ra'her strenuous and I'll need a rest. I do wish
that the cities would treat us like normal, curious sight-seers and let us go around the stores and have a good time all by ourselves.
"Shirley has never been on a train, and of course like all children she is extremely thrilled over the prospects of riding on one. She has never traveled at all, except by boat to Honolulu.
"Now please don't think that this will be a personal appearance tour, because jt won't. It will just be an educational trip for Shirley as well as pleasure. However, it has long been one of my ambitions to take a leisurely trip across the United States and let Shirley greet people at the railroad stations. Everyone could see her and it would not be necessary for anyone to pay admission to see her. I can assure you that during the entire trip there will be no personal appearances made on any stage, and that Shirley will do nothing for which there will be a paid admission.
"I have a horror of personal appear- ances and radio work for Shirley. During the next few years I can promise you that she will not appear on any stage or over any broadcast. I am very proud, of course, of Shirley's accomplishments — what mother wouldn't be proud of her little daughter? — but I am more proud that Shirley is refreshingly unchanged as a little girl. Shirley is happy with film work. It does not interfere with her edu- cation in the least, and it gives plenty of time to play both at the studio and at home. She is happy. And I intend to keep her that way. The minute she starts per- sonal appearances and radio it would be work of another sort. She is too young for such hard work now. When she is old enough to choose for herself, then it is she who will determine whether she wants to be an actress or do radio work or sing or write or teach school — or be a house- wife."
Mrs. Temple has turned down well over
a million dollars for Shirley in bids for personal appearances and radio work. A London impresario wanted Shirley to play six weeks in London during the Corona- tion of King George VI. and he told the Temples to name their own price. Shirley was offered $12,000. for a single day's appearance at a New Jersey Fair. She was offered $10,000. a week at the Texas Centennial celebration. There have been many more offers, equally sensa- tional. The name of Temple is such magic that Mrs. Temple was offered $15,000, for the use of her name for a syndicated newspaper column on "Advice to Mothers"! And naturally every broad- casting company in the country would drain its coffers to get Shirley to speak just a few words over the "mike." Not a single day passes that an attempt is not made to obtain Shirley for one form of commercial exploitation or another. Dur- ing the last two years more than 15,000 different projects have been suggested by promoters ! Fortunate indeed is Shirley Temple to have a sensible woman like Mrs. Gertrude Temple for a mother.
"During the next few years I plan to have Shirley continue her music lessons, her dancing and her swimming lessons," resumed Mrs. Temple. "I want Shirley to develop like a normal child and I have alwavs tried not to give her too much to do. She has been eager to take piano les- sons for some time, but not until this last year did I permit her to undertake this "additional study. Now she takes three lessons a week. She is also taking French lessons and preparing for that trip to France we expect to take one of these days. She only makes three pictures a year now. which gives us six weeks or more between pictures, so she has ample time for lessons. Her school work takes three hours a day and when she is making a picture she does her school work on the set in her new trailer dressing-room. The State law permits children of Shirley's age to be on the set not more than eight hours a day, three hours of which must be given to schooling. Shirley's contract with the studio calls for her presence on the set only seven hours a day, and re- quires ample rest periods. Her teacher, Miss Frances Klamt, is assigned to Shir- ley by the Los Angeles Board of Educa- tion. "Shirley and Miss Klamt have great times together.
"I believe the studio is planning to put Shirley in several modern comedies during the year. 'Little Miss Broadway.' a mod- ern comedy about a back-stage child, has been announced for her next picture. Mr. Zanuck chooses her pictures. I have nothing to do with that. I would very much like to see her do a fantasy in color, something like 'Snow White and the Seven Dwarfs.' Which picture, of course, I took Shirley to see during the Christmas holi- days "and she enjoyed immensely. She was most impressed by the wart on the old witch's nose !"
Mrs. Temple plans to have plenty of play time in Shirley's life as she continues to grow older. The Temples have bought the'lot next door to them on Rockingham Drive in Brentwood and Mrs. Temple has told friends that when Shirley becomes a young lady she expects to build a danc- ing pavillion" on the lot so that Shirley may enjoy her dancing parties to the utmost. The "next door neighbor" of the Temples is ZaSu Pitts (Mrs. Edward Woodall). and strangely enough it was ZaSu who first predicted Shirley's future fame. Shir- lev had a "bit" in one of ZaSu's comedies. "Out All Night." several years ago and at the end of the picture ZaSu told Mrs. Temple that she had never worked with such a remarkable child. "She is going to be really great," said ZaSu.
74
Shirley is quite a "party girl" already and is always having her young friends in for an afternoon of fun. She plays easily with children and never attempts to dominate them. But having been brought up with two older brothers, and roughed about by them, Shirley naturally becomes quite tomboyish at times. She liked the slingshots she received for Christmas — she received three of them — better than any of her other presents, which all goes to prove that little Miss Temple is no sissy. Sidney Chaplin, son of the famous Charles, comes over to play "cops and robbers" with her quite often. Sidney, they say, orders her around something awful, but she likes it.
Her favorite play-mate is little Mary Lou Islieb, who acts as Shirley's stand-in. Mary Lou is the daughter of one of the Temples' old friends and has known Shir- ley all her life. When the kids are making a picture they play together and work together on the set. Never has anyone heard either of them speak of moving pictures to the other.
"I have no maid or nurse for Shirley," continues Mrs. Temple. "I want her to continue living the same home life she has always lived. No one can tell, of course, what the future will bring. Shirley may continue on in pictures through the awkward' age — it depends largely on whether or not the public wants to see her — and then again she may not. Whether she does or not, I am certain that picture work has not spoiled her in any way, and that she will not miss it if it ever is denied her. I am trying to give her the same background as other children — for instance, she has household duties. She has to keep her playroom straightened, she has to feed her pets, and at night she helps set the table for dinner. I . have taught her to sew and already she is much better than I ever was with a needle.
"I hope she will grow up to be a well- loved woman. I don't think she will ever be egotistical. I do not think that her picture work is harming her. If it were, I would take her out of it instantly. I feel rather that it is broadening her. If she looks back and thanks me for being a sensible mother, that will be reward enough for me !"
And what are Shirley's own plans for her future? "When I grow up," says Shirley, "I think I will have a pie factory. I can make biscuits now, and soon I will make pies."
Paris
Continued from page 63
in the Taylor film in London and of course couldn't return without looking in on Paris. It was grand to see him wandering about the old haunts. Before the war he was an art student here. Whether the art was not so good or the hereditary lure of the stage was too great, I don't know ; but he re- turned to the footlights and became one of the pioneers on the screen. So with all this fund of experience, enhanced by the famous Barrymore wit, you can see what a joy it is to be with him. At one moment he was comparing the stage with the screen. "Billiards and tennis are both played with balls but, my God, you can't compare them ! It's the same with the stage and the screen," he grumbled. He is most pictur- esque when he grumbles. Added to that he uses his cane most effectively for emphasiz- ing his peppery remarks. Some months ago he broke his hip and since then he has had to use a cane. To me he uses it as much in talking as in walking. He thumped and hobbled to his favorite old restaurants and cafes, to say nothing of the Exposition and Museums. And very spicy were his remarks about some of the pictures and objects on exhibition. A grand old man and we were all sorry he didn't stay longer with us.
Now for a bit of the feminine touch, and a very lovely touch it is, too, in the person of Madeleine Carroll. After cruising about the canals and rivers of France in a little yacht she settled down in Paris to thor- oughly enjoy herself before returning to Hollywood and work. I hate to think of the Hotel George V dining room without her decorative presence. She was quite an attraction there. "The Prisoner of Zenda" was being shown in a theatre around the corner and people would rush from seeing the film to the George V to compare the Carroll of the screen with the Carroll in real life. All decided that she was even lovelier off than on the screen — a rare thing, I must say, with most of our Holly- wood glamor ladies ! The Exposition was practically at Madeleine's front door and she "did" the big show many times, in spite of the stairs of which there seemed miles. A bit of a task for a dainty lady who made her first big film fame with "Thirty-nine Steps." Remember that picture she made with Robert Donat? Her first picture on
her return to Hollywood will be "Personal History," under the direction of Henry Hathaway who made "Lives of A Bengal Lancer" and "Souls at Sea." Like all good little Hollywood ladies La Carroll lived at the George V and crossed the ocean on the "Normandie." (No, my dears, I don't get a rake-off for mentioning this.)
Paul Muni slipped into town — oh yes, after crossing on the "Normandie" — but not stopping at the George V. He and the little woman chose a small hotel off the beaten path so they could come and go undisturbed. He has long been an idol in Paris and of course with the French all interested in the release of his "Life of Emil Zola" his first visit is quite oppor- tune. The Warner Brothers gave a grand luncheon for him at Maxim's, which I hope Muni enjoyed as much as the rest of us. He plans on going to Russia on this trip to get atmosphere for his next picture. I thought they had about used up the film possibilities of Russia, but evidently they will always keep making them. Of course with Muni in the principal part a great characterization will be built up inde- pendent of any country. But before there are any more pictures for the talented Paul Muni, he and his wife are to combine re- laxation with sightseeing on a well-planned tour over on this side of the broad Atlantic.
Lewis Milestone, whose "All Quiet on the Western Front" was so much talked about, lingered in town for a while with his beautiful wife. We celebrated by going to the circus, which the Milestones en- joyed hugely. The French circus is in a permanent building built around one ring. In that way one can sit comfortably and watch one act at a time which is such a relief from the three-ring affairs which they feel they must give to the bewildered public in America. After the circus the Milestones left by train for Roumania to visit with some of the missus' family. Then a quick turnabout for Hollywood.
It seems as though being Charles Boyer's leading lady is the sure stepping stone to Hollywood. Now that Danielle Darrieux is nicely settled in California, another of Charles' partners is preparing to go there. She is Michele Morgan, an attractive little creature who was leading lady in "Le Venin" with Charles at the Joinville Studios, near Paris. Will have more to say of Mademoiselle in my next, for, as I said at the start, this is practically a "gentlemen only" month, so must not get side-tracked.
Drama on the fairways! Bing Crosby, with pretty Mary Carlisle for his caddy, plays a round with Bob Hope — and the score brings no hope to B'ng. But unlucky in golf, lucky in — well you get the idea, Mary is still cheering you, Bing.
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Siren of the Old South
Continued from page 25
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"JEZEBEL" |
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A Warner E |
ros. Picture |
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CAST |
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Bette 1 )avis |
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Buck Cantrell |
George Brent Margaret Lindsaj |
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Aunt Belle |
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Ted |
Richard Cromwell |
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Henry O'Neill |
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Dr. Livingstone . . . . |
Donald Crisp |
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Dick Allen |
.... Gordon Oliver |
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John Litel |
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Mrs. Kendrick |
. Spring Byington |
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Play by Owen Davis, Sr. Screen Play |
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by Clements Ripley and Ahem Finkel. |
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Directed by William |
Wyler. |
know what to think ! He's always loved vou in white."
"Pres — that's so." Julie's head lifted and her eyes blazed as they followed the girl carrying the dress designed for the most brazen woman in the city. "Wait a min- ute," she was laughing now, that curious laugh that wasn't happy at all. "Bring that over here. If it fits me I'm going to have it !" And before anyone could stop her she had torn off the filmy white gown and slipped the bold red one over her shoulders.
"Take that off, this instant !" Aunt Belle's voice shook in her fear. "Child, you're out of your mind ! You know you can't wear red at a Proteus Ball."
"Can't I?" Julie laughed. "I'm going to! This is 1850, dumpling, not the dark ages. Girls don't have to simper around in white just because they're not married."
"In New Orleans they do!" Aunt Belle held out her hands imploringly.. "Julie, you'd insult every woman on the floor. Think of Pres !"
"That's just what I am thinking of!" Julie's face was alive with malice now.
If only she could stop her, Aunt Belle thought desperately, but after twenty years of spoiling her she knew there wasn't much she could do. Even General Bogardus. who was Julie's guardian, had little control over her for all his bluster and his threats.
"The girl's as dangerous as a water moccasin !" he thundered as Aunt Belle poured the after-dinner coffee that evening and the old eyes glared at Julie's empty chair. "It's a kind of atmosphere she creates. Let her come into the street, the young men are at it like game chickens."
He stopped as Preston came into the room and Aunt Belle sat down her cup with shaking fingers.
"Oh, Pres, I am so glad you've come!" she laughed nervously. "I thought that is, Julie said you'd quarrelled again and — "
"It's time we all stopped hanging on every word Julie says." There was a new firmness in his voice. "Most times she only half means them, anyway. I can handle this."
Without another word he was striding toward the broad mahogany staircase and he scarcely realized what he was doing when he picked up his malacca stick from the table where it was lying. He heard her singing as he knocked on her door, her voice rising mockingly at the increased fury of his blows.
"Look here, Julie, you and I have got to straighten things out," he called. "There's no sense to all this. I'm here be- cause I love you and because I know you love me. I couldn't leave the bank today. I was just as disappointed as you were. Now please, Julie — "
It seemed an interminable time before the door opened and she stood there, a tantaliz- ing smile playing about her lips as she saw the stick gripped in his hand.
"Pres, in a lady's bedroom!" Julie laughed as she burlesqued a shocked ges- ture. "Now you'll have to marry me !"
"Zt !" He was grinning now too. his heart beating madly at the sight of her smiling again. "There must be some way out."
But for all the lightness in his voice his arms gripped her as they never had be- fore when he held her and kissed her.
"Look at me," his smile came ruefully. "When I came in I was going to beat you."
Something strange flickered in her eyes then, something that was half ecstasy and half fear, and with a delicious shock she realized she would have liked it. For a moment she waited expectantly, and when she spoke her voice was Hat with her dis- appointment.
"Wouldn't you like to see my dear dress?" she asked and then at the sight of the anger mounting in white fury to his cheeks as he looked at the red dress she laughed. "Are you afraid I'll be taken for one of those girls from Gallatin Street!'''
"Julie !" The protest was torn from him.
"I'm sorry !" Her words came sharp and bitter. "I forget I'm just supposed to simper around in white, that I'm not supposed to know about things like Gallatin Street. It might be bad for the bank, is that it"' Will you please let them hold another director'- meeting and let them decide what I can wear ?"
"So that's it! You're just nursing your spite." He gripped her arm and turned her toward him. "For once you're going to do as I say. I'm calling for you tomorrow night at ten and you're going to be properly dressed for the Ball."
But it was the red dress Julie put on the next evening. She had laughed when she thought of Buck Cantrell and had sent the note summoning him to her and she was laughing now as she went stealthily down the back stairs to meet him near the car- riage entrance.
He was there as she had known he would be, for Buck had loved her for years ; but he shook his head stubbornly when she asked him to take her to the ball.
It was the first time he had ever refused her anything. Once he had fought a duel because her name had been bandied about a saloon. But he couldn't go against his friendship with Preston's younger brother Ted and do this smaller thing for her.
"Not this time, Julie," he said slowly.
Jane Withers shows skill with a skillet in her role as a gypsy.
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(above) Mrs. Goelct at an informal musicale.
(lower xeft) In the Museum of Modern Art, looking at the famous "Bird in Flight:'
Mrs. Goelefs home is in New York, where her ap- preciation of music and art is well known to her friends.
whenever you have a chance. Pat it in especially where there are little rough places or where your skin seems dull, lifeless. In a few weeks, see if your skin is not smoother, brighter looking!
Same jars, same labels, same price Now every jar of Pond's Cold Cream you buy contains this new cream with "skin-vitamin" in it. You will find it in the same jars, with the same labels, at the same price.
AT LOCAL STOKSS
lost". With '
While IheV of
chase
pur
3'A-o*- >a'
regulaT „f Pond's gel for only
CO'
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Tod's —.VP* prep- aratio
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n for hands.
Copyright, 1938, Pond's Extract Combany
SCREENLAND
77
Feverish? Grippy?
SEE DOCTOR AT ONCE
L— ™ i — . „, , ' ■■ J
FOR "RAW" THROAT USE THIS "FIRST AID"
Doctors warn that colds can lead to seri- ous illness — to ear and sinus infection, and even pneumonia. So don't take a chance. Treat the symptoms of a coming cold effectively and without delay! If you feel feverish or grippy see your doctor at once!
TAKE THIS SIMPLE PRECAUTION
For the most effective "first aid," kill the cold germs that cause raw, dry throat. At the first sign of a raw throat cold, gargle with Zonite. Zonite does 3 jobs for you: (1) Cleanses mucous membranes. (2) In- creases normal flow of curative, health-restoring body fluids. (3 ) Kills cold germs present in the throat as soon as it comes in actual contact with them In a test to find out the germ-killing powers of the nine most popular, non-poisonous antiseptics on the market, Zonite proved to be actually 9.3 times more active (by standard laboratory tests) than the next best antiseptic compared! This means economy because you use Zonite diluted! Zonite goes far- ther—saves you mone^.
Use 1 teaspoon of Zonite to one-half glass of water. Gargle every 2 hours. Zonite tastes like the medi- cine it really is. Soon your throat feels better.
DON'T DELAY— BE PREPARED
Get Zonite at your druggist now. And at the first sign of rawness in your throat, start gargling at once. But remember: If you are feverish, consult your doctor! Don't risk a serious illness.
ZONITE IS 9.3 TIMES MORE ACTIVE THAN ANY OTHER POPULAR non-poisonous ANTISEPTIC by standard laboratory tests
GARGLE WITH ZONITE AT FIRST SIGN OF A COLD!
Gargle with Zonite
''Pres isn't going to like it and I think too much of you to help you do something you're going to regret."
So it was with Preston she went to the ball. But it wasn't the way she had thought it would be. For he hadn't stormed at her at all. and after that first request that she change her dress had accepted her refusal so casually that for the first time in her life she was thoroughly frightened.
There was no triumph in her going now, only the dull shame that mounted in her as she saw the incredulous glances flung at her as she entered the ballroom. She pulled her cloak tighter around her but Preston took it from her with a quiet force that be- wildered her.
"Pres, please take me out of here!" She was almost crying now in her embarrass- ment as she saw the young men who had always clustered around her avoiding her as if" she were a plague of the dread yellow fever itself.
"But my dear, we haven't danced yet," Preston said in that cold, lifeless voice that didn't sound like his at all and when she protested he forced her out on the dance floor and her eyes closed in agony as she saw the other dancers leave.
The rage was spent now, and she felt lost and frightened. If Preston would only let her she would make it up to him. She would be so gentle, so understanding, and she would hold that wildness in her heart in leash and never say the bitter words to hurt him again.
But it was over and done with and noth- ing she could say could reach him now.. There was his voice saying goodbye and the tears that seemed to come from some- where deep in her heart and the fierce pride that would not allow her to run after him and beg for forgiveness.
At first she thought he would come back to her and she tried to smile as she planned how she would laugh at him and flout him and how afterwards she would forgive him and things would be the same again as they alwavs had been after each quarrel.
But when he left for the North without seeing her she changed almost over night and became quiet and withdrawn. She shunned her friends and instead of the gaiety she had always craved sought only the stillness of her own dreams.
Even when the Yellow Death took its hold on the city and some of her friends were among those who died it meant noth- ing to her, and when her aunt begged that they return to the planatation where they would be safe from the scourge, she only shook her head.
Then one day her aunt told her Preston was coming back and suddenly she began to live again.
"I knew he would come! I knew it all along !" Her eyes darkened and the color struggled back into her cheeks again._ "I'm Toing to beg his forgiveness. I was vicious and mean and selfish, and I'm going to tell him I hated myself for being like I was, even then. I'll humble myself before him. All that ever stood between us will be gone when he takes me in his arms !"
She wanted to go to the plantation now that Preston was coming. Living became important again now that she would see him, now that she would feel his arms holding her and his lips close on hers. And the hours that she had not counted for so long moved slowly toward that day when he would come.
Then it came at last and she put on the white party dress that she had never worn and she picked mint from the garden and smiled as she remembered how Preston had alwavs loved her mint juleps. And then suddenlv she was halfway between laugh- ing and weeping for there was Preston and her heart almost stopping at that first sight of him.
"Pres!" she cried. "Oh, Pres, what fools we were !"
"Please!" His smile was twisting as he looked at her. "That's over, Julie."
"Yes, of course," she cried happily. "I can't believe it's you, here. I've dreamed it so long. A lifetime — no, longer than that."
"But Julie, I—"
"No ! Don't say it yet !" She swept his words away with her laugh. "I put on this dress for you to help me tell you how humbly I ask you to forgive me. See, Pres, I'm kneeling to you !"
"Julie, don't." He lifted her to her feet and then her eyes followed his to the door and she saw the strange girl she had never seen before walking toward them. She was small, this girl, and quiet and dark, and even before Preston introduced Amy as his wife, Julie knew.
It was as if a demon took possession of Julie then. She was gay and laughing, and she was flirting with Buck Cantrell as she had never flirted with anyone before, but in her heart was that destructive rage that was all the more destructive now that she kept it hidden. For even when she looked at the girl from the North who had mar- ried Preston she was able to hold the fury against her deep in her heart for no one to see.
She felt that she had mastered that black rage of hers now, that she had found a way to make it serve her just as she was making Buck serve her, too, when she egged him into the quarrel with Preston. Oh, she did it so cleverly that night at dinner when the talk turned to abolition and the North, and she made Preston seem almost an enemy when he tried to defend his wife's birthplace.
It was almost as if she hated Preston then, but later in the garden when she found him alone she knew that she could never hate him. That all the hatred in her heart was for the quiet girl who was his wife.
"Why did you do it, Pres?" she de- manded "Why? Why?" And then as he looked at her, unable to answer, her voice broke. "Shall I cry for you? Nobody but you ever made me cry and that was only twice and both times you gave me what I wanted. Do you remember?"
"Yes," he said.
"How much do you remember?" she per- sisted.
"Everything you ever said or did," he said slowdy. "And it's past now, Julie. Done, finished."
"Look Pres, listen," her outflung arms
Tamara Desni, English star, in a revealingly lovely pose.
78
SCRE ENLAND
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SCREENLAND
79
5
Think back to the awkward old ways of feminine hygiene. Contrast them with the new way, the conve- nient, simple Norform way. These easy-to-use suppositories have revolu- tionized feminine hygiene for millions of women.
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seemed to hold all the softness of the southern night. "Can you hear them, the night noises ? Do you see the moon among the cypresses ? Can you taste the night on your tongue ? You can't get away from these things, Pres ; they're in your blood. You don't know what it is, Pres, but they're part of you. It's the mocking bird in the magnolias, it's the blue haze on a spring morning when the air's so soft it presses on you like a kiss. It's a red flower over a gray wall. It's the river rolling down and down. Oh, it isn't tame and easy like the north. It's quick and dangerous, but you can trust it. Because it's part of you, Pres, just as I'm part of you. And we'll never let you go !"
Suddi nl\ -lir iikm ed tow ard him and he felt her young body pressed against him, her lips clinging to his. His arm reached out to hold her — then suddenly the brief ecstatic moment was gout- and he had only contempt for her and the trick she had stooped to, and instead his hand caught her full on the face.
"Pres," she whispered, and he tried to look away from the triumph in her eyes. "Pres, you're afraid of me ! You're afraid of yourself. You're afraid because it's pull- ing you. You're part of it and you can't get away from it. This is your country, Pres. Amy doesn't understand. She thinks there'd be snakes 1"
"Yes! And she'd be right!" Preston breathed deeply as he stepped back, and he wondered if Julie had guessed how close he had come to taking her in his arms again. "Amy has put her life and her happiness into my hands and they're going to be safe there. I'm going in now."
He had left when she went back into the house again for a message had come that the President of the bank had been stricken and needed him. But Amy was still there, -for he had refused to take her with him to the plague-ridden city.
It was the girl's very quietness that drove Julie to that new frenzy, and there was nothing that the others could really under- stand, only that before any of them realized it Ted was defending his sister-in-law and Buck was taking up the cudgels for Julie.
"Don't you see what Julie's doing?" Ted turned furiously on Buck. "Don't you see how she's using you? She's been egging vou on, first against Pres and now his Wife."
Once Buck had fought a duel over Julie for less than this. But that had been a stranger. It was harder to fight this boy who had been his friend.
Julie could have stopped it if she had wanted to. But Julie didn't want to stop anything now, and she only laughed when the others begged her to. And afterward
Gloria Youngblood is one of the most promising screen recruits.
it was too late. Afterward, when she saw Ted's drawn young face as he flung his pistol contemptuously down on the table be- i fore her. She didn't need anyone to tell i her Buck was dead, then.
But she wouldn't let the others see that scaring remorse that came to her even as they left her house, with their horror of her plain on their faces.
"I'll arrange to turn my guardianship over to the bank," General Bogardus said with averted head. "My respects, Ma'am."
Even when she saw her aunt leaving with the others she stood there with her proud head held high and her eyes looked coldly ; into the old ones staring at her as if they were seeing her for the first time.
"I am thinking of a woman called Jezebel who did evil in the sight of God," the older woman said slowly.
The suddenly emptied house seemed like a tomb and an intolerable loneliness drove Julie to the window. Then her laugh came again, slowly and triumphantly, for she saw the sheriff and his men who were draw ing the fever line between them and the city driving them back into the house again.
For a week she went through the mockery of catering to her unwilling guests, of pre- tending that their silence and averted lool did not concern her. And then suddenly it didn't matter any longer. Nothing mattered. — for Preston's man servant came to them one night bedraggled and mud-smeared with the news that Preston had been stricken.
"They tek him to yo' house, Miss Julie." the colored boy's eyes bulged with terror. "And the doctor say for you all to get there right away quick afore they hustle him off to dat leper place."
"Leper place?" Amy said with a little moan. "What does he mean?"
"Lazarette Island, the leper colony where they send the fever victims to die !" Some- one blurted out.
"They can't!" Amy's eyes were wild with horror. "I've got to get to him."
Julie looked on impassively as they began to get read}' for the ride to New Orleans with the old general in command. Maybe he would get them through the fever lines with his authority and bluster, but Julie wasn't going to take a chance on it. She had to get to Preston !
The boy who had come with the news had broken through cane brake to get there, he had fought his waj' among thickets and through the treacherous waters of the Bayou. Well, Julie could do that too. Julie who loved him.
But when she stood beside Preston's bed at last he turned his head away.
"Keep away ! Don't touch me !" He shrank from her outstretched, beseeching hands. "You . . . with Buck's blood on you!"
She hadn't known that gossip could break even through fever lines. But another kind of courage came to her then, a courage greater than the one that had sent her stumbling and falling through danger to be with him, a courage that could make her stay knowing he didn't want her.
All that night she stayed beside him and held the ice compresses to his head. And sometimes he was quiet and she remem- bered other days when his face had held that same peace being near her. And some- times he raved and the words twisted in her heart.
"Underneath the river you trust it's part of you rolling down forever to remember because it's in the blood Buck's blood and made you. cry twice and struck you because we're a part of it and struck after she cried twice remember twice white white never wore zvhite and trust you."
Strange, jumbled words running together in his delirium but the meaning of them there to lift her heart even as they struck
SO
SCREENLAND
at it. For it was never of Amy he spoke.
She was quiet, quieter than she had ever been in all her headlong, tumultuous life when the others came and when she saw Amy's face haggard from the suspense of waiting to get through the fever lines she knew she couldn't hate even Preston's wife any more. And somehow it wasn't hard then, even to stand aside and give Amy her place beside him.
But when the northern girl insisted she was going to the island with him, Julie couldn't be still any longer.
"Of course it's your right to go. You're his wife." She said slowly. "But are you fit to go? Loving him isn't enough. If you gave him all your strength would it be enough?"
"I'll make him live or die with him." Amy protested.
"Amy," the name came gently to Julie's lips, "Do you know the Creole word for fever powder? For food and water? How to talk to a sullen, over-worked black boy and make him fear you and help you? Pres' life and yours will hang on words you can't say and you will both surely die. Amy, it's no longer you or I . . ."
"What do you mean?" The girl asked tensely.
"I will make him live. I will." Julie cried passionately. "Whatever you do I will do more because I know how to fight better than you. It's not a hospital, Amy, it's a desolate island haunted by death. You must be there with him day and night, you must bathe him, give him drugs, you will have to fieht for his food and water and keep the living away from him and the dead."
"I'm not afraid." Amy said quietly.
"No, you're not afraid." Julie put her hand on the girl's arm. "You're the bravest woman I ever saw. I believe you even have the courage to save him by giving me the right to go in your place. You are not
Fred Allen comes on over from radio to make another appearance in films. The scene above shows the comedian and Louise Hovick in "Sally, Irene and Mary.
afraid to die. I boldly ask a greater sacrifice in Pres' name. His life."
"And for yourself?" Amy asked quietly her grave eyes searching Julie's face.
"I ask you bravely for the chance to give proof that I can be brave and strong and unselfish. Let me make myself clean again like you are clean."
"Julie, tell me something, only you can tell me. Does Pres still love you?"
Once Julie would have laughed at that. "I've done too much against him and you are gentle and brave as I never knew how to be. Had there been any love in his heart for me I'd taken him from you. I tried and failed becau;e he loves only you."
It would be good to remember she had said that, afterwards on that island with the dying around them and the dead and the long hours for remembering. And it was good to remember it now, walking so slowly beside the fever wagon that was carrying Pres to the docks.
Somehow remembering it and how Amy had looked at her, proud and grateful and humble all at once, Julie felt that she could face anything that was still to come to her. Hours or days or weeks or years, the death that might come to either of them or to both of them and the life that might come too. Now it was enough to walk beside him with that new, selfless love in her heart.
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SCREENLAND
SI
ON OATH TELLS HER SECRET OF GAINING WEIGHT
A-nne Johnston swears before Notary Public
Many Report Gains of 5 to 15 Pounds After Taking New Ironized Yeast Tablets
"\JO longer need thousands of girls remain J.M skinny and unattractive, unable to win friends and popularity. For, with these amaz- ing new Ironized Yeast tablets, thousands who never could gain before have put on 5 to 15 pounds of solid, naturally attractive flesh — often in just a few weeks I
Listen to what Miss Anne Johnston, who is just one of many users, swears to under oath before a Notary Public:—
"Under the strain of working in several pictures ill Hollywood, I became terribly rundown. I lost weight, my skin looked terrible, I suffered with headaches and my nerves were simply on edge. Of course I knew I couldn't stay in the pictures, looldng so skinny and wornout. I was in despair until a friend recommended Ironized Yeast tablets and I bought a bottle. Almost at once I felt lots peppier and stronger. Jly skin cleared beautifully. All my headaches and nervousness disappeared, and in 2 months I gained 8 pounds. With my new pep and new figure I've gained loads of new friends, and the hard : ork of pie- lures never bothers me."
Anne Johnston, Jackson Heights, N. Y. Sworn to before me
Donald M. McCrcady, Notary Public
Why they build up so quick
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They're made from one of the richest sources of health- building Vitamin B — the special yeast used in making Briglish ale. By a new process, this rich yeast is concen- trated 7 times, taking 7 pounds of yeast to make just one pound of concentrate — making it many times more power- ful in Vitamin B strength than ordinary yeast. Then 3 kinds of strength-building iron (organic, inorganic and hemoglobin iron) and pasteurized English ale yeast are added. Finally every batch of this Ironized Yeast is tested biologically for its Vitamin B strength. This insures its full weight-building power.
No wonder, then, that these new easy-to-take little lionized Yeast tablets have helped thousands of the skin- niest people who needed their vital elements Quickly to gain new normally attractive pounds, new charm.
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Get Ironized Yeast tablets today. If with this first package you don't begin to eat better and get more benefit from your food — if you don't feel better, with more strength and pep — if you are not convinced that Ironized Yeast will give you the normally attractive flesh you need — the price of this first package will be promptly refunded. So get Ironized Yeast tablets from your druggist today.
Edward G. Robinson, Wendy Barrie, Rodion Rathbone (son of Basil Rathbone, host of the party), and Jesse Lasky, are the table companions shown above.
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Screenland Snoop!
Continued from page 23
their dream boys and girls interested in each other because a good team romance covers up a lot of sins in a picture, and for some reason or other the Great Ameri- can Public is supposed to dash out pell mell to see two young people who love each other make love to each other on the screen. It's probably good psychology on the part of the studios, only, personally, I'd much rather see two people who hate each other make love to each other on the screen. But I'm the perverse type. Priscilla Lane and Rosemary Lane (younger sisters of Lola Lane — and wasn't she fun in "Hollywood Hotel"?) were brought out to Hollywood with the Waring Orchestra for "Varsity Show." Both kids were so good they were signed by Warner Brothers and Priscilla was soon afterwards teamed with Wavne Morris in "Everybody Was Very Nice." That was followed by "Men Are Such Fools." Both Priscilla and Wayne are ambitious young players who are eager to get to the top, so if the studio said "romance" to them, why, the kids would "romance." Which is what they've been doing in all the night clubs in town while the news cameras clicked and the column- ists ogled. Nan Grey of "Three Smart Girls" fame is the only real love in young Mr. Morris' life, I am reliably informed. He sees her where there aren't any news cameras and columnists around.
And that Rosalind Russell-Jimmy Stew- art romance sounds to me like__something that good old Metro cooked up in its pub- licity department. (They didn't do so well with that Eleanor Powell-Nelson Eddy romance, did they? It froze before the re- lease of "Rosalie.") I expect any day to hear that Roz and Jimmy have been teamed in a picture. But folks who claim to know tell me that I have lived too long and grown too cynical — the Russell- Stewart romance is the real thing. Rosalind says that she and Jimmy have known each other for a long time, but anyway it wasn't until they co-starred on a series of broadcasts for the Silver Town Theatre of the air that they started romancing. Prior to that Jimmy was sort of here, there, and every- where, with particular emphasis on Ginger Rogers. But since Rosalind came into his life it appears that Jimmy has given up his Casanova days. She visited him frequently while he was on location at Lake Arrow- head with the "Benefits Forgot" company. Rosalind has been out of town visiting her
folks in Connecticut ever since Christmas and, believe it or not, Jimmy hasn't been running around with any other girls in her absence. He did escort Sonja Henie to sev- eral publicity parties — but Sonja was on the verge of departing for her skating tour so that didn't count.
David Niven, they tell me, will marry an English girl in London next year. Not Merle Oberon. She's a nonprofessional, very pretty, and very Old Family. In the mean- time, David is doing all right here in Holly- wood. He's the most man-about-town that Hollywood has ever had. One night he takes Norma Shearer to the Basil Rathbone party, the next night he takes Simone Simon dancing at the Trocadero, the next it's Olivia de Havilland for a quiet dinner at the Cock and Bull in the English man- ner, and so on down the list of the prettiest girls in Hollywood. And on those nights when Douglas Fairbanks, Jr., has to work and the Earl of Warwick has to sleep or something, it is David who escorts Mar- lene Dietrich to the Trocadoro to dance the Big Apple. (Marlene's simply mad about the Big Apple.) Of all the young men in town who would give their eye teeth to be chosen it is David who most often escorts Norma Shearer. Well, all I've got to say is that that little English girl needn't be too sure she'll be a bride next year. I wouldn't bet on it.
The Ginger Rogers-Lee Bowman ro- mance that was blooming so nicely when the kids were up at Big Bear on location together with the "Having Wonderful Time" company seems to have hit the frigidaire now that they are back in town. The rumor still persists that Ginger and Lew Ayres will take up where they left off.
Jon Hall of the Body Beautiful is second only to David Niven in being Hollywood's most sought after man-about-town. The Countess di Frasso sort of confiscated him at first but now it seems he is on the loose, with Gertrude Niesen having a slight edge on the other girls.
And they do say that Janet Gaynor is spending a few wakeful nights now that Tyrone Power is playing the lead opposite Norma Shearer in "Marie Antoinette." Norma's awfully attractive and Tyrone is awfully young and romantic and in love with love. Norvell, who reads the stars for the stars, has predicted that during 1938 Tyrone Power will marry (won't the studio be mad!) but Mr. Norvell fails to say to whom.
Some say that Janet Gaynor wouldn't marry Tyrone Power. Others say she would if he asked her. I say nothing.
S2
Screenland
m
31
From The Neck Down
Continued from page 71
for example, are all cut on the same line- gently fitted well down at the back and sides and a slight flare a little above the hemline. This gives a rhythmic effect when walking and legs and ankles always seem more graceful when protruding from some- slight fullness rather than a hard, straight line. And that reminds me that there is a tempo in walking, somewhere' between the too-short, mincing step and the long stride, that is good walking. Tall escorts find mincing partners rather trying, and the man who walks in leisurely fashion gets lost in the crowd when his partner steps out too definitely. It's quite an art, adjust- ing your walking speed so that the man at your side is conscious of little else ex- cept his lovely partner.
That area from hemline to toes is very important with short skirts. Hosiery is more conspicuous than ever and it should be the right tone and quality. And it must fit. The stocking makers have done much in this respect, as you know, with length, calf and foot sizes for all. When you buy stock- ings, buy them like your brassiere and girdle, to fit your special needs. In case your ankles have had too much winter, use a cream or hand lotion there for a week or so when vou go to bed. This will soften that skin that gets scaly, red, or taut and shining — and is never attractive through your four threads. If you have the slightest need for a depilatory, don't try to get by without one. Other than smooth, fine skin through a sheer stocking is very disillu- sioning, and the use of depilatory creams, powders, liquids and electric shaving de- vices are so quick and easy. This detail of good grooming should go on your beauty calendar along with shampoos, wave sets and manicures.
Miss Swarthout has another suit idea that upsets conventional perfume rules. With woolen suits she likes a heavy per- fume. It goes with wool and outdoors, she thinks ; but indoors with silks and sheer fabrics, she likes light odeurs. Her favorites for outdoors are two French blends, while indoors she likes jasmine and white lilac.
This star, as you might suspect, has a beautiful speaking voice and every word carries meaning. One should, after all, not waste a voice like that!
Nan Grey of films and radio, is a model of millinery art here.
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SCREENLAND 83
is
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Medals and Birds
Continued from page 33
the time will soon come when you will have the money to retire.
Sonja Henie certainly deserves a reward and, as they say she is still crying over her broken idyll with Tyrone Power, we'll give her the bleeding-hearts. Sonja, honey, if you're going to live in this country you must learn that every time the moon is "full and a fellow tells you lie loves you he doesn't necessarily mean it. The award is because when you skate you're poetry in motion and because I've never known you to spare yourself when you saw an oppor- tunity to do someone a favor. If it's any consolation to you, w hile you may not have the sophistication your successor in Tyrone's affections has, I'll bet in the long run he'll w ish he'd stuck to you.
A medal to Warner Baxter because I think he has been at the top longer than any actor in pictures.
The orchids go unhesitatingly to Kay Francis because she is not only lovely to look at and intelligent to talk to, but be- cause of all the stars in pictures I think she is the most loyal to her friends.
A medal to Ronald Colman because he is in a class by himself and because like Baxter, goes on and on with never a les- sening of his popularity, which is well deserved.
Shucks ! I like praising my friends in public but it really isn't much fun. It's the birds I get the kick out of.
Just to keep her record in this depart- ment clean, a great fat bird for Marlene Dietrich. As far as I know-, only one of her pictures (her first one) has ever made big money but 'from the airs she gives herself you'd think she was the No. 1 box-office draw of all time. And some of her cracks should go down to posterity as, for instance, when she told her press-agent, "Please warn the interviewer who is coming to see me how beautiful I am so he won't stare." And that other story (to borrow from Walter Winchell) of how she informed an interviewer she only shows her legs in pic- tures— and Mr. Winchell's priceless crack that if she could ever get Paramount to think as much of her legs as she does they'd probably forbid her to walk around on them for fear something might happen to them.
A bird to Wallace Beery because, like Dietrich, he has an exaggerated idea of his importance in the industry and because since he played in "The Big House" I have never seen a performance of his that varied an iota from all his others.
A bird to Alice Faye because, like Jean Arthur, with everything in the world to be grateful for, she is the least co-operative person I know so far as publicity is con- cerned.
But enough of that for now. The daisies go to Joan Blondell because only daisies are as fresh as Joan, because she not only flips wisecracks as few others can, but be- cause she is a much finer dramatic actress than she is credited with being and because she is the most devoted mother in the movie colony.
Franchot Tone rates a medal because I think he is the most versatile of the younger actors, playing tough guys or playboys equally convincingly.
A medal to Tyrone Power because he is the fastest rising male star in the business and one of the best of the younger actors. Tyrone, it's really none of my business, except as a fan (forgive me) : I don't mind your being fickle or a philanderer but, please, not Goody-Two-Shoes Gaynor!
The gardenias are for Claire Trevor, Florence Rice, and Maureen O'Sullivan —
because ail three are not only beautiful and charming but because all three are far, far better actresses than the parts and pictures they are cast in ever afford them an op- portunity of proving.
One of the best medals for Clark Gable because I did the first interview on him when he came into pictures and because he hasn't changed a jot from the likeable chap he was that day I met him almost seven years ago.
The Mumm's chrysanthemums are for Jeanette Mac Donald because she is not only the most beautiful but the most accom- plished actress of all the singers.
And another of my best medals to Gary- Cooper because he is one of the finest men I have ever met and because he has de- veloped from merely an interesting person- ality into one of the really fine actors of the screen.
The tiger lilies are for Barbara Stan- wyck because they remind me of her, be- cause she is one of my special favorites and because she is such a grand actress.
And a medal to Robert Taylor because he is one of the nicest fellows I know, be- cause he has been the victim of a lot of bum publicity and has never tried to alibi out of things that weren't his fault and, lastly, because he has the good judgment to stick to Barbara Stanwyck.
The forget-me-nots are for Una Merkel because she is not only an ace comedienne but because she never dishes dirt and she never slams anyone and still contrives to be regular without being marshmallowy sweet.
A brace of medals for Joel McCrea and Ralph Bellamy because they are two of the best-liked men in the business by the people in the business and an extra citation to go with Joel's medal because he has never laid any claims to being a great actor.
The violets are for Luise Rainer because of all the foreign imports she seems to me to be the only one worth bothering with. But she's enough to make up for all the others. Careful, though, Luise, let's not have any more performances like you turned in in "Big City."
I almost forgot. A double-decker medal for Cary Grant because last year he said I must have gone out of my way to avoid mentioning him here and anyone who wades through this deserves a medal. Not only that but you have been so sensationally suc- cessful this year, Air. Grant, that one would,_ indeed, have to go out of one's way to avoid mentioning you — AND in a most complimentarv fashion — among the Screen's Who's Whose.
The dahlias are for Rosalind Russell be- cause any dame who can turn in three such performances as she delivered in "Craig's Wife," "Night Must Fall," and "Live, Love, and Learn" deserves the best.
Medals, medals, medals. Well, another medal for James Stewart because he is the nearest approach to Spencer Tracy the screen has to offer.
To Anne Shirley, with all my love and best wishes, go the sweet peas because she is not only a dignified little wife but be- cause she is still my favorite ingenue and because she was SO swell in "Stella Dallas."
Olivia de Havilland gets the moonflowers because only they are as sweet as Olivia and because she can grace a costume pic- ture as few other girls on the screen can and because she is one of the up-and- coming actresses.
Helen Broderick gets the tulips because she is not only such a grand actress but she is as down-to-earth as they come and because she takes such pride in her son's success.
Dick Powell certainly deserves a medal, not only for his unfailing good disposition
S4
SCREENLAND
but because he is one of the best masters of ceremonies I have ever heard.
The honeysuckle is for Ann Sothern be- cause only honeysuckle is as sweet as Ann and because she makes it SO easy for the people who work with her.
Time is getting short and so is space, so I'll just toss a bunch of medals into the air and hope that Wayne Morris catches one because he was so marvelous in "Kid Gala- had" and because he is getting such a kick out of life and girls; that Paul Mum catches another because there is no one who can change his appearance and bring historical characters to life as he can; that Pat O'Brien gets his mitts on one because Pat is the perfect and indefatigable host (or was the last time I was asked out there three years ago) ; that Jack Benny catches another because he has a radio show that is soul-satisfying and because someday he's going to click in pictures as he has on the stage and the air; that George Raft nabs another because there is nobody in this business or any other who remembers his friends of yesteryear as does George; that another falls on John Trent because he was one of THE finds of 1937 and the fact that he didn't click in a big way is more Mr. Schulberg's fault than his; one for Ray Milland because with the few oppor- tunities he has had he is proving in a big way that Screenland and I, when we pre- dicted years ago he would go to the top, weren't so far wrong ; one for Henry Fonda because he seems to feel discretion is the better part of valor and hasn't spoken to me since the first three times we were introduced; and the last one for Johnny Arledge because he is such a swell actor and because studios put him under contract every time he gets a decent part and then do nothing with him.
Gee! I almost forgot a few birds. One
Rink-side idyll! Don Ameche and Sonja Henie pictured as they "sit-out" a skater's waltz during the filming of their latest picture, "Happy Landing.
for Simone Simon for more reasons than I can tell but principally because when she was in France and could gracefully have remained there she insisted on returning to this country; one for. Frances Farmer be- cause she is so difficult to deal with; and the last one for my erstwhile friend Martha
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Continued from page 51
Gambarelli's recital of her experiences made it plain that the worst is believed even when the best happens.
"At the conclusion of my first number," she says, "I heard this very enthusiastic ap- plause, and the first thing crossing my mind was that I might be accused of having a claque, just as though 1 might at the mo- ment have been in a theatre and fearful that someone might say, or write in a newspaper criticism, that applause for my work was started by an interested cheer- leader. The truth was that it was the King who was first to offer his generous re- sponse to my work. I felt better then, you may be sure, but in a little while I was again at my wit's end.
"After finishing my dances, I raced, dripping perspiration, to the dressing room down the corridor. I hurriedly slipped out of my costume, and had thrown a huge bath towel around me and was about to walk toward the shower, when the door opened and Princess Mafalda, followed by a group of her friends, men as well as women, came in. Of course, I had been in- structed in the proper way to address mem- bers of the court, but confusion became worse confused as I tried to curtesy, won- dering 'should I, or shouldn't I curtesy as I stand here wrapped in towelling with only my trunks on underneath?' But again fears were unfounded, as these distinguished visitors told me how much they enjoyed my dancing.
"Then," Gamby continued, "I was invited to be a guest at dinner. From the King and Queen right on through the group of seventy guests everybody was very charm- ing. But still I couldn't seem to realize which of it was real and which something happening in a dream. I had many times danced in stage settings that might have been something like this, with all the foot- men and butlers and servants garbed in satins and wearing wigs, but not once did I feel sure I was using the right fork. Far more than the pomp, such as there was of it, I was confused by the extreme modesty of my royal hosts and their distinguished guests."
All doubt that the little Gambarelli's court appearance was a personal as well as a professional success is put at rest by the fact that the queen has arranged for her to return in the near future and dance at a festival she is arranging for the young prince, son of Humbert, Prince of Pied- mont and heir to the Italian thrown.
Gamby did seven dances in the program she gave at the Villa di Savoia the home of Italy's king and queen, who prefer this villa of the family of Savoy to the official residence of the Italian Monarchy, the Quirinal Palace, with its more imposing but less home-like halls and apartments.
Gambarelli, product of ballet training and experience gained entirely in this coun- try, had appeared in Europe, but this was her first visit as a dancer to Italy, where she was born but whence her parents brought her to America when Maria was a child.
"I had no plans to dance on the stage when I went over, because my trip was for the purpose of acting in the picture, 'Dr. Antonio,' the first of several I had con- tracted, to do at a studio in Rome," she assured us. "The part I play in the film is not that of a dancer. It is a straight acting- part, the character being that of an Eng- lish girl of high social standing.
"But I was asked by Ambassador Phillips of the United States, and Sir Eric Drum-
mond, British Ambassador to Rome, to dance at a charity event in which they were interested. Then I decided to give a concert at the Teatro Valle, the opera house in Rome. As a solo artist I thought one per- formance would be most certainly all for w hich there would be a demand, but I had to repeat the concert and gave three per- formances, which I believe is a record for a ballet artist at this theatre in Rome.
"The Princess Mafalda took a great in- terest in my dancing, and brought the Queen to see me. That was how I received the invitation for the appearance at court.
"The Queen permitted me to select the salon in which I was to dance. She sug- gested four of the halls of the Villa di Savoia as being suitable, but thought I should make the choice. I chose a salon in which many of the portraits of the Royal Family are hung. It has a marble floor, and I asked that a rug be spread for me to dance on. When I arrived and saw what a beautiful setting had been arranged for me, I was almost overcome with joy. Down toward the far end of the salon a dais, or raised platform had been placed and on it were the chairs for the King, the Queen and the Queen Mother. Ranged back of them were rows of seats for the members and guests of the Royal Family.
"As a background for my dances there were flowers from the Queen's own hot- house, a profusion of delicate colors form- ing a lovely setting and further enhanced by floodlighting from behind.
"Later, when I met the Queen I found that she is tremendously interested in grow- ing flowers. I was to await her in a room in her apartment and was, of course, re- hearsing my recently acquired court eti- quette. It left me entirely when the door opened and instead of seeing a lady in waiting or some member of her court pre- cede her into the room, the Queen ad- mitted herself, leading instead of being preceded by a retinue.
"She took me to show me her terrace, a beautifully landscaped area just outside her own reception room. It was covered with a blue flower that grows close to the ground and seemed more like the delicate pattern of a lovely rug than real floral growth.
"Then she told me the plans she was making for me to dance at the party she is arranging for the young Prince. There is a beautiful reflecting pool, and this Her Majesty told me would be covered with a sheet of heavy glass, so I can do my 'Swan' dance on a surface that will give it the illusion of being danced on water."
No wonder this little dancer says she still can't make out what of all this was a dream and what actually took place! Through all the evening of her perform- ance at the Italian Court she says she kept feeling that the midnight hour would strike and she'd wake up to find she had been playing Cinderella instead of living an actual experience.
Dressed in a very simple, tailored sort of frock, the little Gamby looked very happy and as eagerly alert and sparkling as ever she did when we used to see her, a premiere danseuse at the ripe old age of fourteen years, dancing in those well re- membered stage presentations at the Cap- itol theatre, with Erno Rapee on the conductor's podium leading the Capitol Theatre Symphony Orchestra in Lizst, Delibes, Debussy, Saint Saens, Tschaikow- sky, and other composers whose music Gamby and her supporting company inter- preted in terms of the ballet.
You probably recall that the personal romantic interest note now so popular in Hollywood's coupling of boys and girls who are supposed to be romantically in- clined each toward the other in picture acting combinations, was started in the Roxy "Gang" radio broadcasts, with
86
SCREENLAND
Gamby and Douglas Stanbury, Roxy's star baritone, as the young couple about whom Roxy made so many references during the bvplav of the regular programs. "We didn't want to ask Gamby about that, but there it was, and here in active form as a piece of Hollywood showman- ship, here it is today.
Very candidly, very sincerely she told us that : "We begged Roxy not to do that. It was a fine friendship that was being talked of in a way that made many mis- understand."
Though Gambarelli was far more occu- pied, conversationally, with her dancing at the palace of the king and queen, than her motion picture ambitions, we did find out that she has the greatest wish of realizing success in pictures. She appeared as dancer in two features in Hollywood, "Here's to Romance." and "Hooray for Love." But — "But, when I looked at myself in those pictures I said to myself: 'Maria, dancing- is not enough, even a finely written story for a ballet dancer cannot be supported by the dancing alone,' so I decided I must prove that I can act a dramatic part as well as be a dancer in films. So when I got this opportunity to play a part in the picture made in Rome, I took it with the highest hopes."
She has the determination to do what she sets out to do. At six, studying piano as an accomplishment in conformity with her parents' European program for cul- ture, summed up in the phrase: "Master the art and put it away ;" Maria was play- ing Chopin and Brahms pieces in a short time. She felt "that this music needed in- terpretation, so I used to stop playing and dance as I felt the music directed me to."
Discovering this interest, wholly natural, in dancing, her mother entered Maria in the Metropolitan Opera ballet school. Be- fore long she had decided she would be a premiere ballerina at thirteen. "So, while I was doing solo dancing and understudy- ing Rosina Galli at the Metropolitan, I quit there when I was thirteen."
Later she appeared with Pavlova's com- pany, and later still was chosen by Roxy for "his premiere ballerina at the Capitol. Thus she reached the goal set and missed only by a few months making it at the age of "thirteen, just as she had decided.^
One of her most talked-of dances is her own interpretation of Gershwin's "Rhap- sody in Blue." This dance proved a startling- thing when she did it in Paris.
"I decided to go to Europe and learn what I could there. We in this country are always hearing of the ballet masters of Europe. I had learned, I felt, all I could here. So I organized my own company and went there — to learn more.
"But instead of learning, all the ballet masters I met asked me how the dance had developed like this in America. They couldn't understand, and wanted me to teach them how syncopations were intro- duced in this manner.
"There is a good reason why the ballet dancer in this country progresses more than those in Europe. The audiences here know good technique, and they demand it. But unlike European audiences who are willing to accept the technique and applaud it and be satisfied with that alone, the American audiences want also fresh ideas, originality, and above all personality to color and enhance the art."
She tried three entirely different ap- proaches to the creation of that dance as she performs it now. The first two attempts, made after long planning to dance to the "Rhapsody in Blue" were discouragingly disappointing, and for the third time Gam- barelli started from a fresh viewpoint, and found success.
That's the kind of perseverance that makes determination mean something — even in the march on Hollywood.
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What Eleanor Powell Has Lost!
Continued from page 65
asked, turning to me. 'You've been sing- ing it around here at rehearsals, so why not sing it into the mike?' 1 choked at the idea, scared stiff. 'There's nothing to be afraid of,' Van told me. 'Go to it!' So I did."
"Quick work," nodded Grandma.
"Mr. Mayer said my voice made a new- girl of me," reported Eleanor. "When they ran the picture in the projection room and it got to that number another important executive said, 'How does it feel, Eleanor, having a picture in which just one set cost a hundred thousand dollars, the biggest ever, even bigger than anything in 'Hen Hur,' and knowing it was all made for you?' 'I don't feel any different,' I told him, 'than when I was working for seven dollars a night in a small night club.' "
"What a thing to say !" marvelled Grandma.
"In those days," recalled Eleanor, "it wasn't because I wanted to make money, but because I loved dancing and having something of my own that I was willing to give up everything else. It isn't that I've made any sacrifices. But sometimes when I was starting off to work at seven in the evening and saw children of my age — I was twelve then — playing in the street, I wanted awfully to join them. It was just that wrork came before everything else."
"But we had a good time at home on Sundays," Grandma was happy to say. "Eleanor would get up at noon and have her breakfast. After that we'd turn on the radio and hear a continued play about a little boy who ran away with the circus. At four o'clock we'd have dinner. Then Eleanor would read a story by O. O. Mc- Intyre — she'd cut it out of a magazine — about falling leaves that always made her cry. In the evening we'd sing old songs like 'Down By the Old Cherry Orchard' and 'Kiss Me Again.'
"And Grandma," added Eleanor, "always had a solo, the same one."
What, I wondered, could it have been?
" 'Isle d' Amour,' " replied Grandma, let- ting her eyes rest upon the folded hands in her lap.
Simple words told the story of Eleanor Powell better than any highfalutin' lan- guage could have told it. Then, as today, she was unspoiled.
"I never thought then," she said, "that singing would ever mean so much to me as it does now. It means more than my danc- ing because it is a new field for me. Dancing was always second nature to me. My father was an expert ballroom dancer, and my grandfather danced till he was eighty-two."
"And once," related Grandma, "after Thanksgiving dinner in Northampton, if the old fellow didn't get up and do his stuff!"
Proud of her father, that's what she was, a man after Henry Ford's own heart. Mrs. Torrey, like her famous grand- daughter, had come a long way since her early Massachusetts day, first to Spring- field, then New York, and now at last to Hollywood.
"Up to now it has been move, move, move." said Eleanor. "That's why I'm so grateful for having this home. I first real- ized what I'd lost when I started knocking around the country. I missed going to high school, and I'd never gone on sleigh rides or to parties. But that's what has kept me so young, for now everything's new to me and I get a tremendous kick out of it. Not that I ever do much of anything
SCREENLAND
but work here. I've never been to a Holly- wood party. If I did go I wouldn't know- how to act. I have a terrible inferiority complex. I'm shy, and wouldn't know how to enter into the spirit of the thing. I couldn't sit on the floor and play games because I've never learned any. And I don't drink or smoke. There are so many things I've never done that I hardly know where to start. For example, I've never been on a boat. But I'm going to take one just for the fun of it when I go to New- York in January. That will be my first vacation in ten years. I've never seen a football game or been up in an airplane. I'm just terribly old-fashioned. But I sup- pose when people see me dancing on the screen in black tights they say, 'She's prob- ably the hottest girl in Hollywood.' "
"Bless mv soul !" murmured Grandma, shocked to the depths of it.
"Do you know what I get most out of in all the world ?" asked Eleanor. "Children. That started in a strange way. At thirteen I was in Baltimore with a vaudeville unit, doing ten shows a day. As if that weren't enough, the press agent said it would be a grand idea for me to give free dancing lessons to children, beginning at seven in the morning. I didn't think there would be any around at that hour. But, to my sur- prise, the theater was packed. That pepped me up, and I gave those kids lessons till nine o'clock. In Washington, Cincinnati, Kansas City, all over the country. I did the same thing. Clubs were formed, and today there are seventy-five Eleanor Pow- ell clubs. I've sent photographs and writ- ten greetings to all of them. It makes me feel like the president of a huge class, and it also makes me very happy. I don't ever want to do anything to disillusion them. There's no thrill in the world like having children look up to you. I thought of this the other day on the 'Rosalie' set. When we were ready for the wedding scene I said to my twelve little flower girls. 'Now if you do this "good" we'll all have some ice cream afterward.' We danced and told stories the whole afternoon."
It crossed my mind that Eleanor might be celebrating her own wedding one of these days.
"Maybe," she admitted. "But, anyway, not for two years. Then I'd like to give up pictures, be happily married and have children. But I'd want to marry a man who was in this business, so that we would be able to talk pictures and I could keep up my interest in them."
"He's got to be pretty darned quiet," emphasized Grandma.
"That's the trouble," agreed Eleanor. "I'm very romantic, but I couldn't marry anyone who wanted to be on the go all the time. I had a birthday last Sunday, my twenty-fifth — and that's pretty old not to have met anybody who could be taken seriously. I've really never been in love. I've had lots of boy friends and men on the 'phone saying, 'You're just for me.' But I'm not. They always want me to go tearing around with them, while I'm per- fectly satisfied to stay home and read. Wayne Morris is a darling boy. But he in- sists he won't go out without me. I tell him to be like Bob Taylor, who goes out with other girls besides Barbara Stanwyck and enjoys himself. But Wayne says no, it's me or nobody. When my birthday came along he went out and bought a beautiful engagement ring, but I had to refuse it. That made me feel terribly, Wayne's such a dear, but I couldn't help it. It's just an- other of the things I've lost. For two years, anyway, I'll have to leave things as they are."
The doorbell rang. Leaving, I spoke of how pleasant it had been seeing them all.
"I've had a real good time," said Grandma.
Confessions of a Come-Back
Continued from page 34
chat, affectionately. Even their home was impetuously named "El Jodo." Once, when they were sure of one another, I inter- viewed her about him. Joan never under- estimated his potentialities. She let go of his hand— the three of us were lunching on the porch of the old Metro cafe — to scrawl on a menu I still have: "He is smarter than ten college boys rolled into one !"
It was at college I first knew him, in- cidentally. Practically at college, anyway. I remember so well how he and Joan came to San Francisco, ecstatically engaged, for a house party. I was attending Stanford and wrote them up for the university daily. When I tried to recapture their momen- tous words I was defeated; my chief memory was of Joan's concern over his weight. She had demanded six squares of butter, four lumps of sugar for him.
He was a front-page bridegroom when, vacationing in Hollywood, I heard his secret sorrow — he'd never been able to go to college ! At seventeen he'd had to acquire a mustache instead, to enact a leading role. He wired me, when he read the magazine article I proceeded to do : "I'm still weeping over your disclosure of my lost youth and are my parents mad!" He was making his triumphant stage debut when I located in Hollywood; promptly I went backstage and there was Joan, faith- fully waiting in the wings. We used to bet on "football games a lot, Douglas and I.
And so time passed, and I talked to Douglas's actor father and non-professional mother about him, for pertinent stories.
Stunning, not statuesque, is the word for Virginia Field, above
Douglas and Phillips Holmes, once a popu- lar favorite, were pals and they discussed each other for me in the pages of Screen- land. The photograph Douglas and Joan autographed to me — "Doug Crawford and Joan Fairbanks" — was his period of young love caught at its glorious moment.
And then the death of his spectacular romance had to be duly reported. I really never knew exactly what split them, didn't want to ; that belonged to them. They at- tempted to hold onto their passion and they separated with dignity. Whatever hap- pened. Douglas will always respect Joan.
When the magnificent emotional adven- ture climaxed he obviously paid more attention to his career problem. "Oh, yes," he smiled reminiscently, "I told you then how I was going to stand or fall on that contract. I did have the okay on my direc- tors and casts. But I wasn't as fortunate as I imagined I'd be — when it came to the scripts. I presumably picked them ; actually they'd hand me three plots and tell me to choose from their three."
Leaving Hollywood as he did, he might have been thoroughly disillusioned. He'd been defeated in his avid search for love, balked in the fight for due recognition he'd been plugging at since he'd begun acting at thirteen. He could so easily have turned aimless playboy— if he hadn't been Doug- las. He went away refusing to be dis- couraged. He will never confess to being- licked. "Detoured," he exclaims firmly.
He wasn't downed by the piling up of adverse situations because he'd never relied on "luck." His marriage and stardom came far too soon to be given that classification ; he wasn't ready for either. And as for his name bringing him breaks — it had proved more of a handicap than a help. He'd had to explain persistently that he wanted a chance on his own merits alone, that he was distinctly different type of actor from his father. He received little aid from his father and still he had to wonder con- stantly whether people liked him for him- self or because they were maneuvering for invitations to Pickfair.
But then he has had to tackle opposition always. When he determined to be an
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actor his father had been annoyed; SO Douglas made his own contacts and took unpublicized bumps in the process. When he'd married his parents had been none too glad; he plunged into romancing on his own. His father has a fortune, but he has literally been on his own financially all the way.
So the clean sweep wasn't too bad a pill. Especially since he'd formulated a pro- tective philosophy, fashioned a shield for his heart. Before he left for London he said to me, "I don't let anything touch me. I stand off and watcli myself going through dilemmas and because I'm amused they don't hurt me. I can't be hurt — for I can't be shocked or surprised. Inside I'm not touched by my experiences !"
"That was a pretty adolescent platform I had, wasn't it? Refusing to be touched by things or people, so dogmatically !" He lit his pipe, borrowing a light from a pass- ing prop boy. "Now I realize that things and people used to over-impress me. Rules had me buffaloed, too. I was naive. In- stead of trusting my own instincts I de- ferred to others. Automatically they knew better ; how could I be wiser, my hunches about myself more correct?" He's learned while he's been growing up that it's not wrong to pause when in doubt.
"But my career had always been in the hands of everyone else. The front office directed it. And me, unconsciously, in the bargain ! I wasn't mature enough, on the other hand, to carry stardom."
He leaned back in his canvas chair and mused on. "Well," he said. "I believe that no matter what happens to me now I'll be ready for it. Before, I wasn't. I fumbled because I thought I was thinking clearly enough — and I wasn't at all. It was hard not to accept the pronouncements of very positive people. Sometimes one has to be whammed on the head, severely, to under- stand what a mistake it is not to gamble on yourself. It would have been fade-out for me, I'll bet, if I hadn't taken a chance on myself !
He vows he regained his self-respect in London. There they were enthusiastic for his services and he saw an opportunity to produce as well as to act. However, he is honest about the results. "After two years spent in organizing a film company I still couldn't make the kind of pictures I wished. I had the minority block of stock. So the pictures I've been making abroad weren't the tremendous strides I wanted." The pioneering zeal isn't dead by any means, though ; merely "detoured" temporarily.
"It wasn't like going to a new land. I'd gone to school in England. But being a man with business interests taught me a lot." Immediately he found out that it wasn't compulsory to be a freak. As Holly- wood's crown prince his every move had been extravagantly commented upon. He'd been made a goldfish. He would have avoided that deluge of excessive publicity, only he wanted to be a thorough success and so he'd slavishly followed Hollywood's rules. "I suppose I am not the party fellow I ought to be — when I saw it wasn't a rule in London that you had to entertain a lot I quickly stopped trying to be super- social. In four years there I gave but one party !
"While the pictures were being lined up I went on the stage." He did two plays, touring the provinces and afterwards click- ing before London's critical audiences. "I could, I learned to my delight, earn a decent living behind footlights. But 1 found I didn't want that, that I didn't enjoy acting in a theatre as much as I did working in pictures. Probably the lengthy rehearsals, the nightly repetition reminded me of school routine ! The screen has so much more scope, means a continuous flow of new, unlimited efforts. It's so much
more creative. A hundred departments strive for a single effect. No, I've no Broadway bent."
1 interrupted purposely. "You're skill- fully steering away from all mention of a new love. In case you hadn't heard, you are quite eligible !"
He seemed exceptionally glad to wave at Irene Dunne, returning for their next sequence, at that remark.
"Can't you simply say all I know myself is what I read? Truthfully, I've been out a few times since I've returned. There is no one, speaking of love. I'm working so hard I don't mind. And," he added reso- lutely, "I've become true to myself alon • that line, too. I have always hated the exposure of innermost feelings, mine or anyone else's. Blatant self-revelations are like stumbles into private rooms at the w rong hour.
"I'm not worrying about a home and children now. Maybe that will come for me. I don't know. Being unmarried gives me an independence I relish."
I was adamant. "And once," I stated, "you told me you had to have someone to share your joys — or there'd be no joys for you !"
"But you can liave sincere companion- ship without love," he retorted. "The reac- tion of a good friend gives you a kick. And you know it !"
He had something there, even if it wasn't a romantic confession. "Your most satisfy- ing experience while you've been away, then," I proposed. "You were forever swearing that you were cut out to peer at distant green fields."
"I am still curious," he answered. "I don't think one changes radically. One de- velops, I hope, but I think we all remain essentially the same. I'm like my father in having a phobia for the whole world; I've never wished to settle down in one spot. I've traveled all over Europe so far, and that's been great. I want to see Africa next, the Orient when it's calmer. I feel, consequently, as though I've planted many roots. There are familiar landmarks here and abroad now. The most satisfactory- times I've had have been the days when I got out my little thirty-five foot cruiser and headed up the Thames. I usually take some friend along and we go about a hundred and fifty miles, stopping at little pubs for a beer and dinner and conver- sation with the country people."
He isn't buying the trimmings he once considered necessary. "The grand scale never intrigued me. So now I've not even taken a house; I'm utilizing my father's beach place at Santa Monica for the mo- ment, and drive in. I've a very useful and fast Ford — which is all I need for trans- portation!" Picture Marlene Dietrich hop- ping gaily from her limousine to his Ford — that's a local sight. I was anxious to see Norma Shearer swoop up to the Carthay Circle with him in such comparative rhodesty, but he and Norma were with a couple of bloated aristocrats when they premiered.
"I've ambitions, all right," he was saying as they called him back to the cameras. "Big ones. I hope I always will have. When the time comes when I'm satisfied I'll be through. But I don't want to advertise my plans. I'll express myself through my actions. If I don't succeed on this try. at least I won't have made a fool of myself !"
More considerate, matured, Douglas has become a man with genuine background. He'll carve his permanent niche now, be- cause he's accustomed to contending for every conquest and he's listening to his own intuition at last. Someday I can writ'1 his lasting love ■ story. With dramatic abruptness another dynamic, strong-willed woman will enter his life. He is just twenty-eight !
90
S r R f HNLAND
Inside the Stars' Homes
Continued from page 17
and the rest concoct various dishes. My specialty is always scrambled eggs and baked beans. Perhaps we'd better call them Baked Beans Goulash a la MacDonald. I never make them the same way twice."
The MacDonald clan have always been fond of eggplant, so if you go to Jeanette's you have an even chance of eating this vegetable. The first time Gene dined at Jeanette's, eggplant — dipped in batter and fried — was served. Gene hated it, but he wanted to make a good impression, so he ate it. The next time he dined there, egg- plant scalloped with tomatoes was on the menu. He didn't recognize it this time and helped himself generously, and again he ate it, nobly. The third time, eggplant cut in pieces and fried in deep fat with onion and parsley added, was served. By this time, the two were engaged, and Gene felt braver. He confessed that he heartily dis- liked eggplant and "Don't you ever have a meal without it ?" he asked. Jeanette and her mother were convulsed.
"But it was too good a joke to over- look," recalled my hostess, "so from that time on, I used to go out of my way to ask for eggplant whenever we dined to- gether, or to serve it when Gene was com- ing to my house. The funny part of it is that Gene caught onto the joke, swore he could stick with it if I could, and now he's learned to like it!"
EGGPLANT
Peel and slice the vegetable, soak in salt water as usual and drain well. Grease a baking dish, and put in a layer of the egg- plant, cut into pieces about the size of a dollar. Alternate layers of eggplant with a few slices of onion, bread crumbs and pieces of butter. Cover the whole with a can of tomato sauce (Heinz) and bake.
When the Raymonds dine alone, they dine simply. There is steak, roast, or fowl, four vegetables, and a salad. No dessert.
"Steak and mushrooms is one of Gene's favorite dishes," said the young Mrs. Ray- mond. "I suppose all men,, if allowed to choose, would subsist on thick steaks and roasts, and never go near a chicken or a chop !"
Steaks at their house are broiled medium rare, put on a sizzling hot platter and spread generously with butter. Previously, fresh mushrooms have been washed, cut into fair-sized pieces, and put in a pan with a good supply of butter and about two
Harry K. Barnes and Margaretta Scott enact a scene from "The Scarlet Pimpernel Returns."
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tablespoons of water, covered and allowed to cook until tender. If you are using hot- house mushrooms, give them about half an hour as they are less tender than the home- grown variety.
"Another thing Gene likes very much — as what man doesn't? — is onion soup," remembered Jeanette. "I believe my cook makes this especially well."
Jeanette never plans anything for her guests to do at her parties, because she al- ways tries to invite people who will be congenial. Everyone has so much to say, and they all try to say it at once, so that the result is quite hilarious.
[f they want to do anything, there's cer- tainly plenty to do; if they want to do nothing, there are a good many restful places to relax in. The atmosphere is in- formal. The hospitality truly "recreates."
Lond
on
Arlen's New Hobby
Continued from page 59
in no time. It was a straight shot, no filter."
Dick shoots scenery when it suddenly strikes him as beautiful, but he never goes out looking for it.
"I like to take pictures of people, kids especially. I like kids and they usually make cute shots, if you can catch them quick enough. I believe I'll get a Rolleflex — they say it's the swiftest lens on the market.
"Maybe when I get the Leica under con- trol, it will do the kid-snatching pictures, but I'm no expert yet. This shot of the Crosby twins was shot when they were creeping toward me. I called out 'Dennis — look here!' and snapped my fingers. They both looked up and I clicked, but the for- ward one kept on coming, so he's the least bit out of focus, but it's so like them, it's funny.
"I used the Pressman on this shot of Helen Twelvetrees and Arline Judge with their babies. The kids were quite small then and Joby was having a party for Ricky. This was more luck than judgment. It was made before I got the camera bug.
"If you want a 'how not to do it' ex- ample, here's one : Joby took this shot of me in the baby cage. The background is a hedge, but it's too dark. She should have shot up so as to show the top of the hedge or to give an idea of what it is. The towel is too white. A filter might have helped.
"They tell you always to use a filter at sea, but I made this shot of Jack Oakie without one, and it's clear enough. And this one of Gary Cooper, Jack Oakie, and me (all but my head) was made by Max Miller with my camera and without a filter.
"I believe I had a yellow filter on this one of Gary with the towel, taken over near Catalina.
"Talking of water shots, Joby got this one of me, overboard from the deck, one day. That's an example of a lucky shot, because the boat moved a little all the time.
"Joby also got this shot of me with Babe Didrickson of the golf course. You can see her shadow in the foreground. She couldn't have used a filter or there'd be more detail in the sky and background, but it's re- markably clear.
"I never fool around with dark rooms, or try to tell the people at the camera shops how to print up my stuff. I suppose if I were farther along with it, I'd be on their necks all the time bellowing about the way a shot's printed, or why wasn't it printed for contrast, or all the usual squawks.
"But to my mind, printing isn't going to remedy the mistakes of the man with the lens. You have to get it right in the first place." .
Continued from page 62
was feeling too bruised and shaken to come to Maureen O' Sullivan's cocktail party. Characteristically Maureen sent out invitations from "Mrs. John Farrow" with her acting name just printed underneath in the smallest possible letters. She was all in her favorite blue, with the most amusing spotted veil over her hat, and had her young sister Sheila as assistant hostess.
Maureen enjoyed her brief ice-skating scenes with Robert Taylor in "A Yank at Oxford" so much she decided to learn the art thoroughly. So she went off to Streat- ham Rink and had tuition from veteran Benny Lee, who was Sonja Heme's instruc- tor. Her progress seemed rather slow and it was a great surprise when Benny pre- sented her with a silver cup after her last lesson as souvenir of her accomplishments on skates. Proudly Maureen bore her trophy home and then she read the inscription : "To the girl who of all my pupils is the least like Sonja Henie." (Of course, Mau- reen is back with you in Hollywood now — and how we miss her!)
Noel Madison was at the party and I learnt that my favorite film gangster is ex- ceedingly superstitious. He is convinced that his lucky charm on the screen is his battered four-year-old hat so he has donned it, doffed it, and been shot at in it in his last thirty-nine films. (For the fortieth he could only get it into the picture by having the prop man hang it on the hat peg in another character's lobby!) Now hcrefuses to appear without it. It has duly adorned his head as the press agent in Jessie Mat- thews' latest musical, "Sailing Along," and now it is helping him to perform successful villainy in "Kate Plus Ten."
This is the British thriller of the year, based on an Edgar Wallace story. Gene- vieve Tobin has travelled across the Atlan- tic to play the crooked Kate who gets away with a million in bullion from the gold train she has wrecked. Noel is her gangster lieutenant and tall Jack Hulbert plays Detective Mike Pembcrton who eventually nabs them.
I met Genevieve dining out in a small party the other night, gracious in a draped black velvet gown with a single diamond bracelet. She doesn't care for the night- spots very much but prefers a quiet home evening with a few chosen friends.
Talking of parties, there was a jolly lit- tle one at Denham the other afternoon to congratulate handsome dark-haired Griffith Jones who has just been signed up for a long term by M-G-M and leaves for Hol- lywood soon. You may remember him with Elisabeth Bergner in "Escape Me Never." but if not you can meet him again as Bob Taylor's undergraduate friend in "A Yank ' at Oxford" and you will agree he still looks good beside those romance-compelling Taylor features, too! Griff, as we call him, was originally intended for a doctor but preferred the films instead. He was born in London though his parents were Welsh, collects tiny model animals of which he possesses hundreds, and has a pretty non- acting wife, a passion for chocolate layer cake, and the most unusual keen eyes of any actor I know.
Somebody at the party described Griff as "the only good-looking man in the studio who isn't making love to Merle Oberon this week." Explanation being that Merle plays a wealthy heiress in her latest Korda picture, "Over the Moon," and no less than eight leading men are acting with her. which must be something of a record for high-speed screen romance.
Rex Harrison is the young country doc-
92
SCREENLAND
The way of a butler with a maid is more professional than romantic — "more's the pity," sighs Lynn Bari, above, with William Powell in "Baroness and the Butler."
tor who triumphs over all his rivals and gets Merle in the fade-out, probably be- cause that whimsically charming humor of his proved irresistible. His rise to fame has been phenomenal. It is only three years since he took to acting, appearing with Evelyn Laye in "Sweet Aloes" on the New York stage. His first film was Korda's satirical "Storm in a Teacup" in which he played with Vivien Leigh last summer and it has been so successful that now he's a full-fledged star and will make his debut as such in his next picture. It is to be one of two stories Korda bought for Robert Donat, who's ill with asthma again.
Down at Denham there is one grey- painted door in the executive offices past which the staff creep respectfully, lowering their voices and hardly daring to breathe lest the sound disturbs the conference within. "Complete silence" has been de- manded by the two occupants, both named Howard, one being Leslie the actor and the other William K. the director. They are polishing up the scenario and arranging the details of the most ambitious produc- tion even the ubiquitous Alexander Korda has ever sponsored, the film version of "Lawrence of Arabia." Leslie is co-producer as well as star, in complete control of the unit which will go to Arabia to shoot most of the scenes in the authentic locale of the deserts. He's boyishly enthusiastic about his new job, yet terribly earnest and ser- ious, too, for he has a great dramatic task before him, creating on the screen a world- famous soldier, explorer, and ascetic who changed the course of history in the East and wrote that amazing volume, "Seven Pillars of Wisdom."
Determined every tiny detail of his char- acterization shall be correct, Leslie has had numerous long talks with many experts. He has consulted Winston Churchill, the Brit-
ish statesman who was in close touch with Lawrence when he was banding the wild Arab tribes together.
True to the real life story of Lawrence, there will be no feminine interest in the film nor will any women journey to Arabia with the band of desert travellers. Mrs. Howard and their son and daughter will stay behind in London — daughter Leslie is growing up into a most attractive girl and I hear she is likely to begin her own acting career quite soon with a tiny part in a West End stage show.
Mrs. Howard and I had tea together the
other afternoon at the Mayfair Hotel, the occasion being a charity fete at which many celebrated film folk assisted. Conrad Veidt and Anton Walbrook poured out laager beer, Merle Oberon sold flowers, and Anna Neagle sold autographed portraits of herself as Queen Victoria, and June Knight, Raymond Massey, and Edmund Gwenn as- sisted at the candy stand. Elsa Lanchester came along, dressed in her favorite purple, and Jean Muir looked in for half an hour. She's playing on the London stage just now but she has signed a contract to make a British film before returning home.
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SCREENLAND
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Florence George is the starlet with the reflecting smile, above.
Bobby's Guiding Star
Continued from page 31
with ambition, found a job dancing in a night club. She assumed the support of her parents, older sister and brother, and of Bobby, the baby.
Whenever she looked at Bobby her heart missed a beat. Instinctively she knew that he deserved a better break than any of the rest of them had had. She took special charge of him to forget the family's mis- fortunes. She was the first to recognize his astonishing voice. No one else at home thought anything of it.
Shortly a fierce passion was consuming her. She could have been equally outstand- ing as he is as a singer if anyone had bothered sufficiently with her. "But no one did," she says, "and so I made up my mind that Bobby wouldn't be ignored."
Somehow Sally maneuvered to pay for lessons for him, proudly escorting him to the best teacher she could locate. When he was four she argued the owner of the Silver Slipper into letting the child try a song there. This was the first of a climaxing series of arguments she had to win. The people clapped enthusiastically and she was in a delirious glow after that. She was re- assured that all Bobby needed was oppor- tunity.
If there simply isn't any opportunity, what do you do? At home there was per- petual pinching of pennies and a prevailing air of despair. Sally sensed that the only answer is to make your chances. And at last she made the step few girls her age would have the brains and the courage to make. They told her her dreams for Bobby were ridiculous. She thought it all out and in the end they let her go away with him because, after all, she was the breadwinner.
Carefully she bundled Bobby onto the Chicago bus one memorable wintery eve- ning. She selected Chicago because it was the nearest spot where show business was alive. Bobby slept in her arms for awhile and then his curiousity got the better of him. He had to converse with the driver, quietly so no one would be awakened. By the time they rolled down Michigan Ave- nue the driver was friendly enough to recommend a clean boarding house'.
"A hotel," remembers Sally, "was far too expensive for us. I only had that seventy dollars to stretch out until Bobby was dis- covered. As soon as we'd washed I got Bobby's sailor suit out of our suitcase, un-
packed my iron, covered the bureau with bathtowels, and pressed it. I looked in the telephone book for actors' agencies. Then I recalled that Balaban and Katz ran the leading theatres in Chicago, so I trotted Bobby downtown to call on Louis Lip- stone, the B. & K. director.
"Mr. Lipstone was very obstinate about receiving us," she sighs. "I informed his secretary that we couldn't be sidetracked. So when the afternoon was almost over we got into his office. T don't want to waste my time !' Mr. Lipstone shouted at us. 'Whatever he does, I can't use him !' I said, 'I don't want you to use him. Just listen to him sing once!'"
With a groan the veteran revue producer gave in. There were always unavoidable pests like these two. But before Bobby had finished his song Lipstone was excitingly telephoning Milton Berle, then starring at the Orphcum. "I've a find — tome right over and hear him!" When Sally left the office she was clutching a contract guaranteeing Hobby two weeks on the stage at the Oriental Theatre.
The powerful lyric tenor, so strange in such a child, brought down the house. Gloria Swanson was making a personal appearance at the Chicago Theatre and Bobby was hired to assist in her act. Gloria herself praised him to the skies.
Bookings at other B. & K. theatres fol- lowed. The Breens accustomed themselves to four and five shows a day, their lives shrinking to the narrow confines of a the- atre and the boarding house. Sally sent practically all the earnings home for the family to live on. They couldn't force her to abandon her scheme so long as she mailed checks.
After six months in Chicago there were no more engagements for Bobby. The field there was exhausted. For a spell Sally was desperate. "My one desire was to get Bobby to Hollywood. But when we'd finished all the possible dates in Chicago it looked for a bit as though we'd have to return to Toronto licked." She contemplated that catastrophe with such profound distaste that the alternative eventually presented it- self. New York ! There was where talent was hailed. That was where Bobby had to go. She examined her capital, bought a single bus seat to New York, and arrived at three a.m. with exactly thirty-five dol- lars and a tired lap.
"I held Bobby all the way. We couldn't afford but one seat. The folks on the bus were awfully pleasant to us. They bought us meals and Bobby sang a lot and it wasn't a bad trip at all.
"The bus driver liked Bobby, too, for after he'd dropped all the passengers he drove us to a boarding house he assured us was good. I'll never forget climbing up those steps. The city was so vast and it was still awake. The room we rented was on the third floor back, a two-by-four with a single cot. I put Bobby to bed and as- sembled our laundry and attended to it. I had to get his sailor suit — the one decent suit he wore when singing and for inter- views— ready."
She didn't try to sleep. At seven Bobby was grinning at her and she dressed him and away they went to conquer the Para- mount Theatre. Sally had a letter of intro- duction from Louis Lipstone. But the sub- way directions confused her and they went clear across Manhattan the wrong way be- fore she realized it.
However, by nine she and Bobby were in the outer office of Borros Morros. The secretary said he was too bus\r to see them. So they waited until six and the office closed. Next morning they were there again. No luck. Sally knew Mr. Morros was short, bald-headed, and had a Russian accent, but no one answering that description came in or out that way. At noon she parked Bobby
94
SCREENLAND
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and ran out for sandwiches. By five the second afternoon the receptionist was fur- ious.
"But I didn't care!"' exclaims Sally. "I sat there with my letter in my hand, wait- ing to pounce on Mr. Morros when he did appear from somewhere." When, at five, he emerged hastily Sally shouted, "Mr. Louis Lipstone sent you this!" Stunned at the charge, Morros read the note and shook his head. "I don't care what your little girl can do, I can't use her. The Gerry Society would drag her offstage. It's the law that no one under sixteen can appear in vaude- ville.
With that Mr. Morros headed for the door. It was Bobby, enraged, who sprang into action then. "I'm not a little girl!" he hollered lustily. "I'm a boy!" Sally had been afraid to cut his blond curly hair.
"I don't bother with you, anyway," vowed the irate director of the Paramount's stage presentations. "The law won't permit it — even if you are any good."
Sally admits she'd been warned about New York's stringent ruling against child performers, but she's an up-to-the-minute demonstration that where there's a will there's some way. She wasn't daunted by future bridges. Getting Borros Morros to listen to Bobby was her immediate problem. She combined subtlety with her determina- tion. "I don't want you to hire him," she stated. "Just listen to him sing a song!"
Wrathfully Morros led them into his in- ner sanctum, the wild-eyed secretary fol- lowing in their wake. Bobby sang. Morros sat up with a start. The secretary wept with excitement. The chief pushed every buzzer on his desk. In fifteen minutes there was a crowd and Bobby was singing as he'd never sung before. "My lawyers!" demanded Morros.
Next morning Bobby, Sally, Morros and his lawyers were at the City Hall to maneuver a special license for the child. "No, no, no!" cried the old gentleman be- hind the massive desk. "No permits !"
Bobby saw the tears gathering in Sally's eyes. He knew it was time to be a man, to rescue her from this impasse.
"Please sir," he said very respectfully, "won't you let me sing on the stage just so I can have a chance to be discovered and go to Hollywood? That's all my sister and I can do, you see, your honor."
The boy's dignity touched the ruffled magistrate. "Can you read? Is she bringing you up well ?" Sally had taught him to read when he was only three-and-a-half, so he modestly proved he was being correctly trained. "Well, then," announced the judge, one more captive to the Breen charm, "I can't give you a permit, but we won't stop you if you only sing for your chance to be discovered by the movies !"
Stepping blithely into the spotlight, Bobby was a sensation at" each show. The Paramount held him over for a second week. But all along Sally was to learn that she had to fight for each boost for her brother. Everyone confessed he was ter- rific, but no picture scouts materialized. He couldn't go on singing, because they'd promised the judge to quit if the big chance didn't mean a Hollywood offer.
Sally couldn't see her next step then, but she refused to be defeated. She'd remained at the boarding house and saved his salary so she could dole it out for their expenses and to send home. Suddenly the brief suc- cess was through and they were alone among six million rushing people who didn't give a darn about them.
She found that children could work in regular stage plays. By inquiring she learned that play producers secured their child actors from the Professional School for Children. She enrolled Bobby there for eleven dollars a month. Meanwhile, she se- cured a job as a cigarette girl. Someone
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SCREENLAND
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mentioned a new dinner room at the Edison Hotel and Sally had a hunch they'd be wanting an extra cigarette girl.
Every day she took Bobby to school and went after him. And, sure enough, event- ually there was a call for a boy for a play. Sally wasn't re ached until all the other kids and their mothers were already at the the- atre. But she raced Bobby over. "There were seventy boys and mamas there \ I whispered to Bobby to memorize the script they handed him. Bob Hope was audition- ing; it was for a Harry Richman show. When Bobby interpreted the trial scene without a glance at the script the part was instantly his."
For six months Bobby was a successful actor. Sally took him to school daytimes and quit her hotel job to escort him to the theatre. They moved from the boarding house to an apartment which was shared by four paying guests, each having a bed- room and the privileges of the living-room and the bath. Bobby was singing whenever he was in the bath, so the line-up outside the door never minded waiting for him. The kindly Irish woman who had the apartment charged seventy-five cents a meal. The Breens had to send money home, and whenever they couldn't afford the tariff they were secretly treated by their fond landlady.
The play ultimately closed and again Sally was up against it. She heard Eddie Cantor's radio program frequently. He spoke of wanting a son. Why wouldn't Bobby be perfect for Eddie's son on the air? Since Bobby catapulted to nation- wide, popularity on the Cantor program you may have fancied that Cantor dis- covered the child. He did, but it wasn't any simple procedure. Sally had to convince Cantor, and on her first try she failed utterly.
"They were holding auditions for new talent. I took Bobby over. We didn't get to first base. I was going to shout 'But you've got to listen to him' at Eddie Cantor, but we were tangled up in the crowd and the assistants shoved us out the door. Later, in Hollywood, Eddie moaned, 'How did I ever pass Bobby up like that !'
"Our money was practically gone and I was wondering if we'd have to crawl home. Bobby had announced that we'd never quit until we got to Hollywood and I'd kissed him and put him to bed and was sitting with my bedroom door open. I was hoping someone would talk to me. Mrs. Bloomen- thal, one of the roomers I'd thought high- hat, stepped in. 'Why don't you put your talented son on the stage?' she asked. A lot of people believed Bobby was my son, al- though there's only ten years difference between us. When she heard my story she said, 'I've some rich friends who might be able to help you. I'm going to dinner at their house tomorrow night and I'll see if I can bring you and Bobby.'
"The next night we went with her to the Arthur Levys. They had a gorgeous home and Bobby and I were so impressed. We remembered our finest manners ! After din- ner they invited Bobby to sing."
When Bobby sings not many remain im- mobile. The Levys hastily telephoned Wil- liam Shapiro, an actors' agent who had just returned from London. They told him he had to come over and listen to this prodigy. He did, and before the Breens went back to their one room he'd signed a contract with Sally. Shapiro eagerly promised to grubstake the two on a Hollywood venture. He'd give Bobby precisely three months to capture a picture contract. Sally, enrap- tured at this marvellous, long-delayed break, insisted that he first go to Toronto so her parents could be certain he was an _ all- right backer. They approved and within two weeks the three — Sally, Bobby, and Shapiro — were on the train West.
The young Breens were established in a swanky apartment at the Ravenswood, the building where both Mae West and George Raft live. It was a breathtaking switch. From mediocrity to luxury! But there was no time to enjoy illusions of grandeur. Bobby had to get that break.
"I didn't realize how long it's liable to take to get recognition in Hollywood,"' Sally admits. "1 imagined that with a swell front like that and fine agent it'd be a snap. Well, it wasn't. Bobby was offered singing spots and I'd have been satisfied with them; I felt he'd be noticed as soon as he got on the screen, even if in a bit. However, Mr. Shapiro rejected all such compromise; he demanded stardom. As our trial period drew to an end I protested that he was expecting too much in too short a time." Sally sighed. "I was afraid, at last, afraid that after all our battle I'd have to take Bobby home a fizzle. Who'd star a child with so little experience?"
If Bobby's rise sounds like a fairy tale, so dors the denouement which brought him fame. "Believe it or not, but he didn't get his chance until the very final day of our three months! Then Mr. Shapiro took us out onto a Sol Lesser set. He knew Mr. Lesser and he asked him to listen to Bobby sing. T can't be bothered,' retorted the executive. I winked at Bobby. The minute the players stopped acting Bobby burst into 'La Donna e Mobile.' Air. Lesser must have liked him, for he sent for a contract for us to sign."
The astute Lesser, furthermore, actually starred Bobby right away. Under his guid- ance Jackie Coogan and Baby Peggy had skyrocketed and Lesser had confidence in the new wonder. While his first film was in production he had Bobby sing at a benefit at the Uplifters Club. Eddie Cantor was in the audience. Cantor was spellbound. Now Sally didn't have to argue. Bobby went on Cantor's program before the first film was released.
Sally sent for the family and today Bobby has a keen home. Sally persuaded the studio to pay her a reasonable salary as his guardian and music advisor, so her wage supports the family and his star salary is being saved for him. Bobby has only one current problem — learning how to spare Sally in the evenings. She argued him into okaying romance for her. In Holly- wood she met a well-to-do mining man who owns a Los Angeles department store to boot, and it was love at first sight.
"Bobby was a little jealous at first. But he's discovered I wouldn't w alk out on him after what we've been through together !" No man, I'm sure, could steal Sally away from her kid brother.
Patricia Ellis and Jack Hulbert co-star in a new British film.
96
SCREENLAND
Star-Dust Baby
Continued from page 61
THE STORY UP TO NOW
It all started as a publicity stunt — and now! Now Katrine Mollincaux finds herself a mother, by adoption, Katrine, imperious, self-centered, first siren of the screen, faces an emotional crisis such as many times site had acted for the cameras, but never really experi- enced. For Peter, waif brought from an orphanage by Katrine's publicity man, Bill Naughton, in response to the star's command to find a child for her to adopt for headline purposes, has complicated her life. Naughton, Katrine's friend from years back as well as her agent now, is steadily drawing aivay from her because of her pretended indifference to the devoted boy. Fighting her ozvn in- stincts to give the lad the affection he craves, Katrine tries to send Peter back to the orphanage, but when a young French count, catering to Katrine, ap- plauds her action, the star turns on him, upbraiding him for his hostility to Peter. Now go on with the story.
what could anybody blame her for in con- nection with Peter ? She'd magicked him from an orphan asylum to a palace — she'd clothed him and fed him and . . .
Katrine found herself stopping short. She'd fed him and clothed him — and deviled him. And the kid had taken it, wincing under her scorn, but eternally game. Never coming back with a dirty crack, never let- ting the adoration leave his eyes, never faltering in his blind faith . . .
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Bill Naughton had said on that first memorable day — "The kid took a licking for you before ever he saw you in person. It isn't the only licking he'll take, either !" Katrine, struggling to her feet, realized that Bill had said a mouthful. Peter had taken a licking of some sort nearly every hour. Not with a leather strap — with a stinging verbal lash!
With slow steps Katrine walked across the room and looked through the window. She couldn't see the outside world, it was so dark. Why — she glanced at a diamond studded watch — it was eight o'clock. When had the Count come — and gone? Around cocktail time, and now it was dark. . . . Where the dickens was everybody?
Standing at the window, looking out. Katrine thought of extravagant gifts she had given chance acquaintances — but she hadn't let Peter keep a stray kitten. She thought of offerings that she had accepted graciously — and later given to her maid, with raucous laughter. But she hadn't ac- cepted Peter's flowers, or his love . . . She thought of kisses that she had bestowed lightly on passers-by whose names — for the most part — she had forgotten. But Peter had never, not in the whole month of his sojourn in Beverly Hills, received a caress — although his every gesture mutely begged for affection.
"By God," said Katrine to herself, "I am a louse!"
At that exact moment her soul was born.
# * *
With hurried step, Katrine went to the door of the drawing room and flung it open. She was in too much of a rush to pull the bell cord — she wanted immediate action.
"I'm going to apologize to the kid !" she said in her mind, before she let out a shout that was a direct throwback to her Delancey Street origin.
"Kito!" she called. "Come here! Step on it . . ."
Kito, the Japanese servant, came run- ning. He was followed by three other little brown men. Katrine met their advance with ready anger.
"Where's everybody been?" she wanted to know. "There aren't any lights in the drawing room, and what about supper ?"
Kito answered. "You have dining out," he told her. "You said not eating home. And no one could go into the drawing room — "
Katrine laughed. Of course no one could enter the drawing room when she was lying on the floor, having hysterics. Her servants had that much sense, at least. She said —
"Well, I've changed my mind about going out — I've forgotten where I was putting on the feed bag, anyway. I'll have a snack here, and the kid can sit to the table with me."
The Japanese named Kito drew in his breath with a little hiss. He knew the in- tricacies of the situation involving Peter. He waved a hand and the three followers disappeared. Then he spoke :
"Little boy gone upstairs," he said, "he no wanting his supper."
Katrine said : "You mean it's eight o'clock and the kid hasn't had any food? What's the big idea?"
Kito shook his head sadly. "I ask," he said, "but Mr. Peter say no. I theenk he ees sick."
Katrine looked at the little servant with level eyes. "I know darn well what you think," she said. "Go fetch the kid, and I'll see if I can give him an appetite." She hesitated — "By the way, did Mr. Naughton phone ?"
"Nobody phone a-tall," the Japanese told her, and pattered away.
Katrine sighed. "I suppose I'll have to apologize to Bill, too, and maybe raise his
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97
wages," she ruminated. "The woman always pays in my case, all right !" She started for a phone booth that was shaped like a sedan chair, and was just stepping into it when she was arrested by the sound of small feet running. She turned, half expecting to face Peter, but it was her servant, instead.
"Little boy gone," said Kito, breathlessly, "but all his clothes — even those he wear today — are in room."
Katrine said, "I don't get you?"
The Japanese was having trouble with his speech.
"I look in closet and under beds," said Kito. "Only no Mr. Peter."
Katrine laughed. "Are you being funny? Kids don't run out naked into the night."
Kito answered — "The blue pants he came in — he kept 'em. They ore gone with little boy!"
Katrine heard herself saying, as if in a daze — "I thought I told you to throw away those darned orphan asylum overalls." She added, "Get Mr. Naughton on the phone, and tell him to come here as fast as he can make it. I need him . . ."
* * *
Bill Naughton would have found Katrine in tears — if there'd been any tears left. As it was, she met him dry-eyed and curiously calm.
"It's Peter," she told him. "It's fierce!"
"What's the kid done, now?" asked Bill. "And what am I supposed to do?"
Katrine said, "He's run away."
Bill said, before the impact of the thing hit him — "He certainly showed good sense." Then suddenly his voice changed. "Where in hell did he go ?" snarled Bill. "He's only a little tyke. Where could he run to?" Katrine said, and her voice was weary — "You've got to find out. You've got to bring him back. He didn't even take the clothes I bought him."
"Why should he take your filthy clothes ?" rasped Bill. "And if I find him, why should I bring him back to you? To be tortured some more, I suppose ! I hope, for his own sake, that the kid's been run over or some- thing."
Katrine had thought she was cried out. But with ghastly clarity she saw a vision of Peter — very small and thin, in faded blue denim — lying in a dusty road, with blood on his chin. Blood on his chin as it had been that first day, when he bit his lower
98
lip to keep from sobbing . . . Before that vision she dissolved into grief. Her flood of tears were more, real, even, than the ones she had shed in the throes . of her previous hysteria.
"Don't bawl me out," she wept, "the Lord knows I feel bad enough."
Bill's voice softened. "But not as bad as you deserve to feel," he told her.
Katrine admitted it. "I know," she said. "I've treated Peter — and you, too, for that matter- — like dirt, and this is the pay-off. But get the kid back, and as God is my witness, I'll be a good mother to him."
Bill looked at her oddly. And then all at once he said something under his breath and took Katrine forcibly into his arms.
"Stop bawling, Katie," he said, "we'll find the kid. And you're darn tooting you'll be a good mother to him. You'll be a good mother if I have to marry you and beat sense and decency into your dumb head. Kiss me, honey, and then I'll bring the car around and we'll start !"
* * *
They hunted valiantly — two people at first filled with bravado. "A kid that size couldn't walk very far," they told each other hope- fully. They asked people all over Holly- wood — men in newsstands, policemen, loungers on corners — "Seen a kid with red hair and freckles and blue overalls?" But whereas such a child in any other place might stick out like a sore thumb, in Holly- wood— accustomed to its variety of make- up— Peter had been just a small tramp schooner that passed in the night. Nobody had seen him or — if they had seen him — they hadn't noticed or didn't remember.
Katrine and Bill Naughton started to search at about eight-thirty. Two hours later Katrine looked ten years older, and Bill's face was lean and gray.
At eleven-thirty they went to the police station. But a reporter, leaning on the Ser- geant's desk, whispered : "That's Katrine Mollineaux and her publicity man. Another gag !" And so, though the Sergeant was sympathetic, the matter was shelved in favor -of a pickpocket who had been caught red handed, with somebody's wallet!
Eleven-thirty was only a jump from mid- night, and midnight became the wee small hours. And Bill and Katrine, deserting Hol- lywood, were in the outlying districts. The bravado was gone now, and fear had
taken its place, and Katrine was remem- bering a certain child murderer who was still at large, and Bill was talking about kidnappers.
"Anyway," Bill said, "Peter isn't in a hospital. We've taken care of every hospital on the map." And Katrine said: "I wish to heaven he was in a hospital. Then I'd be able to see him — and touch him . . ."
They had called the Home of the Good Shepherds first off. They called it again, as the night progressed, but the matron was a little bored with it all.
"Adopted children sometimes run away when they're unhappy," she said, "but they seldom run to us . . ."
Bill hung up the receiver — at that — and curbed for five minutes without stopping.
And then — as they said in some of Katrine's own sub-titles — came dawn. And when she and Bill had given up hope, and were cruising down an isolated lane, they saw a heap of something that might have bsen old rags lying under a hedge, and — by some miracle — it was Peter. Unharmed, and fast asleep on the cold ground, with one hand tucked under a grimy, tear-stained cheek.
* * *
It was Katrine who reached him first. She jumped out of the car while it was still moving and had Peter in her arms before Bill could jam down his brakes. She realized how the child's ribs stuck out a full minute before she realized that this was the only time she had ever touched him — except for publicity purposes.
And then Peter woke with a little cry, and wrenched himself out of her grasp.
"No," he sobbed, "no, no, no . . ."
Katrine's face was as streaked and grimy as the little boy's, and for the same reason.
"But, Peter," she sobbed in turn, "we've been hunting for you all night."
The child was clear awake, now. "Why did you hunt for me ?" he asked. "You don't like me, an' you don't want me." He waited a second and gulped. "I didn't take any of the new clothes, not even the shoes . . I wore what I came in. I was going back . . ."
Katrine said, "You were a little sap." Her voice shook. "I never mean the half of what I say . . ." She hesitated — "You heard how your Uncle Bill told me off once, didn't you? Everybody knowrs I'm a great joker ..."
The child stared from Katrine to Bill. Bill moved close, and put out a hand.
"Yeah, feller," he said unsteadily, "Katie will have her fun. She didn't expect you to take her seriously, and beat it."
The little boy was on his feet. Katrine saw, with a shock, that he was indeed shoeless — that his toes were scratched and blue with the chill of the weather. All at once, and without meaning to, she started to scold. It was a case of tortured nerves searching for release.
"You ought to be spanked, Peter," she said. "You'll get your death of cold — and like as not give it to me, and then they'll have to hold up production on my film."
Bill breathed, "For crying out loud!" but Peter — with dawn making glorious the sky behind him — moved suddenly close to Katrine. He laid a hand involuntarily on her arm.
"But how could I give you a cold?" he asked, sniffling. "I never get that near to
you !"
Katrine was still on her knees. It made her face on a level with Peter's.
"Well, you will from now on," she raged. "Honest "to gosh, you make me furious !" Her arms went around him again, and held him tight. "I could kill you, Peter," she wept. "Kiss me, you little nitwit!"
Bill Naughton, with an inarticulate sound, put his arms around them both . . . The End
THE CUNEO PRESS, INC., U.S.A.
ustw to be a sej&ty
_said pretty little Barbara B. HERE'S WHAT MADGE EVANS REPLIED
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always use Lux Toilet Soap," says this charming screen star, and tells you why. It's when pores are choked that Cosmetic Skin develops — dullness, tiny blemishes, enlarged pores. Lux Toilet Soap's ACTIVE lather removes dust, dirt, stale cosmetics thoroughly from the pores. Keeps skin smooth, soft, appealing! Use cosmetics all you like! But use Lux Toilet Soap before you renew make-up — ALWAYS before you go to bed.
Screen Stars Use Lux Toilet Soap
The Smart
15c
Is Sex Slippir in Pictures?
ith Garbo t Hon.,
DARLING OF DIXIE! "Meanest when she's loviir most!"
WARNER BROS.
PRESENT
Half angel, half siren all woman! The screen's greatest actress comes to you in the hit picture of her career ... as the most exciting heroine who ever lived and loved in Dixie!
BETTE DAVIS
THE GREATEST ROMANCE OF THE SOUTH
HENRY FONDA • GEORGE BRENT • Margaret Lindsay • Donald Crisp • Fay Bainter
RICHARD CROMWELL • HENRY O'NEILL • SPRING BYINGTON
A WILLIAM WYLER PRODUCTION
Screen Play by Clements Ripley, Abem Finltel and John Huston
• JOHN LITEL
From the Play by Owen Davis, Sr. Music by Max Steiner
y#ur mthar &/fy0U—
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A GAY, friendly smile, revealing sparkling teeth, is so appealing. The girl who has a lovely smile can't help but win! Tragic that so many girls lose this charm through carelessness — tragic that they neglect the warning of "pink tooth brush" — let teeth that are lustreless and dull actually spoil their awn good looks!
If you've seen a tinge of "pink," see your dentist. It may be nothing serious, but let him decide. Usually, however,
he'll tell you that it's only another case of gums deprived of exercise by our modern, creamy foods. And, as so many dentists do, he'll probably advise more work and resistance — the healthful stimulation of Ipana and massage.
For Ipana, with massage, is especially designed to help keep gums healthy, as well as keep teeth sparkling. Every time you brush your teeth, massage a little extra Ipana into your gums. As circulation in the gum tissues increases,
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Change to Ipana and massage — and change today! Let this very practical dental health routine help you to have firmer gums, brighter teeth— a lovelier smile!
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SCREENLAND
3
^BOLGER PIDGEON ^CARRILLO £«£4EBSEN
Directed by ROBERT Z. LEONARD • A ROBERT Z. LEONARD Production Produced by WILLIAM ANTHONY McGUIRE • An M-G-M Picture
Based on the play by David Belasco
ger s °P
SCREENLAND
©C1B 3.688 72
MAR -4 1938
The Smart Screen
azine
Delight Evans, Editor
Elizabeth Wilson, Western Representative
Tom Kennedy, Assistant Editor
Frank J. Carroll, Art Director
Cruelty to Movie Stars
Cruelty to cinema kings and queens! Seems incredible, doesn't it? But we have unearthed facts to prove that some of the highest-paid, most pam- pered celebrities of the screen have to submit to treatment which extras would resent! Fantastic? Perhaps — but it's true! And paradoxically it is those who have made their fabulous success possible who are to blame for this treatment of the movie greats!
i Yes, some of the stars themselves ( have complained to us. That's what ; makes our story in the next issue so important. Quoting one big star: "It's an outrage, and I refuse to submit to it any longer!" You'll want to read this feature to find out just what con- stitutes cruelty to these much-envied, high-incomed film darlings. So don't miss Screenland for May, on sale April 6th.
April, 1938 Vol. XXXVI. No. 6
EVERY STORY A FEATURE!
The Editor's Page Delight Evans
Even Snakes Have Charm. Fiction Frederick Stowers
Screenland Snoop Liza
English Broken Here! Linn Lambert
The Rise of Regan. Phil Regan Whitney Williams
Is Sex Slipping in Pictures? Benjamin DeCasseres
With Garbo at Home Hettie Grimstead
Joan, Dick & Co. Joan Blondell and Dick Powell. ...Elizabeth Wilson
Secrets of Hollywood's Ace Directors Eileen Creelman
Bashful Baker, Kenny Baker Sidney Valentine
Beauty With the Blues. Dorothy Lamour Mabel Hunt
Reviews of the Best Pictures Delight Evans
What Should Claire Trevor Do? Malcolm H. Oettinger
Screenland Glamor School. Edited by Kay Francis.. 56
Hollywood Fashions 58
Stooge to a Wooden Wit. Edgar Bergen-Charlie McCarthy
Gene Schrott
"Collaborate With a Camera." Dolores Del Rio Ruth Tildesley
17 18 20 22 25 26 28 30 32 34 51 52 54
60 62
SPECIAL ART SECTION:
Fifteen — and Famous! Deanna Durbin. A Home of His Own. Tyrone Power. The Lane Sisters' Success Story Told in Pictures. The Women in His (Movie) Life! Gary Cooper — Claudette Colbert, Sigrid Gurie. So Hollywood Men are the World's Worst Dressers? Candid or Candied? Clark Gable. Starlets in Paradise. Jane Bryan and Mary Maguire. Quick, the Candid Camera! The Most Beautiful Still of the Month.
DEPARTMENTS:
Honor Page 6
Tagging the Talkies. Short Reviews 8
Screenland's Crossword Puzzle Alma Talley 10
Inside the Stars' Homes. Constance Bennett Betty Boone 12
Salutes and Snubs. Letters from Readers 14
Here's Hollywood. Screen News Weston East 64
Eyes on the Stars. Beauty Article .....Courtenay Marvin 68
Yours for Loveliness 69
Cover Portrait of Irene Dunne by Marland Stone.
Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President, J. S. MacD'ermott, Vice President; J. Superior, Secretary and Treasurer. Advertising Offices: 45 West 45th St., New York; 410 North Michigan Avenue, Chicago; 530 W. Sixth St., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us five weeks in advance of the next issue. Be sure^to give both the old and new address. Entered as second-class matter Novem- ber 30, 1923, at the Post Office at New York, N. Y. under the act of March 3, UJ79. Additional entry at Chicago, Illinois.
Copyright 1938 by Scfeenland Magazine, Inc. Member Audit Bureau of Circulations. Printed in the U. S. A.
5
Sonja is sweeping the country in person as her third picture, "Happy Landing," plays the na- tion's screens. Salute the Number One Box-Office Girl with us!
SCREENLAND Honor Page
AS THE second Scandinavian to make screen history, Sonja / \ Henie with only three motion pictures to her credit is already more popular than Garbo ever was. Sonja appeals alike to the sophisticates and the sentimentalists. Piquant poetry in motion, she seems to love to skate as no actress has ever seemed to enjoy acting. Sonja personifies youth, gaiety, health, good humor. She can play her movie parts with charm and capability so that the intervals between her ice ballets do not seem too long. But when she starts to skate, she captures for the screen the miracle of effortless grace, as Garbo captures tragic beauty ; and so in chalking up the great names_ of the cinema we must say: "Including the Scandinavian — and how."
J
America skates right after Sonja Henie! She is credited with reviving the passion- ate interest in ice exercise which has swept America. On this page, pictures of Sonja in action; and, at left above, with Don Ameche in "Happy Landing."
6
He thought he knew how to tame a Frau, But Gary's in the Doghouse now... i YOU BET..." (^OuMl
RICA'S l^NG ,OVE 1EAW IN ™E COMEDY HIT OF 19381
Adolph Zukor presents
CLAUDETTE COLBERT- GARY COOPER "BLUEBEARD'S EIGHTH WIFE"
EDWARD EVERETT HORTON • DAVID NIVEN • Elizabeth Patterson • Herman b.ng Screen Play by Charles Bracket! and Billy Wilder • A Paramount Picture
Based on the Play by Alfred Savoir • English Play Adaptation by Charlton Andrews
Produced and Directed by ERNST LUBITSCH
SCREENLAND
7
Delightfully contrived English comedy with Merle Oberon, almost too distractingly glamorous in her Technicolor glory as the flirtatious sir! who impersonates a noto- rious woman to lead on a handsome bar- rister, Laurence Olivier. The play, lor all its saucy flavor and individual scenes of bubbling' humor, is too long. But Merle's charm and infectious gaiety, and a comedy part bv Ralph Richardson are a delight.
The Hall- Johnson Choir sings some well- loved Stephen Foster compositions, and there the connection with the title ends. The play is a homey sort of drama, very much on the sentimental side. Grant Richards is the Kentucky boy who deserts a girl from home, Evelyn Venable, for a city siren, only to learn by a bitter expe- rience that true happiness for him is with Evelyn. Well-acted standard' program fare.
A good show, this story-book adventure in Hong Kong, with a clever — oh, very- Chinese war lord matching wits and lethal lore with an English agent. It has color, mystery laid on thickly as befits an out- and-out melodrama of the sort. It also pre- sents two swell actors: Inkijinoff, Russian character star, as the clever Chinese ; and Griffith Jones, young juvenile you'll hear from again, as "the hero. It's a good show.
Not much action, but splendid character portrayals and an adroitly plotted climax that gives a final impression of satisfactory entertainment. Clive Brook is an army of- ficer falsely accused of cheating at cards. Slander drives him to the brink of disaster. Then a clever job of cross-questioning in court saves him — also it saves the play. Brook, Ann Todd. Margaretta Scott and a judiciously selected cast enact the story.
| AGGING
the
TALKIES
Delight Evans' Reviews on Pages 52-53
Exciting action in war-torn China, with George Sanders and Dolores Del Rio con- tinuing the attractive team-work they began in "Lancer Spy." News shots adroitly matched into the plot action make for a vivid and realistic melodrama of adventur- ers, American and European, as well as Oriental, with a love romance filling out the pattern. June Lang and Dick Baldwin provide a supplementary romance. Suspense.
The accent is on comedy, with a sen- sational melodramatic device — kidnapping — motivating a swift pace of sequences in which an actress gets back into the lime- light, following a series of poor plays, by a publicity stunt. Gladys George again registers, though neither she nor Franchot Tone have especially good material here. Frank Morgan, Ted Healy, Mickey Rooney, and especially Virginia Weidler, stand out.
Here's fun. It .gives you Bob Burns as a yokel who composes songs in his sleep, and Jack Oakie, Tin Pan Alley has-been, getting rich, swiping the tunes Bob never knows he creates. Swell racket for Jack — until Bob gets insomnia. Oakie and Bob are aces ; with Helen Broderick, Milton Berle, Kenny Baker, Ann Miller and others excellent. Slap-happy farce, and a laugh buy that's a bargain even without Bingo.
Wayne Morris back in the fight game. This is a more modest effort, from pro- duction and story standpoint, than young Mr. Morris' two previous pictures, but ii is a pleasant romance, with Wayne winning much needed money by becoming a priz. fighter. He refuses, at first, to fight Bar- ton McLane, who befriended him, and whose sister, June Travis, he loves. But, forced to, he loses the fight but wins June
A giddy concoction of "mistaken identity*' farce that will keep you giggling for tin- run of the film. Frank Morgan, rich wid- ower; Robert Young, impoverished writer: Florence Rice, Morgan's daughter; Mary Astor, adventuress who almost captures the rich Mr. Morgan ; Edna May Oliver, housekeeper who keeps Morgan out of trouble, and Reginald Owen, valet to Mor- gan, make it thoroughly amusing nonsense.
Mystery in Paris. The old stage favorite becomes effective melodrama as played here by Anton Walbrook and Ruth Chat- terton. It is stagey but telling romance of a thief who tries to sacrifice himself when a girl entrusted to him is charged with mur- der. A rich coquette, in love with him, then takes the stand and "tells all" about his rendezvous with her, saving him against his will. Walbrook and Chatterton excellent.
Claire Trevor's versatile acting ability on display in a film most people will thoroughly enjoy. It is a study of the lives of a group of chorus girls, who all within one year, meet their several Fates in the form of romance, tragedy, and career opportunity. Phyllis Brooks. Leah Ray, Dixie Dunbar, Lynn Bari, Michael Whalen, Thomas Beck and many others make up an attractive cast. Entertaining.
8
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SCREENLAND
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NAME •
^ADDRESS Shade—- j
SCREENLAND'S
Crossword Puzzle
By Alma Talley
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78 |
79 |
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ACROSS 1. He stars in "Damsel in
Distress" 5. Co-star of "A Star Is Born" 10. He plays Marco Polo
14. Co-star in "Mannequin"
15. Signs foretelling the future
16. Medleys 18. Preferably 20. To entreat
22. Bumpkin
23. To
24. Is indebted to
26. She's Mrs. Al Jolson
28. Continent (abbrev.)
29. To piece out
30. Star of "The Divorce of Lady
X"
32. To act
33. A breakfast dish
34. A cupola
36. Enough (poetic) 38. Peruvian plant 40. Part of to be
42. "Three Smart — ."withDeanna
Durbin 44. Flap or tag 46. On the ocean 49. Co-star in "Second
Honeymoon" 51. Star's secretary in "Hollywood
Hotel"
53. Needy
54. An insect
56. Pompous way of walking
57. Myself
58. To inquire
60. Numbered cubes for gambling 62. Pyre
64. To offer, as at an auction
66. Public notice (abbrev.)
68. Colbert's ex, now married to
Sally Blane 70. Cereal
73. "I Met Him — Paris," with
Colbert
74. He's married to Bebe Daniels ''(i. Falsifier
77, Agent for mellowing whiskey
78. Roman emperor
80. She returns to the screen as
"Marie Antoinette" 82. To state
84. Co-star of "Conquest" 86. Doubles
88. Weird
89. A tryout for movie roles
90. Intelligence
91. Thomas Hardy heroine —
famous Pickford role
DOWN
1. He's featured in "Rosalie"
2. Deserted, as a political party
3. Repetition of sound
4. Hollywood blondes use this on
their hair
5. Hepburn's r61e in "Little
Women
6. Units of electrical current
7. Singing star of "Rosalie"
8. Compass point (abbrev.)
9. Former Russian
ruler
10. " — West, Young
Man," a movie
11. Partner
12. River, in Spanisn
13. He's featured in
"Josette"
14. " — Confession."
with Carole
Lombard 17. Male deer 19. The first Rogers-
Astaire co-starring
film
21. Bomb that fails to
explode 25. You and I 27. Cat-call, hoot of
derision
30. To leave out
31. Negative 33. Facility
35. Mythical monsters 37. Sail lightly through the air
39. Menu
40. High mountain
41. What a cow would say in a talkie
43. To go ashore
45. She played "Stella Dallas"
47. A shade tree
48. Malt liquor 50. Street
52. Downfall
55. A metal
56. "Continued next week" films 59. Star of "First Lady"
61. Co-star of "Prisoner of Zcnda"
63. Scar in "Having Wonderful
Time"
64. His new one is "Dr. Rhythm"
65. Sluggish, limp
67. The good brother in "In Old
Chicago" 69. Pa's wife
71. Shield, protection
72. A woody plant
74. Parcels of land
75. Inclines the head 77. On the sheltered side 79. Female sandpiper 81. To regret
83. To allow
85. "A Day — The Races" 87. Compass point (abbrev.)
Answer to Last Month's Puzzle
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10
SCREENLAND
DAVID COPPER FIELD
NOTHING SACRED
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The Best Of David O. Selznick's 10 Best Pictures
Selznick International presents MARK TWAIN'S BELOVED CLASSIC
* THE
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TbM Sawyer
IN TECHNICOLOR
DIRECTED BY NORMAN TAUROG RELEASED THRU UNITED ARTISTS
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DANCING LADY * DINNER AT EIGHT
SCREENLAND
*
11
nside the Stars' Homes
How the screen's smart so- phisticate, Constance Ben- nett, entertains — told ex- clusively to us by the star Hollywood hostess herself
OUT in Holmby Hills, in a French- Normandy house half hidden from the winding boulevard by a tall cedar- wood hedge, lives Constance Bennett. The star supervised the decoration of the house and selected the furniture herself, which may be the reason it is a perfect back- ground for the Bennett beauty.
There are crystal chandeliers, dazzling white walls, immaculate off-white carpets and gold-colored draperies. There is a powder room in black and white that is nearly all mirrors, so that you can stand before the daintily equipped dressing-table and see yourself right-side-up and upside- down, sidewise, back, and front! You have to be a Constance Bennett to fully ap- preciate this strain of your personal appear- ance.
The largest of the specially woven off- white rugs is in the long gallery that opens through French windows onto the bricked terrace beyond which is the green lawn and the blue tiled swimming pool. In case you have been bewildered by the powder room mirrors, you may receive a settling shoek by glancing into one of the twin metal-backed mirrors in the gallery, so old that the reflection is engagingly distorted.
"I picked them up in England," observed my hostess. "They look as if they should have a history, but unfortunately I don't
know what it is. You see, it took me three months to find the things I wanted for the house, and sometimes I looked for weeks for a single piece. Again, Fd pick up a lovely thing in five minutes, if I happened on exactly what I liked."
We moved on to the living room, an oblong carpeted in the same special weave, and dominated by a life-size portrait of Constance and her adopted son Peter, painted by Tino Costa. My hostess seated
Posed especially for Screenland is the intimate glimpse of Constance, at top of page, pouring tea for her guests. Above, the hostess entertains.
with
ROLAND YOUNG JACK WHITING BARRY MACKAY
Directed by SONNIE HALE • Music & Lyrics by ARTHUR JOHNSTON and MAURICE SIGLER
^Troduction
12
Screenland
herself on one of the dainty French sofas facing each other across the hearth opposite the portrait, and the amazing likeness of the unidealized painting was apparent. The girl inthe portrait is a definite sort of per- son, with head held high.
"I don't like monotones," she observed, "so I didn't do any two rooms alike. I selected the fabrics myself and gave them to the upholsterers with careful instruc- tions. In this room I used apricot velvet for those two chairs, powder blue for those, and that soft green there. The piano is an old one, picked up at an auction, but A. Vic Durando decorated it. He did the val- ance above the window, too, in the same delicate Chinese figures."
The screen is decorated with pale rose and blue flowers, glittering butterflies, birds and springlike twigs. The murals, five of them, are done in pastels, and make an effective background for the dark shining-
Above, the playroom in Constance Bennett's home, done in knotty pine, with tables for games, sporting prints on the wall. At left, exterior view of the Bennett home, a French- Normandy house in Holmby Hills.
dining-room furniture, and the elaborate display of 17th Century silverware.
"I like to give dinners. It's my favorite mode of entertaining," commented Con- stance. "I plan the sort of menu that is perfectly balanced, so that no one feels un- comfortable afterwards because he has eaten too many starches, or has a sensation of hunger because the dishes aren't satisfying.
"I think men prefer foods that are not too dainty and not too difficult to eat. Women are easily pleased, for, in Holly- (Plcase turn to page 71)
nlir movie
o" says t*^ , pictures r0flianCf Grand ^^Jh the cold T ds aS important; Tbo« , Ueep "ba? roughea a g«* s *j scenes.
•OFT MOO* HA**
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Name .
Street
City
(PLEASE PRINT)
.State-
1-1
HER MAJESTY, GARBO
Here it is ! A Salute to the greatest actress the screen has ever known. Long after today's favorites have faded into ob- livion, her name will live on — a symbol of screen art. My homage to the queen of them all — Garbo.
Kathryn K. Mastros,
Omaha, Nebr.
HE-MEN AND A HONEY
When you cut the "society stuff" and get into common everyday English, like Spencer Tracy and Pat O'Brien, then you get something. And when you talk of cut- ting a pretty picture, you're mentioning Sonja "Skates" Henie. Sonja may look cool on that ice, but she's hot stuff as a theatre attraction. p&t Purv;Sj
Spokane, Wash.
COMPOSITE GLAMOR
For a composite that would capture the beauty of Hollywood beauties, I'd choose:
For Figures : Dorothy Lamour, Joan Crawford, Rosemary Lane, Bette Davis. For Hair-dress : Joan Crawford, Claudette Colbert, Alice Faye ("In Old Chicago"), Anita Louise. For Eyes : Virginia Bruce, Dorothy Lamour, Rosalind Russell, Loretta Young. For Charm : Myrna Loy, Joan Crawford, Virginia Bruce, Kay Francis. For Style : Myrna Loy, Joan Crawford, Bette Davis, Deanna Durbin, Joan Bennett, Rosemary Lane, Kay Francis.
Bertha Berry, Detroit, Mich.
"THE LITTLE GUY" IS GREAT
Here's a Salute to Tom Brown, "the little guy" in "Navy Blue and Gold." Tom
SCREENLAND
Tom Brown, young (he's 25) old- timer, lights up as he looks ahead to the bigger opportunities letter writers are asking Hollywood to give him.
can act — and also play mighty good screen football. I have seen him play football in many pictures, and do a good job of it always. How's about a vote to elect Tom for better parts in finer films, Hollywood?
Margaret Sterritt, Staunton, Va.
AMERICA'S SWEETHEART, JR.
Here's wishing Deanna Durbin the best o'luck in her newest picture. A swell star, and a girl who is going places. I have seen Deanna in all her pictures and she is, for sure, another America's Sweetheart.
Ernest Ray, Middleboro, Mass.
HANS AND HENIE
What I wonder is : Why doesn't Holly- wood produce "Hans Brinker, or The Silver Skates," with Gene Raymond as Hans and Sonja Henie — of course — as the feminine lead It would be a beautiful pic- ture, especially if it were done in color ;
YOU'RE TELLING HOLLYWOOD!
Your ideas about pictures or picture stars really mean something when you put them on paper and send them to this department — the real voice of the people Hollywood must please, or else. So make up your mind to say what you think, and become a guest star-re- porter by sending your thoughts to us in a letter to the Solutes and Snubs columns. All your letters are welcome. Address them to: Letter Dept., SCREEN LAND, 45 West 45th St., New York, N. Y.
IMPORTED SIMULATED
RING
15c
DIAMOND
To introduce HOLLYWOOD'S Newest ORIZABA Diamond re- productions, Dazzling, Brilliant, full of Blazing Fire (worn by Movie Stare) we will send 1/2 Kt. simulated Brazilian DIAMOND MOUNTED IN SOLID GOLD effect ring as illustrated, (looks like $150. gem) for 15c sent postpaid. Money back if not del ifjhted. Agents Wanted. FIELD'S DIAMOND CO. — Dept. SU-510 S. Hill St., Los Angeles, Calif. (2for25c)
and both Sonja and Gene would be per- fectly cast.
Ruth King, Cranford, N. J.
CALLING GEORGE RAFT
Many pictures and many stars, but in my opinion none can equal George Raft. So what? So more pictures. It would be like the good old times if George Raft films were more frequent. And I'm hoping that happens.
Stella Silko, Chicago, 111.
OOP! AN ARGUMENT
I want to give three loud rousing cheers for the most refreshing bit of fun these optics have witnessed in a twelvemonth. Its name is "It's Love I'm After." So bouquets, and don't spare the orchids, to Leslie Howard, Bette Davis, Eric Blore, Olivia de Havilland, and Bonita Granville.
N. Maisel, Brooklyn, N. Y.
When I saw "It's Love I'm After" I was very much disappointed. It's a shame to sacrifice two of drama's close friends, Leslie Howard and Bette Davis, to such farce. What could Warner Brothers have been thinking of when they made that
picture? .
Laurence Wiggin,
Tilton, N. H.
GLAD YOU LIKED IT
Screenland deserves a vote of thanks for the article on the MacDonald-Eddy "Feud." Personally I couldn't believe that two such grand people as these stars would stoop to anvthing so picayune.
Katharine Smith,
Reading, Pa.
FRANKIE DARRO CHAMPION
Frankie Darro's performances in such pictures as "The Mayor of Hell," "Wild Boys of the Road" and "Three Kids and a Queen" will linger long in my memory. What an actor, that boy! Yet in "Thor- oughbreds Don't Cry" Frankie's talents were shunted into the background, and the spotlight was on Mickey Rooney. Mickey is good, but that's no reason to subordinate Frankie Darro.
Elsie Robetson, Hartford, Conn.
'RAY FOR THE McCREAS
Mr. and Mrs. Joel McCrea happen to be my favorite actor and actress. Joel is natural in every part he plays; an actor who can put over a character and not make a great fuss about it. His beautiful wife, Frances Dee, is one of the screen's most charming actresses.
Evelyn M. Shinn, Huntington Park, Calif.
HOW MANY WILL AGREE?
I think many girls will agree with me that Edward Everett Horton is* no longer the type to play the lover, especially oppo- site a young girl as in "Oh, Doctor." He is a good actor, but leave out the Romeo part, unless the Juliet is an older woman.
Betty Nelson, White Plains, N. Y.
LA ANNABELLA
Here's a toast to one of the best actresses on the screen — Annabella. This charming girl has something entirely different and refreshing about her ; personality, life, beauty and the ability to act — all of which I have seen delightfully demonstrated in her pictures from England and France.
Pamela McDougall. Ottawa. Canada
ARE YOU THE TYPE THAT'S
Let one of these lO new face pow- der colors bring out the dancing light in your eyes — breathe new life, new radiance into your skin !
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But to do all this, and more, you must find your one and only lucky color. That's why I want you to try all ten of my glorifying new face powder shades, .so you will find the one that can "do things" for you.
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may fail you horribly when you put it on. find your one and only coforJ
I want you to see with your own eyes how your lucky color can bring out your best points — help bring you your full measure of success. That's why I offer to send you all ten of Lady Esther's flattering face powder shades free and postpaid. They are my gift to you.
When they arrive, be sure to try all ten colors. The very one you might think least flattering may be the only color that can un- veil the dancing light in your hair and eyes . . . the one shade that can make your heart sing with happiness. That's why I hope you will send me the coupon now.
(41) |
(You can paste this on a penny postcard) Lady Esther, 7162 West 65th Street, Chicago, Illinois
I want to find my "lucky" shade of face powder. Please send me your 10 new shades free and postpaid, also a tube of your Four Purpose Face Cream.
Name
Address _
City-
State .
L.
(If you live in Canada, write Lady Esther, Toronto, Ont. )
Screenland
15
Tie's so perfectly proper . . , She's so properly furious . . .
YOU'LL BE SO DELIGHTED . . PERFECTLY DELIGHTFUL TOGETHER!
What do you think happens?... when a butler with un- butler- like ambitions serves a lady who thinks he isn't entitled to. . .ambitions!
Bill at his debonair best . . . and the girl whose breath- taking beauty and dramatic fire you merely glimpsed in "Wings of the Morning". . . now, in her first American- made picture, the most glam- orously exciting personality ever to grace the screen!
ANNABELLA
<7L Baroness a^iiiv Sutler
A 20tb Century -lox Picture with HELEN WESTLEY • HENRY STEPHENSON JOSEPH SCHILDKRAUT • NIGEL BRUCE J. EDWARD BROMBERG • LYNN BARI
The year's gayest and brightest romantic-comedy sensation!
Directed by Walter Lang
Associate Producer Raymond Griffith • Screen Play by Sam Hellman, Lamar Trotti and Kathryn Scola Based on a play by Ladislaus Bus-Fekete
Darryl F. Zanuck In Charge of Production .
16
SCREENLAND
An O pen Letter
to
Louise -Fazenda
T*VEAR LOUISE: U Here's a cheer for the best sport in pictures.
Now don't look all around Hollywood to see who I mean. Just glance into your mirror — for once. (You don't do that very often, thereby proving your- self the most unique actress in movies.) You'll find yourself face to face with the best sport, one of the finest troupers, and the queen of common sense in cinema circles. And of course you won't believe it.
After years of watching movie stars rising, falling, skipping and skidding and losing balance generally, I have come to the conclusion that you are the one and only Hollywood player to have kept, through those years, your equilibrium, your sense of humor, and your job — all at once. Mary Pickford has maintained the first two, but not the last. Gorgeous Gloria Swanson — let's skip it. Others, who started with you when the screen was young, are too sad stories even to think about. You, though, have kept your chin up in the face of custard pies, talking pictures, and glamor cycles; since the old Mack Sennett days you've been the Patsy of pictures, the butt of slapsticks, the target for tomatoes, the recipient of rude raspberries — and you've never lost a laugh or a friend. What other screen personage can match that record?
And today — you're thrilled at playing the part of a lady blacksmith in "Swing Your Lady." Now the role of a lady blacksmith is not every woman's idea of fun. But it seems to be yours. How you wanted that part! All through the casting of the picture you listened wistfully to the plans for it — for you happen to be
Louise Fazenda is news again, since her hit in "Swing Your Lady" — that's Louise wrestling with Nat Pendleton in scene at far left. Top, the real Fazenda. Left, remember Louise as the Patsy of the old Mack Sennett comedies?
married to an important executive at the studio which produced it. But ask for it? Oh, no. Hope for it? That was different. And when you got it you were happier than a new ingenue from Broadway at being cast as Cleopatra complete with a new set of over-size eyelashes and everything. What started as one of those "Class B" pictures sneaked up into the hit class and you found yourself newly famous and sought-after and on a personal ap- pearance tour. The fact that your naturally attractive personality was submerged in the brawn and boister- ousness of that hefty part didn't bother you at all. You learned to take comedy falls in the old days and you've never forgotten. Now on these personal appearances you are facing many picture-goers who don't remem- ber farther back than the first talkie; but they know what they like and it's still Fazenda. Perhaps it's be- cause after years of success in the world's most lux- urious artistic city you are still down-to-earth. Instead of a mansion you live on a ranch. You're married to a producer — but you still take tests for a part. Your great admiration is still for troupers like Allen Jenkins and Frank McHugh. In a city of illusion, you're still real. And when you're asked by big-city reporters, "To what do you attribute your years of continuous success on the screen?" you reply humbly, "I'm just lucky." Long may you wrestle.
1?
Unpredictable Hollywood meets its match in a girl whose untamed spirit flames into a halo of glamor. Begin- ning a new serial that captures the feverish excitement and violent con- trasts of life behind studio walls
IS
By Frederick Stowers
PART I
THE small, black haired, dark skinned electrician was seated in the Barrett chair, eating his lunch. An un- emotional, matter-of-fact fel- low, he barely glanced up as Marcia Court entered the stage. This was little less than human.
Even in a business where a beautiful woman is no novelty Marcia rated considerably more than a casual look. She was a brassy blonde with an excellent figure. But instead of having womanly grace and the charm of culture, her movements were feline, like the aggressive tread of a bold, predatory animal. She somehow conveyed the same menace and defiance with her body that she did with her features.
Marcia wasn't exactly beautiful along conventional lines, perhaps, but she was as subtly alluring as a V ene- tian blind, and there was a strange fascination in watch- ing her -long lidded, ice blue eyes, incredibly cold, her sullen mouth with its drooping corners, and the defiant set of her well shaped head as she let her faintly con- temptuous glance wander over the set.
This motion picture set consisted of a grand staircase which rose majestically from the center of the stage in a long sweep of stairs to a landing fifteen feet above. On either side of the landing was an angled archway, these archways presumably leading to an upper floor.
At the landing, on the backing wall, there was a huge mirror, on either side of which were marble pedestals with matched vases filled with roses. At the upper land- ing the stairs were ten feet in width. As they descended they broadened out, following the ever widening fan of the double balustrades, ending at stage level with two
"Please, Walter," Anne said. "She didn't mean to be rude." Mar- cia's eyes blazed. "Oh, yes, I did!" she said harshly. ''And don't trouble yourself to intercede for
large newels, each newel surmounted with a bronze statuette. The newels were spaced twenty feet apart.
This staircase set was the kind for which the motion picture studios were famous, and down which all stars fondly made an entrance in at least one picture at some time or another. The set was dressed and ready to shoot, in that it had been swept clean and the staircase and stage were free from any obstruction. A sound camera was set up and sun arcs and broads were already focused on the stairway, but were not now lighted. The stage was dark with the exception of a single utility lamp — a two hundred watt globe mounted atop an eight foot upright pipe, which was imbedded in (Please turn to page 94)
19
J
SCREENLAND
When million dollar movie stars act like babies, it means they've gone game-mad. Come along to topflight parties with our Snoop and see what goes on
By The Snoop
(Otherwise Liza)
Sn oop Says:
Hollywood is in its Second Childhood !
Stars even play The Game between scenes at the studios. Here's Douglas Fairbanks, Jr., left, acting out "What light through yonder window breaks?" while Irene Dunne, director Tay Gar- nett, and playwright Allan Scott try to guess, on the set of "Joy of Loving." Below, Joan Blondell is acting "Give me liberty or give me death" while Ruth Puresley, Joan's pal, sister Gloria Blondell, and Marelc Windheim look on.
BEING a collector of sorts — and I have collected quite a few things in my life besides dust — I once went in for collecting old phonograph records from second-hand stores. Among my graphophonia was a little number called "When Grown Up Ladies Act Like Babies" which I picked up in the Bronx and which had a gay lilting tune with such sly innuendo that I am certain it must have been considered very naughty in its day. I used to play it by the hour for anyone who would drop in for a snort of bath-tub gin with an orange juice chaser.
Now I hadn't thought of my little pet, which was eventually crushed by a guest who sat down too quickly, for years, until one night last winter I walked into the rather formal Bel-Air home of Edith and Bill Goetz — he's a top-flight production executive — and saw very nicely dressed and seemingly intelligent people screaming and making faces at other people who were assuming the most amazing postures. To my utter bafflement I saw Claudette Colbert sucking her thumb greedily as she swayed from side to side, Kay Francis growling from under the piano, Marlene Dietrich all unmindful of her lame and her emeralds crawling on her stomach, and
20
dignified Norma Shearer galloping about on an imag- inary horse and grinning like a prize idiot.
"Have they gone nuts?" I asked. "Yes — and no," said Gary Cooper. "They're playing 'The Game.' " (I later discovered that Claudette was doing "On the good ship Lollypop," Kay Francis was acting out "Androcles and the Lion," and Marlene Dietrich was giving her all to "The early bird catches the worm," while Norma Shearer acted with fervor "Buck Benny rides again.")
Well, when I saw these adult movie stars cutting up capers like kiddies from the kindergarten I immediately grabbed "When Grown Up Ladies Act Like Babies" off one of the many vacant shelves of what I optimistically call my mind and presented it as the theme song of Game-Mad Hollywood. I'm sure Mr. Cole Porter couldn't do better.
Hollywood hasn't been so cute and childish since Mary Pickford tossed her pretty curls right in Amer- ica's face. And that was a long time ago. Since then Hollywood has grown up and pottered about in such adult things as societies for pro-this and anti-that, guilds and strikes, Gaugin and Schiaparelli and Ballet Russe. But the softening, it seems, has set in, and
Edward Arnold and John McCormack, noted singer, perform "The birdies that sing in the spring, tra-la" at a Hollywood party, left. That's Ernst Lubitsch, above, cutting capers at the Frank Chapmans' (Gladys Swarth- out) cocktail party. From left to right: John Boles, Robert Montgomery, Lubitsch, Gladys and her husband, Frank Chapman.
Hollywood today is definitely in the throes of its second childhood. And what a Baby Snooks it is !
"The Game" is the cause of it all. Out of the East it came shagging last winter, close on the heels of "The Big Apple," and since then there has been no rest for the weary, and nothing but sheer torture for the shy. Now you'd think, wouldn't you, that movie stars who have to act from nine to six every day at the studio in front of a camera would be pretty fed up with acting by the time the clay's work is over, and would be perfectly content to swallow a spoonful of puree of spinach and fall into bed. That used to be the case, but no longer. Now they can hardly wait to get home, take their make-up off, and start acting all over again for that cursed "Game." In fact directors are complaining bitterly that their stars take far more interest in their acting in the Countess di Frasso's drawing-room than they do on Stage 9.
Time was when I rather looked forward to a dinner in a star's home, a leisurely, lovely dinner with nothing more upsetting than the usual clash over whether Miriam Hopkins or Katharine Hepburn should play Scarlclt 'O'Hara, followed by a gentle game of bridge or ping pong, or if worst comes to worst, conversation. And home in bed by twelve. But, alas, that was ante-"Game" days. Apostles of "The Game" think nothing of staying up until five in the morning. And rare indeed is the eve- ning, or rather morning, that I leave on speaking terms with anyone in the part}- — and certainly not with the star who has branded my unique type of acting as "lousy." Well then, how would you do "The Rise and Fall of Susan Lennox" ?
If you are planning a trip to Hollywood any time soon I advise you to get a general idea of "The Game," else you'll be the Alice Adams of Beverly Hills. In case you have lived a sheltered life and never had the Spanish Inquisition' thrust down your throat, "The Game" goes something like this, though of course the rules change with the various groups of players. Two or more teams are chosen, which may be composed of from three to ten people each, and each team has a captain whose chief duty it is to give out the {Please turn to page 77)
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Accents come with the imported glamor every Hollywood studio now boasts. We give you gra glimpses of stars who add exotic color to film cosmopolitan complexion
roKen
ere!
By Linn Lambert
BEING a quaint Bostonian, with what was fondly believed to be a fairly adequate vocabulary, doesn't qualify one to be a magazine writer in Hollywood any more. One must now speak all languages, including the Scandinavian and double-talk, to cope with the influx of foreign talent, which is keep- ing Hollywood in that w.k. state of flux. Not being too bright to begin with, and hav- ing lost what little perspec- tive I had, from living too close to Hollywood Boule- vard, the Situation had to creep up on me and come right into my parlor, before I discovered that the Cinema had gone Continental.
When I found myself fran- tically dialling for a friend who spoke Czech, in order to make an impromptu cocktail party more comfortable for my guests, came the Realiza- tion that perhaps there was some significance to some- thing. Then, when I began to hear people at cozy neighbor- hood snack bars pondering why all gin-slings over the third were not on the house as they were at Raffles', I be- came curious as to the reason behind this immigration de- luxe. After much cogitation, I herewith submit my find- ings:
European plan : We have Lull Deste, commonly called "Dynamite Deste," because she likes to use her days off to dynamite trees and stuff on her ranch. A Viennese Venus who "Married An
Danielle Darrieux, from France, above; a bit self-conscious about her English in casual conversation, but letter-perfect before the cam- eras. Left, from Vienna comes Rose Stradner, whose Hollywood debut was with Edward G. Robinson in "The Last Gangster."
Artist" — John Boles, cinema- tically speaking, of course. Look her over yourself — Cohn of Columbia brought her in.
Paramount gives us Isa Miranda and Franciska Gaal. Eesa came into pictures the hard way, via Italy. Modelling, stenography, extra work, and so on. But she arrived in Hol- lywood with an entourage and many trunks, plus an enorm- ous automobile. A brown-eyed blonde, and a very tasty mor- sel, indeed.
Franciska is another bit of Hungary. You'll be able to judge her for yourself when you see her in "The Buc- caneer." A fat assignment for her first Hollywood role, but she deserves it, as you'll agree. Resembling Hayes, Pickford, and Bergner, she's individual enough withal to remain just
22
that Gaal girl, and about as individualistic as they come.
By now, you must know that Universale mite for the movies melange is Danielle Darrieux. If you don't, you've been living on one of those Outer Islands. For her pic- tures are everywhere, and in each one she looks different. She has the most mobile and photogenic face these prying eyes have ever seen. Small mouth and usual eyes one moment. Large, gamine mouth and wide-open doll's eyes the next. She believes her eyes are not attractive, and insists upon making them up herself, but I don't think you'll agreee with her. Beauty, brains, love and success in her chosen field, has our Danielle. V ery much in love with her writer-husband, Monsieur Decoin, she is utterly content with her simple California routine. Plunge in the pool, breakfast, walk in the hills with her husband; luncheon, English lesson, and perhaps to the studio for tests. She appreciates all she has, wherein she's very smart. Takes her work seriously but without fuss. Is very business-like at the studio. While a bit self-conscious
about her English in casual conversation, when she's before the camera she's letter perfect, with no effort. When she's through, -she shrugs her shoulders, implying "That's That," and goes on home. Lovely legs. Wears boy's bicycling suits around the house. Knickers and fitted jacket, with brightly colored jerseys underneath. For comfort only. And there's no pretense about it, for she wears plain brown 98^: sneakers and no sox.
Fernand Gravet is the Warner Wow. Boyish, sophis- ticated, thoroughly charming. Working in "Fool's For Scandal" with Lombard, and I mean working, he con- stantly studied his script when not actually in a scene. Joined Carole in her pranks occasionally, but his heart wasn't in it. You'll read it many times, but it is none the less true that his role in "The King and the Chorus Girl" is very typical of the real Gravet.
M. G. M. has so many imports that they fill a hotel.
Fernand Gravel, above, whose boyish yet sophis- ticated charm won him instant popularity with American audi- ences. Far right, Annabella, also from Paris, makes her Hollywood star debut with William Powell. Right, llona Mas- sey, blonde sing- ing star from Vienna.
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It was especially discouraging when the manager, after hearing her sing once, cautioned her to keep quiet there- after if she wished to keep her fine joh in the chorus. But she was a good little girl and kept up her lessons, and finally Fate Stepped In, aided hy a little gumption on Ilona's part. She up and went to Vienna, and was event- ually given unimportant roles in one of the smaller the- atres there, and doubled as the understudy to the leading lady. Came the fateful night when the poor leading lady just couldn't make it, and of course the manager of the Vienna State Opera House was in the audience. From there on, it was a cinch. Even the night Ilona made her debut as an opera-singer couldn't have been staged better with the aid of pumpkins, for Benjamin Thau of M. G. M. was in the audience. Signed, sealed, and delivered to J lollywood, and by now you've probably seen her fragile blonde beauty in "Rosalie" with Kelson Fddy.
The other M. G. M. comer, had a bit of a start on Ilona, geographically speaking, in that she got to Vienna the easy way — she was born there. But it evens up, on account of Rose didn't assert herself until she was nine- teen. Then she went directly to the Head Alan, A Tax Reinhardt, and asked for an audition. Then came a Five- Year Plan of plain, unadulterated hard work, during which time her great versatility was displayed, appear- ing as she did in a variety of important stage plays. Those busy motion picture talent scouts finally caught up with her, and M. G. M. signed her immediately, after see- ing her portraits. Her first role in Hollywood must have taken a bit of hasty readjustment, as right away she had to play cops 'n rob- (Please turn to page 72)
But literally. They keep them in a hotel in Culver City (and a hotel that many of you readers would disdain) , where they live anything but glamor- ously. First off, they are given a six-weeks layoff, just for nothing. Then when they start working, they are given about a hundred a week.
So far, only two have emerged — Rose Stradner and Ilona Massey. Hedy LeMarr (Keisler), has joined this group, but no one knows just what will happen to this really attractive girl. She has very odd eyes ; the smudgy kind. Goes about quietly, trying not to be noticed. One feels sorry for her. The exotic Tilly Losch also calls M. G. M. her home.
Ilona Massey is another variation on the Cinderella theme. Born in Budapest of Hungarian parents, her only equipment for life, beside her beauty, was her ability to "sew a fine seam," and any man in the street will tell you that never got a girl very far. As she bowed her blonde head over her work, however, she dreamed the age-old dream, and saw herself as a glittering opera- singer, acclaimed by the world. For a while the obstacles to this shining goal seemed insurmountable, but she finally succeeded in gaining a toe-hold in the chorus. However, supporting her parents on the meager twelve dollars a month did not leave much time nor energy for those roseate dreams.
Italy's gift to the film colony's foreign legion is Isa Miranda, top of page. Brown-eyed, blonde, Isa arrived in Hollywood with an en- tourage and many trunks, plus an enormous automobile. Above, Francis ka Gaal, De- Mille's new star, another Viennese beauty. Right, Hedy LeMarr (Keisler), star of "Ecstasy," the foreign film that had such ce n so r t r o u b I e s here, is another star Hollywood import.
24
se o
REGAN
He let Hollywood guess wrong about him! Now he's a success, and still a happy husband and a proud father
fE'RE teaching our children, my wife and I, that it's only through luck that we're even in California — and that their father is on the screen, at all."
No, it's no sage philosopher speaking. Phil Regan was telling how he felt about the success he's scored recently, in such films as "The Hit Parade" and "Manhattan "Merry-Go-Round." And how he and his wife are taking it.
"We don't live in Hollywood, so a good many of our neighbors don't even know I'm in pictures. We're trying to impress on the kids they're no different from any others, whose fathers might be bookkeepers or insurance salesmen. If we can stress that fact sufficiently, so. that they'll grow up with no enlarged opinion of their own importance — all the kids at school, of course, know they're the sons and daughters of a movie actor — we figure we've done our part and accomplished a victory."
While Regan smiled and sang his way to screen success, his happy family life went on undisturbed. See him, at far left, first with his two sons, then with his two daughters. Left, with Dorothy Mc- Nulty in a scene from a new Republic picture.
In certain respects, Phil Regan is the most un-Holly- wood person ever to arrive in the film capital. There are other actors — plenty of 'em — whom you'd never take to be world-famous celebrities when you meet them, but this young singing star, father of four by the time he was twenty-four, is in a class by himself. His viewpoint is somewhat unique in the world's most glamorous city.
If you remember your news, you'll recall that it wasn't so long ago that Hollywood learned Phil Regan was married — far less the father of two sons and as many daughters. His name had been linked romantically with this cinema-lovely and that, he had been regarded one of Hollywood's most eligible young bachelors — and it was a jarring shock when the story finally broke that this good-looking singer, whose voice carried an appeal most women found irresistible, had been happily wed for nearly fourteen years !
It was through no machination or design of Phil's, though, that the world failed to know he was a loving hus- band and parent. Phil is partic- (Please turn to page 74)
25
ppmg
5
EX ! It's all goulash !"
"Right! Sex never made a picture!" "No sex, no picture! — get me?" "Sex is a wash-out! — it isn't even hereditary any longer."
"It's big box-office, always, I tell you !" And so the storm raged over the long table in the dining-room of the Park avenue penthouse of our hostess,
Daring deductions on burning ques- tion, by noted author! Do you agree?
By Benjamin DeCasseres
a scenario writer. She was entertaining a group of direc- tors, picture actors, actresses and critics.
They had all come East simultaneously, as it were, to go on location on 52d Street between Fifth and Sixth avenues. The critics were, as usual, listening and drink- ing. Champagne was being served. Cocktails and a still white wine had preceded. So the question had now set- tled itself down to: "Is the sex-stuff losing its grip in pictures, or isn't it? — and why not?"
"It's all over-estimated, I tell you," howled a director whose shirt was about to part with a gold shirt-button. "The greatest box-office pullers have not depended on the sex angle to get over."
"Show us," demanded a handsome new female star. "In the old days," said the director, lifting his glass for the fourth filling, "there were 'The Four Horsemen of the Apocalypse' and 'Humoresque,' for instance."
"And Charlie Chaplin, and Doug and Mary— they didn't play to sex at all," broke in an art director, who had just returned from a little interior decorating in Leon and Eddie's.
Does Olivia de Hav- illand always remind you of Sunday ? What of Claudette Colbert, below, with those Mediterranean eyes, and storms and smiles always brew- er lips?
in
Pict
ures .'
?
"Well, today," continued the director, while the hostess gave orders for more iced fire-buckets, "we have, off- hand, such pictures as 'Captains Courageous,' 'The Life of Emile Zola,' 'The Informer,' 'Dr. Pasteur,' 'The House of Rothschild,' 'The Good Earth'— where sex appeal is almost nil."
"Why do you say nil when you mean nertsf" asked a "gentleman friend" of the hostess, whom I put down as a Santa Barbara saloonkeeper.
This somehow set all tongues wagging at once. Gen- eral bombardment, out of which I picked up on my high-powered mental antennae the following:
"You tell me that Wallace Beery has male It! — you sap !"
"How do you explain that two of the biggest, Janet Gaynor and Bette Davis, do not succeed on sex-appeal? Ha!"
"Yeah? But what of Claudette Colbert — those Mediter- ranean eyes! Storms and smiles always brewing on her lips ! Lure, promise, moonlight and pretzels !"
"Purple mush!"
"Take the war pictures — sex doesn't put them over."
"Pat O'Brien draws the women? — oh, megod !"
"Dietrich! Dietrich! — you tell me she isn't the whole show? I say she is. She's It deluxe. Forehead of Minerva (yep, fill it up again), chiseled by Rodin, somno-somno- lently beautiful — get me? Reticent, Garden of Eden stuff—"
"Then there's D.S.M."
"Whaz that?"
"Destructive sex magnetism. Dangerous but big box
office. It killed Barbara La Mar, Wally Reid and Rudy Valentino. They awakened terrific sex vibrations that returned to them multiplied a million-fold. They were literally consumed by their men and women adorers."
"Bah! you're getting goofy. But who's got any of that D. S. M., as you call it, today ?"
"I wouldn't dare say. But there are some."
"You don't mean Edna May Oliver?"
"Edna is one of the finest and most wholesome actresses on the screen. I won't hear her joked about."
"Pardon me. Well, where do you place Edward Everett Horton — any D. S. M. there?"
"Miriam Hopkins — beautiful blonde orchid — ."
"There's no sex appeal in Mickey Mouse and the Silly Symphonies — look how they get over!"
"Critics? their organ of criticism is in their stomachs. The great motion picture critic does not yet live."
"What d'ye mean by sex appeal, anyhow?"
"Juliet, Isolde, Cleopatra, Carmen, Thais and Wally Beery, you cluck."
Our hostess: "Bring some more iced fire-buckets, James."
"Fred Astaire had so little sex appeal that one com- pany turned him down. Well, (Please turn to page 70)
27
D
O YOU know what I miss the wood ? Smorgasbord and snow !"
Garbo gave her low deep laugh and looked round at the icy Swedish landscape, her golden head bare in the bitter wind, her sea-blue eyes sparkling with happiness. Slender as one of the frosted birches she stood there like a triumphant Northern princess in her black cloth coat, severely tailored without any touch of fur, ;i white silk scarf swathed carelessly round her throat. In tier arms she held the great sheaf of flowers presented to her by the Captain of the "Gripsholm" before she left his ship to tread on her native soil again.
When Garbo goes home she is always treated as the truly great lady she is and she responds with gracious charm. She travelled as "Mr. Jonas Emersen" but a message of welcome and polite entreaty to the stateroom brought her out to smilingly acknowledge her identity and talk to reporters and pose for photographers with- out hesitation. Gaily and courteously she an- swered the hail of questions — this lovely star whom Hollywood finds so shy and secretive!
"No, of course there is no Mr. Emersen. Please do not credit me with still another ro- mance. I assure you I am not going to marry anybody at present. Do I think that marriage and film work can be successfully combined? I have never considered it but I imagine it would depend entirely on the person one mar- ried. No, I am not going to make a film in Europe. I have come for a holiday and to see my family, nothing else. Yes, I would probably
mOSt III Holly- Arriving at Gothenburg, below,
Garbo gaily answered reporters questions, posed for photographers. Contrary to published stories pic- turing her as depressed and pessi- mistic, Screenland gives you the Gorbo her family and friends in Sweden know.
Acme
act in a Swedish film if I ceased working in America but that will not be yet a while. Yes, I have seen man)' of the English films and I think the historical ones are by far the best. 'Rem- brandt' and 'Fire Over England' were excellent. Flora Robson was magnificent as old Queen Elisabeth. I would have been very proud to give such a performance myself. No, I am not going to play Joan of Arc. Has that silly story got to Europe too? It is so idiotic!
"I am tired of period pictures and I want to do something modern now. My next film is to be a comedy, as I expect you know. Will I be allowed to keep my lover in it ? Certainly I am hoping so! Don't you think it is high time they let me end a picture happily with a kiss ? I do. I seem to have lost so many attractive men in the final scenes !"
It was nearly an hour later when Garbo took smiling farewell and entered the train at Gothen- burg docks for the last stage of her long journey to her country home at Haarby near Stockholm. This is the first time Garbo has seen it though she sent the money from California so that her mother and brother could buy the little Swedish manor-house set in its farmlands and groves of larches, birches, firs, and summer poplars. It is typical of the land, a low cream-walled house with its wooden shutters and pointed roof gables picked out with touches of glowing color, green and scarlet and turquoise blue. When Garbo . came home the snow-covered drive from the road to the arching door was illuminated by dozens of torches and the curtains of every window were drawn back so that the lamps could shine brightly out.
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1
First exclusive glimpse of Greta as she loafs and plays on vacation in her native land
By Hettie Crimstead
The Garbo that Hollywood knows is not the Garbo who chatters and laughs on vacation in her homeland. At right above, view of the comfortable, unpretentious house which Greta calls home in her beloved Sweden.
Mrs. Gustafsson ar- ranged that traditional Swedish welcome for her daughter. She is very like Greta herself, tall and straight and strong, habitually serious yet with an under vein of bubbling humor, and tremendously hard-working. Both are characteristic of their stately country where winter lasts from November till May and so slows down the tempo of daily life to a quiet pace incredible to those who have never experienced it.
Born to this almost Arctic weather, Garbo finds it natural. Early in the morning she goes out with her farmer brother in thick leather blouse over two of the patterned woollen sweaters her mother has knitted for her, with heavy trousers and the stout nailed boots so necessary to tread the frozen ground. She visits the cows deep in their heated shippons and looks at the pigs in their tiled quarters and tramps across the wood where the servant girl is gathering fallen branches for the stove. The sun shines strongly and the air is like iced champagne.
For the midday meal Mrs. Gustafsson prepares the smorgasbord her daughter misses in California, dishes containing every kind of delicious hors d'oeuvre with the largest one of smoked herrings, for Greta adores those. Often the main course is the broiled ham she also likes and then there is rye bread and cheese made from goats milk. They all drink laager beer, always leaving a little in the tall glasses to insure continued prosperity for the household.
Garbo's home is simply furnished in the national man- ner with light birchwood chairs and tables, striped linens and vivid pottery and elaborately patterned woollen rugs. The big kitchen is the family room where meals are eaten and sewing done — Garbo herself can embroider ex- quisitely. The parlor has a couple of rocking chairs and some high-backed couches and a sideboard from which afternoon coffee is served when visitors call.
Garbo's own room is plain and bare, her narrow bed of painted wood with a chest to match and long cup- boards for her clothes. She has a shelf of favorite books and a growing plant in a bowl (Please turn to page 80)
29
oan
Dick
o.
IT WAS last September, and a Thursday night, and
Dick Powell and his little bride of a year were | tearing into a frugal meal on the kitchen table in the Powell Beverly Hills mansion. Cook's night out and every star in town was at the Trocadero guzzling filet mignons and dancing the Big Apple — but not the Powells, they were in the midst of a "recession." Once a month the Powells are struck by an economy wave, which no one takes seriously except them- selves, and which invariably winds up in a mag- nificent splurge. The last recession came to an abrupt end when Dick bought a sixty-five foot yacht, and the time before that it was a new silver fox cape for Joan with so many foxes that it had to be thinned out before you could find Joan.
"It costs me eleven hundred dollars a week just to run this house," said Dick, devouring a fried egg and several slivers of bacon ex- quisitely scorched by the beautifully niani- cured hands of his winsome wile. "That's outrageous, Joanie. We'll end up on the poor farm. Now if we could only sell this place and get a small apartment — "
"I'll look for apartments to- morrow," said Joan, crunching on bacon and eyeing Dick's fast dis- appearing egg very wistfully. "We could manage with two rooms and a kitchenette. But what would we do with all this furniture? Why don't you sell the boat instead of the house? It makes me seasick anyway."
"But my darling little bride, I've just bought the Galatea," said Dick, "it wouldn't be practical to sell it so soon. But that's an idea — we'll sell the house and live on the boat ! That will save us a thousand dollars a week ! Wouldn't you like that?"
"No," said Joan, "I think it would be better to change the laundryman. I'm sure he's over- charging us for sheets. Dick, dear, did you enjoy the egg?"
"Uh-huh, it was delicious. Why?"
"It was the only egg we had," <aid Joan rising to the drama of the occasion. "And I wanted it awfully. But I gave it to you. Oh, don't mind about me ! I can starve. Xo one will care if I pass away
"Mama Joan" may not look the domestic type, above, but she's one of Hollywood's most devoted mothers. Look at Normie, left, who wants to know whether his new baby sister or brother is coming in an auto or a truck. Either a sister or a brother will suit Normie. "Anysing that's real," he says.
from hunger ! It's a man's world — it's—"
"Oh, my wonderful little wife ! You did all that for me! Honey, you go right upstairs and put on your best clothes and we'll go to the Trocadero and simply stuff ourselves with squab."
The "recession" was over once more and the Powells were just about to step out for a gay evening when the telephone started ringing. First it was Walter W inchell who wanted to know if it was true that they were going to have a baby. "No," said Joan. Then Louella Pa'rsons called. "No," said Joan. Then came calls in quick suc- cession from every columnist and air commentator in town. "No," said Joan. "But what's it all about?" said Dick frankly amazed.
They didn't have to wonder long for in "the midst of all the excitement
30
1
I
Proud Papa Powell says: "When I be- come a family man, I believe in having a family." Dick has legally adopted Joan's little son — shown in a new picture at right when Normie visited his mother on the set at Columbia Studios.
— Mrs. Powell had forgotten both the egg and the squab — the door- bell rang and there on the thres- hold was Miss So-and-So, Joan's three-year-old son's teacher from his private school.
"Oh, Mrs. Powell," the dear lady beamed and blushed, "I was driving by and I just couldn't re- sist dropping in to tell you how
happy I am for you. Normie told us at the school today. Isn't it just wonderful !"
"Normie told you what?" said Joan, a light beginning to break.
"He said he was going to have a little baby sister very soon now !"
"But it isn't true," said Joan. "Why should he say anything like that? Oh, I know, I know now. Dick, remember the baby shower that I had for Lorena Danker last week? Well, Normie came in to see the presents and Lorena asked him if he wanted a little baby sister! I won't ever need a press agent, it seems, my own son will look after my publicity !"
First and only exclusive family inter- view with Papa Dick and Mama Joan Powell, who "tell all" in their own gay way. (With asides by son Normie.)
By Elizabeth Wilson
"But Joanie," said Dick several hours later when peace and quiet had returned to Beverly Hills, "we ought not to let Normie down. If he says it's so, it ought to be so, don't you think?" And Joan didn't say, "No." After all, you can't make a fibber out of your own son.
So comes June Dick Powell will become a real bona fide Papa. Legally, he is already a father for in January he adopted the irrepressible Normie. "When I do things," said Dick with a grin, "I believe in doing them well. When I become a family man, I believe in having a family." If the Powell offspring- is a girl it will be named Patricia Powell because Joan likes the name Patricia, and if it is a boy it will be named David Blondell Powell, after the fam- ous minstrel who in the time of Richard the Lion- Hearted started the Blondells on their song-and- dance career.
The sporting Powells claim that they don't really care whether it's a boy or a girl. "Either — or both — will make me the happiest man in the world," said
Dick. "Will you be disap- pointed if it's a girl ?" someone asked Joan. "Not at all," said Joan, "I'll just have to read another chapter in WVhat Every Parent Should Know.' " Normie, however, expressed it the sweetest. When Joan asked him if he'd rather the new baby be a little sister or a little brother he quickly said, "Any- sing that's real."
For a month or six weeks after that Normie said no more about the expected addition to the family and his parents de- cided that in his busy life of going to school, delivering ice, dissecting the Streamline Lim- ited and calling on Sandra Burns he had completely for- gotten about the baby. So imagine Joan's surprise one morning when he walked into her dressing-room where she was putting on make-up for her role of an imperfect wife in Columbia's "There's Always A Woman" and without any preliminaries demanded, rather breathlessly, "Where are you going to get the baby ? Who's going to make it ? Is my baby sister or baby brother coming in an auto- mobile or a truck?"
"I couldn't think of a thing to say," confessed Joan. "So I just pretended that I had gotten mascara into my eye and rushed into the bathroom where I keep all seven volumes of 'What Every Parent Should Know.' But I couldn't find the answer to Normie's question any place. I'll just hide out for a while, I thought, and he'll go back to his room to play."
But not Mr. Norman Powell. (Continued on page 88)
31
J
Where would Hol- lywood be without the creative genius of these Napoleons of the movie set? Lubitsch gets what he wants, even if it's a humorous scene in which Gary Cooper spanks glamorous Colbert, as shown in center above. And, above, Mer- vyn LeRoy, telling Carole Lombard how he wants a scene played. Left, George Cukor, who told Robert Taylor, no less, how to make love to Garbo. Below — Cecil B. DeMille tliey call him the Star Maker) and Franciska Goal.
GEORGE CUKOR won't mind it now. Perhaps he w ouldn't have minded then, even before his name was associated with some of the screen's biggest hits. He was speaking for publication then, speaking out of experience gleaned in years of directing for stage as well as screen. It's no use getting people into trouble needlessly, so I didn't print what he had to say about some of his stars.
He was talking of temperament, and of the reasons
32
SECRETS
of Hollywood s Ace Di rectors
why he was usually handed assignments avoided by other directors. He got along with temperamental stars, with the ones no one else wanted to direct, he declared, and the reason was simple. He expected them to be dis- agreeable. He was prepared for explosions and tantrums. He would have been surprised if there had been none. Therefore neither he nor his actors were at all dismayed.
Cukor is one of those directors who prove all over again what every newspaperman knows, that few stars are glamorous in real life, that the directors are the ones who make good copy. And it was Cukor whose remarks explain some of this. A well brought up person, espe- cially a young girl carefully educated, seldom becomes anything of an actress, he insisted. She is taught to con- trol her nerves. She disciplines her emotions. She suffers rather than cause a scene.
This director prefers them out of the gutter ! Frankly and cheerfully he'll admit this. The guttersnipe, to para- phrase his much more forceful and quite unprintable term, does not hesitate to scream and stamp her foot.
1
Strictly personal opinions of the men behind the megaphones. They make the films; stars do their bidding. They know, and can explain the glamor game
By Eileen Creelman
Angered, she will throw a lamp or scratch a rival's face. She doesn't hesitate too long about an embrace. This makes for emotion and pliability in acting, according to one director anyway, as well for nervous tension in real life.
All this is a little tough on their interviewer. The nicer the actor, the more difficult to write about him. Irene Dunne, intelligent and friendly, hates to talk about her- self. She gets slightly embarrassed, tries to be non- commital about everything. She is cautious about saying anything that might be thought a criticism of anyone else. George Cukor, if he ever directed Irene Dunne, might change his opinion about actresses.
The directors are easier. They don't have to pose like movie heroes, trying to keep up the glamor their press agents have told them about. They don't, like Marlene Dietrich, float along through an interview with no re- sponse except a languid yes or no. They don't, like Joan Crawford, watch fearfully to see if the next question mav be embarrassing or burst into tears of gratitude because the interviewer has avoided topics too personal for comfort.
But there is plenty of temperament among the direc-
The directors as a class go out of their way to avoid being "glamorous." But they do have temperament. Wil- liam Wyler — whom you see above di- recting Bette Davis and George Brent in "Jezebel" — is gentle as a lamb, until he gets to work. Then he'll fight as hard as Cagney himself for an idea. Frank Capra — hits are his h a bit — is seen, right, with Gary Cooper. Gregory LaCava, below, with Katharine Hepburn and Adolphe Menjou, believes in keeping his cast happy.
tors. There's little Willy Wyler, who made "These Three" and "Dead End" for Sam Goldwyn, and says he gets along with that amazing producer because he can yell just as loud as Goldwyn. He seems like a gentle fellow until he gets to work. Then he'll fight as hard as Cagney himself for an idea.
Wyler is called William now, officially at least, although Willy was his real name when he came over from Alsace-Lorraine. He was (Please turn to page 84)
33
J
MENTION fishing or golf to Kenny Baker and immediately he is your pal — that is, if you know anything about these sports. Evince a genuine interest in them and he's just as likely to miss a broad- cast as not. It's like a phobia, only more fun. You know, only mildly dangerous.
"Now, you take this one for instance," says Kenny, holding up a brilliant bit of feathers and silk thread. "That's a Roval Coachman." "Oh."
"Yeh. And this one here is a Brown Hackle. I had marvelous luck with him last season. Caught the limit darned near every time I went out."
"With that — Brown Heckler?" I didn't have nerve enough to confess that my Ike Walton proclivities had been confined to dangling an angle worm in the water on a bent pin. Young Mr. Baker gave me a look in which reproach and pity were nicely mingled. "Hackle," he corrected me. "Sure, you never can tell what a trout will bite on. One day it will be a Royal Coachman and the next morning they'll turn up their noses at anything but, say, a Dusty Miller."
"Well, I finally gathered that Kenny was expounding his theories on trout flys, but, as I didn't know the dif- ference between a Dusty Coachman and a Royal Hackle, I felt a little nonplused. But I learned. That's the way these in- terviews go. You start out by trying to piece together {Please turn to page 82)
hf k
U
er
The true story of how Kenny Baker, christened by Jack Benny the Timid Tenor, blushed and flustered his way to the top
By Sidney Valentine
Kenny Baker still blushes when aslced to te about his rapid rise, even though he is now featured in "The Goldwyn Follies" with Andrea Leeds, above center, and with Helen Jepson, above. Right, a Rudy Vallee-esque pose.
34
Fift
cen — an
JF.
!
amous ;
Little girl with golden voice grows up — graces fully! Deanna Durbin celebrates by making her most ambitious picture
Just fifteen, and with Herbert Marshall for her leading man! In "Mad about Music" De- anna Durbin has even wider scope for her singing and act- ing talents than in "100 Men and A Girl." Above, a scene with Mr. Marshall. Below, with her young fellow-player, Jackie Moran in a close-up. At lower right, Deanna with Gail Patrick, who plays her mother, and Herbert Marshall in her new Universal film.
Not so long ago a struggling actor among many on Broad- way— today, prosperous mo- tion picture star with a fine home in Beverly Hills! This is Tyrone Power's success story, one of Hollywood's most heart-warming sagas. Left, the lad and his house. Below, "Ty" with "Pickle," his pet.
When he has time, he likes to answer an occasional fan letter, at his own desk. Far right, Tyrone in his living-room, looking at his favorite water color of an old sailing ship. Below, your pictorial host at his own front door. Typical of Tyrone to prefer a com- fortable, conservative white house of New Eng- land ancestry to a Spanish palace complete with swimming-pool!
Photographs by Gene Kornman ■BOth Century-Fox
Tyrone Power's screen success makes Kim proud host in this Beverly Hills home, of which we show you the first, exclusive pictures made of the star in his manor
s Hollywood's new Num- tr One Bachelor, Tyrone !tild swank a bit. But he II likes small, informal nners, and he still en- ys lighting his own tapers id playing practical host, c left, we don't know how ten he makes his own •flee, but we do know his to devoted servants got a eat kick out of being iotographed with him! t extreme left, on oppo- te page, the grandfather's ock which Tyrone in- cited from his famed actor-father.
To begin almost at the very beginning: di- rectly above, Lola, eldest of the Lane sisters, when she was five months old. Top left, Priscilla, the baby, at the age of nine months. At far right, Mrs. Cora Lane with Rosemary ar the tender age of six months. Above right, Rosemary today.
The Lane Sisters
Lola, Rosemary, and Priscilla — and now they grew up to be Hollywood stars
Success Story Told in Pictures
Above, the Lane family group. Mother comes to visit her girls on the set at the Warner studio. Their real name is Mullican. That's Lola at left, then Mrs. Lane, "Rosemary, and Priscilla, the youngest. At left, a close-up of Priscilla — otherwise "Patsy" — to- day. She's the dancer and i romancer. Rosemary is the sweet singer. Lola is the dynamic dramatic actress.
As the Lane sisters grew up, Lola, shown close-up above center, went to Hollywood. Rosemary and Priscilla, top left, joined Fred Waring's Pennsylvanians in the summer of 1933. They played the New York Palace with Fred — see them with him, top above. And directly above, Rosemary and Priscilla, on their way to success, pose prettily in their second year as soloists with the Waring band.
What's this? Real or studio romance? Anyway, Pris- cilla Lane, at right, plays opposite Wayne Morris in "Love, Honor, and Be- have." At far right, the amazing doubles, Lola and Rosemary, in "Hollywood Hotel." Lola was the first
I of the Lane sisters in pic- tures. At right center above, Priscilla and Rosemary watch as their movie con-
[j tract is signed by HalWallis.
TI,eW<
omen
In His (Movie) Life!
t Watting, Paramount
women! Cooper can't get away from 'em — in pictures. Claudette Colbert is his latest movie love, and despite the fact that the whole world knows that Gary is a devoted husband and father in real life, the ladies of the land will besiege the box-offices to watch the Cooper-Colbert team sissle on the screen
He's a tall, rangy, reserved chap, who has the healthy male American disdain for fancy romance. Yet Gary Cooper, para- doxically enough, is feminine America's supreme selection as screen lover! He shares with Shirley Temple the highest movie theatre box-office rating in the land. You'll see him soon opposite Claudette Colbert in Emst Lubitsch's gay, sophisticated comedy romance, "Bluebeard's Eighth Wife" — there's a typical scene above, and a lovely new portrait of Claudette at top left. And oh, yes — the other lady in Gary's current cinematic career is the newcomer, Sigrid Gurie, left, with him in "Marco Polo."
Quick, tlie Candid Camera!
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ti*e
ves
at
top
P
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Fanny Cuts»Up!
Those
"Baby Snooks" capers suit Fanny Brice right down to the ground, and she has as much fun clown- ing as her audiences, radio and screen, have — when the Brice boisterousness lets loose with brattish gusto. Here's "Snooks" ram- paging through her nursery, from building blocks to hobby horses, and all the toys for herself. Judy Garland wants to play, too. But it looks like the only "punch" Judy will get is of the spectator sports variety.
THe best informal pictures are taken before tne subjects have time to pose
sef. and feeV terf«g a£ thr°ugh h •
9k ft » ^ ^^ts*
If seeing is
believing, these candid shots are right, and Freddie Bartholomew would rather motor than act in movies. His home-made scooter is streamlined and speedy looking, and a right good job of building — provided Freddie didn't depend on the prop department to turn it out. The boy who made stardom in one try also has the real thing; at right above. Freddie and his aunt Cissy lunch at a drive-in restaurant.
I
CANDID or
How'll you have your Gable? \v^e give you Clark himself, on this page, as he prefers to be photographed
I
The profile shows Gable without retouching! He has a slight stubble, no makeup whatever. Below, his favorite part — that of an intrepid air man in "Test Pilot." Clark likes it because he can get good and greasy messing around ma- chinery. At lower left, a candid location shot with Myrna Loy.
CANDIED?
And here is Star Gable, posing for portraits because he's a good sport — but Re doesn't like it!
Of course, it's a grand posed portrait of Clark Gable, at right. He's the ultimate in Hollywood male stars. Contrast this studio portrait with the un- studied profile on the opposite page. Which phase of Gable do you like better? Below, a good studio close-up. He's oblig- ing the photographer! At lower right, a posed scene still for "Test Pilot" with Spencer Tracy, Clark's co-star, and Myrna Loy-
tarlcts
Rivals for screen roles at the studio, Jane Bryan and Mary Maguire are really chums, as you saw them on the screen in the Kay Francis film, "Confession." Both still in their teens, the girls work, and play, together. Jane, typical American youngster, scored in "Kid Galahad" and is slated for stardom. Mary, from Australia, is one of Hollywood's most-dated girls, but so far her acting has not kept pace with friend Jane's. Here you see the girls at Jane's home: in smart new play clothes, sunning on the lawn, posing by the pool, playing with Jane'o pets, and, at left, serving a hearty snack. Save us a sandwich!
Photographs by Scotty Welbourne
"Now don't say 'What the well-dressed gangster will wear!'" warns Edward G. Robinson, above. Young Jack Dunn, above center, has a youth's enthusiasm for gay effects. Alan Curtis, far right, in the "Hollywood sports uniform."
They resent that! Movie men can be clothes^conscious when the sartorial urge strikes 'em, as you can see here
\
The crooner is all dressed up — for him! Bing Crosby, left, looks smartly sporty. Above, Adolphe Menjou, long designated Holly- wood's Best-Dressed Man. At right, Frank Morgan happy about the whole thing.
Mark Twain's beloved classic comes to the screen with Tommy Kelly as Tom Sawyer and Ann Gillis as Becky Thatcher. Our Still of the Month shows the children as they begin their exciting exploration of the great limestone cavern of the Missis- sippi bluffs described by Twain. Norman Taurog, famed director of children on the screen, guides the cinematic "Adventures" in David Selznick's elaborate all-technicolor production.
Tke Most Beautiful Still of tKe M
on
From "The Adventures of Tom Sawyer"
By
Mabel Hunt
Beauty wi the Diues
Dorothy not only sings the blues, she has em, too. Read why, in this lament for lovely Lamour
place over a chicken salad at the El Mirador Hotel in Palm Springs where Dorothy stayed while on lo- cation for "Her Jungle Lover." And while Dorothy munched on a piece of celery and I toyed with the idea of going on an exclusive carrot diet to see if I couldn't achieve the same cream-on-satin complexion for my own skin, she told me just why it was that a film contract had seemed so much anathema to her. So I man- aged to pry my eyes away from that unbelievable complexion and became all ears.
"Well, you see, I was a model in Marshall Field's department store in Chicago," Dorothy began, "but I didn't like it."
Now that in itself is something, for as )'ou know, a good model com- mands a not-to-be-sneered-at salary and only about one out of every thousand girls can ever hope to qual- ify for those coveted jobs.
"How come?" I asked. "You cer- tainly have the figure and the face to be the absolute tops as a model?"
"Oh, that." Dorothy dismissed the fact of her obvious ornamentality with a ges- {Please turn to page 88)
WHEN a person wins a movie contract through a lucky break, or a series of breaks, it scarcely ripples the public's interest any more. It's hap- pened so many times in Hollywood that it almost goes without notice. Likewise, when a young hopeful manages at last to crash those sacred studio gates through dint of perseverance, outstanding acting ability, the sweat of his brow, or even through mere dazzling beauty, it causes no undue excitement among the populace. Such things are accepted as the natural order of things, to be expected if one is to scale the heights. Plainly speaking, it's hardly news.
But, when a lovely young girl with a figure like one of Petty's illustrations and a face like something Rolf Armstrong dreamed up has to be brow-beaten, bullied, threatened, and cajoled into a long-term contract at a very stylish salary, then, by gosh, that's news! And in most cases when you stumble across a piece of news in such a virulent form there must be something highly interesting back of it all.
According to this reporter, in laboriously searching through dusty old archives and annals of the film great, Miss Dorothy Lamour has been the only one brought to light who has outraged Hollywood's established prece- dents by openly scoffing at the chance of a picture career. She not only jeered at such an absurd idea, she all but refused pointblank even to consider a screen test.
When I first heard of Dorothy's shocking conduct when contracts were waved under her nose I thought to myself, "Well, here's a gal who is either putting on an act to impress somebody, or else she is just plain daffy." I was wrong in both cases. So, the only thing left in the face of such a situation was to do a little crafty delving into the why and the wherefor. Said delving took
51
THE GOLDWYN FOLLIES — Samuel Goldwyn-United Artists
A BIG, big picture! Over two hours of terrific enter- tainment—some of it thrillingly beautiful, some of it gorgeously funny, some of it merely boring. Mr. Gold- wyn's "$2,000,000" revue is an all-Technicolor mixture of satire, supplied by a Ben Hecht legend whimsically worked out by Andrea Leeds and the incomparable Adolphe Menjou; mad bur- lesque, supplied by the Ritz Brothers; elaborate ballet, with the debut of the much-touted Vera Zorina; grand opera, with Helen lepson from the "Met."; swing music and dancing, the Baker boys, Kenny and Phil, and Edgar Bergen and Charlie McCarthy — to mention just a few names. It's an enormous, expensive, amaz- ing, and confusing show. The basic idea, that of a big movie producer hiring a fresh, dewy girl to be his "Miss Humanity" to keep him in touch with the cash customers, is a good one, but it is soon lost in the merry maze of special numbers, big ballets, and Ritz Brothers. These boys, by the way, are badly overworked in these fabulous "Follies." Phil Baker is the real comedy sensation of the costly cinema. There is quiet charm by exquisite Miss Leeds; stunning effects in the "Water Ballet;" superb moments by Menjou; and of course that McCarthy!
aplenty.
GOLD IS WHERE YOU FIND IT— Warner Bros.
HERE IS the other "big" all-color picture of the month, very big and, I imagine, very expensive. It's a drama, with many extras milling around instead of ballets as in Mr. Goldwyn's "Follies." And it has impressive moments But it is, also like Mr. Goldwyn's "Follies," a self-con- scious picture. What is it about Technicolor that makes otherwise wary producers throw caution to the winds and grow reckless and headstrong? There's too much of everything in both pictures. "Gold Is Where You Find It" is lush with magnificent California scenery, showing wheat fields, mining camps, and orchards in picturesque profusion ; there is also too much plot. Of course there is interest in the conflict between the wheat ranchers of the Sacramento Valley and the miners, and there is poignancy in the ranchers' struggles to preserve their land, and gentle romance when the head rancher's daughter gives her heart to the mining engineer. Olivia de Havilland, a dream in Technicolor, is delight- ful as the girl — but it is primarily a rugged picture, with he-men rampant, fights between the two factions, and a grand finale in which George Brent saves the dav by blowing up his own dam. Whee !
SEAL- OF) ^
Reviews
of the best
Pictures
by
HAPPY LANDING— 20th Century-Fox
SONJA HENIE'S third motion picture is better than her first two — thereby hanging up another record, for the .skating marvel. With this picture she positively takes her permanent place among the great stars of Hollywood, for Sonja is not only the ice queen but an increasingly good actress of surprising conviction. She may never skate Camille, but she can play poignant parts with genuine sympathy and under- standing. The cherubic Henie close-ups attain actual pathos upon occasion when the scrip commands "mit feeling," and as always, her bubbling gaiety and good humor are irresistible. Sonja's role here is that of a naive little Norwegian seriously smitten by the slick charms of Cesar Romero, as a second-rate Stokowski of swing. She carries the torch to New York only to be dis- illusioned— and, thanks to Don Ameche, that gallant soul, to become the world's greatest torch skater, immune to Romero wiles but susceptible to Ameche charm, smart girl. Adding to the pleasurable comedy confusion is Ethel Merman, swinging high, and Wally Vernon, very funny. If any of you have so far re- sisted the call of the gleaming blades this will get you. Mow- bray, my skates.
52
"SUPER-STUPENDOUS": "The Goldwyn Follies"
"COLOSSAL":
"Gold Is Where You Find It"
"EPIC":
"Bad Man of Brimstone"
JUST SWELL ENTERTAINMENT: "Swing Your Lady" "A Yank at Oxford" "Happy Landing"
BEST PERFORMANCES:
Andrea Leeds, Adolphe Menjou, Phil Baker, Charlie McCarthy in "The Goldwyn Follies"
Louise Fazenda in "Swing Your Lady"
Robert Taylor and his perfect cast in "A Yank at Oxford"
Sonja Henie, Don Ameche, and Cesar Romero in "Happy Landing"
A YANK AT OXFORD— M-G-M
.^piv ROBERT TAYLOR'S best picture! A field day for his pGfaj fans, but also an invitation to Taylor-baiters to forget their grievances and give the boy a chance. "A Yank at ^ Oxford" is the shrewdest stellar showmanship in years, because it brings Bob out of Camille's boudoir into the open, where he wins track meets and bump races and everything else in sight, with the conquest of the fair heroine rather a secondary matter. There isn't a real love scene in the picture, but the Taylor addicts will not be disappointed on that score, for his role in the British-made film makes him far more attractive than he ever was in his deliberately romantic parts. Because it was made mostly in England, "A Yank at Oxford" is in every way more convincing than the formula love affairs which have been Bob's Hollywood lot. Not that there's no sex menace in the piece — it runs rampant at times, with Vivien Leigh as a devas- tating hussy luring Oxford undergraduates to — of all places — her husband's bookshop, and Maureen O'Sullivan as the wholesome love interest. Bob plays a brash young American tamed, as you might suspect, by Oxford's dreaming spires and spirit. He gets grand support from Lionel Barrymore, Griffith Jones, all of 'em.
SWING YOUR LADY— Warners
WELL, I NEVER would have believed it ! Perhaps there have been too many of those backstage-and-radio-station pictures, or too many specialty acts ; anyway, I haven't howled so lustily in months as at this outlandish comedy of hill- billy calisthenics. Seems Humphrey Bogart, a wrestling promoter, and Nat Pendleton, a slap-happy grunt artist, are stranded in the Missouri mountains and looking for a match. Becoming- desperate, the promoter picks a lady blacksmith — yes, Louise Eazenda, who else? — to go to the mat with his champ. But love sets in between wrestler and lady, then a bearded hermit appears with his musket, claiming the love of the lady — so the rivals are matched, the winnah to get the femme horse-shoer. It's all that ridiculous — but unapologetically so, and the wrestling match between Pendleton and one Daniel Boone Savage will have you in stitches whether you like it or not. Tossed into the general hilarity are Frank McHugh, Allen Jenkins, a Big Apple led by Sammy Lee and Penny Singleton, and those hill-billy musicians, The Weaver Brothers and Elvira. Well, I swan — another specialty ! But you'll like this one. Louise Fazenda is so swell as the lady blacksmith she almost tempts me to ask for a series about her.
BAD MAN OF BRIMSTONE— M-G-M
SUPER-WESTERN, old-fashioned melodrama dreamed up in fancy sombrero and chaps, is Wallace Beery 's best film in too long. Not since "Viva Villa" has Wally had such a chance to bring to brawling, lusty life a colorful character, this time Trigger Bill, the Bad Man with the soft spot in his heart. Some carpers may consider that Bill has a soft spot in his head as well, when he goes on about his son "petitionin' him for a funeral" — Bill loves to shoot up the place, and is not too particular who gets in his way. But somehow Beer}^ makes you believe in his Bill as he convinced you of the reality of his Villa and his Old Soak; and so this outlandish story of a gay old desperado manages to turn out lively entertainment — IF you still like gunplay mixed with horseplay, and plenty of it. The best of Beery emerges in this half-rascal, half-clown characterization. Interestingly conspicuous in the cast is a newcomer, Dennis O'Keefe, who makes Trigger Bill's tenderfoot son a rather real fellow. Beautiful Virginia Bruce makes a valiant attempt to fit her fragile charm into the rugged events, but as may be imagined, fine trouper Lewis Stone and clever Joseph Calleia are more suc- cessful at maintaining the mood, what with fights and hold-ups.
53
What
aire
revor
By
Malcolm H. Oettinger
yOU wouldn't think anyone so young, so de- lectable, so freshly lovely as Claire Trevor could have a problem. Knowing her career in pictures — leads from the start — you wouldn't think she had a kick coming. Yet when I saw her she was kicking both shapely legs and objecting to Life's whimsies, in a nice way, but strenuously.
Claire's a dewy twenty-five, independent, brittle, and knowing. Despite her youth she has been in show business more than six years, and nothing contributes more dynamically to a young woman's education. Six years of greasepaint are equivalent to twelve years at Smith or V assar. Maybe more ! Six years in show business teach one the facts of life, doubled and redoubled. Yet Claire is not hard. Rather she looks like a debutante, but enthusiastic.
We were supposed to meet at her hotel for cock- tails, but in due time word filtered through that she was being held captive at a Columbia Broad- casting matinee at the Plaza — expansive goings on in honor of Miss Trevor and her radio vis a vis Edward G. Robinson. Tuesday nights they air from Hollywood episodes in a hair-raising newspaper
Decorative Trevor, in her studio portraits, looks as if she hasn t a care in the world. But Claire the actress, shown with director Norman Foster and Dixie Dunbar, worries about her professional future.
54
Perhaps you can help this blonde beauty decide the professional as well as private-life problems she ponders
serial called "Big Town." The occasion of their being in New York together was being celebrated with pomp and ceremony, - flanked by a bar and innumerable hors d'oeuvres. Waiters were weaving about, bearing aloft trays laden with potential headaches the next morning. A stringed quartet made gentle music behind a clump of property palms.
Mr. Robinson was talking to a reporter off in one corner, and in the centre of the room a milling crowd of men eddied and swayed. Instinct said that Claire Trevor was the magnet, and as usual, instinct was right.
Her blonde hair was accentuated by a demure black hat with a coquettish veil that- fell across the eyeline. The Trevor figure was properly high-lighted by a cloth of gold dress that was quick in the most appropriate places and demonstrated how personal appearances should be made.
Under one pretext or another we managed to slip away.
Beautiful? Of course! But Trevor is intelligent as well, and so she likes to play meaty parts, rather than routine heroines. Right, with baby Carol in "Walking Down Broadway."
Joan
"Radio is worse than pictures, and pictures are worse than poison. I wish I could get a good play," sighed Claire.
What was the matter with radio, I wanted to know (not that I ever listened to it).
"Well, like pictures, it has its points," admitted Claire. "It bought me my new car. It pays well. But, again like pictures, there is no artistic satisfaction to be derived from a radio program in the making. You play before an audience, in some cases, but you haven't the time to build anything. A scene lasts three or four minutes then there's a commercial or station announcement. You can't even get warmed up before the thing is over. It's like a pitcher going in for two innings."
The Trevor voice has a husky, appealing quality. Her face is heart-shaped, her hair a warm honey blonde, in the currently imperative page-boy bob. Her figure, as indicated herein before, is little short of sensational, and one discovers with a start of surprise that here is a
Glamor Girl whose glamor has never been properly capitalized. Claire is a baby Lombard. She winced at the suggestion, however.
"I want to do comedy," she admitted, "but not too screw}', please. I think you can overdo mugging and showing the audience that you don't care how you look, just for a laugh. The public resents seeing you take falls, pies in the face, and lefts to the jaw. It's a phase, but it's rapidly pass- ing."
Claire is honest in ad- mitting that she went into pictures to earn a living, not for glory alone. The '29 debacle and the ensuing- depression caused the family fortune to melt away and impelled Claire to seek economic security in the theatre. From stock in Northampton she went into a Broadway hit, in the second most important role, opposite the pint- sized Ernest Truex in "Whistling in the Dark." Pic- tures spotted her, and rewarded her well from the very beginning. As a result, she has her nest egg or whatever it is one saves for a rainy day. At least she has her own house in Beverly Hills and an annuity that provides for an income later on. And although Claire prefers stage to screen she has stuck to the latter thus far because of the vastly greater financial benefits it affords.
"If I could get a good part in a colossal picture I'd be so happy I don't know what I'd do," said Claire wist- fully. "But as things are I'd walk out of pictures to- morrow if I could. Maybe it's because I want to get married and have a lot of children. Maybe it's because I'm sick of program pictures that make me do the same silly things over and over, and say the same silly lines day in, day out."
She has appeared in a picture every other month for four years. Then there have been weekly radio stints during the past year. "I think I've worked pretty hard," said Claire. "I also admit I've earned far more than a girl couid earn in any other field. But I'm ready to marry or freelance or explode to get out of quickies !"
Despite her youth, Claire Trevor is an efficient, capable business woman. She employs no manager, requires no restraining hand to keep her {Please turn to page 92)
55
Kay Francis wears a travel coat, above left, of imported gray wool with an unusual yellow yarn treatment— see bulky top, wide scarf of self fabric. Her hat gloves, shoes, and bag are creamy yellow. Above right, Kays jacket suit of sheer wool combines gray and green plaid with monotone gray blouse. Her accessories are of dark gray antelope. At left, smart daytime frock of gray sheer wool with smooth lines, worn with twin silver fox scarf, black hat, gloves, and shoes. These costumes were designed by Orry Kelly for Miss Francis' new film, "Women are Like That.
4
SCREENLAND
Gl amor Schoo
Edited by
56
Glamor School pftotopraplis
for SOIiEENLAJJD Of MtSS
Kay Francis In Scotty Weloourne, Warner Bros.
Striking color combination — mustard gold and almond green — contribute to Kay's gown at left above. The tunic with its lowered waistline is of mustard gold crepe roma, the pencil-slim skirt is of almond green. She wears a pair of antique gold bracelets. At right above, Kay goes in for color: her cocktail gown of heavy jersey has a long-waisted bodice of navy blue, while the full skirt is of Roman-striped jersey in red, white, blue, and yellow. A Roman-striped kerchief ties at the throat. At right, her hostess gown with new-length fitted coat of blue and silver brocade.
First fashion lady of movieland salutes Spring with a new clothes collection at once patrician and dramatic. Emphasis upon line enlivened by an attention to gay color novel to Miss Francis are of outstanding interest
57
Gai Patrick Presents:
Current fashions! Holly- wood's willowy brunette beauty believes in leather, as in her all- antelope costume, below, of soft gray dress, cape, hat, gloves, bag, and shoes; and right, her suede sports vest of gold color with calot to match. Lower left, Gail's new white cashmere house coat. At left above, formal black day- time outfit with novel shoulder-cape of satin- backed crepe, with ends trimmed in silver fox to form pockets.
58
Ill
Starring June Lang
Loveliest of the screen's ingenues, June models her own Spring style show for you. At top left, rhap- sody in blue to match June's eyes: horizon-blue wool frock with wide belt of white suede laced in blue, which June tops with white felt hat. Right above, smart light green tweed with accessories of London tan. At left, more blue: plaid jacket in two shades of June's favorite color, over lighter blue dress. Accessories are white. At far left, dream dinner dress of pale pink lace, with bonnet of the lace and violets for the flat crown.
59
Stooge to a Wooden Wit
s SN E year America goes wild about a blonde, curly-
( ) topped darling who sings and dances her way Vy into the heart of tbe nation; another, five bouncing baby girls are brought to life in a forgotten Canadian village and the spotlight of the world centers on them until a lady from Baltimore quietly steps out and annexes the coveted heart of a British Monarch and makes an incredible fairy-tale come true. But when a
block of pine wood, dressed up steals the focus of attention from all these and becomes No. 1 man of the country, it is nothing short of a miracle.
in
a topper and tails,
Edgar Bergen built a dummy, took it to col- lege, and now finds himself playing dumb while Charlie McCarthy wisecracks
By Gene Schrott
■ i
In this saga of the amazing McCarthy, you learn thot Charlie, be- lieve it or not, started life os a newsboy. Nov/ look! He's a movie star, a radio sensation, a national idol. Right cbove, relaxing between scenes in a Hollywood studio.
A little over seventeen years ago, Charlie McCarthy was just another tree trunk in the forests of Wisconsin and Eddie Bergen a young lad sitting in the kitchen of his mother's home in Chicago watching her perform the magic of producing tempting brown apple pies from a batter of dough and some green, uneatable apples. But today, the world knows this duo as the most amazing team of personalities in the field of entertainment.
Returning from abroad to discover that vaudeville had heard its. death knell and hearing rumors that the legiti- mate theater was going "to pot," Edgar Bergen looked fondly at his animated creation and was just going to pack him in camphor and moth-balls, when he received a hurried call to rush over to Elsa Maxwell's party and substitute for a performer who failed to show up.
If you've heard about Elsa Maxwell's parties (as who hasn't) you know they are not just ordinary parties, but parties deluxe. Everyone who is anyone was there. Noel Coward rushed over to attend. Rudy Vallee forfeited a night's salary to be present. It was the customarv ermine and orchid crowd that made the place blaze with dia- monds and emeralds and sparkle with shimmering satin and white skin. It was one of those white-tie affairs that
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earned for Elsa the reputation of supreme party-giver of the world. If anyone knows how to make a party successful, it is this lady.
When Edgar Bergen arrived in this glittering assem- blage carrying a battered suitcase and a look of fear in his bewildered blue eyes, Elsa threw her arms around him and greeted him like a long-lost brother. From Barbara Hutton and Lady Furness, who had been at the Grosvenor House in London that memorable night when Bergen and McCarthy had to do their entire repertoire at a single performance before the enthusiastic audience would let them leave the stage, she had heard of the ingenuity with which Eddie and his wooden wit won the hearts of the Britishers.
While Elsa Maxwell was busily hunting for him, Eddie
had been en- tertaining roy- alty the world over. In his native Sweden, he and Charlie gave a com- mand per-
formance before the Crown Prince. From there they travelled to Russia and Iceland and finally concluded their tour by performing before the lepers of a Venezuela colony, an experience so strange they will never be able to forget it. No wonder Elsa couldn't find them. But now that she had accidentally come upon them, she prepared her guests for one of the biggest thrills in entertainment.
Even Elsa had to admit that Charlie McCarthy was responsible for the tremendous success of that party and for a lady who has made a career of party-giving this is an unusual admission. Rudy Vallee lost no time in invit- ing Bergen to appear on his radio program. Noel Coward was lavish in his enthusiastic praise and asked Bergen to tell him who wrote the brilliant dialogue. When Bergen modestly admitted that he himself does all the writing. Coward, who is regarded as the most skilful writer of witty conversation, heaped compliment upon compliment upon the surprised Bergen.
Today, the name of Charlie McCarthy is known the length and breadth of the American continent. People everywhere are talking of the wooden whiz who flings his verbal bullets at the high and mighty. Hollywood has succumbed to the enigmatic personality of the animated block of wood. From Burbank to Beverly Hills, the entire
population of the movie world has offered him, not only the keys to the respective communities, but a pass-key to every home. The mischievous dummy who delights in humbling the mighty dignitaries has risen to the most popular peak in the nation. Hollywood beauties are bat- tling for his attention. Leading men eye him with a jealous gleam in their burning eyes and feminine hearts can't stop fluttering when he is near. Even Mae West asked him to come up and see her sometime.
Through all this, Charlie McCarthy continues to wear his bland, disarming smile and the mischievous twinkle in his eyes remain the same as he blithely continues to wisecrack his way deeper and deeper into the heart of the American public. He loves the ladies — especially Dor- othy Lamour whose name has been closely linked to his lately — but that's because he saw her in one of those revealing storm sequences during the filming of "Hurri- cane." Even a dummy knows charm when he sees it.
The man who has become Svengali to the world's most famous wooden wit is entirely different from his animated creation. Edgar Bergen is a shy, quiet-spoken young man in his early thirties. He has blond hair and blue-grey eyes that generally accompany a {Please turn to page 90)
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w
"IT'S such fun!" said Dolores Del Rio, smart in rose and brown, as she clicked the shutter of her camera. "I've been in pictures so long that I suppose it was merely a matter of moments before I'd begin to take some, but oh, I had no idea it would be so entertaining !
"Probably more than half my enjoyment is because Cedric — my husband — is interested in doing it, too. It is wonderful for two people who care about each other to have the same hobby, and I can't tell you what fun it is to work together on a thing that shows such promising results !
"I'm very much of an amateur, but Cedric is an artist anyway, so taking pictures is merely an extension of his field. We're building a dark room onto the house, so we can develop and print our own stuff. You know, often the effectiveness of a picture lies in the printing, and the one who takes it should have his own ideas of what he hoped to get, so he knows whether to print it a bit lighter or darker, or how dense the shadow should be.
"We had the best time one Sunday! 'We spent the day in the M-G-M darkroom printing up some portraits we had made together. Cedric had managed to get hold of a hundred sheets of some special Belgian paper made for portraits and we used that and got truly lovely things. You can't
Collaborate
ith
a
//
amera!
Says Dolores Del Rio, whose husband is her camera pal. Good advice for married couples, and helpful hints for amateur photograph fans
By Ruth Tildesley
Dolores, top left, proves she can take it — and will, if it's a. picture worth adding to the collection she and her husband are making. Examples of the Del Rio camera skill are shown here. Right, reading up: a church in Mexico; Dolores' mother hold- ing her pet Persian, and a good portrait study, also by Do- lores. Above, corner of the Maximilian Villa, Mexico, and the first picture Dolores ever took.
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imagine the excitement when the figure begins to appear and you see exactly what you've done!
"At the moment our special interest is taking portraits. Cedric has a portrait lens on his Contax camera. He can screw lights into the camera for some shots, which I can't do with my Rolleiflex, but we've just bought some splendid lights to set up indoors, and what a field that opens to us ! Cedric is the camera artist for portraits and I am head electrician. He worries about the focus and I am responsible for the lights."
She flashed up from the couch where she had been examining a sheaf of finished prints, her fine profile silhouetted against a Venetian shade.
"I like a high master light — so!" She illustrated in pantomime above my head. "And then lower lights to take care of unflattering shadows or bad lines, or to throw a highlight for a special effect. A light back of the head will sometimes show up lovely hair, you know. I've watched cameramen and electricians work with lights in the studios for so long it would be too bad if I hadn't learned something by this time. So naturally I know that shadows that droop will age a subject, but at the same time a master light from above is most flattering to any-
one over fifteen or so. There are no hard and fast rules applying to everyone, which makes doing portraits tre- mendously interesting.
"Cedric has made some gorgeous portraits of me. I prefer them to any made by the best camera artists in Hollywood, but his success may be because he knows me so well, or because he is able to bring out the best in me.
"We make my mother sit for us while we experiment. She is a most satisfactory subject, because she will sit anywhere, serene and patient and relaxed, while we argue about lighting or explain to each other what we'd like to get.
"What makes our collaboration especially interesting is that we are two people with definite but different ideas. Cedric, as an artist, is inclined to favor odd effects; he likes an unusual arrangement of shadows, something that will be dramatic and original.
"He'd like, for example, a picture of mood— say, a woman in black against a dark background, with the face high-lighted. Or strange, weird shadows thrown against a plain background, and the figure expressing some emotion.
"But what I'm looking for is pictures of my friends
The swimming pool at the Del Rio-Gibbons home in California; and adjoining, at right, another example of Dolores' camera work, a close-up of her husband Cedric Gibbons, M-G-M art director, and a camera fan himself.
Dolores and her two white bulldogs, Mi- chael and Bonnie, taken by Mr. Gib- bons. At left, two pictorial subjects of which Dolores is proud, and justly so. Lower, view of the patio in her family home in Mexico; above, exterior of her California house.
just as they are. I like people ; I love my friends, and I am so happy I could sing when I manage to catch a group of them in some natural pose.
"I like best my pictures of friends sitting around my swimming pool, lying on the sands, resting in deep
chairs, or perhaps starting out for a ride or playing a game of tennis. Things that I see them do all the time, so that they are at ease and natural in the pictures."
Dolores has no idea that she will ever become a spe- cialist at shooting animal pictures.
"I have some fine dogs, and I'm very fond of them, but I've had very little luck with their pictures in return for the time spent. Dogs are so restless ; when you get the head just as you want it, the paw begins to tap, or the back rears up suddenly. (Please turn to page 79)
63
ere s
o ywood
Crash the studios, take in the sights of Cinema Town with our star reporter
By Weston East
GARBO no longer is under contract to M-G-M, where she's been queen for a decade ! In fact, she hasn't been under contract for all of three months now. But those articles about her falling box-office draw have not only overlooked this vital point ; they've not explained her situation as it really is. Here's what's what : the studio still wants her ; it was the shrewd lady herself, and not Louis B. Mayer, who wouldn't sign again on the dotted line. Garbo wants to go on acting, but insists she must have a comedy to re-intrigue the Americans. Mayer had nothing definite read)' and she wouldn't take a chance. She doesn't want to become as loony as the screen Lombard, but she contends she can be as light-hearted as Loy. According to her letters, Sweden is the ideal winter resort ; and she'll return whenever her former boss sends her a satisfactory script.
MEANWHILE, other former top- notchers have been fascinating Holly- wood by their present doings. Marlene Oietrich, for instance, is busily demon- strating she isn't so dumb, either. The gorgeous dead-pan line bored us natives? So Marlene is proving that she was mis-
cast all along. Which is no lie. On the continent she's always been her own very gay self, the toast of the night clubs. As human as she's vivid. Now, in Hollywood, Marlene's tossed over the recluse gag, adopted for our consumption, and is the most terrific blossom seen at the Troc. She sweeps in almost nightly, with several of the most attractive escorts in town. In- stead of posing languidly, she gustily leads the Big Apple. She's taken her furniture out of storage and settled in a small Bev- erly Hills cottage. It's not likely that she'll ever go back to Germany.
N STRIKING contrast, Ramon Novarro is making no attempt to right-about to regain box-office popularity. He is be-
Putting ling into a typical chorus routine are these three sisters of swing: Alice Faye, Joan Davis, and Marjorie Weaver, in the name roles of "Sally, Irene and Mary."
having in extraordinary fashion, but then he was never run-of-the-mill. He is acting again, but only when he's pleased with a plot. He wants to be applauded solely on current merit. He won't appear in any rehashes of his yesteryears. He isn't at- tempting to hang onto any past glory. He has saved none of the thousands of clip- pings concerning his charm, hasn't a single photograph of himself in his smart, mod- ernistic home. He never visits the Troc, but when he invited friends to a cocktail party the other day Janet Gaynor decided she'd rather come to it than listen to Tyrone Power's broadcast at the same hour. The Novarro appeal is still potent!
Bing ("Dr. Rhythm") Crosby, meets a fellow "air" star; Jacques Swaab, an ace aviator in the World War.
No more manicuring for tition-haired, emerald-eyed Arleen Whelan, above. Arleen was discovered working in a beauty shop, was signed for films, and is to make her debut in the leading feminine role opposite Warner Baxter in "Kidnapped."
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yOU have to hand it to Joan Crawford. She's not going to be an also-ran at anything! Horses have been her secret fear ; whenever she's had to ride for film scenes she's climbed on against her better judgment. So what's she done, having acquired a perfect figure, fame, and the husband she wants, but learned to ride. She rides English, with no pommel to clutch, and not on alternate Thursdays. She's bought a horse, named him Secret, and — get this! — she is playing polo.
YOU know that Gary Cooper is Holly- wood's highest-salaried star. Last year he made $370,214. Here are the precise salary figures of some of the other "most highly paid;' stars : during 1937 Madeleine Carroll made $287,913; Warner Baxter made $284,384 ; Ronald Colman made $262,- 500; Ruth Chatterton made $249,500; Charles Boyer made $249,145; Fredric March made $245,000; Sylvia Sidney made $226,81*2; Katharine Hepburn made $206,- 666; Marlene Dietrich made $200,000. It's startling to observe how poorly balanced salaries are with actual box-office value. Madeleine Carroll, Chatterton, Boyer, Sid- ney, Hepburn, and Dietrich, for instance,
The "Big Apple" hits Hollywood hard. Harold Lloyd and his fellow players: Mary Lou Lender, Rowan Rexford, Phyllis Welch, and director Elliott Nu- gent, taking time out from "Professor Beware" to swing it. Right, Marian Martin, recently signed up by Universal.
are definitely not among the top stars so far as drawing power is concerned. Shirley Temple, the number one star, earned but $121,422 during the year. (Although her mother collected $68,666 for supervising Shirley.) To give you an idea of the great difference in salaries, here are some more exact figures : Claire Trevor earned $27,- 655 and Loretta Young garnered $118,998. Peter Lorre earned $15,625 and Alice Faye $45,500. Don Ameche earned $34,499 and Warren William $65,000. Rochelle Hud- son's salary for this past year was $26,875. Gene Raymond can support his bride in the manner of the president, for he earned $75,625.
WILLIAM POWELL sails this month for a tour of South America. He finds travel is the best antidote for too many
memories. He isn't a recluse on his touring, though. He intends to be, but no sooner does he arrive in a new city than he's plunged into a hectic round of gaiety. He wants ' to be alone, but not quite enough to stave off the pretty girls who want to console him with blithe chatter. What lies ahead for him in romantic Rio?
The Misses Maguire — four, count 'em — are all acting in pictures. On the right train, but somebody's got the wrong stateroom. In-
Mary, best known of the happy quartette, is wearing the fur volved in the mix-up above are Ginger Rogers, James Stewart,
coat. The others are Carmel, Joan and Lupe. Maude Eburne and Spencer Charters, in "Vivacious Lady."
65
TWO years ago Andrea Leeds was fresh out of college. The other morning Sam Goldwyn was reputedly offered $100,000 for her contract. That's what's called rising in the world, and how.. Of course, Andrea isn't piling dough • away yet. She's still rating but a very modest wage. But she lias the opportunity to eventually cash in. She attends her boss's premieres with whomever he designates — Edgar Bergen and Charlie McCarthy took her to the last one in an Austin — but she handles her romancing herself. She prefers Jack Dunn. He's the good-looking champion ice skater who came to town as Sonja Henie's part- ner. First he was put under contract by Universal, and never got a role. Now he's been on the Paramount list for some time
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Adventure! Freddie Bartholomew and Warner Baxter in "Kidnapped," upper left. Award! Carole Lombard, upper right, voted Best Comedienne of 1937 by Los Angeles students, receives a gold cup from Romaine Fielding, Jr. Drama! James Stewart and Walter Huston in two powerful action scenes from "Of Human Hearts," at right.
and is still waiting for his acting break. In person he's certainly got the break-of- the-year, in Andrea ! They favor the Clover Club and its swing band.
THERE have been a flock of rumors about Luise Rainer since she has been off the screen so long. Her last picture was pretty much of a disappointment. They said Metro was easing her out, as a consequence. Then Luise herself blew off ; she hated Holly- wood and wanted to leave it. She was cast in Wallace Beery's current film and then Maureen O'Sullivan replaced her "because of illness." Here is the truth : she was too ill to work, but is all right now. The studio still considers her quite a draw. She has signed a new contract and will co-star with Fernand Gravet in Mervyn LeRoy's first picture at Metro. Then she will co-star with Nelson Eddy. So she definitely isn't being given the skids. She was • agitating for these better parts, however, and for time off for a Broadway play. She'll be permitted to do the play her husband, Clifford Odets, has written.
GLORIA SWANSON has given up her picture life ! She has sold the quarter- million-dollar house across the street from the Beverly Hills Hotel, the showplace where she used to entertain so royally. She has settled in a New York hotel and will try to start in again on the stage. As a farewell gesture Gloria gave a cocktail party. Mary Pickford, Dolores Del Rio, and Veree Teasdale were the actresses in- vited. A lot of prominent film people were there. Why couldn't Gloria, who looks as beautiful as in her more fortunate years, get another break in pictures ?
CLAUDETTE COLBERT is scribbling frantic notes from Budapest these days. She's so glad Ernst Lubitsch persuaded her to include it on her European itinerary. She took some French books over on the boat with her, to practice up on her French talk. After so long in Hollywood she was afraid she'd wax ungrammatical ! Claudette left the first part of January and won't be
Camerawise! The St. Bernard, aware com- petition is keen, looks his prettiest as he poses with Jane Hamilton.
back until Easter. It's her first good vaca- tion in half-a-dozen years and how she's enjoying running away with her doctor husband !
ANNE SHIRLEY and John Payne have > had to wait six months for their honeymoon, but they're making up for the delay with a Honolulu trip that has all the trimmings. They read so many island cir- culars that their friends almost went crazy in anticipation themselves. And if the beach at Waikiki is no better than the sands of Santa Monica what a blow it'll be to Anne ! That she's picked a nice husband was a certainty when she was ill recently. Johnny was playing a lead at Paramount. He not only rushed home ever)' noon, but whenever he could wangle an hour off from the set he hurried to her bedside. The Paynes haven't become elegant ; they rent a small furnished apartment only ten minutes away from both their studios.
THEY often quit Hollywood with a loud blow-off, but they generally come back. George Arliss is the latest to return. He hasn't signed a new contract yet, but — like Barkus — he's probably willin'. /
WHENEVER you ask George Raft to dinner you don't have to provide any meat or vegetables ! His man Mack will arrive with both. It seems George is mad over New York-cut steaks, and only that meat market on the corner of 3rd and Larchmont, in Los Angeles, can furnish the cut he prefers. Nightly Mack arranges for a steak to be sent to wherever George
is dining, and even if he's dropping into the Brown Derby he'll eat_his-avra-steak^
As for the vegetables, George hates 'em. So thoroughly he's done something about 'em. He takes vegetable shots in his arms instead! When the kiddies read this the spinach-haters may desert Pop-Eye and demand easy shots a la George Raft. So shoo 'em away.
MRS. ERROL FLYNN has not aban- doned her career, even though she has been unlucky with it since becoming a wife. Lili Damita — and don't say you've for- gotten her since being overpowered with Errol ! — considered doing a play as a come- back stimulus, but the plan fell through. She has Harry Edington, an ace agent, on the look-out for all opportunities. Mean- while, Errol is wondering when he can get away to fly East long enough to sail a newly acquired yacht back through the Panama Canal.
THE Gary Coopers and Dolores Del Rio and Cedric Gibbons have been sailing up the Nile, no less. They're expected home soon. Both stars went incognito, Gary registering everywhere as "William Grin- nell." Grinnell's the name of his college. Dolores has been just Mrs. Gibbons. She took along twelve trunks, and it's a rush jaunt! In Europe Dolores wore all black. In Egypt and Africa she stuck to all white. Even "incog" she's a style-setter. And of course neither Gary nor Dolores have been able to submerge their vivid personalities — why, they're the spitting image of their screen selves, only better looking, and who
Youth! Betty Douglas, Judith Ford and Marjorie Deane, "Goldwyn Follies" girls who have made good in Hollywood, don't have to worry about camera an- gles— they're lovely anyway you look at 'em; left above. Experience! Charles Winninger and Alice Brady, right above, make the most of a comedy situation in "Goodbye Broadway."
would fail to recognize them? "The Sphinx," writes Gary, still determined he's a no- body, "didn't give a hoot about us. It just gazed Garboishly!" The five-months-old Cooper daughter is being cared for by the woman who was Mrs. Cooper's childhood
WC. FIELDS has gained twenty-five • pounds, plays golf daily, and is fit as a fiddle once more. W. C. bought a wonderful town car to celebrate his revival. It rained the other evening and the car was somehow shorted ; he had to borrow $2 from the Paramount gateman to taxi home.
rRED MacMURRAY tells this one, and T admits he's puzzled. He'd been on a lengthy hunting trip to Mexico. He hadn't shaved for weeks and his hair was on the flowing side. Fred walked into a barber shop near Paramount, commented on the lull in business there. "All the hams in Hollywood are waiting for DeMille to make another Buccaneer," explained one of the barbers in tones of utter disgust.
THE month's most magnificent • party for grown-ups was tossed by Joseph Schenck, for the Darryl Zanucks. It honored the producer's fourteenth wedding anniversary. Mr. Schenck ordered each of his reception rooms blanketed with dif- ferent kinds of flowers. One room was gardenia-walled, for example. Another was a vision in pink camelias. To be piquant, one room ran away from the motif and was adorned in fresh grapes. One wall, to punch the point of the party, was all white carnations, with a big let- ter "Z" plumb in the middle in blue carnations. Everyone had a mar- velous time in such semi-Versailles surrounding's. Norma Shearer was the only lady to wear a hat with her evening gown ; she thus drew special attention to her beauty.
Streamlined! Life begins to get more interesting for the girls who are se- lected for the Goldwyn chorus. The honeys at right make that plain.
WAYNE MORRIS was striding down the Boulevard when a gentleman ran out of a clothing store. "Oh, Mr. Morris, I've a coat for you !" Wayne smiled, obligingly stepped in. It was a perfect fit. "Why, thank you very much," he said. And started to walk out, aglow with the thrill of being a star and thus extravagantly catered to. "But it's $135," pronounced the proprietor. Wayne was so embarrassed he bought it. "Although," he mutters, "nat- urally I liked it a lot !"
67
Mi
yes on
th
Three steps to beautiful eyes — care, make-up, expression
YRNA LOY and Miriam Hopkins laugh jwith their eyes. Joan Crawford and Bette Davis look frankly, courageously, straight at you. It would be hard to fib and get away with it before those eyes. The slumbrous eyes
of Greta Garbo wrap you in a
maze of romantic dreams, while Margaret Sullavan, Lo- retta Young, and Sylvia Sid- ney gaze with trusting candor. And so it goes with stars and all people, for that matter. Screen personalities are ex- pressed first, in eyes ; second, in mouth ; and, third, perhaps, in voice.
Among the notable Holly- wood eyes there is great di- versity in color, size and shape. There is no definite pattern for lovely eyes. Your eyes are you, a personality different from all others. Not long ago, the Twentieth Century-Fox lot
boasted more green eyes than any other color. When I was small, green eyes were unthinkable as a mark of beauty, and I shed plenty of tears over my own. Claudette Colbert has very large eyes, and beautiful ones, while Norma Shearer's are not large, and still beautiful. And yours, too, can be individually lovely, not like any other's perhaps, but just in your own way.
First, comes care, but many of us forget this until we are faced with the prospect of glasses permanently or suffer physical discomfort. There are some simple rules to follow to keep your eyes strong, young looking, and sparkling. Avoid strong glare from the sun or electric
Zorina, lashes nightly Prisci
at top, accents with black mascara applies a lubricant.
long and Right,
Lawson finds a brush very adaptable for shadow blending. It gives a smooth and satiny effect. Above, Doris Weston rests her eyes with dark lens goggles, rimmed to match her costume.
lights. The glare of
sun on snow, water, or sand is particularly straining. That is why so many of your stars in beach or outdoor pictures wear sun goggles. Some new goggles have just come to my desk that deserve a very good word. They are favorites with Holly- wood for good reason. The lens are in soft, muted shades that do not distort natural colors, and they eliminate much of the infra-red or burning sun rays. Very smart are the colored or white rims to match a costume note. A pair of these glasses will serve manifold purposes — ■ for motor trips, cruises, beach and general rest purposes. It is wise to include a yearly check-up of eyes by an eye
68
specialist along with your semi-yearly in- spection by your dentist. Thus any sight difficulty is detected in early stages and sometimes the wearing of corrective glasses for even a short time overcomes the trouble so that we may go much longer without them permanently.
Light by day or night is so important. Never try to sit with light in your face. Be sure that all electric bulbs are con- cealed under shades and that light is well diffused throughout a room, so that the eye need not look from bright spots to dim ones. This contrast in light is hard on eyes. The average reading lamp requires one 100 watt bulb or two 50 watt bulbs.
"When you go to bed, remember to relax your face. When tired or worried, faces be- come tight and set, mouth clenched, eyes squeezed tight. This is a fine way to get premature wrinkles. Think of something funny or happy and your face will relax. Circling the eyes with a special eye cream or even a good face cream keeps that tissue- thin skin softer, less prone to lines and wrinkles. A daily or twice daily eye bath keeps eyes clear, clean and sparkling. Use in eye cup or with dropper, and when the liquid is in the eyes, throw back your head and roll the eyes to bathe them thoroughly. There are a number of helpful lotions that keep eyes healthy and bright.
Sylvia Sidney taught me a splendid method of temporarily resting the eyes. Cup the palms over your eyes until all light is obliterated, close the eyes lightly and keep them this way five or ten minutes. Eye pads, herbal or medicated, are wonderful for quick revivifying. Squeeze from warm water, apply to eyes that have first been circled with cream, lie down and rest about twenty minutes. Black eye shades are wonderful for morning sleepers. They come especially for this.
Now comes the glamor touch — make-up. Mascara is a boon to lightly-lashed woman- kind. Today, the well-advertised brands have reached a high degree of excellence, beautifying, non-smarting, non-running, and they will not harm lashes or eyes. You must, however, remove mascara gently, as carelessness or roughness will break any lashes. Remove with cream or soap and water, but wipe the upper lashes upward,
Y
ours ror Love mess
New Beauty Notes Well Worth Copying
Modern Eyes, a new idea for more eye beauty
A MODERN mascara, indeed, is Modern Eyes, in black, brown or blue. Besides giving a soft, silky frame to your eyes and being unusually cryproof, there are other important points in its favor. That spiral brush, that coats all sides of your lashes, so that even a meager growth appears luxuriant, and that neat cylinder case resembling a generous lipstick. The tube is circled with the mascara. Simply dampen brush, nass around nn thp
A good travelling com- panion this La Cross kit
Matchabelli's grand Shower Oil for moderns
For a dewy complexion, Hudnut's DuBarry twins
ment stores offer a very "special" for this Hudnut's DuBarry "Dew-ette" com- bination.
Shower bath addicts, who have felt neglected in the way of bath luxuries, cheer up ! Matchabelli has made you a magnificent Shower Oil. Smooth it over your skin. It disap- pears, softening, sweeten- ing, whitening. Then step under the shower. Water pressure releases a divine fragrance — ■ that of natu- rally healthy, immaculate skin. This odeur heightens
Is Sex Slipping in Pictures?
Continued from page 27
how'd you like to make his dough?"
"Ah, but Fred has charm — "
"That's it — charm ! Not sex-appeal, like Sam Goldwyn's got."
Pop! Pop! corks, corks, corks, corks.
And the table uncorked again :
"S'long as a picture entertains, chucks out laughs and thrills and holds the interest of the audience, the sex appeal can be nil, or almost nil."
"Don't you mean ncrts?" boomed again the hostess' mysterious lantern-jawed friend, who now had a flask on the table.
"Well, who has the greatest sex appeal on the screen, anyhow ?"
"D'pends on how the male is set up. And whether he likes blondes or brunettes. Now, as for me, it depends on the day."
"What's that got to do with it?"
"I don't know exactly, but I always asso- ciate Olivia de Havilland with Sunday and Joan Blondcll with Wednesday, for in- stance."
"Ah, sweet, hugable li'l Minnie Mouse !"
"Would you say Donald Duck has any of that destructive sex magnetism?"
"Genevieve Tobin ! — she's classic. Lilting, aristocratic head. More polished than the floor she walks on. What Celestial Potter moulded that chin, what Swan-God curved that neck—"
"Cut!"
"Why, I'll bet I could make a picture without a single woman in it and, if the story was good, it would go over."
"Sex is mightier than the sword — or pen !"
"I keep my brain light, cool, and airy by reading Irvin Cobb."
"W. C. Fields, for instance. There's de- structive sex magnetism for you — what goofy stuff !"
"Yes, destructive and constructive sex- magnetism, that's what we arc talking about."
"No, we were to discuss Is sex passing out of the screen or isn't it, and if not, will it?"
"Listen, you tosspot, every motion pic- ture actor or actress projects his or her aura on the screen — "
"Sex-halation, eh?"
"If it's an It woman, yes. If it's a man, yes, also, if he has that indefinable some- thing."
"Can't understand that Taylor yen. The handsomest man on the screen is Joel Mc- Crca."
"Trouble with Joel is he's the solid, Jack Holt type. He has constructive sex mag- netism."
"Don't you think the public's getting fed up on those kiss-clinches?"
"Are you? A kiss is as new and as smacky as the rising generation. Where do you think you'd be without those clinchy close-ups? You're a smoothie in your love scenes."
Now up stood a fellow who had not said a word until then. I had noticed that he drank nothing but brandy instead of cham- pagne. He looked like a Continental Don Juan. He immediately commanded the at- tention of us all — all except the Santa Bar- bara philosopher, who was now playing solitaire. He thundered :
"Sex is fury! Sex is creation! Sex is divine ! Sex is hell ! It will never pass away from the screen ! Men and women are in- curable romantics ! Nature is the great sex- dynamo. Ev^ry picture has sex somewhere secreted in it. Even Ed Ciannelli and George Raft must do their black deeds for a moll ! There is no such thing as D. S. M. There is only the Eternal Girl. Hollywood without girls would be like a bouquet with- out flowers."
"Is he meshuggah? Who's going to take the girls out of Hollywood anyway !"
"Basil Rathbone sure is the greatest and most cold-blooded villain on the screen. The blood of the fans turn to ice when he comes on. Would you say he's got sex- pull?"
"Yes, they tell me widows are crazy about him, as his fan-mail shows."
cafe at Monte Carlo, and ideas took on a new lease of life.
"The most famous stories in the world are not sex-stories — 'Uncle Tom's Cabin,' 'Robinson Crusoe,' 'Les Miserables,' Cooper's Indian stories, 'Hamlet,' 'Alice in Wonderland'—"
"The Declaration of Independence, the 1 '.mancipation Proclamation — "
"You sex-addicts can't take it, eh? You've got to kid me."
"Love's one thing. Sex is another. Why don't we get a good real love story on the films ?"
"You mean the 'Romeo and Juliet' thing? They don't click, I tell you. They want up- to-date hot-cha."
At this point in the bubbling over of this word-stew, I thought I'd have my say. Why not? I was inside the movies for years, when a vamp was a vampire, a languorous lily of soulless love and a blood-red rose of sin — yowzir !
"What's-his-namc over there," said I, pointing my finger generally in the direc- tion of the bar without spilling a drop, "is right. Neither the picture public nor the stage public pays big for just sex-stuff. They do not care so much for an emotional wallop as they do to be thrilled or enter- tained.
"If you produce a picture with a beauti- ful and Itty woman walking through eight reels and there is no story, you will have a dead duck on your hands. On the other hand, you can put a couple of Itless men and women in a rip-snorting, quick-action picture and it'll go like free dimes at the Mint.
"The fans will, of course, like the rest of the human race, never tire of beauty in women and the handsome, manly guy, but it is a fact that even the younger, the post- war generation — "
"The post-war degeneration, you mean," put in a frosty-faced dialogue-writer.
"Have it your own way. What I was go- ing to say when that sophisticootie inter- rupted me was that even the younger, the rising, generation is so blase, as it were, today that the cheap sex claptrap and kiss- ing ga-ga make them yawn. It doesn't register any more because it's the same technique over and over again."
"Well, they're no new words for sex situations and God has not invented any new way of kissing or any new thing to do with the hands— so what the hell are we going to do?" asked a director who looked like Wheelerandwoolsey.
"You mean," said the Rising Female Star from What Cheer, Iowa, "that we're going- back to the old static love-stuff where a fellow does a quadrille and a minuet around his girl, kneels to kiss her hand and then pulls a bunch of violets from under his coat?"
Then up spoke "Nerts" :
"You've said it. What the films need is a good dose of old-fashioned love, and we don't want it in the striped pants, the handle-bar mustache and the bustles of the 80's and 70's either. Right up to date.
"Personally, I say sex is overworked, it's on the out, and the better pictures are play- ing it way down because the producers' sense the fact that we are moving into a hard-boiled, quick-action, realistic world.
"Unless we return to the romance-making of our grandmother's day, sex is sunk. It'll be a branch of war and politics, and a minor branch at that."
"Who is this fellow who speaks Eng- lish?" I whispered to a critic on my left.
"Gad! Don't say you don't know him! Why, that's — " and he whispered in my ear the name of one of the most celebrated novelists and playwrights in the world.
"So," said my hostess, levelling at me a sarcastic Mona Lisa-Bill Powell smile, "you don't think men and women will go on making passionate love to one another in pictures, eh?"
"Only incidentally", I replied, "just as happens in real life. "Did you ever stop to think of how little time, month in and month out, is actually given by all of us to love-making? Well, that's about the pro- portion it ought to get in pictures.
"You know, lovemaking has only a kick w'hen done personally. The love-letters of the other fellow are always ridiculous.
"The great pictures of the future will deal with heroic lives and comic situations."
And then we all went on location back to Fifty-second street.
Inside the Stars' Homes
Continued from page 13
wood at least, if a dish seems to them likely to add to the poundage they simply skip it.
"Here is the menu for one of my latest dinners :
Consomme Broiled Trout, Butter Sauce Cucumber Rolls Crown Roast of Lamb Minted Carrots Saute Potato Balls Green Salad Bowl Chocolate Souffle Demi Tasse
"My cook will give you such recipes as you would like to have. I know very little about cooking, but I always make out the menu.
"In this case, we served an additional sauce with the trout which is delicious. It is fresh horse-radish chopped -up and added to whipped cream.
"The cucumber rolls are made from very fresh white bread, sliced thin and rolled around thin slices of cucumber. These must, of course, he served as soon as they are made."
Minted Carrots, I discovered from the Bennett cook, are often served when lamb is on the menu at the Holmby Hills house. You boil the carrots until tender, cut them into shapes, glace them in brown sugar and butter, and sprinkle with chopped mint.
CHOCOLATE SOUFFLE Mix 3 level teaspoons cornstarch with y2 cup milk and when it is smooth add lA cup of powdered sugar and 4 level table- spoons butter ; place the mixture in a sauce- pan and stir over the fire until it boils ; remove and stir until cold and then add the yolks of 2 eggs and 3 level tablespoons grated chocolate (Bakers) ; beat until smooth, add the stiffly beaten whites of 2 eggs and pour into a buttered souffle dish and bake in a moderate oven forty minutes. Serve in the same dish.
"I suppose the most unusual dish we serve here is a dessert called creamed cones.
from any extra mouthful of food,_ but La Bennett is exempt from these worries. Slim in blue wool with a brilliant clip at the throat, she shrugged them away.
Although it has been said that she never wears the same gown to any important Hollywood affair, she denies that she goes in for an extensive wardrobe. She buys clothes for the three months of each season — not too many of them, but enough to cover her needs — and then gets the new models as they appear. With styles chang- ing as rapidly as they do, she sees no special point, in loading up with a six months' wardrobe.
"You must see the playroom," she sug- gested, presently, after we had admired the collection of silver gathered in England, the linens selected in France, and the china from France and England. "We usually follow a dinner with games in here. Back- gammon has been popular, but now we seem to be going in for Guggenheim and bezique."
The playroom is a spacious one, done in knotty pine, with a sage green rug and a fully equipped bar ornamented with cop- per. There are sporting prints on the walls, tables for games, a fireplace, and equipment for an infinite variety of entertainment. There is even a screen and projection space for showing films. Twin lamps, pottery roosters in yellow carrying rakish shades, stand at either end of the bar.
Occasionally, a preview party returns to the playroom after the theatre showing and varied delicious sandwiches are served.
Sometimes there are open-faced sand- wiches, of sliced egg with anchovy, Hormel ham with the powered yolks of hardboiled eggs, herring with onion rings, or cream cheese (Philadelphia) dotted with chopped dates and nuts.
And sometimes the sandwiches are heart- ier, including :
HOT HAM AND CHEESE
On rye toast spread a thin layer of pic- calilli ; then a slice of cold ham. Mix a paste of Kraft American cheese, mustard (Gulden's), Worcestershire sauce and cream, and spread on ham. Heat in the oven and place under broiler to brown slightly.
AVOCADO SANDWICH
English Broken Here
Continued from page 24
bers with Eddie Robinson in "The Last Gangster."
Annabclla represents Fox Foreign Fem- ininity. Unassuming, sincere. Wide brown eyes, sunburnt blonde hair, and an air of boyish directness. When this girl says: "I love the smell of earth after rain, the smell of freshly baked bread, and small babies after their baths," she is not pulling the wide-eyed womanly-woman stuff. She means it. And how do I know? I'll tell you. Be- cause she admits she doesn't know where acting leaves off and Annabclla begins. Anyone who can be that frank about her- self has too much appreciation of her lis- teners' intelligence to try such worn-out banalities, unless it were first completely refurbished and dished up in a different form. That is one reason I believe this re- mark of Annabella's. Also, the fact that it occurred when and where it did in the con- versation: Over broiled lobster and g;een salad in the Cafe de La Paix on the Fox lot, we were discussing planetary laws. Al- though keenly interested in the subject, Annabclla had never happened to delve deeply into the significance of such laws, and was sincerely amazed when she found that many children of her planet found sur- cease and strength in the earth.
Her involuntary reaction to the newly- found knowledge was such intense pleasure that tears came to her large brown eyes. "It is thrilling to know that others feel this way. I never told anyone about it, as I thought it might sound so silly, but it is true. If I bury my nose in the earth, it fixes everything. If I must live in an apartment, I die."
The mere fact that she thought herself singular in this idiosyncrasy further proves the sincerity of her apparent aphorism. She's like that all the way through, too.
"I like best to talk to children, about eight or nine." A mark of the true sop- histicate. She has completed the cycle of confused so-called adult mentalities and finds sanity and sound reasoning in childish directness. Lack of pretense in everything is an outstanding characteristic. Her clothes, for instance: A casual yellow and bk"J*
of the avid and searching student of life.
"Is it true also that people of my birth- month, if they act, will never, never stop? Me, I shall work in a wheelchair at eighty, if I can, but I shall never stop. Nothing can stop me. The work, I mean. The parts I love."
Tenacity towards creative work cannot fail. It has taken her a long, long way, already. From Fox to Europe to Fox, which is a long, long way in this instance. Just three short years ago, a little girl resembling the radiant poised creature sit- ting here, a star amongst stars, made her quiet mouse-like way about the Fox lot. A shadow of the Annabclla that was to be — the nucleus, the embryo. It is even fitting that the lot to which Fate brought her .should be Fox. Physically, I mean, for on this sunny winter day, in whatever direc- tion one looked, there were gently sloping hills of rich, copper-colored earth. And a calm, gentle peace prevaded the scene, mak- ing it difficult to believe that an industry was going pulsatingly forward, amidst such serenity.
That Annabclla of three years ago was doing a foreign version. Just about as im- portant as a field-mouse and just about as colorful. Living in loneliness at the Beverly Hills Hotel, homesick, but even then de- termined to come back some day and show them. She has. The new Annabella is this year's latest imported model, darling of the lot, a splashy red star on her dressing- room door, and William Powell's vis-a-vis, no less ! She rode back to Hollywood on "Wings of the Morning," in resplendent colors, and she's here to stay !
Her name was chosen with customary thoughtfulness. As both her father and hus- band are writers, she did not wish to trade on their names, so chose Annabella. Of course, inspired, by the dolorous Poe's poem, Annabelle Lee. But today she is more like Baudelaire's poetry. As you know, he is often called the French Poe. However, the story behind Poe's writing of that poem has the same underlying quality of sadness as one sees in Annabella's eyes. As you recall, Poe came home to his cottage by the sea in wild state of drunkeness and asked his girl-bride to sing for him. She demurred, telling him of a very sore throat. At the insistence of the man she loved, she sang. And sang and sang and sang — all night.
A— J t. • •' '
Danielle Darrieux as she appears in her first American film.
poet who made words sing like the sound of a thousand violins in a dim, other-world symphony. He was perhaps the first to write poetry in prose. But like Poe, every- thing was dolor. Don't get me wrong, the only dolor about Annabella is her tremen- dous dramatic ability, but she has all the hauntingness that these two unhappy bards sang about. Wait till you see for yourstli in "The Baroness and the Butler."
What have these people that our local talent lacks? Is it je ne sais quo'i? An extra soupcon of polish, a dash of daring, a fillip of folly, or just plain novelty? The latter, I think, is one of the important answers to this controversial question.
Unless you wish to delve into such far- flung theories as are being expounded by the sitting-room-seers, such as "MY per- sonal belief is that the producers are very
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(above) Entertaining in the white draw- ing room of her New York apartment. (center) Mrs. Richardson greeting friends after the opera.
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seasons' old, no matter how exquisite the material originally, and then bring new zest to her work when handed a length of lustrous new satin or luxurious velvet ; so a director, too, enthuses over a new med- ium with which to express his art.
The least common denominator of all of these foreigners is their grim earnestness and gratitude. That is the really important answer. A Russian emigre friend of mine said recently : "Over here you are all Croesus' I"
Suppose you came from a country where hardship and heartbreak were the daily dole, and suddenly, through hard work and lucky breaks, were plumped down into a heavenly country where roses were blooming riot- ously in mid-winter, where tons of food were heaped in the market places, and gold was poured into your hands with which to buy everything you had always longed for? Your reaction would be the same as that of all these people. They've known con- trast, and thereby learned appreciation. Nothing can deviate them from their path. They will not take the slightest chance with this precious opportunity. And right there they have its licked! We, who have learned to accept — central heating, air and sunlight, free medical attention, free educa- tion, free culture, free parks, free every- thing. And from long acceptance, we have fallen into the habit of criticism and dis- content. Each one of these new Hollywood citizens leads a rigorous life of self-dis- cipline : Work, work, work. No time for play. Study, study, study. And always and everlastingly grateful.
Add to that the fact that they are adults, and not suffering from the common psy- chosis of adult infantilism, necessitating symbols of success such as swimming pools and star sapphires, to bolster their egos, and you have a hard combination to beat.
Perhaps the Foreign Colony will act as an incentive to our American Colony, and inject some healthy competition into our own brilliant ranks, who may have let down just a bit. Whatever the result, the public will benefit ; for real talent, whether foreign or home-grown, will flourish on competition, and greater portrayals than ever before will be brought to the screen. If Hollywood has come to be an Inter- national Track Meet, let's be sporting enough to really wish that -the best man wins !
Danielle Darrieux' own menage offers an interesting example which we might segre- gate. Danielle was furnished by the studio with a secretary-interpreter, Mary Lee Martin. Mary Lee is tall, blonde, lissome and debonair. As a child actress on the Universal lot, she became a Victim of The Thing — and will never be content again unless she's before the camera, giving a take for posterity. She attended U.C.L.A., achieving the coveted Phi Beta Kappa Key. She was also honored by the French Gov- ernment for her linquistic abilities. Then on to Washington, and the State Depart- ment, where she was doing more than all right. But she longed for her first love, and came back home to Universal ; this time as a stenographer. So when Danielle arrived, to do the "Rage of Paris," what more natural than to send Mary Lee to her home? Mary Lee now takes M'sieur Decoin's dictation in French, translating mentally, and makes her notes in English, while attending to the various other duties of the household. This charming southern girl with generations of breeding behind her, has nothing but praise and admiration for Danielle and her husband, but it must be darned hard to help another along the path of one's own Heart's Desire. A Salute to aGallant Lady !
Oh. yes, I nearly forgot. Add common denominators : All these girls seem to have done a picture with Fernand Gravet at some time, somewhere! How that man gets around !
Barbara Read is a most suitable subject for camera art.
The Rise of Regan
Continued from page 25
ularly proud of his wife and children and home ties are deeply imbedded in him, but for more than three years he kept those he loved best in this life in the background, away from Hollywood eyes and knowledge. His wife, Josephine Dwyer, saw to that.
"Look, dear," she said, when Phil brought his family to California in 1934, "there's no real point to your telling anybody about us. It would be dynamite to your career, just as it's starting so well, if it were known you had four children, even though you are only twenty-seven now. We'll stay out of sight, away from Hollywood entirely, and here in Pasadena no one will associate us with Phil Regan, the actor. No one here need know you have anything to do with motion pictures."
So, even though the idea didn't appeal to him a nickel's worth, Phil Regan, to Holly- wood, was the gay, romantic, unmarried swain. "This is my sweetheart," he some- times would introduce Josephine Dwyer, on their rare appearances together in Hol- lywood— and everybody took it for granted that the girl with him was his latest "flame." Nobody, during all the time this masquerade was practiced, once asked Phil directly if he were married.
"There was one occasion," Phil chuckles, in recollection, "when a prominent news- paper columnist approached me at a pro view. 'Phil,' he said, T just heard from the east that you're married and have five children.'
'"Not five,' I told him. 'four.' Both of us laughed, and that was the last I ever heard of it. He thought I was kidding him. Actually, of course, I had never been more truthful" in my life.
"And I meant it, too, when I introduced Josephine as my 'sweetheart.' I've never liked the sound of the word, wife, and have always used sweetheart, instead. Although no one knew it, I was really presenting the wife nobody suspected I possessed. Nor was I lying when I told friends that it would be the proudest day of my life when I could introduce Miss Dwyer as my wife."
Phil was seventeen when he married Josephine Dwyer. That was when he was driving a truck, back in Brooklyn.^ They were pronounced man and wife in St. Francis' Cathedral, but there was no money with which to take a honeymoon. Instead, Phil led his bride from the cathedral door
74
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76
to his truck, drove her to the one-room apartment lie had rented — and returned to
work.
Born the son of Irish immigrant parents in a poor section of Brooklyn, Phil was working at odd jobs before he was ten years old. His father managed to keep him in school through the grammar grades, but high school was impossible. He got a job driving a wagon on the docks.
"One of my earliest and fondest memories was riding on my father's brewery route," Phil says, "so it wasn't so surprising that I should take a job driving a truck, too. I remember how proud 1 was, as I drove my team past a group of former playmates."
I rom teamster, Phil progressed to auto truck driver, and it was during this period that he married the girl with whom he had been keeping company for more than a year. Private cbauffeuring developed as a desire to better himself, and finally he joined the police force.
"Thirty-five dollars a week — all my troubles were at an end," Phil smiles now. "The work was steady, and there was al- ways that pension of thirty dollars a week at the end of twenty years. My life seemed complete, and Josephine and I were entirely happy. Two sons, Joseph and Phillip, Jr., had been born to us."
The screen was farthest from his thoughts during this period. So, too, was singing over the radio. How Phil came to abandon his chosen profession for radio work was purely accidental.
He had been detailed, in his capacity of plain-clothesman on the force, to watch over a sumptuous party. His partner chanced to tell the host of his talent for singing, and the host insisted that he oblige. He was little less than a sensation.
Ralph Wonders, then a top executive of the Columbia Broadcasting System, heard him and asked him to take an audition the following day. Phil didn't show up for this audition until later, but immediately it was over, Guy Lombardo, the orchestra leader, proposed he join him on the Burns and Allen radio hour.
"Before I accepted, though, Josephine and I discussed the proposition at great length," Phil declares. "As a cop, I was sure of a job; while, if I went on the radio, I was assured only thirteen weeks. Of course, the future might offer something interesting, but I would be relinquishing my chances of that thirty dollars a week pension."
While such a prospect may mean little to many people, consider Phil's position. He had "been born of poor parents — steady work was at a premium — a regular salary for twenty years, with occasional raises and
The airy grace of Joyce Mathews is accented by a novel hair-do.
SCREENLAND
possible promotions, and a retirement pen- sion of thirty dollars weekly, was an op- portunity not to be ignored. Lombardo's offer, however, promised a great deal, and Phil finally accepted.
He became known in radio as The Sing- ing Cop, and continued on the radio after the termination of his Burns and Allen engagement. In December 193.3, he de- termined to take a chance on Hollywood, and on blind speculation arrived in the movie capital. An interesting sidelight was that Josephine Dwyer, unlike most wives, insisted Phil bargain with fate and go west, where the chances were several thousand to one against him. She and the four chil- dren remained in New York.
One of those rare breaks you often read about touched Phil with its magic wand. The first night he was in Hollywood he went to the Cocoanut Grove, where Guy Lombardo was opening that evening. Clar- ence Brown saw him, and told him to re- port the following day at the studio for a screen test.
The test was for Joan Crawford's lead- ing man in "Sadie McKee." While another. Gene Raymond, won this role, the test proved to an agent that Phil possessed an extraordinary voice, and straightway he sold him to Warner Brothers, who placed him under contract. The family reached the film capital shortly afterwards, and the move which was to make Phil the roman- tic bachelor decided upon.
"It wasn't easy, posing as the gay blade with matrimony farthest away from my mind," the actor tells you. "Many and many a time I was on the verge of chucking everything and presenting my family for all the world to see. but Josephine talked me out of it each time.
"I remained with Warners for two years, but there were so many other singing actors on the lot that I decided I could do better elsewhere and asked for my release. I went over to Republic, and played in 'Laughing Irish Eyes.' "
This is the picture which really focused Hollywood's attention upon him. After a second film for this same company. Repub- lic decided to produce a big musical ex- travaganza, "The Hit Parade," with such names as Frances Langford, Cab Calloway, and Eddie Duchin. It cast Phil Regan in what amounted virtually to the starring role. More recently, he appeared in "Man- hattan Merry-Go-Round," and established himself definitely as one of the screen's most gifted singing personalities. He'll next be seen in the starring role of "Mavour- neen."
"I haven't any visions of becoming a great star," he explains, surprisingly. "I've set a very modest goal, not at all in line with what is expected of a picture star. I want to live in comfort with my wife, and pro- vide for my children. I want a nice home, and a moderate income. So far as the luxu- ries of great wealth are concerned, how- ever, those are not for us. We're simple folks — we don't want them. That is why we want our children to understand that they're no better or no different from their friends, those whose parents are not in motion pic- tures or particularly wealthy. It's only through a streak of luck, anyway, that I'm in pictures and that we're as well off as we are.
An amazing young chap, this Phil Regan. A star now. he still thinks of himself as fortunate indeed even to be in Hollywood. His honest brown eyes give no indication that he is aught but amazed that events have taken the turn they have in directing his fate. It's not so wondrous, though, to those who know him — talent such as his cannot long remain hidden. His voice alone would ensure his popular reception. 1 re- peat, he is one of the most un-Hollywood persons ever to arrive in the film capital. Phil Regan will always keep his feet on the ground.
Screenland Snoop
Continued from page 21
subjects to be acted and enforce discipline and quiet and refinement — if possible. The subjects may include the title of a movie, a play, a book, a poem, a song, or a famous painting ; the name of a well known person or place; a familiar quotation, a slang phrase, or an advertising slogan ; historical, Biblical, mythological episode, or practically anything.
There must be a time-keeper with a stop- watch who can be trusted. Sometimes one minute is allotted a player, sometimes two or three. Ready, get set, go! The captain gives the slip of paper with the subject to be acted on it to a player on his team and that unfortunate wretch must act out what he finds written on the paper so his own team will guess it as quickly as possible. From the moment he touches the paper the player cannot speak or make any sound. He must get his subject across solely by acting. Generally his team tries first to establish whether it is a "book," a "quota- tion," etc. This done, the player goes into his pantomine while his team screeches and yells at him. He usually tries to act out the key word, but when the key words are abstract he has to resort to phonetics and will act out separate syllables in a word — a method to be avoided if possible. Natur- ally there are signals he can give his team when they are getting warm, and when they finally guess it. The team that takes the least time to guess the other team's list is of course the winning team, and at the end of the party feels just about as peppy as a piece of soggy bread. You look_ utterly moronic not only when you're acting, but also when you're guessing.
Just to prove that all Hollywood romance doesn't necessarily have a night club setting-, here's a pastoral version by Simone Simon and Don Ameche in Josette.
The best of "The Game" players in Hol- lywood is Loretta Young, who can take practically any subject that is handed her and act it out before most of us have un- folded our slip of paper. Loretta recently finished a strenuous picture schedule and wanted to "get away from it all." You know, relax, and all that. So she went to New York, started playing "The Game" and with only a few hours out for sleep played it all the way back to the Coast. She's the fastest both as an actor and a guesser — she ought to be, she knows them
all by now. Fortunately Bill Powell and Al Kaufman and several other Hollywoodians were on the train too so Loretta didn't have to call in the engineer and conductor to make a team. Fans along the route who crowded around the Chief at the_ stations report the queerest goings-on in Miss Young's compartment. But it really wasn't Mr. Powell getting fresh— he was merely acting out "Variety is the spice of life^ and having a hell of a time with "spice." The William Powell fan club of Kansas City had a special treat. They arrived just
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in time to see their idol acting out "The sins of the fathers."
Bill, however, isn't one of the best "Game" players. He insists upon taking his time and he always stops to giggle and that slows up the action. Personally, I wish I felt like giggling when in the agonies of pantomiming "Taxation without representa- tion is tyranny." 1 feel more like murder- ing. I've known Bill for years and he has never been able to take any game seriously. In fact there was once a rumor that his unguarded Kings and unfinessed Queens led to the Lombard-Powell divorce.
Loretta admits that she has only been completely stumped once and that was at the Darryl Zanuck party when some So- and-So handed her "Twas ever thus." She lies awake nights trying to figure out how she could have done that. Loretta hates to try to guess Shakespearean quotations, as she has never spent much time with Shakes- peare, but any kind of a Biblical quotation or episode is a cinch for her and her sister Sallv Blane. Her favorite is "Rebecca at the "Well."
Next to Loretta I suppose Barbara Stan- wyck is our most avid player. Barbara hasn't made a picture since last August and has been suspended by RKO since October so says Barbara, " 'The Game' is my salva- tion. It's the only chance I have to act now. Thanks to 'The Game' I can keep in prac- tice." Comes Sunday night and the mem- bers of the Mar-Wyck Ranch Game Club gather about Barbara's big fireplace to watch Barbara act — and get in a little act- ing of their own. There you'll find Robert Taylor who had rather act than guess, Carole Lombard who had rather guess than act, Clark Gable who likes to do both, Marian and Zeppo Marx and the Ray Millands.
Barbara acts with great dash and en- thusiasm, indeed her enthusiasm one night practically ended in tragedy. Bob Taylor was expected to arrive from England, via New York, the next morning and Barbara wanted to look fresh and lovely. "I'd been practicing glamor for days," she said, "and thought at last I looked like a cross be- tween Joan Crawford and Carole Lombard. Til act out only one more quotation,' I told the gang, 'and then I go to bed. Give me a hard one.' " They gave her, "To err is human, to forgive divine" and Barbara became so involved in erring that in the excitement she hit her nose with her long glamorous fingernails that she had been growing for Bob and practically ripped it open. "The Game" was called off while everyone offered suggestions for healing Barbara's nose which was bleeding all over the place. "When I saw Bob the next day," said Barbara, "I looked like somebody who had just gotten the worst of it in Madison Square Garden. I certainly didn't look like a cross between Joan Crawford and Carole Lombard."
The hardest one she ever tried to do, Barbara says, was "Don't spit. Remember the Johnstown Flood." She suspects Mr. Gable. Her portrayal of the Flood was so excellent that Carole guessed "Rhythm on the Range," Marian guessed "The Last of the Mohicans" and Ray Milland was posi- tive that it was "Nothing Sacred."
I arrived at Claudette Colbert's one night to find Director Ernst Lubitsch writhing on the floor. Acute appendix, I thought at once, and was ready to call an ambulance. But it seems that the Herr Director was only doing "The Birth of a Nation." Claud- ette, who becomes quite indignant if the studio wants her to work after six o'clock, will sit up all night playing "The Game." She loves it. "A little knowledge is a dan- gerous thing," almost baffled her. but she came through with flying colors on "Paths of glory lead but to "the grave." Claudette neatly laid off a path, and after guesses
of "road" and "walk" Gary Cooper, who loathes the "Game," guessed "path." Then Claudette began to take bows right and left. Her team was completely dumb- founded. What could bows have to do with a 'path." And then for once I showed a grain of intelligence. Perhaps it's because I know movie stars so well. "That," I said, "is 'glory.' " And then of course with two key words we all shouted the quotation at the same lime. You and I, rank amateurs that we are, would probably have waved an imaginary flag for glory — but an actress takes bows.
Of course there was unmerciful kidding at the Darryl Zanuck parly w hen Marlene was handed "She walks in beauty" and "Aphrodite" both on the same night, and didn't have to do a thing but point to her- self. Myrna Loy, who is called Minnie by her close friends, is about the worst of the women players. Although an actress, Myrna is much too shy to get the most out of "The Game." "And," says Myrna, "they always give me such awful tilings to do. Now how can I do, 'Remember the Maine?'"
And you'd be surprised to know who the worst of the male actors is ! None otl :r than the greatest pantomimist of them all, Charlie Chaplin. Charlie just doesn't get the hang of "The Game" for some reason or other. When given "Deep as the ocean" the other night he complained bitterly that it was much too difficult and couldn't be done. Immediately ten people offered to do it for him. The best of the male actors are Doug Fairbanks, Jr., Ronald Colman, and David Niven. Doug, Jr., is so nuts about "The Game" that he even plays it between "takes" at the studio and whereas Irene Dunne used to knit horrible things that were meant for sweaters but turned out to be mufflers between set-ups, she is now right out there with Doug, Jr. trying to figure out with Director Tay Garnett what her leading man is trying to convey. He seems to be walking over imaginary moun- tains. "Hannibal crossing the Alps," shrieks Irene, as pleased as punch with herself. And of course the cast and crew of "The Joy of Loving," not to mention Designer Eddie Stevenson, will never forget the day Miss Dunne did "Like a fish out of water" right in the middle of dusty Stage 4.
The English, it seems, are excellent at "The Game." Ronald Colman, Benita Hume and David Niven are calm, precise, and right to the point without wasting a second. Ronnie Colman was so marvelous one night that he actually forced a team of dim-wits to guess, "Able was I ere I saw Elba." The French are either fluttery or quite bad. Fernand Gravet will act but has a hard time guessing. Of all the foreigners in the colony Marlene Dietrich is the best when it comes to both acting and guessing. Noth- ing is too difficult for Marlene to attempt. Her best is "Simple Simon met a pieman."
At one of Joan Blondell and Dick Powell's parties I recently found a new interpretation of "The Game." George Burns. Jack Benny, and Harry Ruby de- cided that the three of them would act out all their subjects together. In fact they de- cided they would even select their own subjects and that we could guess them. First the three of them walked to the cen- ter of the room, started pointing at each other and shaking their heads. For a mo- ment there they had us, and _ then Mary Livingstone guessed, "The Irish in Us." Later came "The Wandering Jew" and "The Perfect Specimen." Joan and Gloria Blondell rank right up with the top-notch plavers ; indeed Gloria has worked it down to such a system that she can usually guess it as soon as she knows the category it fits into. Though there is one she never did guess. That was the night that sister Joan did "The Oedipus Complex."
7S
SCREENLAND
"Collaborate With a Camera"
Continued from page 63
Yes, I've tried making little humming sounds to get them to perk up their ears, but even then they wriggle !"
Another hobby of Dolores' is the home movie camera.
"I have a small Cine-Kodak in which I use color film," she explained, her eyes full of little gold lights, as if her enthusiasm had lighted lamps in their dark depths. "I wish the day would come when motion pictures could get some glorious color on the screen ! I have lovelier shots of Norma Shearer, Gary Cooper, Errol Flynn, and Fay Wray than anything you've seen in their films.
"On the 'Lancer Spy' set, I made gorgeous color shots of our scenes that far surpass those they made with the black-and-white cameras. I used to tell them every day how much better mine were ! I made some in- triguing shots of our director, Gregory Ratoff — what a nice person he is! — when he was terribly excited. Such fun ! I show them to him and he pretends to be furious !
"I've experimented with color film in my still camera, but without great success.
"There is a film, called JDufay film, that you can buy ; you get six negatives for $7.50, and you are permitted to send them to New York for developing and printing. The negatives are tiny things, but the re- turned prints are blown up to a fair size and beautifully mounted.
"I am not expert enough yet to make this worth while to me. Perhaps only an ex- cellent artist could afford to do it at this stage, for each print should be more than a mere amateur shot at that price.
"However, it's difficult to judge for other people. Camera work gets finer every day. The beautiful pictures made by such men as Steichen are worth collecting. People buy and hang them as they used to buy valuable paintings, and I think they fit into a mod- ern house better."
One of the thrills of doing portraits with Mr. Gibbons, Dolores' husband, according to the star, is that he has original ideas of composition and focus, and likes to ex- periment.
"We will often take half a dozen por- traits of the sitter in the same pose," she
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confided, "and number each sbot so that we will know exactly what was done, if the negatives get mixed up. Our notes on the numbered shot tell the focus, the lighting, the change in background, etc., and then we add the printing time. When we have a larger collection, we should be able to tell exactly how a given arrangement will result."
Dolores is far enough along with her hobby now so that she can mentally change the colors in a scene to be shot by her still camera into the varied blacks, grays, and whites that will be shown in the finished print.
"At first, I would forget that the green branch behind a girl in black would most likely appear as an extension of the black costume," she explained, "but now I seem to know automatically which shades of red will go dark and which ones will go light. This is partly my motion picture training, of course.
"I've always had a feeling for beauty, but, do you know, since I began to make pic- tures I seem to have a greater apprecia- tion of it, a greater awareness. I see beauty in line and interesting composition where I didn't especially notice it before.
"I was down at Palm Springs last week, and how I wished for my Rolleiflex! I had the little movie camera with me and I am so proud of the shots I made. Sand shots make gorgeous pictures, just as snow shots do, but so far I have had no opportunity to shoot anything in the snow. This time I made pictures of typical desert scenes, of cactus, even some close shots of cactus in flower, with one tiny rosy bloom filling the screen.
"If you have sunlight on your sand,, or snow, you can have your figures face away from the bright light, using the sand as reflector. The odd thing about this hobby is that it seems not to have a limit — one thing leads to another. Reflectors, for in- stance : we have none yet, so we use white walls or sand. When we are farther along with our portraits, and can bear to let our attention stray, we shall probably get one or two real reflectors and experiment with them."
One of Dolores' hints to amateur camera- men is this : "Watch your background, especially in an outdoor shot. Telephone wires a block away have a maddening habit of showing up in a finished print. You don't see them when you look into the finder, but there they are ! If you take_ a water shot with a beach line in the dis- tance, look over the scenery for ugly bill- boards or hideous little shacks that might ruin the shot. You think : 'It's so far away, it won't be seen,' but it always seems to stick out and spoil things. So for pictures that please, Dolores reminds us, one must carefully observe the background.
"If you take pictures in a room, or on a terrace, or anywhere with a close-up back- ground, look at the scene in detail before you click the shutter. A vase of flowers may look artistic on a table behind the girl on the couch, but in the finished print it may seem to be growing out of her head. A shift to one side would avoid this freak.
"It's just as well not to let your subject wear a hat. Everyone looks better without one, and hats of today are likely to make their wearers faintly ridiculous tomorrow. Most of us are appalled at our millinery of five years ago, so unless the girl is in cos- tume—which will be ageless — take off her trick hat.
"A hobby like this one doesn't depend on expensive equipment. Anyone with a cheap box camera and home-made filters and screens can get enjoyment from it. It de- velops ingenuity, because you find yourself getting new ideas and have to figure out ways to make them come true.
"If you can get a collaborator, it wnl double your fun !"
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With Carbo at Home
Continued from page 29
before the window and adjoining a white and blue bathroom that is surely the small- est ever owned by a famous film star. It has no provision for cosmetics. Garbo dis- likes to use make-up off the screen and even the exquisite pale spun-gold_ of her hair is entirely due to its morning and evening's brushing.
Reverting to Greta's statement that she was not going to "marry anybody at present," that word present may have been used in a very literal sense. Benefit of the doubt might well be accorded her, for it was a fact that Leopold Stokowski at that time was in America. Only later did the famous conductor sail the seas on the Same path Garbo had travelled weeks previously.
Before she left Hollywood Garbo denied the rumored romance and impending mar- riage— at the time she made the denials Stokowski was still married. Later his wife divorced him and contracted another marriage, thus giving added vigor to the persistent Garbo- Stokowski rumors eman- ating from Hollywood.
Sometimes Garbo goes to Stockholm, to renew her acquaintance w-ith the friends of her early days when she was struggling to earn a few kronen in the city herself as salesgirl, photographic model, and occa- sional film extra. On these days she leaves Haarby alone in a modest car whose chained wheels lumber slowly along the snow- stacked country roads and stays at the apartment of a woman painter she has known for many years.
Together they go to watch the winter sports, the ice-yachting and skate-sailing on the frozen waters of the great Archipelago, the hockey-matches at the Stadium and the ski-ing out on the hill at Fiskartorpet. Like most Swedish women, Garbo is an accom- plished skater and she follows the profes- sional performers with the critical eyes of an expert. She has taken the keenest inter- est in Sonja Henie's work in Hollywood.
SO
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One night Garbo went to her own cinema in Stockholm. She is the only star in the world who has a motion picture theatre named after her and formally dedicated to her art as well. It is called "The Garbio,' bioscope meaning cinema in Scandinavia, and stands in what Greta often describes unaffectedly as "my part of the city"— the densely populated working-class district where she lived when she worked in the hat department of Stockholm's leading- store.
Daytime Garbo's street dress is invariably in the same classic style. Her severely tailored suit is of dark wool and covered with a long loose coat or cloak to match. A colored scarf perhaps and peasant-type pigskin gauntlet gloves, heavy flat shoes and dark silk stockings, maybe a soft felt pull- on hat if the snow is falling, but often her hair falls uncovered to her shoulders. At home she wears it uncurled with her fore- head fringe quite straight too.
In the evening she goes glamorous with- out departing from this original fashion she affects. She was centre of a gay informal dinner party at the Grand Hotel one night, sitting in the winter garden restaurant j where she laughed and chatted with her , artist friends. She wore an ankle-length j gown of midnight blue velvet, fitting her j slim figure tightly, with long wide sleeves and an antique gold filigree brooch at the shoulder. Over it went a sweeping blue velvet cloak which pulled the fur-lined col- lar across her head exactly like a becom- ing monk's hood.
As always when she comes home, Garbo has been shopping in Stockholm, buying things to take back to Hollywood so that she shall still be reminded of her native land. * ••' • -
That is where Garbo differs from most foreign stars who go to Hollywood. They become enthusiastically Americanized, en- chanted bv the novelty of their new en- vironment, but Garbo's nature is too deeply rooted fundamentally ever to change her habits or ideas. She will learn, improve, and polish herself; but she will never alter in essentials. Today the world-famous star is still the sister of every other tall blonde Swedish woman in the streets of Stock- holm, thinking and feeling and acting m just the same way. She lives across the ocean now, but her heart remains at home.
Only the fact that she. loves her work to the exclusion of everything else keeps Garbo in Hollywood— she makes no secret of it to her friends. She counts the screen the most important thing in her world and she abnegates herself and her own desires to the demands of her art just as did Duse and Bernhardt and the famous actresses be- fore them. The reason she goes so little to the bright night-spots of Hollywood is that she prefers to use her leisure resting to keep fit and fresh for her work and study- ing to better understand it.
Even at home in Sweden her thoughts and conversation continue to centre round the screen. She buys all the American and European film magazines and takes them back to Haarby to peruse as she lounges beside the stove. She reads new novels and sees new plays with a view to their scenario values. She talks to the Swedish actors and actresses ever anxious to gain wider tech- nical perspective and stimulating dramatic
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Garbo will never "go home in the popu- lar catch-sense. She may shed tears when she sails for America again as she has always done, but she will stay on the ship just the same. Stronger than calls of home- land, deeper than all ties of family and friends, is this passionate love for her art. It is this complete absorbtion that has made her the supreme star she is and it will keep her proudly serving the silver screen as long as the cameras will turn for her.
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Bashful Baker
Continued from page 34
the highlights of s'brhebody's career and all of a sudden you find that you're talking about truck farming or whether or not it is ever advisable to use a brassie to get out of a sand-trap. And on this particular af- ternoon we covered the subject of trout fishing in all its finny aspects from the Lake Arrowhead region to the northern Siskiyous and back. From angling we skipped lightly over, golf, on which subject 1 was, luckily, a little better versed, and verbally reviewed some fifty or sixty holes whereon we could have given Lawson Little a run for his money.
Funny thing, though. T noticed every time I tried to get him to talk about Kenneth Lawrence Laker he'd shie away from the subject and steer the conversation hack to mashie-niblicks and forty-foot putts. Very queer, I thought. Something is very, very funny here. You don't usually have any trouble at all getting screen stars to tell you all about their miraculous rise to fame and fortune. So once again I was nonplused. Most disconcerting.
At long last, after sinking putts from impossible distances and making recovery shots from unbelievable spots, I had to take the bull by the horns, as it were, and make a stand. "Now, look here, Mr. Kenny Baker," I said (it was getting close to five o'clock), "after all, I've got a job to do and you're the only one who can help me. Now, how's about it? Come on, be a good egg and be interviewed like a gentleman."
A look of genuine pain came over Kenny's good-looking face.
"Aw, gosh," he said plaintively, "can't we just sorta talk about golf and fishing instead ?"
"No more golf until I find out all about Mr. Baker's young son, Kenneth," I said. "Anyway, we've covered the subject of golf from Brentwood to Lakeside and back al- ready."
"How do you like Lakeside?" Kenny asked desperately. "Isn't that thirteenth hole a pip ?"
I agreed that the thirteenth hole was just that, and then it struck me suddenly that all the rumors I'd been hearing weren't rumors at all but the gospel truth. But the truth, in this case, sounded suspiciously like a publicity man's build-up — only it wasn't. For, as long as I was content to talk about golf or fishing, Kenny Baker would chatter on far into the cold gray dawn and it was only when I insisted upon finding out the why and the wherefore of Kenny himself that he became all fussed and got that pained look on his face.
Senors and senoritas, the horrible, soul- searing, hideous truth about Mr. Kenneth Lawrence Baker of Monrovia, California, is that he is BASHFUL ! Painfully, ago- . nizingly bashful ! And isn't that some- thing? It is, because it's not a gag and Kenny would, personally, give a great many twenty-dollar bills if he could over- come it.
I hated to be cruel but I had to find out so I asked, "Is it true that it took nearly a whole day to shoot a scene of you kissing Jane Wyman in your first big picture, 'Mr. Dodd Takes the Air?' Just a lot of public- ity chatter, wasn't it?"
Air. Baker was, at this point, nervously running his fingers through his hair and gradually acquiring the hue of a brick. "N-nope, it's the truth, all right. But, gosh, I couldn't help it. I was so darned em- barrassed and scared that every time — every time I went to kiss her — I got a kind of a funny look on my face. The director said I looked like I was getting ready to make a parachute jump. Oh, man, that was an
awful day! I'd rather not talk about it."
Well, there you have it. And it was near- ing seven P. M. when Kenny had un- blushed enough to lei me in on his Open Sesame secret of success.
It wasn't so many years ago (Kenny is just 23) that the Navy lost a potential admiral. At an early age Kenny announced to his family in no uncertain terms that he was going to follow the sea and make Perry and John Paul Jones look like a couple of sissies. But instead his Dad bought him a violin and young Kenneth decided that maybe Hcifctz or Kreisler were the ones to show up. What's more, he learned to play it, and with no little skill, too. for upon entering Robert Louis Stevenson Junior High School in Los Angeles, he was made assistant leader and concert master of the exceptionally good school orchestra.
Then, upon entering Long Beach High School, it suddenly dawned upon him that he was wasting his time fooling around with the violin. He discovered, quite by accident, that his voice possessed a most unusual quality and range. Where other and well known tenors would strain for a high note and grow purple in the face, Kenny found that he could sing up to their highest pitch and then keep right on going up the scale for several more tones. Aha, he thought — it's clear now that Richard Crooks is the man to go gunning for.
So Kenny Baker packed his violin and laid it on the top shelf of the closet and commenced to study voice. But he couldn't seem to find a teacher that suited him. In fact, he tried out more than a dozen in the course of three months and the only helpful thing they taught him was the correct way to breathe. "You breathe from the stomach," Kenny said, "and if you don't think it's a tricky feat just try it sometime."
Well, 1930 rolled around and Kenny studied and practiced and learned to breathe with his stomach and when summer vaca- tion came by he gave up in digust and took a job as a farm-hand dow n in New Mexico.
"Down there," Kenny explained, "people don't seem to mind so much if you breathe with your lungs."
But when he came back he got a few days work with a choral group doing back- ground singing in one of Ramon Novarro's pictures, and this so enthused him that he straightway entered the national Atwater- Kent Radio Contest. Edward Novis, brother of Donald Novis, former national winner, was his vocal teacher now, and at last he felt that here was the teacher who could do the most for him. And he was right, for Kenny finished second in the Long Beach district try-outs and was now thor- oughly convinced that his future lay in his throat.
But all this time his old bugaboo con- tinued to haunt him. Every time he faced an audience at a social function or a church entertainment his knees would commence to tremble, his hands would shake and, all in all, he would be just about the most miserable young man in the state of Cali- fornia. And if there is one thing in the world a singer must have it is poise and confidence.
"In fact," said Kenny, "when I stood up to sing the people in the first three rows always thought it was going to be a Spanish number. My knees sounded like an intro- duction with castanets. Honest."
But, bashful or not, Kenny Baker kept right on singing ever3r time he was asked, which was pretty often when the Lions and Rotarians found that he was glad to sing for nothing. And that's real nerve too, when you go right ahead and do something that you know perfectly well is going to scare you silly !
In 1933 when Kenny was nineteen he married his high-school sweetheart, Geral- dine Churchill. This necessitated the old American custom of buying-bread-for-the-
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bride so he got an engagement at the First Church of Christ Scientist at Santa Anita and every week be brought Geraldine his nineteen dollars and told her to go ahead and squander as much as she liked but to save out enough for singing lessons.
And then, lo and behold, after doing a little radio work with a quartette, he was engaged as intermission soloist at the newly opened Biltmore Bowl in Los Angeles. Now he was getting some place ! From the pres- tige gained at this exclusive hotelhe began to get more picture work. True, it was all "background" work : supplying the singing to Walt Disney's cartoons, Silly Sym- phonies and the like, but it paid well and, with his regular salary, Kenny wasn't do- ing badly at all. And Geraldine was very happy about the whole thing and told Kenny that he'd be crazy if he didn't enter Eddie Duchin's Texaco Radio Contest._ So he sent in his application and qualifications and promptly forgot about the whole matter until one day several weeks later, while working on Lawrence Tibbett's picture, "Metropolitan," he was informed that his audition would be the following morning and to please be on time.
Kenny was on time, all right, and when he had finished his song they told him to come back the next morning to compete in the semi-finals. He won that and then, tired and more nervous than ever because he was holding up a whole movie company, he advanced to the finals and won that too, hands down. And were they scorched out on the Fox lot when Kenny came sprinting in more than two hours late !
Winning this contest gave Kenny the op- portunity of being heard for the first time over a coast-to-coast broadcast and also gave him a week's engagement at the fa- mous Cocoanut Grove at $100 bucks per.
But once at the Grove he so completely wowed the diners and dancers that he was
Katharine Hepburn, in the mood to be modish, wears a reefer.
kept on not only through the duration of Eddie Duchin's contract but also through those of Ozzie Nelson and Al Lyons.
And then Mervyn LeRoy happened in one evening and was so impressed by the Baker voice that he immediately placed him under contract and cast him in the picture.
"The King of Burlesque." Kenny blushed his way through that picture but his voice didn't fail him and Mr. LeRoy was so pleased that he spent half of the time con- gratulating himself and the other, half go- ing around smirking at less intelligent talent pickers.
Then — this was in 1935— Jack Benny heard him and gave him a trial broadcast on his famous radio show. Kenny had no sooner stepped away from the microphone, so to speak, than jack shoved a contract for seven more weeks at him and then fol- lowed through with a contract for thirteen more.
"WOW! !" Kenny said, momentarily for- getting he was being interviewed. "By that time I was so scared and thrilled I could hardly keep inside my own skin!"
Jack Benny straightway christened him the Timid Tenor. He says that Kenny ap- proached the microphone like it was a coiled cobra and even now he has to assure him before each broadcast that the poor "mike" isn't at all venomous and is, in fact, actually docile if you look it fearlessly in the eye. ... >
In October of 1936 Kenny jomed> Jack Benny again with a thirty-nine weeks' con- tract and then Mervyn LeRoy signed him to do "The King and the Chorus Girl," with Fernand Gravet and Joan Blondell. Then in rapid fire came "Mr. Dodd Takes the Air," soon to be followed by "Fifty- Second Street" and "Goldwyn Follies."
And that, as hard as it was to pry loose, is the story of how Kenny Baker blushed and flustered his way to the top of the heap. And, incidentally, of how I happen to be on speaking terms with a Dusty Heckler — pardon me — a Brown Coachman, or is it a Royal Miller I'm • thinking ofP Anj'way I know more about fishing since I interviewed the lad who would rather talk about trout and golf than himself.
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EYE-GENE
Secrets of Hollywood's Ace Directors
Continued from page 33
nineteen then, carrying a violin under one arm, a pair of skiis under the other. Out at Universal he was known as just another relative, one more of the Laemmle kin. Willy didn't like that at all. One of his hardest fights was to make the company forget that he had been signed up simply h i ausc he was a Laemmle cousin. He suc- ceeded so well that when he first put on a bit of temperament and demanded a re- lease— this was after "The Good Fairy" — the company said "All right." Willy was terribly unhappy. Me had had no intention of leaving Universal. Pride wouldn't let him stay after that. He went into free- lancing and made a name that is quite his own. He was married, for a year or two, to Margaret Sullavan and says they fell in love during the making of "The Good Fairy" because they enjoyed fighting with each other.
W. S. Van Dyke is one who's gone in for adventure. Like all the big directors, he's a likeable fellow, talks well and gets along with people. He has his own way of directing, as individual as it is effective. He's apt to switch scenes suddenly, throw- ing his star into complete confusion. He did it once to Robert Taylor, pretending the scene was a rehearsal and filming only one take. The handsome Robert, newer at acting than he is now, was in despair until he saw the rushes. Then, somewhat abashed, he had to admit these were the best scenes in the picture.
Woody tried this on one of Hollywood's prides and joy, who was intensely flattered by what he considered the director's trust in his ability. Woody snorted when he learned this, and spoke his mind freely :
"Certainly he never needed more than one take for each scene. That!s the way we work with animals too. You figure out what the animal is able to do — or likely to do. Then you set up the cameras and photograph whatever he does. It's no use photographing it a second time. The animal won't be any better. He'll just be more tired. And that's the only way to handle some actors."
He's one director who's been all over the world, even had a taste of real ex- ploring. He made "Trader Horn" in the wilds of Africa, and says that was just grief all the time. He filmed "Eskimo" in Alaska, "The Pagan" and "White Shadows in the South Seas" on location. He turned down "The Good Earth" because he thought it should have been made in China.
For sheer fun, there's probably no one in Hollywood to compare with Ernst Lubitsch when he's feeling gay. Always, on the set or off, he is puffing one of those dollar cigars that look bigger than ever compared to his small figure. His eyes are bright and always laughing. I've never heard him make a malicious remark, or heard one made about him. The only time I've ever seen him really mad was when he discussed censorship. The censors, by the way, didn't cut even a line in "Angel," so carefully had the witty Lubitsch handled a dangerous situation.
He was an actor back in Berlin days, and transferred to directing about the time that Pola Negri became a European star. One of her German films, "Passion," brought him a Hollywood' contract. Little Lubitsch has been here ever since. Story conferences prove that an actor never quite forgets his art. Eyes dancing, cigar waving, Ernst Lubitsch goes through each scene. He will
add a bit of business there, a line of dia- logue there, a gesture now.
When the script is finished, so practically is the film. Lubitsch knows what he wants. He has it there, down on paper, in detail, and complete in his head. He has only then to persuade the actors to get the idea, and this he does with a contagious merriment. He does not weep with the sad scenes nor grow hysterical with emotion, in the pre- talkie style of direction. He chuckles and suggests, or, despairing, does a bit of acting himself. It's fun to watch. Evidently, from what his actors say, it's fun to do.
Mervyn LeRoy is no longer known as the boy director, which is all right with him. He got pretty tired of that when he reached his mid-thirties, although his slight figure and round face still made him ap- pear in his teens. His boyish appearance occasionally complicated his life, especially in New York. Once the treasurer of a Broadway theatre refused to hand over the tickets reserved in LeRoy's name. This, said the box office man, was just an office boy trying a very poor impersonation. The director had to hunt up witnesses to estab- lish his identity.
He is ambitious and direct, this former newsboy who got into the picture business as an extra. He never used his relationship with the producer, Jesse L. Lasky, to help himself along. In fact, he usually kept that fact a secret.
He is a quick-witted little fellow, with an ability to whip up an electric atmosphere on his sets that is reflected in his pictures. For a while he was a gagman, a job he glorified by calling it comedy constructor. His first films were comedies, but grad- ually he's shifted over to drama, to "They Won't Forget" and "I Am a Fugitive," with only an occasional "The King and the Chorus Girl" and "Fools for Scandal" in between.
Mervyn talks eagerly, waving about that tremendous black cigar which he uses like a baton when directing. Those black cigars, fragrant, and tremendous, are distinguish- ing marks also of Alexander Korda, the Hungarian who flopped in Hollywood and made so conspicuously good in London.
LeRoy is still determined not to rely upon family connections. Married to the daughter of the eldest Warner brother, he is pulling up stakes at the Warners' studio and becoming producer-director at Metro- Goldwyn-Mayer.
Then there's Cecil B. DeMille who can
The girl James Dunn waited for! Frances Gifford, Jimmy's bride.
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stage as nerve-wracking a scene as any of his actors when sufficiently bored by what he calls mental stupidity. His actors are terrified of him, and intensely admire him. He's absorbed in show business. His greatest boast is that, after fifty-two active years, he now finds himself a veteran of stage, screen and radio. Although it takes up what spare time he might possibly find, C.B. won't give up his weekly broad- casts. He enjoys too much the feeling of going into people's homes, sitting in front of their fireplaces, and chatting with them informally. Of the three mediums he seems to find radio the most fun.
This does not keep him from going on with the lavish spectacles he films each year. However his Dutch ancestors might feel about it, C.B. likes to splurge. He's a quiet man off the set, well read, friendly, quick to remember even the most casual acquaintance. His father was a playwright, and his mother, after the father's death, a play agent. C.B., like so man}' directors, almost had his war training too. He tried to enlist for the Spanish-American war, but was too young. Instead he went on the stage, slowly turning from acting to man- aging and writing. It was almost as a joke that he joined up with a glove salesman, one Samuel Goldfish (now Goldwyn), and a vaudeville performer and producer, Jesse L. Lasky, to gamble on films.
He has been making films since they first went on the market, and isn't bored with them yet. He has just, within the past two years, rediscovered American history, and can't get enough of that either. With "The Plainsman" and "The Buccaneer," he uses American history as background for his spectacles. That's the sort of thing he enjoys, standing on a high platform in the midst of several thousand extras and directing through a public address system.
There may be those who'd rather chat amiably with Clark Gable about his Broad- way days or discuss her return to the screen with Norma Shearer. But I'd rather hear Gregory LaCava admit, a little re- luctantly, that he built up that crazy atmosphere on purpose for "My Man God- frey." Mr. LaCava, once a newspaper car- toonist, has his own ideas about getting spontaneity into a picture. He doesn't use the surprise technique, like Van Dyke. He just lets his cast have a good time. For "Stage Door" he tried to get everyone into a merry mood. "My Man Godfrey" was to have a slightly lunatic quality. Gregg La- Cava kept up the clowning even when cameras were not turning. He joined in all the practical jokes — Carole Lombard can't get enough of them. He laughed at all his cast's quips and stunts. The set was like a handsome insane asylum.
LaCava will tell you that comedies, espe- cially the mad farces he does so well, are work, hard work. He'd much rather make dramas because they're easier. Neither he nor his actors have to play at top speed all the time. LaCava's parents were Italian. He ^ looks Italian too, with black laughing eyes and an insistence upon getting all the fun he can out of life.
Frank Capra is another Italian, this time one actually born in Italy. He's not like LaCava, exuberant and party-loving. Capra is quiet, so quiet that even a producer doesn't try to talk him down. It would be no use. Capra's quiet is one of his strengths.
He's a little fellow, like so many di- rectors, some five feet four inches tall. He's worked at practically everything from singing in cafes for his supper to pruning trees at twenty cents an hour. His picture career, starting as a gagman, was all ups and downs, with some of the downs pretty heartbreaking, until Columbia gave him a chance.
He has a definite taste in stories, and thinks "Lady for a Day" his favorite film,
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because H was so like a fairy tale. He likes to experiment but is more cautious about suggesting it since "The Bitter Tea of ( leneral Yen," which he really liked, proved a Hop. He takes a long time making his films, working often for a year ahead on the script, as he did with "Lost Horizon" and as he's doing now with "You Can't Take It With You." He and his scenario- writer, Robert Riskin, went around asking everyone they met how they'd like to live in Shangri-La and why, before they made "Lost Horizon." Out of all the answers they concocted their idea of a place they'd like to stay forever. And, to a prejudiced observer, it looked just like Hollywood!
There are lots of Italians among the better directors. Capra is the dreamer type, his mind seldom off his work, concen- trated, and ambitious. Frank Borzage takes his work in his stride, having a lot of fun along with it. He doesn't mind staying up until two in the morning, talking of every- thing but his picture, and turning up on the set at eight o'clock in fine mettle. His films, even back in "Seventh Heaven" days, have usually been tender love stories. His back- ground is a Utah mind, where he worked as he saved up money for a correspondence course. It was acting that he learned at long distance, but the course didn't help him get a job. He got into the theater as a property boy, back in the days when he was sixteen.
Borzage would rather talk about polo than pictures, and about anything but him- self. But he'll tell you grand stories about his actors, always with the affection he seems to have for anyone in his cast.
It is from their directors that you can learn the truth about the stars, about Carole Lombard's generosity from Wesley Ruggles who directed her in "True Confession" and gives that high-spirited young lady all credit for the picture. Wesley is the brother of Charlie Ruggles, but much more serious about his comedy. He got scared in the middle of "True Confession" because every- thing was going so well. Carole always arrived early in the morning. She had sent flowers to Una Merkel, whom she had never met, on the day that Metro actress first reported on the Paramount lot. She had kept the whole cast good-tempered. Ruggles couldn't believe his luck. He was still scared, till the picture opened and be- gan building up box office receipts.
Ruggles will tell you of that month at Sun Yallev, Idaho, when everyone had a
vacation but himself. He didn't dare ski like Claudette Colbert, or skate like Melvyn Douglas. Someone had to avoid a broken leg, and probably that person had better be the director.
There's only one woman director now in Hollywood. She is the tailored, hard- working Dorothy Arzner. She is a much more colorful character than most of the stars, with a Hollywood background that began in her childhood. Her father ran the old Hoffman cafe where William S. Hart Erich von Stroheim, D. W. Griffith, Charlie Chaplin, Wallace and Noah Beery, Ray- mond Griffith, Frank Lloyd and the rest of the pioneers used to eat whenever they could afford it. They used to talk about directing. Dorothy, sitting on James Cruze's knee, knew all about studios long before she had ever been inside one. Years later she got her first movie job as a typist in the script department. She began to hunt other jobs, to work as a script girl, to assist the cutters, to write scenarios on her own time. She has not made many pictures. Hollywood still is wary of women directors. Last year she directed "Craig's Wife," and this year "The Bride Wore Red." She is a crisp young woman, who thinks there is a decidedly large place in motion pictures for women. Miss Arzner does not go in for glamor. She is too busy.
But for glamor, real glamor, there is always Walt Disney. Even in Hollywood, where Greta Garbo hides out so publicly, there is curiosity about Walter Edward Disney. Mr. Disney makes no attempt to hide out. He's always there, in his studio playing with Mickey Mouse or the Seven Dwarfs, or at home playing with his own small daughters.
Kay Francis can talk about the clothes she will wear in her next film, and Spencer Tracy about how bad he was in his last film. He is always sure he was bad in his last film. But Walt Disney knows why he made "Snow White and the Seven Dwarfs" and whether or not Dopey is likely to be- come as big a star as Donald Duck. He knows that there are certain vital rules about animated cartoons, one that forbids real harm coming to any animal, even a villain, which has been individualized. He will say too that anything can be made likeable, even a spider. There's rather a cute spider in "Snow White." He's sure that, if he wanted to try, he could turn a snake into a hero. . There's usually both simplicity and vital-
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Living up to the title of their co-starring film, we have, above, Ginger Roge.s and Douglas Fairbanks, Jr., in a close-up from "Having a Wonderful Time.
S6
SCRE ENLAND
ity in these directors, from that ex-engineer. Clarence Brown, flying all about the coun- try in his own plane when he's not direct- ing such Greta Garbo pictures as "Anna Christie," "Romance," and "Conquest," to Frank Lloyd, who runs a small ranch in between such films as "Maid of Salem" and "Wells Fargo." Frank Lloyd, born in Scot- land of English parents, is now fascinated with American history.
Over in Europe the directors are even more colorful. There's Alfred Hitchcock, that rotund gourmet whose hobby is time- tables. He can ask questions quicker than any interviewer. He wants to know about everything, the tiniest detail of American life. His avid curiosity has taken him all over Europe, to the most unexpected corners of the Balkans, but it has never gotten him over here. He has not yet had enough time away from such thrillers as "39 Steps" and "The Man Who Knew Too Much," to col- lect all the American timetables and recipes he wants.
Rene Clair, French, dapper, and possessed of an English vocabulary that revolves around the word "scram," is also curious about America, curious enough to come to New York but not to stay in Hollywood. He made "The Ghost Goes West" in Eng- land, and he's making another there now.
If you talk to Norman Taurog, that genial roly-poly, you'll talk about children, his own and those he has discovered or directed, from his wife's nephew, Jackie Cooper, to small Tom Kelly of the Bronx, the latest Tom Sawyer. If you wander out on Archie Mayo's set, you'll spend an hour laughing.
, William K. Howard, working now in London because he tired of Hollywood studio politics, is an expert at melodrama, and describes it as a situation where some- body wants something and someone else doesn't want him to get it. Anatole Litvak, of "Tovarich," is solemn about his direct- ing, he doesn't like jokes on his set, even when making a comedy ; he insists upon silence. Recently married to the gay and bubbling Miriam Hopkins, he remains one of the most serious men in Hollywood.
It was Cecil B. DeMille who said he begged his actors not to try picking out stories for themselves. A star could always see a part, he. said, but never a play. Per- haps that's why it is the directors, a color- ful lot in themselves, are the ones who give the best picture Hollywood. There's Henry Hathaway, who was a child actor at six and a second assistant director at the age of twelve. There's Raoul Walsh, who used to be a matinee idol, and Robert Z. Leon- ard, whose second cousin was Lillian Rus- sell. Rouben Mamoulian, born in Tiflis, had years of directing opera before he ever saw Hollywood. Edward H. Griffith was a newspaperman.
They're conscious of no glamor, these hard-working men, not about themselves anyway. They leave that to the stars, letting them weigh each word or worry lest a care- less word prejudice their public. The di- rectors, quick-witted Lubitsch, Henry King who looks more like a bank president and talks like a college professor, the stormy petrel, Fritz Lang of "Fury," these are the ones who see the play as well as the part. It's Leo McCarey who can tell you that Ralph Bellamy didn't want to play comedy until he danced in "The Awful Truth" and that he now doesn't want to do anything else. It's Frank Lloyd who can tell you the. excitement of making "Mutiny on the Bounty" and Sidney Franklin, quiet and scholarly, who knows all about the com- plications of "The Good Earth."
They may not have glamor, that unreal atmosphere with which the stars con- scientiously try to surround themselves. But they're grand company — and they are Hollywood.
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SCREENLAND
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Joan, Dick & Co.
Continued from page 31
He was waiting patiently for his mother's return. "Oh, yes, the baby," said Joan guiltily. "Why, I just wrote God a little note and said please send us a little boy or a little girl."
"Huh," said Normie. "That's the way you talk to Santa Claus." And realizing the value of a good exit line, lie made it.
Fortunately for Joan she didn't have so much trouble explaining the facts of life to Mr. Powell Senior. But don't think it was done in one of those beautiful and tender love scenes which you have seen Miss Blondell and Mr. Powell do so many times on the screen. He didn't come upon her one day knitting little booties, and she didn't whisper whimsically in his ear. It came about thus. Dick was in a late after- noon rage. Everything had gone wrong at the studio that day, and the broadcast re- hearsal had been lousy, and not only was he on a diet but it was about time for an- other "recession" to set in, and Mr. Powell was just about ready to eat nails. He was grouching about this and that over the phone to his agent while Joan serenely looked on. When he had hung up the re- ceiver with a bang Mrs. Powell merely gave him a prop smile and icily remarked, "It is indeed a pity that there has to be another one like you around the house." And that, dear fans, is how the Powells do it without benefit of camera.
Of course right now what fatherhood means to Dick Powell is a new house, and planning a new house always makes Dick- happy. There doesn't seem to be a room they can use for the nursery in the home they have now. Dick wants to sell the house and build a "small" place in the hills — that is, he wants to do that on Mondays. "Dear," says Joan, "if you are going to build you must start soon or our baby will be born in a tent." But on Tuesdays, he has decided on a ranch, with a few horses and cattle, out in the Valley near the Stanwycks and the Taylors. "It's a beautiful knoll," says Dick dreamily, "and only twenty minutes from the studio." "It's a bump on the earth," says Joan who doesn't care for this back-to-the-earth movement, "and it's an hour from the studio." By Wednesdays Dick has decided to build an extra wing for the nursery on the house that they have now, and then while the workmen are there to have them knock down all the walls downstairs as he has always had a theory that one big room would be most effective. "But darling," says Joan, "you must get me a house with a wall around it and a gate or I won't have any fans left soon. I lost seven more of them today. I was late for the studio and was running like a mad woman to my car in the driveway when I tripped over a whole family from Iowa, parked right there on our lawn. I smiled, but they wanted to take pictures of me, and I was an hour late and had on old slacks so I said, 'Please don't,' and I think they got awfully furious. I can't afford to lose many more fans. You must get me a house with some privacy." So on Thursday Dick looked at beach houses.
On Friday, the "recession" set in again so the Powells didn't look at anything. Joan checked over the laundry bill, and Dick got a pencil and paper and figured out how much it cost for them to live a week. "We'll be in the poor house before we're forty," said Dick wearily. "Our poor children: We must begin to save so that they can have a college education. I think I'll cancel my order for my new shirts. Of course the ones that I am wearing now will soon be frayed around the edges. But I
must, I am obliged, think of my children."
"The price of meat has gone up," said Joan sadly. "I just talked to the butcher. I ordered hamburger for tonight."
"Ah, my little bride," said Dick. "You should not have to worry with the sordid details of living. You should read books, you should look at pretty pictures, and you should listen to lovely music. I read sonic place—"
"Yes," said Joan, "I read that chapter too."
The next day when Joan came home from the studio Dick threw his arms about her and led her lovingly into the living room. On the wall was hanging the most beautiful landscape painting she had ever seen. "It's a Corot," said Dick proudly. "Isn't it beautiful?"
"Oh, Dick, it is," said Joan, "but Corots are terribly expensive. You must have paid fifteen or twenty thousand dollars for it."
"Yes," said Dick, "but I want you to look at pretty pictures.'"
Beauty with the Blues
Continued from page 51
ture, as something purely accidental and not worth mentioning. "Sure, I guess I was a good enough model, but I've always wanted to be a singer, with a good dance band. That's what's really fun."
Aha, 1 thought, so dawn is beginning to break. And break it did ! During the re- mainder of the afternoon I listened to a story which, after taking my notes home and analyzing them, turned out to be so old — so very, very old that it's brand new ! Especially for Hollywood. I'll pass it along to you and then you will understand why Dorothy Lamour almost had to be hog- tied and threatened with mayhem before she consented to a film career.
Along about 1933 Dorothy, as she has already mentioned, was a model in a large Chicago department store. All her friends and her boss and everybody said that she'd go far as a model. But she was unhappy, even as you and I. She yenned to be a singer.
And that was another thing. When Dorothy sang for her friends at private parties and the like everybody readily agreed that she had a remarkably beautiful voice, but then, you know — why quit a good job — why take a chance and that sort of chatter was about all the encourage- ment she ever got. At least, until one night when she and a party of friends went dancing at the Morrison Hotel. Now, at the Morrison they have a Feature Xight — that is, if you're present and happen to have any talent at all you're almost sure to be called upon to do a number — any kind of a number, whatever you do best. Well, what happened was that somebody in Dorothy's party tipped off Herbie Kay, the orchestra leader, that there was a girl present who had a "simply terrific voice." Naturally, with Dot practically busting to sing, the band leader didn't have to plead very hard to get her to sing a number with the orchestra.
And, my breathless public, that night history was made ! Herbie Kay, without even laying down his baton, promptly hired her as "featured soloist with his great dance aggregation and the next day Dorothy calmly walked into Marshall Field's and quit.
Now, right about at this point is where the plot thickens, noticeably. For a whole year Dorothy sang with the band in and around Chicago — rehearsed and worked and rehearsed some more and in general was having the most fun she'd had in all
SS
SCREENLAND
her nineteen years. It didn't seem possible that things could get any better, or that life could be any sweeter. But little did she know !
She fell in love with her boss.
"It was the darndest thing I" Dorothy explained, her eyes beginning to glow with a not-of-this-earth fire. "Herbie was driv- ing me home one night after work and we stopped at one of those drive-in stands. Well, we were just sort of sitting there waiting while they fried the hamburgers — you know, kind of dreaming and watching the moon over Lake Michigan and then by gosh 1 you know what happened ?"
Dorothy's mounting excitement was get- ting in its dirty work and she had me sitting on the edge of my chair — it was downright dramatic the way she was telling an otherwise commonplace happening.
"Go on," I begged. "What happened then?" At this point Dorothy's excitement gave way to an — well, an ethereal look is the only word for it.
"Well, all of a sudden we happened to look at each other and — and that's all there was to it. We were in love, just like that! Isn't that crazy? After working together and being in constant association for over a year we had to go to a hamburger stand to discover we were in love."
"And then did you — ?" I began.
"Of course," Dorothy said. "There wasn't any point in stalling around about it so we were married — right away." And Dorothy still had that look in her eyes when I left, an hoar later.
So she married her boss and went walk- ing around the streets of Chicago about three feet above the pavement and mentally pitied all the rest of the poor people be- cause they couldn't possibly feel the way she did. And Herbie was just as bad, maybe even worse.
And then, with a dull "crunch!", the
Rochelle Hudson and Jane Withers in "Gypsy," Jane's new starring film.
blow fell. Besides singing with her hus- band's orchestra in the evenings she was also working on the NBC Shell Show, and making quite a large impression, too. Then, with an utter disregard for Dorothy's heart, the radio show moved out to Holly- wood.
"That's perfectly okay with me," said Dot to Herbie. "I'd rather stay in Chicago with you. I'll quit."
"Oh, no, you won't," said friend spouse. "You're going out to Hollywood where the big money is."
And Dorothy said, "Why, the very ideal And leave you here by yourself just when we've been married and evervthing? Don't be silly!"
But Herbie Kay knew a "break" when he saw one and so, despite Dorothy's tear- ful pleading to be allowed to remain at
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SCREENLAND
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home, he packed her off to Hollywood to see if his hunch wouldn't work out.
There followed long anguished months of separation with daily letters, telegrams, and phone calls from both sides of the continent, antl finally Herbie gave in and said okay, we're going on tour and you can meet me in Denver.
But when Dorothy arrived in Denver and was having a swell time alternately laughing and crying with joy at seeing her husband again, Ilcrbic said, "Mere's a tele- gram for you — came just before you got here." And when Dorothy read it and then tried to laugh it off as something of no importance Mr. Kay was, naturally, quite interested. Maybe even a little jealous.
"Oh, it's nothing," his wife assured him. "Nothing at all." But when Herbie com- menced to look stern and husbandly Dorothy had to tell him. "Well, you sec," she began, with foreboding in her heart, "just before I caught the train I had to take a screen test. I didn't want to — honest, I didn't. But Paramount insisted and insisted and finally I gave in to get rid of them. And they took so long they almost made me miss the train."
Herbie, of course, was thrilled to death and demanded to hear more of the details of the test, but Dorothy was vague about the whole thing and said she hadn't waited to find out how it had turned out. Can you tie that? And when Herbie finally had to take the telegram away from her by sheer masculine force Dorothy broke right down and cried because she knew darned well what was going to happen.
Yes, the telegram was from Paramount studios demanding she return to Holly- wood immediately to begin work on a pic- ture. Herbie yipped with joy and Dorothy wailed with sorrow while Mr. Kay put Mrs. Kay right back on the next train to California. Without even giving her time to get acquainted with her husband again or to sing just one song with the band.
And that's the way "Jungle Princess" happened to be made. By pleading and coaxing and regular reprimands from Herbie Kay, who feared that his wife might ruin her splendid chances at any moment, if he didn't make regular visits tp Hollywood between engagements, by walking out and catching the first plane headed east.
Cooperating, the studio saw to it that there wa-s little time between pictures for Dorothy to get lonesome, by giving her a full schedule that included such pictures as "Swing High, Swing Low," "The Last Train From Madrid," "High, Wide, and Handsome," and her starring role in "The Hurricane." That not being enough for one year, you will be seeing Dorothy in Para- mount's "Big Broadcast of 1938," "College Swing," and "Her Jungle Lover," which is a follow up on her first picture.
At this writing Dorothy has just re- turned from her first visit to Chicago since she left there two years ago, where Herbie and his orchestra are appearing. And as if that weren't enough Dorothy has again shocked studio officials by serving them with the notice that in another eleven months, she is retiring from the screen for one year to raise a family.
"I w-ant to enjoy my children while I am young," is Dorothy's only explanation, of what the studio considers very strange antics from a star.
But Dorothy has proved to Paramount she is in dread earnest for they have gone ahead and planned as many pictures as possible in that length of time, starting with "Tropic Holiday." But if husband Herbie Kay doesn't keep up those regular visits to this immediate vicinity, she's likely to walk out ahead of time. After all Dorothy Lamour is still very much in love with her boss.
Frances Mercer, RKO starlet, recruited from stage and radio.
Stooge to a Wooden Wit
Continued from page 61
fair complexion. He is five feet ten inches tall and has the sort of charming person- ality that attracts the ladies. But, somehow, he has always been too busy raising his wooden offspring, preparing his routines and writing his scripts to have much time- left for romantic adventures.
Little did Edgar Bergen realize when he hewed Charlie McCarthy from a chunk of wood that he was relegating himself to the position of stooge to a wooden wise- cracker who would soon become the reign- ing sensation of the entertainment world.
Dummy though he is, Charlie gets as much loving care as the Dionne Quintup- lets. Father, valet, masseur and make-up artist_ is Edgar Bergen, famed ventriloquist who is solely responsible for Charlie's ex- istence. No one else is permitted to handle him and even the wardrobe department has to measure him under Bergen's ever watch- ful eye. But there is a reason for this. Charlie cannot be duplicated. So many of the best woodcarvers the world over have tried to catch the exact expression that is responsible for Charlie McCarthy's appeal. All have failed. And every time Bergen commissions another artist to try his hand, the same result is effected and Charlie is guarded with even greater care.
Should Charlie ever be kidnapped by gangsters, they could easily demand the largest ransom in the world — and probably collect, too. But even then they would be subject to prosecution by the United States Government for Charlie is protected by Uncle Sam more rigidly than many ordinary citizens. Until now there has been no great need for a special bodyguard be- cause Bergen carries Charlie with him wherever he goes in a torn, battered suit- case that would easily deceive the average person as to the precious contents. But even if Charlie were kidnapped, he would serve the thief no better purpose than keeping a fire going for an hour or two. Just as Trilby was useless without Si'cngali, so Charlie is speechless without Bergen.
So important is Charlie McCarthy that his birth records are kept in the Govern- ment files in Washington. The "birth rec- ords" of the hunk of pine to which Edgar Bergen has given such startling animation are the documents that patent, register.
90
SCREENLAND
"FERRETS OF FRESHNESS"... Para mount's talent scours, Boris Kaplan and Edward BlaN
copyright and trademark Charlie. Even Shirley Temple does not enjoy the distinc- tion of such exclusive protection.
Whenever Charlie opens his mouth to flirt with Andrea Leeds, Myrna Loy or Carole Lombard, the movement is protected against imitation. Even Charlie's name can- not be used in vain without incurring the wrath of Uncle Sam.
Since his recent advent in films, he has gone a long way from those days seventeen years ago when he was a ragged, arrogant urchin with a single shabby suit to his name. Today, he is considered one of the best-dressed men in Hollywood and owns as many changes of clothes as any of the leading men. For his sartorial grandeur, he is indebted to Samuel Goldwyn. When Goldwyn learned that Charlie possessed but the single dress suit he constantly wore, orders were given to equip him with the best wardrobe available. Conferences and consultations resulted in the creation of one of the most enviable wardrobes in the en- tire film colony.
Charlie's clothes are always custom tail- ored and he prides himself that no one else can wear them as well as he. "Even Bergen can't wear my hats," he says, "which proves that our success didn't make any difference to me."
In addition to his white tie and tails, Charlie now boasts several business suits, sport outfits, a dinner jacket and the one bit of apparel he has wanted for many years — a genuine camel hair polo coat with a belt that ties in front. "Now," he cracks, "no one can mistake me for anything but an actor."
Before he faces the battery of cameras, Charlie goes through an elaborate process of make-up and as much time and effort is spent on the improvement of his appearance as on any flesh and blood actor. His hair is briskly shampooed and the red, tousled locks are carefully combed and slicked down. His fingers are manicured with a wooden file and every few weeks he gets a complete new coat of lacquer that makes him glisten with radiant newness. No sissy is Charlie, but for art's sake he endures a touch of eye shadow and a bit of lip rouge and admits it works wonders when the final photographic effects are produced. The last touch — a little polish on his shoes — and he is ready to face the discriminating cameras with the ease of a well-groomed man. But — oh-oh, Charlie's been talking out of turn again, so Edgar has to put an out-of- joint jaw back where it belongs with a pair of pliers.
Although all the girls cry for him and the boys think him a regular guy, Charlie has basked in the spotlight of fame without a single threat of an imitator.
"This is very rare," explains Bergen, "but there's a very good reason. Charlie's enigmatic personality cannot be reproduced by any woodcarver. Every attempt has been made to duplicate him but none has been successful. Because of this, Charlie now has a stand-in like all other stars and this pre- vents him from suffering the glaring lights that take the starch out of most actors while the preliminary preparations are be- ing made to "shoot" the scenes. In addition, Charlie is heavily insured and should any- thing happen to him his beneficiary will be well reimbursed for the loss.
Some people may call Charlie McCarthy a dummy, but he isn't so dumb. On oc- casions his sharp tongue even outwits Edgar Bergen, who, as Charlie will tell you, is really a clever chap. Of course, he couldn't say otherwise because it was Ber- gen who took Charlie when he was nothing but an idea and made him what he is today.
Together, the two have gone a long way from traveling all over the world in second rate vaudeville to big-time circuits — from vaudeville to swanky night clubs, to radio
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SCREENLAND
91
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and finally to the top of all entertainment levels— the motion pictures. Featured in "The Goldwyn Follies," they're practically ■itting on top of the world now, and Charlie says there's no place like it provid- ing he's resting on Edgar Bergen's knee.
Charlie often confesses that he was con- nived in the kitchen of the Bergen home when Edgar was just sticking around watching his ma make her famous pies. Just for a joke, Eddie made one of the pic-, murmur "Hello! Hello!" as it was being removed from the oven. Mrs. Bergen looked at the pies suspiciously, not being a super- stitious woman, she was a little annoyed rather than frightened. The only other per- son in the room was Edgar and she knew his voice too well to make any mistake about it.
"I did it!" Eddie finally burst out. "I made that noise, mother. Isn't it wonder- ful?"
"Oh. you did, eh? Well, don't let me catch you playing those tricks again." And Eddie didn't — not in his mother's kitchen— tor he soon discovered that instead of being- reprimanded for his ventriloquism, people were actually willing to pay money to hear it.
It was shortly after discovering his abil- ity that Bergen got the idea for creating Charlie McCarthy, a real dummy who would be the attraction of his art. The inspiration was a little street-urchin news- boy with an impish face and bright red hair from whom the Bergen family often purchased their newspapers. With his wooden associate, Eddie started out to earn money even while he was still attending Lakeview High School. On Saturday after- noons, he entertained the children in the old Victoria Theatre in Chicago between serials. During the summer vacations, he worked in Chautauqua and his success as an entertainer stimulated his desire for a theatrical career. But there was one thing that bothered him. He wanted to go to college and it almost seemed as if he would have to postpone his career until he got his degree.
But good old Charlie McCarthy came to his master's rescue. Bergen found that his dummy was a sensation on the campus and the students always invited him to all the college functions providing he bring Charlie. Soon Charlie not only became the most popular personality on the Northwestern campus but was greatly in demand at all sorts of theatricals and entertainments and was chiefly responsible for earning enough money to see Bergen through college. Charlie himself will tell you if it were not for him, Bergen would never have been able to graduate. And Charlie, incidentally, is the only dummy in the whole world who can boast of having gone to college for Eddie often took him to classes when he had to play an engagement.
After the pair left Northwestern, they travelled widely on a circuit that took them through every state in the Union and later to London and the Continent. But on their return to the United States, they were con- fronted with the disheartening news that vaudeville, because of the sudden popular- ity of talking pictures, was breathing its last. For a while they led a hand-to-mouth existence. Engagements were few and far between and it looked like the future for ventriloquists was doomed. Then came that climactic night of Elsa Maxwell's party which was followed by radio engagements and night club appearances. When an offer came to open at the swanky Rainbow Room in Radio City, Bergen had a terrific case of jitters wondering how the cream of society would take him. Engaged for a single week he remained to break all existing records of the famous rendezvous. His next stop was Hollywood— all the picture companies were clamoring for him— and he signed so many
contracts that the work will keep him busy for many months to come.
Right now Charlie McCarthy is a bit dizzy after making his first feature film. His wooden head is reeling with the haunt- ing images of lovely faces, intoxicating bodies and slender, dancing legs. But Char- lie thinks the effects of love are too fleet- ing to have any lasting impression on his wooden heart. Instead, he is concentrating on the public's reaction to his singing in the picture.
Bergen admits that Charlie is one of the very few people who can actually brag of a bona fide family tree and will even tell you where the tree grew. But on most occa- sions, he is too shy and retiring to talk very much himself. He lets Charlie assume the role of spokesman for the pair, confess- ing that the wooden whiz does a much better job of it.
He will tell you he envies Charlie for his frank, outspoken manner and his brilliant repartee, but there is no doubt that Charlie is merely the other half of the real Bergen, the half that says the many things the soft spoken Eddie would never have the nerve to utter. The quiet, young Swede from Chicago has merely created a personality of wood that receives fan mail by the truck- load. He has developed his brain child into a being whose name is familiar to every man, woman and child in the country and there is even some rumor of putting Charlie up for President at the next election.
The impish, freckle-faced dummy can do and say anything and get away with it. He isn't afraid of anyone or anything. He makes the sages of Hollywood go speech- less with his dazzling comebacks and witty remarks. He parries them with withering wisecracks that would ordinarily demand a "smile-when-you-say-that" expression.
What Should Claire Trevor Do?
Continued from page 55
from foolish expenditures. When she told me she lived simply I was a trifle skeptical. But when she inventoried one servant, one car, one dog, and no tennis courl or swim- ming pool, I began to believe her.
She likes small parties of six or eight, dancing under the stars, Fred Allen's com- edy, and champagne cocktails. She admires Ronald Colman, Schiaparelli, Katharine Cornell and Mickey Mouse. The swing to Donald Duck and the Seven Dwarfs, she thinks, just indicates the fickleness of man.
In common with many another stellar body (Kay Francis and Brian Aherne, for example) Claire dislikes the lack of private life that accompanies a career in pictures. She hates to be stared at. phoned to by strangers, elbowed for autographs, and harassed by reporters. She understands that she has let herself in for all this, but still she doesn't accept it.
Recently a fellow player. W alter \\ in- chell, broadcast of a Sabbath ^ evening that she was on her way east "to marry a wealthy New Yorker." As a result the press camped on her doorstep, followed her on all excursions, no matter how personal, and pestered her for a Statement whenever she so much as put her foot outside the door. "I'm not getting married," said Claire. "I wish they'd believe it and let me alone.
"Of course, when you're working in a picture you can't call your soul your own. Sunday's a holiday, sure. But suppose some- one invites you on a yachting party. Con- o-enial crowd, lovely weather, change of
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scene — can you go? I should say not. Not when you have to be on the set, made up, at nine o'clock Monday morning. Yachting parties don't break up at ten p.m., you know And the camera will make no allow- ances. It catches every little bitty satchel under your eyes. It high lights every frown line picked up from squinting at the sun. It even ferrets out that morning-after slightly tired look in your eyes. So what? you ask. So you don't go anywhere while you're making an epic. And in my case," added Claire, "it's all the more annoying because they're never even baby epics."
Twice in her brief but crowded career she thought she was escaping from routine pictures, graduating into grade A super- doopers. First in "To Mary with Love," with Loy, Baxter, and Hunter, Claire more than held up her end of the quadrangle. But the Front Office didn't hear tell of it. A year or two later there was the chance to do Francey in "Dead End." Again the Trevor talents came into play, but after the cheers of the preview audience had died away, she was promptly scheduled to do "Big Town Girl." In this picture, incident- ally, Claire showed her versatility _ by switching from the usual ingenue to a zingy French chanteuse. But it was still a B, from any angle.
The problem confronting her is whether to tear up her contract and freelance, or whether to go on grinding out program pictures. There's the possibility of marriage, too. Claire said she would marry the right man tomorrow. But she hardly thinks he will be connected with pictures.
If fact and diplomacy fail, Claire might go temperamental. "Maybe if I start throw- ing my makeup box into the arcs or trip- ping supervisors or barring the press from my set, I'll be recognized as ze arteeste," she grinned. "I'll play any part, go through and privation, to get into a good picture, carefully made — the kind that makes you give all you've gx>t."
When you analyze it all, you decide that Claire wants to get married to somebody with economic security and a sense of humor, not in pictures. She will be a good housewife, she says, and playing before the camera will never again divert her atten- tion—unless an awfully socky part comes along just begging for that Trevor per- sonalitv. So there you have it. Effervescent, lovely blonde star wants to forsake career •for matrimony. Gentlemen, the line forms on the left !
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Continued from page 19
a heavy iron conical shaped disk.
On the stage were two chairs of the director type. On one chair was painted the name Miss Barrett and on the other Mr. Swing.
Marcia hesitated as she saw the elec- trician seated in the Barrett chair. She watched him with a strange tenseness as he bit into a sandwich and drank from a bottle of milk. She may as well have been elsewhere so far as he was concerned.
"Is this the Swing set?" she asked.
"Right." He went on eating as he calmly and dispassionately looked her over.
"It's the picture in which Miss Barrett is working?"
"Right."
"Where is everybody?" "Lunch."
"Lunch," she echoed, with a little catch in her voice, "Oh yes, of course— lunch."
"Right." He chewed on, surveying her shrewdly.
"What's that you're eating?" she asked casually.
"Sandwich."
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"Really !"
"Fried ham and egg filling," he amended, not wishing to seem too unsociable. "Mmrtj. It looks good." "Not bad."
"Let me taste it," she said with a di sperate attempt at lightness.
He looked at her with opened mouth, bits of unmasticated food plainly visible. "Huh!"
"Don't be stingy," she urged, still trying to affect a gay, careless note.
"Well, 1 be damn." He handed her the sandwich.
She took a generous bite and returned the sandwich. Chewing vigorously she looked at the bottle of milk. "It's a bit dry," she said.
He gave her the bottle of milk. She took a deep drink and returned the bottle.
"Listen, sister," he said with a new in- terest, "are you being democratic, or are you just plain hungry?"
"Just plain and fancy hungry."
"Well, I be damn!" He reached into his pocket and brought out some change. "Here, take this fifteen cents and grab off a cup of coffee and a sandwich."
Marcia gave him a bitter smile. "Thanks, but I refuse to be kept."
"Kept!" he exclaimed with grim humor, "Say what sort of a louse do you think I am? I give my kept women a quarter."
"You're generous that way."
"Sure. Better take the fifteen cents."
"Oh no, thank you, I'll be all right. I get a five dollar check for today's work and then I'll eat — oh God how I'll eat ! I may even swallow the whole five at one sitting."
"Here, finish this sandwich and the milk."
"Really!"
"Right."
She took the sandwich and started wolf- ing it down. "You don't seem at all sur- prised, seeing a hungry woman in the studio."
"Ale surprised! My God, I ain't had a surprise since my wife borned a blonde
baby."
•Marcia smiled. "Is your wife's hair black
too?"
"Yeah, jet."
"Well, that is something of a coinci- dence."
"I wish I knew," he said grimly as he
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94
SCREENLAND
Phylis Welch, Harold Lloyd's leading lady.
rose. "Got to go out and hunt up a cable before the crew gets back."
"I'm awfully obliged to you."
"It's okay, sister, I'll be seeing you on the set."
"And you won't tell anyone I'm hungry?" "Forget it. I been hungry myself." Marcia smiled at him gratefully. "So long."
She began moving about slowly, sandwich in one hand, milk bottle in the other, as she swept the set with disapproving eyes.
Downing the last of the milk she placed the bottle on the floor at the base of a sun arc, then hastily swallowed the last bit of sandwich as she heard someone coming on the stage. Her body stiffened as she recognized Anne Barrett.
Anne came in slowly — she was just strolling about. A gracious English gentle- woman, she moved with a regal ease. She was tall, black haired, queenly — a person with rare poise. She gave a little start as she saw someone else on the set, then smiled with casual friendliness. "Hello."
"It's so .kind of you to speak to me," Marcia replied, amusedly bitter.
"Kind?" Then Anne gave a glad start. "Why, it's Marcia Court!"
Marcia smiled mockingly. "The great English actress, Anne Barrett, patroniz- ingly greets the lowly American extra girl."
"Patronizingly?"
"There's no other word for the manner in which the star addresses the extra !"
"Are you sure it isn't only in the mind of the extra?" Anne asked.
"No! It's sticking out all over you. It's the sporting thing to do. It wouldn't be cricket to snub the poor little extra girl."
Anne gave a sad little smile. "You haven't changed much, Marcia."
"No, / am still an extra."
"I mean you are still filled with bitter- ness and resentment," Anne explained, not unkindly.
"Not to mention disgust and contempt," Marcia snapped.
"Why do you resent my success?"
"I don't — I resent the way you got it."
"Are you perhaps suggesting scandal?" Anne asked in gentle amusement.
"Not sexual scandal. You English are too cold for that. I'm speaking of the scandal of patriotism — or rather its lack."
"I don't understand."
"You got where you are today because you are a foreigner," Marcia said cruelly,
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"because you are of the snobbishly superior English, with your broad a and regal man- ner that Hollywood is so mad about."
"I hoped that ability might have had something to do with it," Anne said gently.
"You know it didn't! You can't act. I have more ability in my little finger than you have in your entire makeup."
"Perhaps that's true," Anne agreed quietly. "But I'm afraid you'll never have a chance to put that ability to the test until you learn to be more gracious."
"Ah ! A lesson in deportment from the grand English lady. But mark you this, Anne Barrett, I'll be a great star when you're back in the extra ranks where you belong."
"Well!" Anne gasped, then becoming more composed, . continued generously, "At any rate I hope you do become a great star."
Marcia laughed harshly. "Oh, do you!"
"Yes, of course. And if it will make you any happier to know it, I'm going home. This will be my last picture in America for some time."
"You really are returning to England?" Marcia asked with grudging wistfulness.
"To London. I'm to make a picture for Lawrence Stewart."
"He's the English ace director, isn't he?"
"Yes." Anne smiled softly. "It should be fun. We're old friends — grew up. together."
"Kid sweethearts," Marcia ventured.
Annie smiled faintly. "Something like that."
"Well, I suppose that now when you have a start and plenty of money, you're glad to get away from bourgeois Hollywood and its crude Americans."
"No. I like Hollywood tremendously, and I love Americans. I'd even like you if you'd let me."
"That's just a pose," Marcia said scorn- fully.
"No, it's quite honest. And I'd be glad to speak a word to Swing about giving you extra work."
"Extra work indeed ! Thanks for the crumbs, but I'll not be having any. And I can assure you I shouldn't have appeared on your set at all if it hadn't been most urgent."
"I'm so sorry," Anne said sadly. "I wish you'd let me help you."
"No doubt you do," Marcia flung at her bitterly. "I suppose this is your extreme triumph, that having once worked extra with me, you find it amusing and gratifying to your vanity to play Lady Bountiful."
"I wasn't conscious of any feeling of superiority," Anne said, gently forgiving.
"You aren't enough of an actress to hide your feelings, Anne Barrett ! Besides, you English take little or no trouble to conceal your contempt for the Americans. You come over here with your tongues in your cheeks and go home laughing, but taking our good money with you — money that should have gone to American artists."
"You seem to forget," Anne said pa- tiently, "that a great many American artists have been making pictures in London, for which they have been paid in good English pounds." Marcia had no answer for this except a stubborn silence. "So don't you think the friendly attitude would be to simply regard it as a fair exchange of talents and, if you must, money?"
Before Marcia could answer, Walter Swing, the director, came in with his assist- ant director, property boy, script girl and electricians. In his late thirties, Swing was big, dark and handsome in a slightly brutish manner.
"Ah, there you are, Miss Barrett. All ready for the take?"
"No, Mr. Swing, I'm sorry. I just came by to see the set. But I'll run over to my dressing room and hurry back. It won't take long."
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"No hurry," Swing said with gruff af- fability, "There arc only two shots and then we'll be through for the day."
"That's fine," Anne said, starting out. "Good bye, Marcia."
Marcia onlv glared after Anne without response as she started slowly across the stage. The assistant director having seen Anne greet Marcia, became ingratiating.
"You're a friend of Miss Barrett?"
"No," Marcia said coldly.
The young fellow immediately became officious, in the manner of his ilk. "Then what are you doing on this set?"
"I was engaged as an extra," Marcia in- formed him in a tone that made him shiver.
"Oh! Name?"
"Marcia Court."
He consulted a slip. "Okay, now please get off the set and stay off until you re
called. . „ ■ ..
Marcia left slowly, in sullen fury as Phil Bums was coming in. Phil was in his late thirties, good looking, a smart dresser after a careless fashion; keen, studio-hard and wise. He had a glib tongue, a tremendous amount of nervous energy and great per- sonal magnetism. Phil had been around and knew all the answers.
"Hi, Walter, how's the old megger?
"Hello, Phil," Walter said, scarcely look-
nlphu' sat himself comfortably in Barrett's chair, glanced at the set with a sardonic grin, then smirked at Swing.
"Ha l The good old reliable staircase set- up. I suppose Barrett, in velvet gown, will make the grand entrance?"
"You guessed it, smart guy, Walter re- plied wearily.
"She better concern herself with mak- ing a graceful exit— from pictures."
"Oh, Anne's a good scout," Swing said Ccirclcssly.
"Sure she is. But she isn't a good actress, and the dear public is fed up with paying good money to see good scouts with notn- ing to recommend them but snooty English mannerisms and broad a diction. They want something more vitally American.
"Yeah, I know what you mean— some- thing with whoopee— Indian pictures."
"You louse," Phil said good naturedly.
"Personally, I can stand a good deal of English restraint."
"The trouble is it seems to be such a bore at the box office."
"Perhaps we need a few good publicity men to sell it to the public." Walter was casually insulting.
But Phil was unruffled. "The best public- ity man in the world couldn't make box office draw out of Anne Barrett."
"And how would you know?
"Because I'm the second best. •
"Sweety modestv! And who might the
first be?" , „T . „ ,
"Oh hell," Phil grinned, "I was just be- ing magnanimous— you know, giving the fraternity a break. But things have changed in this publicity racket. In the old days a smart publicity man could do a lot to make a star. But today the public selects its own stars. And all the ballyhoo in the world can't sell anyone for more than two pictures unless the actor can deliver."
"Say, what the hell started all this? Swing demanded irritably.
"How the hell should I know:? "Ready any time, Mr. Swing," the black haired electrician called.
"All right Sam, call your extras on the set "
"Okay." Sam went out right as Anne Barrett came in left. (j .
"We're readv, Miss Barrett, Swing said, "if vou will please go to the top of the steps and make your entrance from the left archway. Now, all there is to this shot is vour descending the stairs, rather ultra, ultra, you know. We'll have a small group
SCREENLAND
of extras at the bottom of the steps, watch- ing and awaiting your arrival. There are no lines and the scene cuts just before you reach the bottom step. But remember, this is to be the stairway entrance to end all stairway entrances."
Anne smiled faintly. "I understand." She gathered her train in hand and started up the stairs. The assistant director returned with seven extras, four men and three women, Marcia among them.
"Place three at one newel post, Sam, and four on the other side. They are chat- ting casually as Miss Barrett enters and starts down the steps. At her approach they cease talking and watch her."
"Okay, Mr. Swing. All right, gang, snap into it."
Sam grouped his extras, giving them ad lib instructions, as Anne mounted the stairs to the landing and disappeared into the left archway.
"All ready for the shot," Swing said, "Come on, Miss Barrett; turn 'em over, boys."
Anne entered from the archway and started slowly down the steps. The extras at the foot of the stairs glanced up, ceased talking and watched her approach in the brightly dumb manner of extras watching a star. All but Marcia. She looked at Anne with that glacial stare. Wiien Anne was half way down the stairs she tripped on her gown and fell in a heap, rolling on the steps. Above the confusion that followed there was a high shriek of hysterical laugh- ter from Marcia. The assistant director and the extra men bounded up the steps to Anne's assistance. Swing jumped from his chair and started for the stairs. Anne was now on her feet, being assisted down the steps. Swing met her at the foot of the staircase.
"Are you hurt, Miss Barrett?"
"No, I don't think so; just ba-lly shaken. But I'm afraid the gown is ruined."
"Oh, damn the gown if you're all right. I'll see you to your dressing room." He turned to the group. "The company is dis- missed for the day. We'll shoot the scene in the morning. Everyone will please be on the set at nine." He paused and then said coldly and distinctly, "Everyone with the exception of the young lady who laughed." He stared at them sharply, "And who was that?"
"It was I," Marcia said with eager de- fiance.
"That was the most unforgivable breach of studio etiquette, to say nothing of an exhibition of bad manners, that I've ever encountered. Miss Barrett might have been badly injured. The assistant director will
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"Please, Walter," Anne said, "it was just hysteria. She didn't mean to be rude."
"Oh yes, I did!" Marcia said harshly. "And don't trouble yourself to intercede for me. I assure you I have no interest in ever coming to this or any other studio again." She turned slowly, deliberately, coolly unmoved as she dismissed her stunned audience from her mind, as if having com- mitted lese-majeste and motion picture sui- cide all in one breath, were of no concern to her whatever.
Phil Burns stared after her with a new interest as she disappeared in the wings, then he hurried out. The company quickly dispersed, the electricians doused the lights with the exception of the utility lamp, and within a few moments the set was cleared and was much the same as when Marcia first entered.
When the stage was quite deserted Marcia entered, furtively, yet defiantly. When she was sure she was alone she crossed to the stairs and started up as Phil came in and paused in the protection of a flat where he could watch her without being seen.
Reaching the landing above Marcia dis- appeared into the archway for a moment, then made her entrance. She was very much in earnest as she essayed the grand lady descending the staircase, slowly, de- liberately, even defiantly, as if daring her unseen audience to say that she was not to the manner born. Arriving at the bottom of the stairs she paused, relaxed and slipped into a chair and, for the first time, her de- fensive armor of bitter defiance left her and she was just a pathetic, defeated young girl with a tremendous urge to become a great actress.
Phil Burns drew in a deep breath. Phil was touched. And to touch Phil Burns ! He stepped from behind the flat. Marcia was startled as she heard him coming. Then she looked at him with cold indifference, with- out any faintest show of interest. He paused beside her chair and stood looking down at her.
"You should have had an audience for that entrance."
"Apparently I did — an uninvited, detest- able sneak!"
"Check," Phil calmly agreed, then with a wise smile, "Showing Barrett up?"
"Is that any of your business?"
"It might be," he said easily, "Why did you laugh when she fell?"
"Because I was amused."
"Oh ! It is funny — another's misfortune."
"She's a cow !"
"And you are a gazelle?"
"If your pleasant remarks are leading to a dinner date, I don't date."
"Don't flatter yourself, young lady. If you think I'd insult good food by sitting across a table from that sour puss of yours, you're meaner than you look, and that's an order even you can't fill. However, I never allow discourtesty, bad manners, or even halitosis to interfere with business."
"Business?"
"Business. And from now on until death do us part don't for an instant imagine I have any remotest interest in you other than business. Is that plain?"
"All right," Marcia said wearily, "make your proposition; if I like it I'll take it on."
"Just like that!" Phil snapped.
"Just like that."
"I haven't a proposition; just an idea And remember this, you aren't yet a star God knows you'll be tough enough to handle if you ever arrive. All I want for the moment is your name and phone nura her, and if you have any pictures you can spare, leave them in my office, No. 26 Ad ministration Building. And if you don't care to do that you can go to hell!"
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97
Ann Miller ond Kenny Baker, true to their "sit out" a dance this way
prototypes at every party, real or reel, in "Radio City Revels."
"Just like tliat!" "Just like that."
Phil started away and then, for the first time, Marcia smiled— beautifully, apolo- getically. Phil stopped dead, staring at her as long as the smile held. It was sheer hypnotism where he was concerned. Then the smile whisked away and her face was again a mask, colder than before— in con- trast to that smile. Phil shivered. "Did you smile?"
"No !"
He brushed his hand across his eyes. "I didn't think it could have been possible. What's your name?"
"I'm Hepburn."
"Listen, Hardpan. I asked you a simple question. What is your name?"
"Do you happen to be Mr. Baumberg?'
"No. But I do happen to be important enough to make it worth while for you to answer a civil question."
Marcia considered this for a moment. "Marcia Court."
"Were you born that?"
"I don't remember," she answered with crafty resentment. . .
"Oh, you don't remember. Miss Gilli- cudahylWell, do you remember how old you are?"
"Twenty."
"How much do you weigh?"
"A hundred and fifteen pounds," Marcia snapped and rushed on in sarcastic sing- song. "And I ride, play polo, golf, tennis; I'm an expert swimmer, I dance divinely, plav the piano, harpsichord, sing, and I have a complete wardrobe suitable for any occasion."
"You forgot to add that you're a con- summate damned liar. Stand up." "Why?" "Stand up!" "Don't be absurd!"
"All this time I've been thinking it was vour acid pan holding you back," Phil said with nasty sympathy, "It must have been your legs."
"My legs are all right!"
"Knocked or bowed?"
"Neither !"
"Nuts!"
Marcia jumped to her feet, raising her skirt above her knees and revolved slowly. Phil drew in a deep breath.
"Well?" she demanded.
"Not bad," he said carelessly.
Marcia glared at him. "Have you ever seen better?"
"Oh, I've seen a few."
"Legs — or better?"
"Both."
98
"Nuts !"
"How's your health?" he asked conver- sationally.
"How does it look?"
"I'll ask the questions— you give the answers. What I'm trying to find out is whether you're a good risk. Do you have any secret diseases beneath your healthy exterior?"
"I have never had any diseases!" "I'm not trying to insult you, lady." he said, annoyingly gentle, "merely seeking information for business reasons. Let's see vour teeth."
Marcia curled her lips back, clear to the gums, like the snarl of a she wolf.
"Hmmm. Rather too perfect. They aren t plates ?"
"What do you think?" "About the rest of the anatomy— do you have to wear a girdle or build the bust.-'^ "I seem to be cramping your style." Marcia said contemptuously as she calmly removed her dress, then a gossamer slip, standing there in knitted shorts and bra — a gorgeous figure — rotating slowly.
"My God! You're the most amazing- woman I've ever known." ■ , She gave him a pitying smile. "If I hadn't been sure of the figure I shouldn't have risked that." n
"I wasn't speaking of the figure, Phil said absently.
"Oh I Then vou do think I have charm: "Charm? Well, I suppose you might call it that. Even snakes are said to have charm."
"Listen, you!
Shut up !" Phil started away. "Don't for- get the pictures. Office 26, Administration Building, Phil Burns, publicity. I may see vou later in the day."
Marcia turned on him with sudden venom. "Have you been giving me the run around?"
"You wouldn't know."
"Say, just what have you got on your mind?"
"Not what you think, so don t be throw- ing yourself any social bouquets."
"You fresh so-and-so!"
"And please don't cast any expurgated aspersions on my impeccable progenitors. It isn't ladylike."
Before she could properly respond to that one Sol Baumberg entered. Sol was a well dressed Jew, in his fifties, shrewd and kindly.
Marcia gave Sol a brief glance, calmly picked up her dress and went out. Sol glared after her a moment before he gave his attention to Phil. "So! What is this—
a casting office, a love nest, or stage four of my studio? So sure as I'm Sol Baum- berg, so sure 1 fire you I"
"But Sol, you don't understand — !"
"Am I so dumb I can't understand a naked woman and a — publicity man ! '
But Phil was mastered by a great en- thusiasm. "Sol, I've got something!"
"Sure, you got immorals !"
"Will you please listen to me before you draw any foul conclusions?"
"All right, all right, ain't I listening? Start the conversation, but consider your- self fired."
"Sol, I've never bothered you with a lot of wild discoveries, have I?"
Sol bristled with antagonism. "So, what have you found this time?"
"Something new." Phil was jubilant.
"New things I don't like — they cost money. And I wouldn't take the word of a publicity man for nothing whatever. They're all louses."
"Lice is the plural."
"Same breed of vermin, whatver you call 'em."
"What are you so sour about today : "What makes any producer sour?" "Sick box office."
"You said it! If you was that smart with your publicity the box office shouldn't he so sick and I shouldn't be so sour."
"Listen, Sol," Phil said, eagerly warm- ing to his subject, "what we need in the picture business right now is something new in leading women."
"Sure! You're telling me what a thou- sand times I've told you already. But there ain't no such thing."
"There is, only you haven't seen it on the screen. All the stars use the same clipped speech, the same affected broad a. the same- sophisticated smiles and stock gestures. '1 he public is fed up. They know everything any star is going to say or do before it happens."
Sol leered at Phil. "But you got some- thing new?"
"I think I have."
"So what is it— before I faint from anxiety, waiting to hear?" "An alley cat."
Sol roared like a hurt animal. "So! Now you are suggesting I should star an alley
cat '"
"That's just what I am suggesting. An alley cat — a human alley cat. A woman who is so hard that it turns you cold to look at her, yet so beautiful that you can t help looking.' A woman who seldom smiles, but when she does smile, even though that -mile is a malicious jeer at someone, it's like a refreshing drink. And after the smile is gone her face is so hard once more you feet you'd give your right eye to bring that smile back again."
"I wouldn't even give a left eye eyelash. You're wasting my time. I got plenty lead- ins' women and stars right now which I don't want. Already I'm burning up with expenses and you ask it I should heap coals on the fires at Newcastle!"
"All I ask of you, Sol, is that you let me o-ive her a thousand foot test and then promise you'll look at the film."
"A thousand foot test!" Sol screamed. "Ml right, all right," Phil said rashly, "if you don't like it I'll pay for it myself." . "I'll take your money right now. sucker. "But you'will look at the test'" "If there ain't nothing better I got to do at the time," Sol grudgingly agreed.
Phil smothered a triumphant grin. 1 11 have it ready for you tomorrow afternoon, following the rushes. You're in for a treat
"If I ain't you're in for a vacation — with- out pay." . «
Sol stalked out while Phil went in the opposite direction in search of that strange eirl, Marcia Court.
(To Be Continued)
THE CUNEO PRESS, INC.. U.S.A.
■
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I
LOVELY DESCENDANT OF ONE OF NEW YORK'S "FIRST FAMILIES" IS A FAMILIAR FIGURE ON THE SKIING SLOPES AT LAKE PLACID
BY her veary name, Le Brim Cruger lihmelander links historic Knickerbocker fami- lies. As the daughter of Philip Rhinelander 2nd, Le Brim nat-
uiall\ occupies a distinguished social ]>osition in New York, Newport, Palm Beach, and Bar 1 1 arbor.
Le Brun, herself, is frankly more interested in travel, sports, and charity work than in lineage.
During a pause in the fun, Helen Anderson and Le Brun Rhinelander (center) chat about smoking
"I never give much thought to which cigarette I smoke," says Miss Anderson to Miss Rhinelander. "But you never smoke anything but Camels! Are they soTdifferen't?"
"Yes!" says Miss Rhinelander. "Camels are different."
"What do you mean — 'different'?"
"Well, I think about smoking in many ways. For instance, with Camels, even after steady smoking, I have no jangled nerves. Also, Camels are gentle to my throat — so grand and mild. In other words, Camels agree with me!"
Among distinguished ivomen ivho find Camels delightfully different:
Mrs. Nicholas Biddle, Philadelphia • Mrs. Powell Cabot, Boston • Mrs. Thomas M. Carnegie, Jr., Neiv York • Mrs. J. Gardner Coolidge 2nd, Boston • Mrs. Anthony J. Drexel 3rd, Philadelphia • Mrs. Chiswell Dabney Langhorne, Virginia .Mrs. Nicholas G. Penniman III, Baltimore • Mrs. John W. Rockefeller, Jr., New York • Mrs. Rufus Paine Spalding III, Pasadena • Mrs. Louis Swift, Jr., Chicago • Mrs. Barclay Warburton, Jr., Philadelphia ■ Mrs. Howard F.W'hitney.iVe"- York
Copyright. 1938, R. .1. Reynolds Tobacco Co., WinBton-Salem. N. C.
I ...
Sin' has visited fourteen coun- tries. Yet she is American to her iuigertips! She prefers Bar Harbor for sailing. Aiken for hunts, Lake Placid for skiing.
"Skiing is great sport!" she says. "It takes healthy nerves, though. to make speedy descents and 'Christy' to a stop without a spill. So, I do my nerves a favor by smoking Camels. Camels never jangle my nerves!"
Miss Rhinelander (left), before joining a dinner party at The Colony. Ever since her debut, Le Brun has taken an active part in society. She always carries darnels (or sees that her escort does) !
"At all the parties," she says,"I see Camels— Camels — Camels. Grand for me because I smoke nothing but Camels. W hen I'm tired, Camels give my energy a 'lift.'"
Turn to Camels and dis- cover what this young de- butante means when she says, "Camels agree with
me — in every way
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I