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^LAIRE.Wl'NDSOR . * .^ - T f 

moon i^-Alrs-Rpdolf 




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Kotex is made from fine gauze and Cellucotton, 
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YOU whose lives are spent in one 
locality may have a dim idea of 
"the thousands of other communities 
keenly enjoying Paramount Pictures 
at the same moment. 

You who travel all over the United 
States have seen for yourselves that 
Paramount is always mysteriously there 
ahead of you! 

But world-travelers can add still 
another chapter to 
the story! 
They know that 


ADOLPrf ZUICOR. f>m.lftnt 

Paramount' s fame is blazoned through 
every continent.. It is no surprise to 
them to see the familiar trademark 
on theatres in London, Paris, Algiers, 
Japan, or Australia. 

In some far eastern communities 
the name Paramount (perhaps the 
only English term they know), is a 
magic word because it means to 
them just what it means to you — 
"to-night's the 
^•jjjiiifr night: for a great 
==^3$?§7 show!" 

^ i 

paramount ffictur&s 

If it's a Paramount Picture it's the best show in town ! 


a yiagazine of Young Ideas 


Myron "Label 


Frederick James Smith 

Associate Editor: 

A.nne Austin 

VOL. VI 1 1 

Contents for OCTOBER, 1923 

No. 1 

CLAIRE Windsor (Cover -Design) Rolf Armstrong 

Screenland Gallery 11-14, 31-34 


The Romantic Age of the Movies 

". Robert E. Sherwood 15 

The Costume Picture's Develop into an Avalanche 

Is This Waste? . ■ - ■ • • Helen Starr 17 
Fortunes are Annually Wasted Through Ego 

The Adventures of Photoplay Phyllis 

John Held, Jr. 20 
The Beginning of a Fascinating Cartoon Series 

Rodolph Valentino and Matrimony 

Anna Prophater 22 
Mrs. Valentino says there is no secret of love 

The Crepe de Chene Revolution . Helen Lee 26 
How the photoplay has changed the taste of America 

Dons Gloria Believe It Herself? 

Delight Evans 29 
Is Miss Sivanson just a good business woman f 

Is the Screen Afraid of Sex . Gladys Hall 36 
The Silversheet shuns the facts of sex 

Bursting Bubbles . . . Mildred Doherty 38 
Shattering Illusions Is Hollywood's indoor sport 

Grand Larceny .... Eunice Marshall 40 

/Infill the gentle art of stealing the picture 

Ay Outline of Motion Picture Etiquette 

Delight Evans 44 
A humorous discussion upon correct picture behavior 

The Movies? Absolutely, Mr. Gallagher! - 

Harrietie Underbill. .46 

The comedians, Gallagher and Shean, invade the films 

Hidden Wedding Rings . . Grace Ktngsley "49 
How Film Weddings are kept. secret ... 

New Hope for the American Photoplay 

; Constance Palmer Lit tie field ■ 62 
Victor Seaslrong talks of our pictures 

Stars IN Embryo . . . . . Ted Rupert.- 70 

Screenland's Hollywood artist observes the st extras 

Fool's Gold . . . . - . . , Anonymous -79 
Further chapters of the Extra Girl's Diary 


The Screen Year in Review . 

Frederick James Smith -52 
A complete analysis of the film season 

And Yet They Censor the Movies .... 56 
Photographic glimpses of the Stage Hits 

Our Own News Reel ~ . 58 

The film news told in pictures 

Autumn and Milady's Fashions . ... 64 

The neatest fashions of the picture stars 

The Listening Post 

Eunice Marshall and Constance Palmer Lktlfield 72 
The gossip of Hollywood and New York 



Published Monthly by Scrbsnland, Inc. ( A Delaware Corporation) at Cooperstown, N. Y„ U. S. A, Copyright, 1923, Trade- 
Mark registered. Single copies 25 cents; Subscription price, United States and Canada $250 a .year; Foreign $3.50. Entry as 
second-class matter applied for -at the Post Office at Cooperstown, N. Y. Formerly entered as second-class matter, August 27, 1920, 
at the Post-Ofricc at Los Angeles, Cal., under the act of March 3, 1875; entered on April 15, 1922, at the Post-Office at San 
Francisco, Cal, Permission to reprint material must be, secured from the Thompson Feature Svndicatc, 45 West 16th St., New- 
York City. General Executive and Editorial Offices at 119 West 40th Street, New York, N. Y. Western Advertising Office, 
Young & Ward, 168 North Michigan Blvd., Chicago, Illinois. Publishers also of Real Life Stories. Subscription price. United 
States and Canada, $2.50 a year; single copies, 25 cents. Club rate, the two magazines, $4.00 a year; Foreign, $6,00. Screen- 
land Magazine out the first of every month; Real Life Stories otrfe the fifteenth. 




Screenland, Inc., publishers of Screenland Mag- 
azine, announce the first issue of a new national 

A high and worthy purpose actuates the publishers in their 
new venture. 

The new magazine, we believe, is destined, to be a very 
real and helpful force in the lives of its readers. 

It is to be a Book of Life. . Every story will be a heart 
story, a living, throbbing slice of Life. Our book will- be 
written by our readers," out of the fullness and richness of 
their own experiences. The. tawdry, the cheap, the flimsy, the 
unreal will have no place in REAL' LIFE STORIES. But eyery phase 
of real life as it is lived in these good, old wholesome United States of 
America will be mirrored there. ' " 

The First Issue 

From the very first number, we want 
you to feel its excellence, its sincerity, its 
dignity of purpose, and its absorbing in- 
terest. • 

Here are only a few of the titles, but 
they will give you a glimpse into the new 
book, sufficient, we are sure, to intrigue 
your interest: 

Mad Youth 

The poignant story of a child-wife, bored 
with the monotony of the farm and with 
her silent, good husband, steps blindly out 
upon the primrose path with a charming 
vagabond poet, who feeds her on lyrics 
and "tramps" the lovely countryside with 
her in a rattling Ford, until — 

Strange Seas 

Not all show-girls are tarnished gold ; not 
all well-bred men are chivalrous; but some 
show-girls are pure and many "gentlemen" 
are cads, according to the bitter experience 
of a soubrette who steps down from, the 
stage into marriage and grief: ' 

And the Gods Laughed 

An"0. Henry bit of brilliant satire upon 
a stage woman's craving for domesticity," 
told by a newspaper reporter who inter- 
views her. 

The Dangerous Age 

Every man of forty-five who has been 
serenely married for years meets a Rosa- 
lind ; and every Rosalind who works for a 
living meets her "Judge - Thompson" 
sooner or later. 

. - The Brick Wall 

AH the .delicate wistfulrtess.of the sor- 
row-ravaged face of her who wrote this 
story is here for you to see, together with' 
a poetic quality which we had believed to. 
be stifled with grief. 

Free Love v 

"I have heard a hundred variations of 
the gospel of free love, and every one of 
them from some man who : wanted to pos- 
sess me — temporarily — and to salve his con- 
science," said a self-sufficient and charming 
young business woman. "But I know a 
girl who beat the 'free love' game, and I 
believe she'll write her story for you." 
We found her in the little Western city 
where she now lives happily, and asked 
her to write the story — and she did. 

The Poppy Plant 

The story of a dead soldier's interven- 
tion between his worthless wife arid .his. 
own brother — a "come back" by way- of a 
poppy plant and an opium pipe. 

Watch for the first issue — fifteen- splen- 
didly told stories out of the lives of "real 
men and women. - - 

On all news stands Sept. 15- 

— 25- cents- the copy 


Astra Studios ; Glendalc* Calif. 

Balboa Studio , ..Hast Long Beach. Calif. 

Benvilla Studios 

5821 San la Monica Blvd.* Hollywood 
Century. Film Corp. 

6100 Sunset Blvd.* Hollywood 
Clias. Chaplin Studios. .La Brae Ave,* Hollywood 
Christie Comedies „ 6101 Sunset Blvd.* Hollywood 
Irvings Cu minings Prod. 

1729 Highland Ave* Hollywood [ 
Douhleday Productions 

Sunset & Bronson Ave,, Hollywood 

Ferdinand Earle 'Productions '" ^ ■■ ' 

Hollywood. Studies, Hollywood 

Wm. Fox West Coast Studios 

1417 N. Western Ave,, Hollywood 
FineArts Studio. '. 4 £00 Sunset Blvd„ Hollywood 
J* I*. Frothingham Prod.-. 

.' .; ' United Studios, Hollywood 

Garson Studios. .. .1845 Glendalc Blvd., Glendale 

Goldwyn Studio.-. ...-..,;■,■ .-»~i-* ; i rv Culver Ctty 

Great Western Producing Co. - 

6100 Sunset Blvd.* Hollywood 
TIios. H. Xnce Productions. .\... ...Culver City 

Lasky Studios. . '. .1520 Vine Street, %os Angeles 
Louis B. Mayer Studios ". 

3S00 Mission Road, Los Angeles 
Metro Studio 

Romaine and Cabuenga Ave., Hollywood 
, Mprosco Productions "^ . 

3800 Mission Road, Los Angeles 
Bud Osborne Productions ,^ . 

, 6514 Romainc St rest,." Hollywood . 

Pacific Studios Corp.. * . . . .San Mateo, Calif. 

PiekFord-F.airbanks Studio 

Santa Monica Blvd.*' Hollywood 

Pacific Film Co . , .\ . . . . Culver Cily 

Principal PictuVes United Studios, Hollywood 

R. D, Film Corp /Balboa Studios, Long Beach 

Chas* Ray Studios,..".../. Hollywood, CaL 

Realart Studio.. .201 N. Occidental* Los Angeles 
Robertson-Cole Productions 

Melrose and Gower* Hollywood 
r Russell-Griever-Russell 

6070 Sunset Blvd., Hollywood 

Hal E. Roach Studio.. . , * Culver City 

Morris R. Schlank Productions 

6050 Sunset, Hollywood 
Jos. Sclienck Prod.. .United Studios, Hollywood 
Schulberg Productions 

" . 3£00 Mission -Roadj Los Angeles 

Sennett Studios Edendale, Los Angeles 

- Selig-Rork ; * ..3SG0 Mission^ Hibad* Xos. Ahgcks 

Universal' Studio. ♦*»..«., , Universal City", "Calif. 
Kihg_;Yidor Prod.. * . * + Ince Studios, Culver^iiy 

Vitagraph Studio 170S Talmadge, Los Angeles 

Warner Bros. Studios. 

■■-. Sunset & Brons&n* Hollywood 
Ben Wilson Productions : 

; Ber.willa Studios; J^ast' Lung Beacb, Calif. 


Biograph Studios. ..-. .807 -East USth.St, N: Y.'G. 

Biacksloii Studios."; .......... . .Brooklyn, N. Y. 

. Eslee Studios. .'.'. . .124 West 125th St..,N. Y. C. 
■ Famous -Players'- Studios;.-. .'Astoria, L. I., N.Y. 

Fox Studios. .... ." West 55th St., N. Y. C, 

D. W. Griffith. Sludits Maniaroneck, N. Y. 

International -Film...-. . .247S 2nd Ave., N. Y. C. 

Harry-Levy Prod.... 230 West 3Sth St.. N. Y. C. 

Lincoln/ Studio. ..:...-..'. ' .-Grantwood, N. J^ 

Mirror .Studios. . . ■. .Glendalc, Long- IsiandyN. Y. 

Pathe.-. . . : 1900 Park -Avenue, N. Y. 6. 

Selznick Studios. ........ Fort-Lee* M.-J, 

Talmadge Studios...'. .318 East 4Sth St., N.-Y. C. 

Vitagraph Studios... East 15th. St., -Brooklyn, N.Y: 

■■*-. . 

' 3 


1VU11U IKS than the 

►rice ©f ONE 


Thora }a only one e^inrantoodi 

Congoloum, Identified by th» CdW ShI 

shown Ebovc. It protects you agnlnat sIEv 

satUf action and eLVos you an unconditional 

rrscney-iiack guarantee. Behind tiio Cold Seal 

Cuararrtoo la our awn Doublo Bond. 

This is 

Pattern 408 

Choice of Two Famous Patterns 

3 Rugs Free— Special Bargain Price— Year to Pay 

We show two of the most popular Congoleum patterns tliat have ever been pro- 
duced. The big rug measures B ft.x 12 ft The three small rugs are each 18 in. x 36 in. One 
dollar is all you need send. If you wlih both patterns nend two dollars — and get all 8 rugo. 

Oriental Pattern No. 534 

This is the beautiful Gold Seal Con- 
goleum Art Rug as shown at the top of this 
page. On the floor, it looks unbelievably like 
an expensive woverirug. The richest blue color 
dominates the ground work. Mellow ecru, old 
ivories, and light tans, set off the blue field. 
Mingled with these lovely tints are peacock 
blue, robin's egg blue and darker tones. Old 
rose, tiny specks of Jighterpink and dark mul- 
berry are artistically placed. t Darker browns 
and blacks lend dignity and richness. 
The border background contrasts with 
(be blue all over center by reversing the color 
»hcme, Etna sndtan.hsdc form the border bnek- 
mnnd. In this mg ron have oil the advantage of 
design ad coloring ot chcerfol wanr.tfc snd w*ely 
Mfar effects so mocb Bought after in high grade 

An ideal all purpose rug, beautiful in any 

rocm. Perfect far B*tBS room or p*r;er. Loveiy in 
b*rir«:m cr dining room. Cijorming in UM ki tchen ,. 

Daly 51.00 with Coupon — $1.50 Moatsiy 

B. rMfta/l 9 X 13 ft. Congnloum Cold Seal 
DO. ftliail- Rue with 3 » m =llru K » C|7 QC 
toiTHten,«=ch 18»36 ln.-.H four only *»''" 




Tile Pattern No. 408 

Probably no floor covering of any quality or 
bind, ever piled up the popularity of tnia wonderful 
design. It ia a superb tile pattern that looks like mo- 
saic. Lovely robin*B qgs blue, with ahadingcj of Dated 
bine, nnd a background, of soft stone gray, siva n 
matchless effect. Thia design jo particularly suited 
for the kitchen or dining room. 

Only $1.00 with Coupon — $U50 Monthly 

Win n PAftQ 5 x 12 ft. Congoleum Gold Seal 
riU. L.-tkjHXfO Ru SW ]tli3 smallrus* *i7 (|C 
to match. each 18x36 in.— all four onty "P* • ■vJ 

Very Important 

Our easy credit terms, our wonderful free trial 
offer, are deigned n-jd arranged to seTTCHMnolo¥t3nl 
inthe*aai^r Icv/dS and grail cemDIDinties thrVGff u- 
oot the country. If yon Eve in a city of 1-00,000 
T:opLl^t:3n £- rV.'Or, VO c^Jitct £]] your crde; fcr th;3 
Congo!*? urn Rug OHor <rr send car free catalog. 

To everyone else we bring all the advantages 
of ear house, freely. Wo open your charge *ceacnt T . 
TTLliCut afkir.;, I: ro^tea no dtSere^cs A\':iO yer-I 
ere. bow modest yonr hon» may fa* or how little 
yen earn. This special bargain is in.:c-^:d Tor you , 
O J-- ftczz- i;j, bervjtifnl Htcae Lover's Bargain Book 
is. ready for yea the oici. te yon sale for it. A postal 
card w*Jl bring it. 

Ask for 


Brings J&E3 Foasr Rugs on 
Month's FREE TRUAL! 

Ours is the only house in America 

that caa make you such an offer. No one 
else caa bring you a genuine guaranteed 
Gold Seal Congoleum Rug. in the full 9 foot 
by 12 foot size, with three small rugs 
extra, and all for l«a than the regular price 
of the big rug el one. And on a year credit. 

Clip the coupon below. Write your name 
an d add ress pi ainly . Say which pattern you want. 
Pin a dollar bill to it — mail at once. We wili ship 
immediately— on approval— all four Congoleum 
Rugs — in one complete neat package. No muss, 
no bother, no trouble to lay. If satisfactory, take a 
year to pay. 

The Greatest of Bargains 
Pay Almost as You Please 

Almost everybody knows the price of the 
famous Congoleum Gold Seal Art Rugs. They are 
advertised and sold at the same standard once 
everywhere. Look everywhere else first if you 
wish — stores, catalogs, ntagaiine and newspapers. 
You'll find no offer like ours. 

If you rohfffi tko ruga, toot dollar will 
be refunded and also all freight c 

Three Rugs FREE For heavy wear spots in 

— ----- front of range, nink. kitchen. 

At threshold*, in hall, in front of t... 

offer! us ta. *i etTG tbree off these e:r.a]l mgo free wltfi 

eaeh largo rug; all four for less tiian the price of one. 

The Rug of Guaranteed Wear 

Congoleum Gold Seal Art Rugs are the fastest sell- 

IT^B i'.-tcz coveri^jr kr.:;ivtj They are rD£.al>' becoming: tile 

cation eil floor covering— big bly prised in good homes for 

any and all room*, • . . 

watprpm&f. No burlap for water to rot. Surface ia 

bard, npioetn nnd v car-resisting. Docs cat stain. Not 

mnder hurt by spilling of hot liquids. 

Tn.y lay flat from the first moment witbotit fasten- 

irg. 'Lhcy .over tcrl up or kick tip at edges or corners. 

No need to tuck or fasten them down. Dirt cannot aeennm- 

lato nndnmcath. 

low* work. ]iid yourself ofbsck.breakingdrudgery. 

Uai'tVoMu'n, prit, duDl or mail cannot "grind into" Conffo- 

lonro Gold Srnl Art Hints. A damp rag or mop keeps it 

clean and colorings bright. 

No laborious beattee, no sending to cleaners. Abso- 
lutely sanitary. All thin guaranteed by tbe famena Gold 
Sent that means complete aulisf action nryour money back. 

Ask for Free 


ItshowslOOOO other 

Bargains — It brings 

credit without asking. 

Everything from cellar 

to garret. Seds^Bed- 

dirtB — Ca rpeti — Ruga — ■ 

Dishes — Ccokinsr t/fen- 

gils *— Curtain* — F\ a rni- 

tare^- ^Silverware — 

Lamp*. Aiso diamonds, 

un2tchc* r jewelry. Ail 

Mortm of adda and ends 

for home* y'our request 

on a postal is enoa&h* 

Pin a Dollar fb Coupon Below 


_— __ 1G9S 3Sth Street, Chicago, HL „ 

Spiefriel. May, Stern Co* 

ifi»6 TturtyJifth Street. CHICAGO* ILL* 

I enclose SI for Eha 4 Gold Seal Cangolcum Art F__„ 
■cUy *i deicribtxl —in the ttattcrn aeL^cted below. oaaOdays 
free trial. If 1 return thorn, yes) ate to refnnd my tU also all 
ttmintperUtion ceete. Oibcrwlso I will pay $i-SO xaoatkly, 
until fpociaj barealn, urice of *xT^3s in paM. 

I waet Pnttorti Hu n.bc-r _J 

Be XnrO (O Writn ■ a a pare ahsvo the No mb«r of the pflftern: 
yon teket, Jf foa tiiah borfa patteraa,, petdewn, both n-j^icrs 

■•■■-r i ■■£ with i^r^t:.- :.-... 53 r^j r. IhJ >- a n d get sll nrps. 

iVom4 , 

StTCtt. H, F. J> w 
— -BnTWa 

Skipping Ptn»l_, 

jma w oa mo >cur uttit ft** rujmitu 



The Huntress 
is Coming! 

SHE'S given the war-cry, this Indian maid on the war-path. 
She's after a man — and bound to get him if she has to take a 
scalp. So she ropes and ties him and carries him off to her 
wigwam, where he falls in love with her — to find that after all 
she's a delightful white maid brought up by the Indians. 
A delicious romance of love and adventure with thrills that will 
make the blood tingle. Don't miss this picture with the delight- 
ful Colleen Moore. 

And always watch for the First National trademark on the screen 
at your theatre. It is the sign of the ultimate in artistic and 
entertaining pictures. 



featuring COLLEEN MOORE 

storv by J^B% supported by 

Hulbert Footner s*M?'"£- Lloyd Hughes 

vdopuaty /Qm&m MUnsszW Simpson 

Percy Heath Jir*;J|k A Walter Long 

Lynn' Reynolds « '^' v wi esa^ Chas.N. Anderson 



J* ** How qirtckyour hair has grown! You took Just swanky!' 

he said, and I never told him that I was wearing the new 
thingumbobs which dressed my hair as if never bobbed. gg^ 
„,„ ! We named It "SWANKY" after that. Thin amazingly rapid and beautiful \j* w ^j' 
change of Coiffure consists of a pair of thick waves made expressly tor 
mm tcli your sample of 20- inch speciallv. good quality hair. 'Nor 54811. - Price- per pair. Si 0.00. 
Pin one on each Bide under your bobbed hair, *rlilch you brush In with It. Tho, nuncl uptown 
ami iwJrftcdimo a bun in the back. Just as you reflecicd hi the mirror. 
Booklet of 1000 Varieties of GUARANTEED HAIR GOODS 
Renovations like new, Combings made tip — Reasonable 

hair is nutted over t e Cars an 


100 Fifth Ave, Dept. OS, Nov. York 

The Three M's 

hat makes tlie backbone of the 
nation conservative? How have the 
farmers and the inhabitants of small 
towns and cities kept tip with the most 
modern inventions? Why can tbe far- 
mer with justice say that the possession 
of a car is no sign of prosperity ? 
What is the gauge of the farmer's pros- 
perity? These are some of the ques- 
tions that were answered in the A T e\v 
York Times by Julius Rosemrald, ft 
President of Sears, Roebuck & Co., tlie i 
largest mail order house in existence, i 

For a long time the argument luis^i 
been put forth that the cities of tlie 
nation do not represent the life and the 
thought of America. They are the high 
lights, the sky rockets. Outside of them 
is the steady, slow grind of movement 
that marks our growth. To understand 
America, or any country for that mat- 
ter one must go to the farms, to the 
villages and towns. It is contact with 
these, with eight million American 
homes situated beyond the flare of the 
white lights, that makes Mr. Rosen wald 
an authority on one phase of national 

"Publicity in the broadest sense," Mr. 
Rosenwald began, "is the power that 
gives direction to demand and supply. 
Magazines, movies and motors, the 
three all-important 'M's' in American 
life, enter into the publicity factor. 
Call it education if you will. The peo- 
ple we deal with", tlie people who read 
our catalogues and then enclose check 
for shipment of goods, the eight million 
homes representing front thirty to forty 
million individuals who depend upon us 
for the necessities and luxuries of life, 
live on farms, in scattered communities, 
in small towns that have not yet in some 
instances gained the' dignity of a mark 
on a map. And they read tlie maga- 
zines, they go to movies and they travel 
about in cars. 

''Go back ten or fifteen years and 
find out to what extent magazine circu- 
lation depended upon the home that was 
off the beaten track. The proposition 
was very small. Those were the days 
when a farmer and his wife would read-—| 
the newspaper that served as a wrap-n 
per for their supplies, and thought J! 
they were keeping up with the pace of.v 
the world if it happened to be only a"_ 
week old. Those days are past. Today 
almost every home is on the subscrip- 
tion list of some national publication. 
Big business followed in the tracks of 
the mail order house and found that 
the stake was not a negligible one. 

"Big business — I am referring to the 
magazine and newspaper business — dis- 
covered, that it was easier to get a 
subscription from a man outside fef 




$3^) aiihe mselike 

IPP complexion of 

^ the famous Spanish 


Even blase New York marveled 1 When this dainty 
Seriorita who had come from sunny Spain to make her 
American film debut, stepped oil the liner, spontaneous 
exclamations of wonderment came from the welcoming 
throng. At the docks — hotels — and studios — all wondered 
at the saintly beauty of the complexion of this great Spanish 
film star. 

«. i i s >- - L J ■ -1 1 ■.' ■ S later, she !.n.i,:ht:i,:l> Tepllud: 
''Since childhood I Imvo used unty cocoii 
Ltnlpt— the,' cosmetic of SponJ^li 
i!i-:niit^. Hut — since coming Lo AniL'tlca I 
havrj found a lli'W MU\ bAttSE Iviy 10 n-- 
my bef oveti ewoa buit er. Now 1" m Bern 
will iout Uoco-Blaoni ( Cocoa - Butter) Crema. 

"I i-.<i:i.i talk for haunt ,1=1- • i ex Coco-tltonm 
{Cocoa- Ifoltcrl Cranio. It fairly melts Into 
tl]4* tkhl', iitunt^iiiri the cells and allmulatlnic 




Giifes agloWmg 

circul&tlmi. It win brlttjg tliir plow of htaltli 

to -.-nir ■.■!!>■! ;.-i hs it h.i . to mine. 

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1 Itaiy Imtocfid ill,- maker* iu make a •-;■ = - ■.- 1 :* i 
Introductory offer, reducing price from 75c; 
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Book of 28 reproductions, 

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416 West 31st Street New York City 


metropolitan life than from one living 1 
in the heart of publication competition. 
Big- business, in a word, made a drive 
for the small town reader. That drive 
is still continuing. The mail pouches 
are full of magazines that arc dropped 
on every rural and small-town doorstep, 
and they are getting fuller every day. 

Hoto the Movies Educate 

£\r the same time that the litera- 
ture of the country made its inroad 
into the life of the hitherto secluded 
family, the movie took its place as an 
educational factor in the community. 
I am considering education from the 
point of view of publicity, from the 
point of view, if you please, of the 
merchant who believes that customers 
need to be educated to their wants. It 
is not a narrow point of view. Raising 
standards of living has long been the 
goal of the educator. That the mer- 
chant profits by this is merely a fortu- 
nate corollary. 

"Take the farmer's wife or the small 
town housekeeper who goes to the 
movie show to see the latest episode iu 
the Perils of the Pure. The perils mean 
something to her, and so does the pur- 
ity, but the things that make as great 
an impression are the things the her- 
oine wears and the furnishings of the 
home she lives in. To the movie patron 
they are the essence of social lite and 
form. Imitation is the greatest princi- 
ple in the theory of education; and 
hope springs eternal in the human 
breast. When the farmer's wife or the 
small town housekeeper conies home, 
she looks over her wardrobe, she looks 
around her house, she draws compari- 
sons and she makes mental reserva- 
tions. It is on the strength of these 
reservations that our business depends, 
to a great extent." 


ucii is expected from Douglas 
Fairbanks' new production, The Thief 
of Bagdad. Great sets have been 
erected on the ten acres recently added 
to the Pick ford- Fairbanks studios, and, 
according to Fairbanks, The Thief of 
Bagdad will begin where Rabin 
Hood left off. "Our plan." said Fair- 
banks the other day, "is to choose 
players who are the living counterparts 
of the illustrations of the 'Arabian 
Nights.' One of the unusual sets will 
have for its base a concrete floor cov- 
ering two acres. According to what I 
have heard the cement work will cost 
$20,000. Around the floor, which serves 
as a sort of plaza, will be the bazaars 
of Bagdad. Other sets, the foundations 
for which are now being laid, will tow- 
er above 'Robin Hood' castle, dwarfs 
ing it to quite ordinary proportions." 



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IMPORTANT— If you reside outride the U. S. A*, 
payment nvi-.-r. be made in advance Regular Edition 
S2.ii. Leather Edition. ¥3.12* Cash with coupon* 

By Alfred Cheney Johnston 

By Edward Th«ter Monroe 

By Edwin Bovver Hesber 

By Willi j\m Eolinton 





in the 



Bj' Robert E. Sherwood 
Drawings by EverettSh/nn 

0,Tiv Costume Pictures 
are a Terrible Blow to 
the Hollywood Barbers 
— but the Fencing In- 
structors are Growing 


JL-/verv human being who is deposited on this earth, 
ior one reason or another, passes through two stages before 
he (or, as it frequently happens, she) attains full growth. 
The first stage is Infancy. The second is known as 'the 
romantic age." 

The symptoms of the romantic age in the female of the 
species are these: 

Reading and writing poetry. 

Pasting pictures of Ramon Navarro on the mirror. 

Gazing at the moon. 

Wishing that the days of chivalry would come back. 

Writing fan letters to handsome actors. 

Posing for photographs with a rose held between 

the teeth. 
Practising Greek dances on the lawn. 
The symptoms evinced by the male element are almost 
parallel : 

Stars, once content zzith 
st>orl shirts and evening 
dress, are noiu going in 
for jerkins, suits of 
armour, doublets and 
other antiquated articles 
of regalia. 

Reading the novels of 
Scott, Henty, Dumas 
and other writers of 
historical fiction. 

Gazing at the moon. 

Trying to cultivate a 
small, silky . mus- 
tache and a pair of side-burns. 

Writing fan letters to comely ingenues. 

Posing for photographs with Bill Hart expression 
of calm determination. 

Practising tenor solos. 
None of these symptoms are serious or incurable. In- 
deed, they are all part of the natural course of events, .. 



Richard Barthchness. wHose chief 
rharm has been his homely Ameri- 
canism stepped forth in the finery 
of another day in "The Bright 
Shawl' that flashing affair of the 
brave days of 1850. 


Hoiv "Passion" Started It 


- 5 ~'J* >w -. 


' :' J ; 

Noiv Comes the Romantic Age 

A he fact that the movies are fundamentally human is 
proven by their career. They passed through an infancy 
that was as celebrated and profitable as their own Jackie 
Coogan s, and as long as Mary Miles Minter's; now they 
have entered upon the romantic age 

Today, the screen is all littered up with love (in the old 
fashioned sense- of the word.) Stars who, four years ago, 
were content to appear in immaculate evening dress, sport 
shirts or natty cowboy togs are now going in for jerkins, 
suits of armor; doublets, crinolines and other antiquated arti- 
cles of regalia. 

Villains who once were willing tc be killed with blank 
cartridges, are now being punctured with lances, rapiers and 
dirks Fencing instructors m Los Angeles and vicinity are 
growing opulent and fat. • . • 

Chins that were once as smooth as an oil stock promoter 
are now hidden behind Van Dyke beards. The Hollywood 
barbers are starving. 

It is indeed a strange situation, in a world that is suffic- 
iently strange to begin with. 

How, you may ask (and probably won't), did it all happen? 

he romantic age on the screen 
started on a chill December after- 
noon in 1920, at the Capital Theatre 
on the desert isle of Manhattan. 
The occasion was the first film to 
be imported from Germany since 
the invasion of Belgium in 1914. 
The picture was "Passion" — a cos- 
tume drama if there ever was one. 

When Passion — or Du Barry, 
as it was originally called — 
reached the unfriendly shores of 
these United States, it confronted 
a situation difficult enough to scare 
off the most determined invader. 
As the shortage of bananas had 
not become acute at that time, the 
popular song of the moment was, 
"Yes, We Want No Costume 

Romantic dramas, said the wise- 
ones of the movie industry, were 
as out of date as yesterday's shave. 
Any producer who dared to suggest 
that he would like to make a pic- 
ture with scenes laid in the good 
old days of 1911 — or previous — was 
told to buy a one way ticket to 
Samoa and take time to think it 
The film rights to old novels were in the same 
Jormant condition with the proverbial Ford Serv- 
ice Station in Jerusalem:; r - ■■••.■ 

Shaking Off the Cocoon 

Jtassion", however, surprised everyone (including its 
sponsors) by making a big hit It was bought on a basis of 
German marks, but it was sold to the local public for 100 
per cent. American dollars. • 

Moreover, it made a profound impression on the Holly- 
wood aristocracy. Movie people decided that they would 
like to direct like Ernst Lubitsch and act like Pola Negri. 
When that idea had been firmly implanted in their minds, 
the silent drama started to shake off the cocoon that had 
stifled it and emerged from its infancy. 

The results of this tremendous upheaval have been 

Aside from these incidental aspects of the situation that I 
have mentioned above — the opulent fencing masters, the im- 
poverished barbers, etc. — there have been many revolution- 
ary changes on the screen. What is more, the public has 
accepted them. 

Following Passion and its Teutonic brethren— Decep- 
tion, Gipsy Blood, All for a (Continued on Page 84) 




(^Hundreds of Thousands of 
Dollars Are Annually 
Thrown Away in Pictures 
because of Ignorance. Van- 
ity and Wilfulness. 





J[/ orrest Halsey, the playwright, wrote a story with a 
motion picture angle. He offered it to a big film producer, 
who put a ridiculously low price on it. 

"Originals, they are no goot," said the big producer. 
"But your name, it might sell it. How about fife hunderd 
dollars, nicht?" 

"Nicht," said Halsey decidedly, and put his story on the 
shelf. A month later he wrote a play around the plot, and 
secured a brief Broadway run for it. But after that it 
faltered and died, as so many Broadway plays do, and the 
storehouse received it. 

But an agent, who knew the psychological processes of 
big film producers, asked to be allowed to sell screen rights 
for the play. He named a figure he could get for it — 
twenty times what the first offer had been. Halsey laughed 
at him but told him to go ahead. 

One shot of the fantastic set showing the ancient city of Bag- 
dad, built for Douglas Fairbank's n'eiv photoplay, "The Thief 
of Bagdad." One and a half acres of concrete forms the basis 
of the structure. 

Within thirty days the agent came to Halsey and asked 

if lie would accept a check for $20,000 for the screen rights 

to his story. The offer was from the same producer who 

had originally offered him $500. When Halsey came out 

■ of his delirium, he accepted on the spot. 

The reason for the enormous increase? Simply that the 
scenario was no longer an "original" ; it had had a stage 
showing. And although the publicity value as far as the 
country as a whole is concerned to the producer was worth 
about a thin dime, yet he was impressed by it to the tune 
of $20,000. 

Cecil de Mille about to "shoot" the spectacular charge of 

250 chariots and 500 horsemen across the Mojave desert 

in 'California for his "The Ten Commandments." 

: 18 


The high pylon of Pharaoh's palace, designed 
for Cecil de Mille's "The Ten Command- 
ments," in course of construction. When 
finished it was a hundred feet high and a 
thousand feet long. 

What of Cecil dc Milled 

ill failure face Cecil de Mille's The Ten 
Commandments, now being done so luxuriously 
in California that it may eventually cause the 
famous director to change his studio base of 
operations ? That remains to be seen. Any- 
way, de Mille is spending a fortune. 

Will Doug Fairbanks' The Thief of Bagdad 
be a superb adventure or a financial winner? 
Anyway Doug has gone ahead to build the 
ancient city of the Thousand and One Nights 
adventures as he fancies it — without regard 
for cost. 

What of the dozen or so other big "specials," 
already completed or under way? 

Is this waste? 

A Wasteful Business 

, JL ins typical incident is only one reason for 
the colossal wastefulness of picture producing. 
In no business in the world is the overhead 
so tremendous and the wastefulness so wanton 
— except perhaps in our government at Wash- 
ington. It's an amazing business ! 

Hundreds of 
thousands of dol- The same setting as shown 
lars are thrown above — in its completed 
away annually in f%m aiid as it appears in 
the making" of J. he Tc " Commandments." 

. ■ . . J tie royal procession 

motion pictures. about to exit 




Thrown away, be- 
cause of the ignor- 
ance of a producer, 
or the vanity of a 
director, or the wil- 
fulness of a star. 
A n d, sometime s, 
thrown away because 
of situations that could 
never be foreseen and 
are u n d o u b t e d 1 y 
caused by the malig- 
nance of Satan him- 
self. Any director 
will swear to the last 

A certain street in 
Hollywood has cost 
the Fox studio thou- 
sands of dollars. The 

Fox studio rambles along on either side of Western Ave- 
nue — the dramatic lot on one side and "the comedy lot on 
the other. Every day, lumber and "props" and lights have 
to be carted across the street, laboriously engineered over 
the heavy flow of traffic. When the studio \vas built; West- 
ern Avenue was a little-frequented street. Nobody foresaw 
that it would become the artery of traffic that' it now is. 
Nobody foresaw that so much time — and time is money 
in picture-making — would be wasted, just in crossing that 

Fox has purchased 450 acres of land out in Westwood, 
midway between Hollywood and the ocean, for a new 

Another glimpse of the old city ■■ of Bagdad as 
Doug Fairbanks has re-created it. 

studio. The Fox heads figure that it is cheaper for them 
to buy new land and move their huge plant, than to continue 
carting materials over expensive Western Avenue. And the 
new studio will not be separated by any publicthoroughfare ! 
The studio will have, its own private lake and its own 
' railroad track. It is tired of paying from $50 to $100 an 
hour to the railroads, for the privilege of using their trains 
for a few shots. Now some retired,' decrepit engineer will, 
run one ancient locomotive up and down a studio track 
and enjoy the comfort of his pension days. 

Real Jezvcls for Atmosphere 

II he passion for realism has carried 
many a director to lengths that gave his 
producer acute agony in the region of the 
pocket nerve. Consider the director who 
hired some $400,000 worth of diamonds 
from Tiffany for a ball-room scene at an 
exorbitant rental, when the five-and-ten 
cent store variety screen exactly as well. 

Consider, too, the directors who "write 
in" location trips in the quest for pleasure. 

Locations cost money. To move a whole 
company of actors, technical people and 
live stock counts up tremendously. One 
shudders to contemplate the cost of the 
location trips entailed in The Covered 
ll'agon — but in that case the cost was 
certainly justified by the results. 

More and more, however, directors are 

passing up locations in favor of studio 

se t s — or rather, the cost experts are doing 

it for them. Studio carpenters and "prop" 

men are becoming so clever that they can 

manufacture a desert that looks more like 

... ., ., , a desert than the 
From this platform 

Cecil dc Milk has 

been directing 2500 

players. Y o u will 

note him in goggles 

and veils as protection 

against flying sand. 

(For the scenes were 

shot on the 300 square 

miles of barren dunes 

in North California. 

This cost. $30,000 a 


Sahara does. In 
fact, not so long 
ago, a director out 
on location in Ari- 
zona wired his boss, 
"Coming home to- 
morrow. Better 
western atmosphere 
on the back lot.". 
Cont'd on page 82 


2. (right) 
Face to face with a sheik who 

1. (left) 

Came a day while walking 

through the garden of love, 

she came — 

Gathered her in his 
strong brown arms 
and hied him hence 



By John Held, Jr. 



And, awakening, 

found she had 

dozed off in the 

caff pasture. 



Natacha Rambova Valentino believes that an over-em- 
phasis of the Valentino personality has blinded the public 
to the fact that Valentino can act. And so her whole 
fight-rand his fight— has been against "Sheik stuff." 



O. Mrs. Valentino says there is 
no secret of love and matri- 
mony—and that Rudy's film 
personality is a false one. 


By Anna Vrophater 

Y V HEX Rodolph Valentino married Winifred 
Hudnut, the opinion of nine-tenths of the women in the 
United States was that she was the luckiest girl in the 
world. The opinion of the submerged one-tenth was that 
>ht might have done better had she married the Prince of 

And the unanimous opinion of the men who had seen 
the Valentino craze break hearts, homes and engagements 
was that the marriage wouldn't last two months. For every- 
one with any common sense knows that a crazy, dancing 
foreigner is a bad choice for a husband and that a girl who 
calls herself Nat- 
acha Rambova and 
goes in for Rus- 
sian dancing does- 
n't measure up to 
the requirements 
jf the ideal wife. 
Just a couple of 
crazy love Bol- 
sheviks, that's all. 

Still Laugh at 

Each Other's 


other's jokes. The first sign of domestic trouble comes 
when the husband springs a good one and the wife merely 
answers with a dirty look. The Valentinos haven't come to 

Of course, just because a movie star and his wife have 
lived together more than a year in peace is no sign that 
they will be celebrating their golden wedding. But you 
ought to give them credit for breaking all records established 
by the Upper Park Avenue set where marriage doesn't last 
as long as the lease on the apartment. 

Contrary to feminine opinion, Mrs. Valentino was not 

ell, the Val- 
entinos have been 
married nearly 
two years, New 
York time 
aiaiost a 
and they 
laugh at 



Natacha Rambova 
Valentino is en- 
grossed in her hus- 
band's success and 
his ambitions. Like 
Mary Pick ford, 
she is the Disraeli, 
the Colonel House 
and the Charles 
Evan Hughes of 
the household. 



the luckiest girl in the world. Would you consider yourself 
the luckiest girl in the world if you married a man who 
owed $80,000? Would you think you were in for a life of 
bliss if your husband had no position and stood small chance 
of getting a position for several years? Would you think 
you stood on the top of the world if your husband were 
dragged from the honeymoon to answer a charge of bigamy? 

No, you wouldn't. Very likely you would go home to 
father and the certainty of three meals a day. 

Mrs. Valentino, naturally enough* won't admit that she 
wasn't the luckiest girl in the world. But she will admit 
that the first months of their married life weren't all moon- 
light and roses. For moonlight please substitute the un- 
- becoming glare of publicity and for roses please substi- 

"// Rodolph had simply 
been an attractive man 
with a certain charm 
for women, it would 
have been easy to re- 
place him," says Mrs. 
Valentino, "But it hasn't 
been so easy to find an- 
other Valentino, has it?" 

tute legal papers. But 
it's all over now. In 
her apartment at the 
Hotel des Artistes, 
Mrs. Valentino pre- 
pared for a trip to 
France and Italy. An- 
other honeymoon ? 
No, just a vacation. 
It will be a rest from 
the long, dreary and 
lonesome months spent 
on the dancing tour. 

An Unusual Sort of 
Movie Wife 

JL here are all sorts 
of movie wives. There 
are the frivolous ones 
who step out, there 
are the home-loving 
ones who- do the 
mending, there are 
the wives with ca- 
reers of their own 
and there are the 
wives with influence. 
Mrs. Valentino is one 
of the few wives with 
influence. She re- 
minds you of Mary 
Pickford. She talks 
business in a ' sane, 
cool-headed way. She 
is engrossed in her 
husband's success and 
his ambitions. Like 
Mary Pickford, she 
is the Disraeli, the 
Colonel House and 
the Charles Evans 
Hughes of the house- 
hold. And, naturally, 
her husband thinks she is the Whole Works. 

Too Sophisticated to Talk of Love 

■ rs. Valentino is much' too sophisticated to talk 
about love and marriage. She won't give you any rule 
about How to Hold a Husband. She knows that if there 
were an- infallible method the secret would be worth a 
million dollars. 

Too much publicity about her marriage has made her 
sensitive and shy about talking about her romance. She 
believes that an over-emphasis of the Valentino personality 
has blinded the public to the fact that Valentino can act. 
And so her whole fight— and his (Continued on page 96) 



With reports of her divorce 
rumored and denied and 
rumored again. Irene Castle 
has just returned from 
fiance. The two pictures 
on this page zverc "shot" on 
the famous beach at Dcau- 
ville. They reveal a differ- 
ent glimpse of "the best 
dressed woman in the world." 


III contrast to Miss Castle's Deauville 
costume is Alice Brady's bathing suit 
and soft coat for strolling along the 
beach. The picture was made beside 
Miss Brady's own pool in the garden 
of her Long Island home. 






ack in the days when we were young and in- 
nocent and never went to the movies, all little girls 
and boys thought that an envelope was something 
you sent a letter in and that a combination was a 
salad made of cucumbers and tomatoes. 

Also it was polite to refer to lingerie as "unmen- 
tionables," although, strictly speaking, it should have 
been "unpronounceables." 

It was generally conceded that you couldn't beat 
a good, high-necked and long-sleeved flannelette 
nightgown for durability and warmth. You were 
also supposed to be risking a bad case of pneumonia 
or a severe attack of quinsy sorethroat when you 
ventured forth in less than two flannel petticoats. 
Nightgowns or petticoats with ribbons on them were 
thought to be an infallible sign of a wayward dis- 
position and a tendency for the primrose path. 

The first daring pioneers who ventured into pink 
crepe de chine were terribly talked about when 
the neighbors sighted the filmy garments on the 
clothesline. Clergymen were immediately reminded 
of the Fall of Rome. Nowadays the girls who 
wears pink crepe de chine is considered just too 
naive and unsophisticated for words. 

Gloria and the Flannelette Market 

■Out, so far, no viewer-with-alarm has yet blamed 
the movies for the terrible slump in the flannelette 


Q:epe de chene 

By Helen Lee 

Black negligee is piquant— and as worn by 
Mae Murray, at the left, is more propa- 
ganda for crepe, de chene. The young 
lady below is. Peggy Shaw. 


<L The Photoplay 
has changed the 
taste of America 
in what ourpre- 
movie land once 
called "unmen- 

market. And yet one 
flannelette factory 
after another has gone 
out of business. 
Everytime Gloria 
Swanson appears in a 
new picture, the mar- 
ket price of flannel- 
ette drops ten points 
and the price of Geor- 
ette crepe and chiffon 
soars to the skies. 

Such is the terrible 
georgette menace of 
the screen that out in 
Minnesota where the 
thermometer falls to 
thirty degrees below 
in Winter, the girls 
wear the local imita- 
tions of the same gar- 
ments paraded in 
sunny California by 
our neatest film si- 
rens. If Bebe Dan- 
iels and Corinne Grif- 
fith say it is to be 
black chiffon, black 
chiffon it is back on 
the farm, even though 
father freezes his ears 
and the water gets 
solid in the pump. 

On the screen, of 3I) ; 

course, the stars' wear lovely lingerie in the interest of art. 
How else, in fact, are you going to portray ladies with 
chiffon souls? If the scenario writer demands that you be 
a daughter of the idle rich, how better to register luxury 
than by a bit of lingerie that won't stand the strain of the 
old family washboard. 


Rainbow Lingerie 

xperts agree that pink lingerie is only worn by women 
with no imagination. A trip through the studios when the 
boudoir, sets are disclosed to sight-seers proves that the 
lingerie of the stars comes in 
all the colors of the rainbow. 
Gloria Swanson, for : in- 
stance, has darkish red hair 
and green-gray-blue eyes. On 
or off the screen she seldom 
wears emphatic shades; she 
likes pastel hues. When it 
comes to lingerie her favorite 
colors are green and pale vel- 

dt. Every time Gloria Swanson appears 

in a new picture, the market price of 

flannelette drops 10 points. 

Ct, Posing in your underwear has become 

one of our quaint native costumes. 

©, Soft white is more disastrous than 

btackjet. . . . 

Mae Murray is probably the best exponent of neg- 
ligee on the screen. Miss Murray has Car- 
rie d her propaganda against red flannel to the 
far corners of America. 

low, set off by black or white. Do you remember the negli- 
gee in Tin Gilded Cage? Of course you do, even if you 
have forgotten the plot of the picture. It was green chiffon 
with an over-drapery of black lace worn over georgette 
lingerie. Or do you remember the still more dashing 
lingerie in His American Wife? It consisted of black 
chiffon, with sleeves two yards wide. And there was an- 
other negligee of pale citron yellow, embroidered with white 
beads and trimmed with ermine tails. Try that at home on 

your sewing machine. 

In Bluebeard's Eighth 
Wife, Gloria will launch the 
winter underwear season. She 
will show you the correct styles 
to replace the long-sleeved 
union suit and the high-necked 
nightie. There is for instance, 
a black chiffon and yellow 
; (Contimicd on page 92) 



Miss Evans, the best little Southpaw writer 
in all picturedom, was long the mainstay of 
one of the motion picture magasines. Now 
she - is contributing her brilliant articles to 



Delight Evans 



P mm. - m 

jJg&BP-''--- ''"IF ^^S; :-:"-'-"^Bk 

■■ Rtu. 

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&_S .-_!"^. . ",.-_- _^_ „._„.----__ ___^^^ _.". 

fl^ Behind her Benda Mask, 
is Miss Swanson jus! a good 
business -woman from the 


(j^ Gloria Swanson wears an amasing wig in Zasa. Every- 
one protested about it — but Gloria liked it. Hadn't she 
been told, by Elinor Glyn and others, that she is reminis- 
■ cent of Sarah Bernhardt? 

'AN a girl be herself with the world looking 
on? How can a screen star be sure she isn't 
kidding herself as well as her audience? When, 
in other words, to get right down to cases, does 
Gloria Swanson stop doing her stuff and begin 
being Gloria? 

The answers to these questions will not be 
found here. The Swanson Clubs of the coun- 
try might hold a national convention and decide 
it once and for all, except that it's really imma- 
terial to them as long as Gloria wears a new 
coiffure in every picture. . 

So far, Miss Swanson has risen to the occa- 
sion. . And in Zasa she does it again. Accord- 
ing to the records, Zasa was French, and as 
far as we know, never wintered in the Fijis. 
With superb disregard, Gloria, or Gloria's hair- 
dresser, has given Zasa, for some of her big 
scenes, a wondrous wig with a sparkling spangle 
suspended from each curl. Nazimova wore some- 
thing like it in "Salome." It's an Aubrey Beards- 
ley nightmare. Gloria glittered — diamond "Z's" 
around her neck, "Z's" in spangles on her arms, 
"Z" patches on chin and cheeks. There were 
no two ways about it — she was playing Zasa. 

, j" ""V-J t 


Relieve It 

f^ Gloria and her des- 
tined -to-be- cele- 
brated wig, as they 
appear in Zasa 
opposite H. B. 

By "Delight Evans 



is reminiscent of Sarah Bernhardt. Especially 
when she throws her head back. 

It was one of those massive Allan Dwan 
sets. Ever since "Robin Hood," Mr. Dwan 
has been doing things in the grand manner. 
"Zaza" apparently held forth in settings that 
would have pleased, in point of size, a medi- 
eval monarch. 

Background of Follies Girls 


"I believe ihe t modern flapper is more wholesome her 

mother or grandmother," says Gloria. "The things they 

longed to do and dared not, she docs naturally. She is 


lovely young things, presumably from the 
New Amsterdam, stood about waiting to be 

Gloria, ensconced in the stellar chair, was 
surrounded by visitors — Fay Bainter, from the 
stage; a South American official's spouse, 
breathing rather heavily ; miscellaneous admir- 
ers. Hands on hips, La Swanson rose and 
confronted Madame from Buenos Aires — or 
was it Chile? 

Gloria has no vague voice. It is snappy 
Chicago-ese, untroubled by acquired inflec- 
tions. Madame's daughter wished to go into 
the movies. Her father wouldn't hear of it. 

But — ''Oh, mother," pleaded daughter, 
"please let me try." 

"That," nodded Gloria, "is just what I said 
to my mother." 

"Really," cried the relieved lady, "isn't that 
wonderful ?" 

The substantial South American's permanent - 
rave was kindly but firmly succeeded by an 
Ohio censor. Zaza had little in common with 
him. I am sure it was not his fault. 
(Continued on page 104) 

Hozv Zaza's Hcad- 
Drcss Developed 


>:or Glyn was 
not to blame for the 
head-dress. Neither 
was Sam Wood, who 
used to direct Gloria. 
Maestro Wood told 
Mary Eaton, who 
lately glorified the 
Follies and is at pres- 
ent illuminating Para- 
mount's Long Island 
City factory, and 
Mary Eaton told me, 
that he couldn't see 
that head-dress at all. 
Gloria liked it. Her 
red mouth curled 
around her little 
pointed teeth. She 
has been told, by Glyn 
and others, that she 

One of the' Parisian hack 
stage scenes of Miss 
.. Swanson's "Zaza." 


•- 1 


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By Alfred Cheney Johnston 

By Alfred Cheney Johnson 


By Alfred Cheney Johnston 



3. e 



A. M. 













5,782 extra players awaken. 

Milk-wagon horse refuses to climb Whitley Heights. 
192 directors awaken. 
191 directors go back to sleep again. 
349 alarm clocks serenade 349 assistant directors. 
1,831 extras report for work. 
42 stars stir in their feather beds. 
Goldwyn gatekeeper checks in Abie Lehr. 
First automobile accident of day. 
First actor shows -up at Armstrong's restaurant. 
Lasky office boy is sent in search of Pola Negri. 
June Matins and Frances Marion complete first 
scenario of day. 







3,678 pies ordered at Universal lunch counter. 
Party of tourists from Clinton, Iowa, arrives in 

Ford and inquires way to nearest studio. 
Lasky director sent in search of Pola Negri. 
27 actors at Goldwyn studio ask Murphy to charge 

the lunch. 




55 actors at Armstrong's sign the luncheon checks. 

All male members of Writers' Club adjourn for 
game of pool. 

Women scenario writers return to work. 

127 ex-plumbers sign up at a motion picture talent 

Government reports labor shortage. 

Another "second Valentino" is given the air. 

Street railway inspector notes uncrowded cars reach- 
ing business district. 

Street railway corporation cuts down number of cars 
11 per cent. 

Second hand Ford dealer sells 175th car of day. 

Lasky studio manager sent in search of Pola Negri. 

Cecil B. De Mille shoots first scene of day. 

3 :30 



47 excursion buses leave for new real estate tracts 

with 759 passengers and 8 prospective buyers. 
25 sight-seeing buses leave for "free trip to the oil 

fields" with 45 stock salesmen. 
Weary bootleggers start on their rounds. 
Lasky assistant director is sent in search of Pola 

Goldwyn gatekeeper checks in Mickey Neilan. 
All film executives reported "in conference." 
Title writer, who lias been thinking all morning 

writes "Came Dawn." 
First hot dog sold at Venice. 

Young girl from Clinton, Iowa, thinks she sees real 
actor and .faints dead away. 

First section Overland train pulls in with 423 home- 
seekers, 18 travelling salesmen, 6 imported Eng- 
lish authors, 71 writers assigned to "cover - " 
Hollvwood boulevard and 3 Calif ornians. 

Carl Laemnile decides to spend another million. 
78 divorce decrees granted. 
77 more marriages. 

Bootlegger admitted to exclusive country club. 
Jesse L. Lasky starts in search of Pola Negri. 
Ambulance rushes down Boulevard. Excitement. 
Automobile with movie camera follows. More ex- 
Crowd gathers. 
Police reserves arrive. 
Automobile accident. 
Crowd disperses. 

Six movie ingenues adjourn for ice cream soda. 
Pola Negri reports for work. 
Pola Negri quits work. 

{Continued on page 99) 

Besides being a frequent contributor to the fiction 

magazines, Miss Hall is one of the best known 

writers on motion picture topics. She is an author of 

decided sparkle and vivacity. 

Gladys Hall 



By Gladys Hall 




screen afraid of 

We put the question naively. 


Mocking, magnificent and ironic 
laughter. ' • . 

Petrova speaks with the poniard of 
irony.. When she . writes she dips her 
pen into vitriol and veracity. When 
she laughs the heathen gods awake 
and shudder and the powers of dark- 
ness slink away, their tails between 
their legs. 

Traditions Do Not Shackle Petrova 

Uhe is brilliant, ruthless and relentless. Bogies do not 
jump at her from sentimentally shadowy corners. Super- 
stitions do not shackle her nor traditions hamper her. 

W't said again, more timorously, "Why is the screen 
afraid of sex?" 

"IS it?" she asked. More laughter 
mind's eye came scenes from here 
must have sent the youths and 
maidens of the great towns and 
small hell-bent for the park benches. 

"Still," we protested feebly, 
'there's less of it now than there 
used to be in the flaming films gone 

Which same Madame admitted. 

And before our 
and there which 

"There are two ways of looking at sex," muray 

says Mine. Petrova. ''One person will say 
Sex and will mean innuendo and sensuality. 
Another person will say Sex and zvill 
mean frankly what he says." 

equal of which for sheer ribaldry I have neither seen or 
heard of since. At that time I said to my companion in 
the theatre. 'This is the high point of sex on the screen. 
They can go no farther.' It has evidently proved to be so 
"Possibly a reaction has set in. I do not see very many 
pictures and therefore cannot constitute myself as an in- 
fallible judge, but it is quite likely that there has been a 
reaction and that with this re- 
action the screen will revert to 
putting skirts on the piano legs and 
valances of lace and tulle upon the 
nude statuettes. 

The High Point of Sex 

11 A , ,, 

rx h, that is probably true 

she said, "some time ago I saw a 
very well-known picture made by a 
famous director, who shall be name- 
less in the interests of discretion. 
In that picture a scene occurred the 

H^The photoplay shuns the 
faffs of sex and whets the 
appetites of curiosity mon- 
gers with fiction of sex, says 
Mme. Petrova. 

Afraid of the Reality of Sex 


-H- he screen is, however, afraid 
of the reality of sex. It will tear 
rents in the skirts covering the piano 
legs, but will not remove them. Re- 
sult : an urgent and persistent curi- 
osity regarding these factual and not 
always lovely objects." (Con't. p. 103} 



■ ■ ■ . ■ '■ 

; -;':'-^ :''■-■-■';'■ V 



{^Shattering Illu- 
sions About Our 
Dear Stars is 
Favorite Indoor 


.oi.lywood hasn't any Follies, 
nor a Woohvorth Building-. Ethel 
Barrymore wouldn't shed a tear if 
she never saw the City of Angels 
again. Third, and even fourth musi- 
cal comedy companies try their piti- 
ful best to please at the Mason Op'ry 
House. And they do say it takes a 
year for a style to travel from Fifth 
Avenue, east, to Seventh Street, west. 


And it is around that "hut" that 
Hollywood carols gleefully. For. my 
dears, Hollywood boasts that it is 
THE film capital. Its secrets are as 
safe with us as with a hroadcasting 

Hollywood inhabitants are the only 
and original star-leggers — willing to 
exchange 'em for any illusions you 
may have. 

Imagine saving- all year for one 
look at that storied place, Hollywood ! 
And then — 

You are the envy of all Dultith 
when you announce your plans. You 
are actually going to see Gloria Swan- 
son — for didn't Fan Fare show pic- 
tures of her strolling down Holly- 
wood Boulevard, buying the evening 
pork chops, and trundling Gloria II ? 
Perhaps Charley Chaplin will ask you 
for a match ! 

The carefully buttered publicity has 
been carefully digested in your town, 
however. You know, for instance, 
that some of the stars aren't a bit 
better looking than the local gals. 
And you have been warned that all 
that moves is not movies. 

• But — again that volume-speaking 
"but" — that isn't the fourth of it. 

All Hollywood, and your friends in 
particular, are 

"D o y on use 
rouge?" 'he inter- 
viewer asked Miss 
A y res. "IV hy 
paint lite lily?" re- 
sponded Agnes. 

only too eager to 
play that tireless 
game ''un-hokum- 
ing Hollywood" 
for you. 





By Mildred T>oherty 

You get off the Santa Fe Limited, with your 
handbag and your happy illusions. You leave, 
a withered wretch, minus all the illusions you 
brought and a few you didn't know you had. 

Hollywood, thy name is Heartbreak ! 

The Old Hokum! 


JL sn't Viola Dana too lovely for words ? And 
that won-der-ful Bill Hart !" you exclaim. 

"Cowbells !" choruses Hollywood. 

"And, oh, please, could I see naughty Barbara La 
Marr in a dope den or something? Just slumming — ' 

"Apple sauce!" the chorus barks. 

And so they go— out of the ardent fire of your ima 
nation, into the frying pan of heartless Hollywood— 
your little illusions. Believe me, they are panned, all 

The old cardiac regions get the greatest knock-out 
the open secret of Hollywood is told within this 
walled city. 

Rudy Won't Vamp! 

alentino is no lover ! 

There ! What's more — Rudy hates the very word sheik. 

An ex-Metro star is said to have given Rudy a broken 
wheel made of lilies after a beach party with him. That 
was before either of his marriages, of course. 

A week and you are in the know. You can write home 
with suavity about Claire Windsor's wig, and Larry Semon's 

Then There's Alice Terry's Hair 


lice Terry's hair is really brown-black, as any blase 
citizen can tell you. A disappointment ? At .that, Alice is 
twice as sensitive about her ankles as her hair. 

Another Broken Blossom 

.atherine McDonald, the favorite of Former President 
Wilson, Former Husband Malcolm Strauss, and Current 
Husband Charles Johnson, is another broken blossom when 
it conies to living up to her publicity. Let me hasten to 
explain — not in the line of beauty. She's really lovely. But 
about those wondrous advertisements, claiming she got that 
way by using X's cold cream, Y's powder, and Z's corn 

Alice ^ Terry wears a wig — even in private life. 

This, hozvever, is the wig she adorns in 


Katherine is a Scotswoman, who scorns expensive emol- 
lients and perfumes, and goes in for a certain five cent 
brand of soap, and plenty of city water. She has a marcel 
only when the script calls for one, but then she gets only 
$50,000 a picture. 

When Katherine dies she can tell St. Peter the last num- 
ber in her savings. 

Louise is Comelv and Clever 


/ouise Fazenda has disappointed many a hopeful tourist. 
The uncooked truth is that Louise is a comely young lady 
who reads D. H. Lawrence, and rides in limousines, keeping 
the broken shoes and the wheefbarrow only for celluloid 

I know of one hopeful lady interviewer who came to 
Hollywood, determined not to have her cherished fancies 
about her favorites squelched. 

The Film Intelligentsia 

JHLer first interview was with Agnes Ayres. It had been 
bruited about that Agnes had (Continued on page %) 


"He Stole thePicture!" 
is the one Glorious 
Phrase in all Screen- 
dom — FamousThefts 
from Charles Ray to 
Ernest Torrence. 


JL iiese are dark clays for 
the Arrow school of actors and 
the seminary of golden curled 
actresses. The character player 
is darkening their doorsteps 
with a vengeance. 

Time was when a perfect 
profile or a baby stare meant a 
iVell nigh sure road to cellu- 
loid stardom. Those days have 
gone forever. The public is 
actually demanding that actors 

Not so long ago, the Holly- 
wood press agents put on a 
party and invited many guests, 
at five dollars a head. To en- 
tertain the guests, the press 
agents trotted out their prettiest 
stars of both sexes. And after 
Herbert Rawlinson and Anita 
Stewart and William Desmond 
and Pauline Garon and J. 
Warren Kerrigan had smiled 
and dimpled over the foot- 
lights, who do you suppose 
carried off the greatest round 
of applause? 

Ernest Torrence, the demon 
"heavy" of Tol'able David and 
the memorable scout of The 
Covered Wagon. 

And the cheers that greeted 
Torrence symbolized the new 
public taste. W.hich un- 
doubtedly accounts for the fre- 
cpuency with which character 
actors have "stolen the picture" 
in several recent big produc- 
tions. We want acting, and 
the man who can give it to us, 

Dial Patterson ran away with 
several hits in Richard Bar- 
' thclmess' productions during the 
past year. Judging from this 
camera study, we can't under- 
stand why Dial plays character 





By Eunice Marshall 

be he hero, villain or 'comic relief,' is the man for our 

To "steal a picture,'' in Hollywood parlance, is to carry 
off acting honors away from the star. Such dramatic 
larceny is the end and aim of every actor that is worth 
his salt. But the star could be arrested and put in 
jail for life for what he thinks of the proceeding! 

That Robber Torrcncc 


rxest Torrence is a notorious bandit, when it 
conies to stealing a scene right out from under a 
star's nose. Remember how he stood out as ' the 
central figure in The Covered Wagon ? He wasn't 
supposed to. He was only a scout, a subordinate 
character. He wasn't pretty and he hadn't shaved for 
weeks. And as for the '"sex appeal" that the ex- 
hibitors swear by, he had about as much as Bull Mon- 
tana. But every spectator that saw the picture went 
home to tell about the old plainsman who got so de- 
liriously drunk, and perhaps quite forgot to mention 
anything about the two leading characters, Lois Wilson 
and J. Warren Kerrigan. Quite right, too. Lois Wil- 
son was sweet and gentle, but she missed the chance of 
a life-time to act, and Kerrigan wore what was appar- 
ently a self-cleaning, white doe-skin suit and looked as 
pretty as a new red wagon, but that was 
all. The real actors in the picture were 
Torrence. Tully Marshall and the little 
chap who "chawed tobaccer" so manfully. 

But, speaking of Torrence. reminds us 
of his first success. He snapped into 
fame with his unregenerate bad man of 
Tol'able David, that classic of the Vir- 
ginia hills in which Richard Barthelmess 
starred. Torrence didn't run away with 
Tol'able David, Barthelmess is too able 
an actor for that. But he did put himself 
across with a smash. 

Wallace Beery's "King Richard" 

Three notorious gentle- 
wen bandits of the silver- 
sheet : Malcolm Mac- 
Grcgor (above), Ernest 
Torrence at the left and 
Wallace* Beery below. 

allace Beery had wronged innocent 
young damsels under the blistering Kliegs 
for many years, before Douglas Fair- 
banks saw that he was something more 
than a "heavy." So it was a delightful 
surprise to the public to view Beery's 
superb characterization of the roystering 
', Richard the Lion-Hearted, in Fairbanks' 

Vera Gordon "ran azuay" xiiith 

"Humorcsque" and started a 

vogue of mother pictures. 



Robin Hood. In fact, he was so good that, if 
rumor is true, as occasionally it is, Douglas 
sharpened up the scissors and operated on that 
film in the privacy of the cutting room. It's all 
very well to have one's supporting actors good, 
but it's not necessary to have them too good, 
you understand, Mawruss ! 

A Hebrew Mother Machree 

OU saw Humorcsqucf Of course. Every- 
body did, and loved it. But did you realize that 
one of the most flagrant instances of grand 
larceny was being enacted before your eyes ? 
Vera Gordon was happily engaged in stealing the 
picture right away from the outraged Alma 
Rubens. And she did such a good job of it that 
the exhibitors put her name up in electric lights 
instead of Alma's. 

The success of Huinoresquc precipitated upon 
us the flood of "mother" pictures. Up to this 
time, screen mothers had been all very well as 
atmosphere, handy to have around and all that, 
but they mustn't get under foot when the young 
lovers got into action. Vera Gordon showed 
them that a mother's place is right in the spot- 

Walter Long Did It, Too 

tealing a picture away from such a popular 
actor as the late Wallace Reid was quite a feat, 
but Walter Long accomplished it. It was in The 
Dictator. Walter Long, as the hard-boiled taxi- 
driver who followed Reid clear to one of the 
banana republics to collect the money the latter 
owed him, proved himself to be a comedian 
utterly wasted as a "heavy." The scene where 
he was arrested by a company of militia, marched 
up against a wall to be shot, at the 
last minute reprieved and all un- 
conscious of his fate, remarked to 
the staggered soldiers : "Well, so 
long, you fellers. When I come 
back, I'll drill you some more," 
stands out as one of the funniest 
scenes the writer has ever giggled 

There was no danger of Long's 
name being put up in electric lights 
instead of Reid's. Wally was too 
universally beloved for that. But 
he did get a great deal of comment, 
both from the press and the public. 
We would like to see more of Walter 
Long in comedy roles. 

Enter Rosa Rosanova 

hen Goldwyn cast Hungry 
Hearts, it chose Helen Ferguson 
for the {Continued on page 102) 

In the oval — George 
Hackathornc, a dan- 
gerous member of 
any cast. In silhou- 
ette, Sid Chaplin, 
who, they sav, burns 
up "The 'Rendez- 
vous" with a per- 
sonal hit. 




W IIAT do y° u think of this issue of Screenland? 

In it you will find a number of writers new to Screen- 

Delight Evans, for instance. 
One of the cleverest — and youngest 
—writers in the whole field of 
motion pictures. 

Robert E. Sherwood, associate 
editor of Life and motion picture 
editor of The New York Herald. 

Harriette Underbill, motion pic- 
ture editor of The New York Tri- 
bune and a sparkling writer on the 

Grace Kingsley, the "motion pic- 
ture editor of The Los Angeles 
Times and one of the best informed 
authorities on motion pictures in 
the very capitol of picturedom. 

Gladys Hall, the versatile and 
unusual writer on the silent drama 
and the people behind the screen. 

signed to accept the editorship of Screenland. 

You can count upon frank and unbiased criticisms from 
Mr. Smith. Better turn now to his review of the past 
• screen vear in this issue. 

What are the Ten Best 
Pictures Ever Made ? 

SCREENLAND is interested in 
finding out the ten best motion 
picture plays ever made. 

To secure an accurate idea of the 
real ten milestones of the silver- 
sheet, SCREENLAND has asked 
the foremost authorities in motion 
pictures in America to name their 
ideal list. 

The next issue of SCREEN- 
LAND will present the results of 
this canvass — together, with a tabu- 
lated list of the ten photoplays re- 
ceiving the most votes. 

JL hese writers will continue to 

contribute to Screenland. And— 

to this list — will be added the best 

contributors on motion picture 

topics in America. Such writers as Helen Starr, Alma 

Whitaker and Eunice Marshall will continue to contribute 

to Screenland. 

Qcreenland is to be the young magazine of the screen — 
fearless and unafraid, 
untrammeled by prece- 
dent and radical in its 
ideas about the world of 
celluloid. With the best 
writers in all filmdom 
contributing to its col- 
umns, Screenland will 
be the one magazine of 
personality in the entire 
field of motion picture 

Ocreenland poin's 
with especial pride to its 
department of reviews, 
conducted by Frederick 
James Smith, the leading 
authority on the cinema 
in America today. Mr. 
Smith, who is also the 
editor of Screenland, 
shaping its policies, was 

i managing editor of 

Watch the November issue! 


be the most attractive magazine of 
the films. The foremost photo- 
graphers in this country are now 
taking pictures exclusively for its 


•Jl- ins month you will find such 
distinguished art contributors as 
Everett Shinn, John Held, Jr., and 
Wynn among the pages of Screen- 
land. The next issue will find 
such famous artists as Oscar Fred- 
erick Howard and Ray Van Buren 
added to the list. 

*3 creenland's covers stand alone. 
The greatest cover artist in Ameri- 
ca is making them — Rolf Arm- 

JLn brief, the new Screenland 
will be built upon the theory that 
the motion picture needs a magazine of youth. The field is 
crowded with Merton magazines, with their purring, bla-a-a 
interviews and cheese-cake criticisms. Screenland be- 
lieves that the time has come for a magazine to treat of 
the screen lightly, through the eyes of youth. 

We Want YOU To 
Write For Screenland 

SCREENLAND realizes that it must be in direct 
touch with its readers. 

It must have the pulse of the public. 

To reflect this accurately, SCREENLAND wants 
you to write for its columns. 

Beginning with an early issue, SCREENLAND 
will conduct a department consisting of the best 
contributions of its readers. Every contributor will 
be paid for his work — according to the importance 
of the contribution and its individual merit. 

But contributions must be interesting and they 
must be constructive — besides having ideas. Don't 
be afraid to say what you think about the screen 
and its players — in your own way. 

Address your letters to THE EDITOR'S LET- 
TER BOX, SCREENLAND, 119 West 40th Street, 
New York City. 

-UL here will be nothing 
old, antiquated or pond- 
erous about the new 
Screenland. It will be 
a live magazine of per- 
sonality dealing with 
live personalities in the 
one walk of life, in 
which the romantic lure 
of the gypsy still re- 

luove all, Screenland 
will strive for humor. 
It will direct its appeal 
to the sophisticated. It 
will be vigorous, young 
and unafraid of any- 
thing or anybody. 

-II- ou'll en jo y the 

movies more if you read 

. Screenland. *■ 



Perfect behavior at orgies: All the Quests 
should fall yrace fully into reclining attitudes. 


Advice to Mothers 

Li, mothers whose sons are away from home should 
keep a lamp burning; in the window. On Christmas Eve, a 
candle should be substituted. The mother should arrange, 
on this holiday, to be seated at the old organ singing. When 
the door opens she should not turn — it might be only Santa 
Claus. But at the word "Mother" she should allow her 
hands to fall slowly from the keys, and should respond, "My 
son." White hair, a hurt expression, and a skirt which 
sags slightly should always be worn. 

Young mothers should neglect their kiddie for Society 
until the little one falls ill and cries feverishly for "Mummy." 
.She should then come running home in her evening gown 
and kneel beside the little bed to gather baby in her arms 
and murmur, "I'll never, never leave you again." At these 
words the little fellow is restored to perfect health and con- 
fidence and pats Mummy's cheek with his hand. This is 
Mummy's cue to break down and have a real good cry. 



otion Picture 

By "Delight Evans 

Drawings by Wynn 

time, she should give an ecstatic back kick, clutching her 
sweetheart by his coat lapels. The proposal should take 
place in a roadster parked in a flowery lane, in an old 
fashioned garden, or in the conservatory. One of the 
important points in any courtship is the chase from tree 
to tree. Girl should glance coyly back over her shoulder, 
and when she has dodged the tenth tree she should allow 
him to catch up with her and kiss her hands. This scene 
is played only by engaged couples. ; 


Conduct for Kiddies 

here are two kinds — rich kiddies and poor kiddies. Tt is 
the rich kiddie's duty to climb out of his bed in the 
nursery while nurse is asleep, and with his little white wooly 
lamb interrupt the big domestic scene down in the drawing 
room. He should take mama's hand and papa's hand and drag 
them together, smiling up at them through his curls. This 
invariably results in a reconciliation and kiddie being bounced 
on daddy's shoulder. The poor kiddie is an orphan ; but he 
should learn to cry prettily and the Little Angel of the 
Slums will take him home with her and 
he will soon be a rich kiddie himself. 

Rules Regarding Love 

hen kissed for the first time, a 
^irl should close her eyes. The second 

Rule regarding the 
debutante — she slwuld 
be surrounded by a 
mob of young men all 
trying to claim her 




d, Any one who desires to behave properly 
in pictures should heed these words of 
advice. The screen has eslablished its 
own code of morals and manners, and 
to succeed in its best society certain rules 
and regulations must be observed. 

Perfect Behavior at Orgies 

Jjtrictly speaking, this is impossible. By perfect we mean, of 
course, correct. Flowers will be scattered and paper caps dis- 
tributed. Sometimes a swimming pool is provided for the guests. 
Care should be taken not to drink champagne from a slipper. Up- 
to-date orgies have a reigning beauty appear from a floral center- 
piece and dance. The. male guests should then toss jewels at her. 
An air of impressive hilarity must be obtained at any cost. To gain 
this effect it is generally necessary for all guests to fall gracefully 
into reclining attitudes. Otherwise your audiences might not guess 
that the orgy has been a huge success. 

Hints for Big Business Men 

ractice is required to give just the right touch to the examina- 
tion of the ticker tape, the alighting from your motor, the chewing 
of cigars, and presiding at directors' meetings. Perhaps even more 
difficult is the scene at your desk when you sit there with 
bowed head groaning, "My God, I'm ruined." The pace up 
and down the office is a good thing to remember. It should 
be done slowly, one hand behind the back, the other toying 
with pince-nez. The pince-nez is also employed to ad- 
vantage^ in a conference — tapping the chin with it has been 
known to change the entire course of events in The Street. 
Don't worry about your home life. You can always be 
detained at the office. 

Rule regarding love: When kissed the 

second time she should give an ecstatic 

back kick', clutching her sweetheart by his 

coat lapels. 


Private Lives of Actresses, Dancers, etc. 

a knock is heard, run into the next room. In a moment 
you will hear a female relative's voice — it may be your 
step-mother, or your older sister, demanding to know where 
you are. In a minute she will join you — your father, 
fiance, or brother has arrived. Clutch her hands until she 
leaves you to confront the men. As soon as the hub-bub 
dies, slip out quietly. Remember, a real lady always avoids 

The Debutante 

luxurious apartment is absolutely essential, one with 
iron-grilled gates instead of doors preferred. No man 
should be permitted to cross the threshold. Don a negli- 
gee and begin returning the gifts admirers have sent you. 
You may keep the flowers, but pearls, bracelets, and dia- 
mond pendants must be returned. This will take up all 
your time outside of the theatre. 

How to Behave at Tea 

[■*-T is quite all right for you, little girl, to go to tea in his 
i apartment. Your poke bonnet will protect you. After the 
I Japanese valet has been dismissed, your host will try to 
■hold your hand. Snatch it away and run to the door. 
When you find it is locked, try to assume surprise. When 

hould be surrounded by a mob of young men all trying 
to claim her attention. She should laughingly shake her 
head at them and run off to another group of young men. 
Of late she has extended her activities somewhat — she 
lived her own life in Greenwich Village, smoked, went 
for rides in airplanes. But it is the earnest hope of all 
lovers of good form that she will soon return to the ball- 
room and be her sweet, simple natural self again. 

Procedure at Country Places 

'nly those with appropriate wardrobes may aspire to 
social success in the country. Nattv little sports costumes 
of velvet or georgette, trimmed with fur, for the girls; 
T (Continued on page 100) 




fl^The famous comedians of the 
Vollies invade the screen ivith 
a film comedy. 





ribsolutely, Air. Kjallagher ! 
Positively, Air. ohean! 


v v henever anyone succeeds at anything;, whether it 
be crocheting- doilies, playing- the piano, shooting a help- 
meet or reciting verse some perspicacious person conceives 
the idea of putting him or her in motion pictures. It" you 
are a him it is desirable that in addition to your other 
qualification you have straight shiny black hair. If you 
are a her it will help a lot if you have wavy blonde hair. 
But these are not absolutely necessary. The real thing is 
to have succeeded at something. 

Now there's Gallagher and Shean. To New Yorkers 
that needs no addendum. "You're a celebrity, Mr. Galla- 
gher, you're another, Mr. Shean," to put it in the well 
known rhythm which has made this pair famous. Mr. 
Gallagher and Mr. Shean have succeeded in making people 
laugh immediately at their verses which they chant each 
night at the Ziegfeld Follies. Whereupon Mr. William 
Fox immediately decided that they would be great on the 
screen. Whether he is right or wrong remains to be seen 
but at any rate the two versifiers are now hard at work 
in a studio built on top of one of Manhattan's tallest sky- 

"Around the Town" 

W E visited them there the other morning and watched 
them making their first picture which is going to be called 
Around the Town with Gallagher and Shean. For once 
the title of a movie will bear some relation to the picture 
itself. There is nothing so very original in Around the 
Town with Gallagher and Shean, but it is explicit. 

And from what we saw of the shooting, and from what 
we know of the plot, the picture ought to be amusing and 
probably a lot of people will go to see what Gallagher and 
Shean are like who would not otherwise go to see what the 

picture was like. That is why it 
is good businessto become famous 
in almost any line. Somebody is 
sure to realize that the rest of 
the world would like to know how 
you look and will satisfy their 
curiosity if given a chance to look 
you over on the screen.' Then 
that somebody will offer you a job 
in the movies. 

Being a celebrity, Mr. Gallagher, 
along with his partner, Mr. Shean. 
has invaded the screen. Why? 
because he's a celebrity. ■ The films 
never reason why. . . . 



XjSH Mr. Gallagher, oh Mr. Gallagher, 
Do you like to work in pictures here all day?" 

'•Well, I think I'll like it fine, 
for fin swinging right in line, 
And I feel J 'in getting Better Day by Day." 

"Oh Mr. Shean, oh Mr. Shcan, 
You're a star, yourself, if you know what zee mean; 
And if Gallagher's half as good 
You'll be where we said you would." 

"In the ash can, A£r. Gallagher. 7 " 

"In the As/or, Mr. Shean!" 

For years Mr. Gallagher and Mr. Shean worked side by 
side or doing a "single" in vaudeville. If we remember 
correctly they once told us that their average wage in those 
times was $40 a week. Now they must be making 100 
times as much as that for not only have screen magnates 
realized their worth but they have drawn a token of ap- 
preciation from a newspaper magnate, also, in the form of 
a nice weekly stipend for allowing the story of their lives 
to be published or something like that. "Sweet are the 
uses of" — prosperity, with apologies to Mr. Shakespeare. 

Working Atop a Skyscraper 

r. Gallagiiku and Mr. Shean are nice, friendly people 
who seem as pleased as children over the good fortune 
which has come to them. We found them up on top of 
this skyscraper, and the director, the camera man, the assis- 
tant camera man and the assistant director all rushed forward 
with the caution, "Don't tell anyone where we are working, 
it's an absolute secret." 

"But why must you work on top of the — of a building 
like this? Couldn't you take these scenes in a studio?" 

"That's the idea, you see," replied Mr. Gallagher. 

"We are the world's greatest detectives," added Mr. 

"And our office is supposed to be in a secret place high 
up in the clouds," said Mr. Gallagher. 

"As it really is." added Harriette Underbill. For we 
were puffing from the last climb up two flights of stairs 
and one flight of ladder. The elevator dumps you out at 
the twenty-sixth floor and that's two floors below the roof. 
The office of the world's greatest detectives is built up still 
higher and is reached by a secret ladder. We do not care 
much for climbing and there would be even more room at 
the top than there is reputed to be now, if everybody was 
like us. We do not care much for mornings, either, and 
anyone who elects to be interviewed by us before 1 p. m. 
must take the consequences. 

"You see by staging our office scenes up on top of the — 
a skyscraper, we get the whole of New York for a back 
drop," said Mr. Shean. 

"But don't you know that in that way you are taking 
all the joy out of the life of the property man?" we said 
severely. "He loves to furnish painted drops showing the 
Singer Building and Trinity Church and he has a passion 
tor designing Brooklyn Bridges a yard long and Leviathans 
which may be wrecked in a bath tub full of rocks and 
breakers." {Continued on Page 98) 

Mr. Shcan and Mr. Gallagher have 
been "shooting" their first screen 
comedy on top of a New York sky- 
scraper. The skyline of the metro- 
polis mil be the real thing in the way 
of background. 


Would you be- 
lieve that Hazel 
Keener was born 
on an Illinois 
farm t Certain- 
ly there is noth- 
ing bucolic about 
the accompany- 
camera study. 
But it's true. 
Hazel moved to 
Iowa and, at the 
age of seventeen, 
won a beauty 
contest. After 
that Hollywood 
zvas inevitable. 






Hidden Wedding Rings 

By Grace Kingsley 

Film brides Have Been Vutting Mufflers on Their Sledding Bells 

NTH, recently, the best film circles considered it highly 
disastrous to combine a Career and Cupid — publicly. One's 
public must be considered, you know. 

That is, this has been the case right up to the present 
moment. To be sure, it is fashionable to be married by 
ring and book, if you can have the ceremony performed up 
at "Pickfair," for instance as Marjory Daw and Eddie 
Sutherland. And since Rodolph Valentino owned up to 
his marriages without any loss in pop- 
ularity, others are beguiling to 'fess 
up about their nuptial adventurings. 
So little by little, coyly and with bash- 
ful blushes the brides and grooms are 
brushing the cobwebs off their wedding 


Louise Fazenda, winner of the pric 

for the loncj time secret marriage. 

But in the old days, you would have thought there was 
something disgraceful in being married, the way these pic- 
ture gels denied their marriages. 

Louise Could Keep a Secret! 

robably the prize long-term secret marriage of the 
bunch is that of Louise Fazenda. And yet they say a 
woman can't keep a secret ! 

Louise Fazenda became a blushing 
bride some six years ago, when she 
ran off to Santa Ana .and became the 
wife of Noel Smith, a comedy 




Francis MacDonald Isn't Telling. 

RANCIS McDonald is another screen person who owns 
a hidden wedding ring. He is really a very home loving 
man, even if he does play villains on the screen. Once 
upon a time he was married to Mae Busch. But Mae and 
he parted after about two weeks. McDonald went off a 
few weeks ago, and married Belle Roscoe. the divorced wife 
of Albert Roscoe, but somehow the fact never reached the 
public. Their romance began only a few months ago, though 
the two have been friends for a long time. 

Arc You Deceiving Us, Helen? 

1 here are those who say that Helen Ferguson and Wil- 
liam Russell have a couple of wedding rings that haven't 
been advertised. Bill and Helen have been even as Joan 
and Darby for faithfulness for lo, these many moons. 
Everyone knows they are engaged. And more than a few 
hint vigorously that there has been a giving and taking of 
rings. But both Helen and Bill deny it. 

A very good job of covering up the wedding ring was 
done by Helene Chadwick when she married William Well- 
man. In fact, the world got quite a shock when it learned 
that Helene was not a flapper, but had an able-bodied 
husband. Billy Wellman is a director at Fox's, I believe. 
Now Helene is sueing for divorce, charging desertion. 

The Farnum-Rubcns Match 

Jl7 ranklyn Farnum and Alma Rubens were secretly 
married. The news broke in a Los Angeles newspaper a 
fortnight later — but they had already separated ! So when 

Miss Rubens telephoned Guy Price, dramatic editor ,of 
The Los Angeles "Herald, asking him coyly to deny her 
marriage, Price printed this : 

"Miss Rubens asks me to deny her marriage to Franklyn 
Farnum. She not only is married to him but she is separ- 
ted from him, and divorce proceedings are about to be 

Reginald Denny a Benedict 


' ittle is heard about Reginald Denny's marriage, but 
not because Denny wishes to keep it dark. I imagine that 
Universal believes that Denny's romantic appeal is greater 
as a bachelor. Denny has been married for ten years, to 
the same wife, and still likes her! He is really thirty, 
though his press agent proclaims him twenty-six years old. 
Malcolm McGregor is married too, darn it ! He passes 
for a bachelor in print most of the time, but is an ardent 
enough husband in private life. Romantic appeal, like the 
case of Denny, is probably the reason for the non-publish- 
ing of the bans. 

Evelyn Brent's Marriage 

1 ne of the most interesting instances of a secret mar- 
riage recently was that of B. F. Fineman, the producer, 
and Evelyn Brent. The marriage was actually kept from 
the public for more than six months ! 

Of course, no account of California matrimonial events 
is complete without comment upon Pola and Charlie. 

No, they're not married ! 

In fact, as we go to press, they're not even engaged. 
Which is as far as we dare predict. 

Mrs, Louis Leon Anns and her daughter; otherwise Mae 

Marsh and the youngest o' the Anns family. Miss Marsh has 

just gone to the coast to l>la\ the star part in "Daddies." 


The flashing success of Wynn in the field of humorous 
caricatures has been one of the sensations of the maga- 
zine world. Wynn has just returned from a year on 
the Continent and he zvill contribute his best future 
work to Screen land. .» 




A.'.-.-ji^-^ . J4- 



Jl here are any number of 
significant features to the screen 
year which closed on August 1st. 

First in importance — superfi- 
cially, at least — has been the ava- 
lanche of costume dramas. And 
the end is not yet in sight, al- 
though there is every indication 
of an overproduction of the ro- 
mantic picture. 

Of more genuine importance is 
the vogue of picture successes 
made away from the maddening 
studio. This we credit to the 
artificiality of our motion pictures 
in over-lighting, over-production, 
indeed, over-everything. 

The third — and highly disas- 
trous — element of the film year 

was the general slump of our directors. Only two or three 
came through the gruelling twelve months without at least 
one cinema disaster to their credit. It certainly was a bad 
year for the megaphone gentry. 

The Best Verformances of the Year 

1. Florence Vidor in "Main Street" 

2. Ernest Torrence in "The Covered 

3. May Marsh in "The White Rose" 

4. Emily Fitzroy in "Driven" 

5. Rodolph Valentino in "Blood and 

6. Charles Chaplin in "The Pilgrim" 

7. Emil Jannings in "Peter the Great" 

8. Charles Ray in "The Girl I Loved" 

9. John Sainpolis in "The Hero" 
10. Myrtle Stedman in "Famous Mrs. 


An Interesting Year 


.IX ix all, it was an interesting year. The silver- 
sheet came out of its slump and attempted many things. 
The steady trend of romancism — the production of one 

Individual Hits Were Scored by Charlie Chaplin. Mae Marsh, Ernest Torrence, Emily Fitzroy. Dick 

costume opus after another — was 
a curious thing. It dates back, 
as Mr. Robert E. Sherwood 
points out on another page, to the 
first presentation of Pola Negri 
and Ernest Lubitsch's Passion 
in this country in 1921. Up to 
that point there had been a posi- 
tive belief that audiences did not 
want to see stories of another 
day. A curious theory — and yet 
it completely barred the romantic 
play from the screen until the 
German-made Passion proved its 

Immediately America launched 
into the costume field. One im- 
portant element of the successful 
German costume pictures was 
overlooked by most of our native producers. That was the 
fact that Ernest Lubitsch, in making Passion, Deception, 
and one or two other pictures, had succeeded in making 
his characters live. They were no mere cardboard folk 
sporting swords and wigs. Some measure of this ability 
to re-create the pulsating atmosphere of another day got 
into Robin Hood and When Knighthood Was in Flower. 
But there was much more of this fine spirit in Peter the 
Great, the visualization of the colorful life of the adven- 
turer who founded the Russian empire. 



By Frederick James Smith 

Artificiality of Our Films 

"The Covered Wagon" 
"Blood and Sand" 
"The Pilgrim" 
"Safety Last" 

6. "Nanook of the North 

hile American-made pic- 
ares have largely failed to catch 
fe fine skill of Lubitsch in cut- 
ng deftly into one episode after 
mother of a story, limning each 
:.ith quick touches of mental and 
;hysical clash, they have unques- 
Rmably progressed far further 
:i superficial technicalities. No 
foreign-made picture can ap- 
proach our own in lighting, stag- 
ing or photography. But this 
very perfection in technicalities 
has led our producers to worship 
at the feet of false gods. Each 
one of the three departments is 
"verdone to the detriment of the 

lory. Our producers seem to confuse the magnitude of 
heir settings with the bigness of their stories. All of 
vhich has led our screen into the blind alley of artificiality. 
iVe have been over-lighting, over-directing, over-acting and 
>ver-producing our silent drama. 
This year saw the inevitable reaction. Nanook of the 
Xorth, a picture made under the auspices of a fur selling 
firm and designed to tell — simply and directly — the life of 
an Esquimau family of the Far North, made an amazing 
success. It was different. In reality, it was far more than 

The Twelve Best Yictures of the Year 





'Robin Hood" 

"When Knighthood Was in Flower" 

"Peter the Great" 


"Where the Pavement Ends" 

"Down to the Sea in Ships" 

that. It was vital — and it wasn't 

Away-from-Studio Hits 


oox after that Down to the 
Sea in Ships was released. This 
was a story of the whaling ad- 
ventures of the '50's, made by a 
professional director, Elmer Clif- 
ton, but actually produced and 
financed by the very descendants 
of the old time whalers them- 
selves, families living in and 
about New Bedford, Mass. The 
picture wasn't much on story, as 
it was screened, but it did show 
the hardy days of young America 
— and it had an "away-from-the- 
studio" virility. It succeeded surprisingly. 

Charles Brabin took a comparatively unimportant com- 
pany of players into the Georgia mountains and made 
Driven, which if made in a studio, would have been just 
another moonshiner picture. But, shot far from railroads 
and hotel luxuries in the very cabins of its prototypes, 
it became a living thing. Besides experimenting with a 
slow tempo, Brabin made the picture for $35,000 and came 
back to civilization with a fine contribution to the silent 
drama. It was another "awav-from-the-studio" success. 

Barthelmess, Emil Jannings, Theodore Roberts, Myrtle Stedman, Laurette Taylor and Ramon Novarro 



When Knighthood Was in Flower, Where the Pavement Ends and Peter the Great w 


"Covered Wagon" Scores 

JL hen the prize picture of this kind appeared. It was 
Emerson Hough's The Covered Wagon. While everyone 
in motion pictures seems to be willing to take the credit 
for this epic photoplay, we strongly suspect it was a lucky 
shot — and nothing more. One of those chance successes 
that come once in a life-time. Director James Cruze was 
sent with a company to Utah to make this story, a romance 
in the midst of a covered wagon's tortuous passage across 
the plains from the outposts of civilization to the Pacific 
Coast. But the slender romance was swallowed up in the 
midst of the panorama of pioneer hardihood. The wagon 
train had stolen the center of the screen away from an 
ingenue, much as the French Revolution swallowed up the 
petty tribulations of the Gish sisters in David Wark Griffith's 
Orphans of the Storm. History has a way of making mere 
humans seem very inconsequential. The Covered Wagon 
turned out to have epic sweep but we wonder, down in our 
hearts, what the studio staff thought of the picture when 
they first saw it in California. It is significant that two 
minor characters, a quaint scout of the plains, played by 
Ernest Torrence, and a sly old trader, portrayed by Tully 
Marshall, ran away with the production, along with the 
very personable wagon train. How many who see The 
Covered Wagon will remember much of the so-called "love 
interest" ? But who will forget that wagon train, fighting 
its way westward ? One of the amusing things incident 
upon the success of The Covered Wagon is the fact that 
producers look upon it as indicative of a revival of interest 
in so-called "Westerns." It has given Buck Jones and 
other celluloid folk new heart. 

Game of Follow the Leader 

o we are getting many Westerns, for the field of motion 
picture making is one of follow the leader. To this is due 
the many costume pictures. To this sheep reasoning, and 
the fact that a costume piece is a marvelous sop to the 
vanity and ego of an actor. Also to the fact that it gives 
a new outlet to a producer's propensity to spend money 
on big sets. 

But to return to our actual selection of the twelve best 
pictures of the year ending August 1st, 1923. They are: 

1. "The Covered Wagon" 

2. "Blood and Sand" 

3. "Driven" 

4. "The Pilgrim" 

5. "Safety Last" 

6. "Nanook of the North" 

7. "Robin Hood" 

8. "When Knighthood Was in Flower" 

9. "Peter the Great" 

10. "Merry-Go-Round" 

11. "Where the Pavement Ends" 

12. "Down to the Sea in Ships" 

The Girl I Love actually deserves a place in this chosen 
list of twelve and can well be included, dividing honors 
with one of those named above. 

The Year's Best Playing 


. he ten best performances of the year, to our way of 
thinking, were Florence Vidor in Main Street (although 
her playing of the title role of Alice Adams wasn't far 
behind), Ernest Torrence in The Covered Wagon, Mae 
Marsh in The White Rose> Emily Fitzroy in Driven, Ro- 
dolph Valentino in Blood and Sand, Charles Chaplin in The 
Pilgrim, Emil Jannings in Peter the Great, Charles Ray in 
The Girl I Love, John Sainpolis in The Hero and Myrtle 
Stedman in The Famous Mrs. Fair. 

Second lists are always interesting — and our second list 
of twelve leading pictures would number : The Bright 
Shawl, The Storm, Bella Donna, Grumpy, The Hero, Pen- 
rod and Sam, Enemies of Women, Mr. Billings Spends His 
Dime, Kick In, Fury, The Flirt and Timothy's Quest. 

And our list of the second ten performances of the year 
would be : Theodore Roberts in Grumpy, Richard Barthelm- 
ess in Fury, Florence Vidor in Alice Adams, Laurette Tay- 
lor in Peg O' My Heart, William Powell >n The Bright 
Shawl, Nita Naldi in Blood and Sand, Tully Marshall in 
The Covered Wagon, Ramon Novarro in Where the Pave- 
ment Ends, Erich Von Stroheim in Souls for Sale, and May 
McAvov in Kick In. 

The Directors' Year 


n A directorial way, Fred Niblo and Rex Ingram alone 




Interesting events were Merry-Go-Round, Down To the Sea in Ships and Nanook of the North 


showed any sort of progress. Griffith contributed two dis- 
astrous plays. One Exciting Night, a confused effort at 
thrill melodrama, and The White Rose, a hark back to the 
sol) inducer of other days. If Griffith is to maintain his 
leadership of the American screen he must pause for time 
to set a sane perspective upon himself. Just now financial 
exigencies seem to rush him into one tawdry film effort 
alter another. And the Griffith of 1923 doesn't seem to 
lie the Griffith of five years ago, close to life. He is aloof 
and harried by circumstance. 

Our list of the significant six directors would number 
Griffith, if only for his fine past contributions to the photo- 
play's progress, Erich Von Stroheim, Ernst Lubitsch, Mack 
Sennett. Rex Ingram and Charlie Chaplin. 

Von Stroheim started Merry-Go-Round — but didn't fin- 
ish it. Vet there was enough left in the finished film to 
jive us a taste of this superb master of passion and in- 
trigue, seen through sophisticated Continental eyes. We 
-hall await his film version of Frank Morris' McTcaguc 
with high interest. 

Lubitsch has been directing Mary 1'ickford in The Street 
Singer, as yet unrevealed to the public. Will he keep his 
tine command of himself in America? We shall see. 

Mack Sennett Underestimated 

Ijmilic if you will but we honestly think Mack Sennett 
i- underestimated. No one in all screendom has made 
greater contributions to the screen than Sennett. He has 
developed the one branch of the screen which, if we may 
indulge in a pun, stands upon its own legs. It isn't an 
imitation of the stage, literature or-'anything else. It is in 
the production of film farce that the silversheet has alone 
achieved individuality. 

Chaplin is the genius of this field, of course. And his 
The Pilgrim was a rare thing of comedy. Vet Chaplin is 
more than a maker of laughs. His first serious drama, 


A Woman of Paris, on which he has been working for 
months, ought to be highly significant. 

Rex Ingram lapsed with his directorial orgy. Trifling 
Women, and then made a step ahead with his production 
of John Russell's Where the Pavement Ends. This last 
was not only a sympathetic camera drama — but it enmeshed 
the strange lure of the South Seas. That alone was a 

Niblo's "Blood and Sand' : 


red Niislo did two very excellent photoplays, his vis- 
ualization of Ibanez's story of the bull ring, Blood and 
Sand, and James Forbes' study of a certain phase of Ameri- 
can life, The Famous Mrs. Fair. Two widely different 
things — and yet both well done. We wouldn't be surprised 
if some of the praise for Blood and Sand rightly belongs 
to June Mathis, who so materially aided the rise of Rex 
Ingram, but, even so, Niblo deserves his superlatives. 
Blood and Sand had color and swiftly unswerving move- 
ment in telling its story of the peasant lad who became 
the matador idol of all Spain. 

The other directorial leaders weren't so successful. Cecil 
De Mille seems to be steadily losing his grip. His Adam's 
Rib was an awful thing of its kind. Marshall Neilan 
doesn't take his work seriously. He is losing because he 
doesn't care. Allan Dwan seems to have been more injured 
by Robin Hood than anything else. His efforts since 
have been engulfed in massive sets. King Vidor, once so 
promising, seemed to hark back to his ideals with Peg O' 
My Heart but to slip again with Three Wise Fools. Hobart 
Henley revealed flashes at Universal during the year. 
Under difficulties, too, we suspect. John Robertson has 
temporarily linked his artistic fortunes with Richard Bar- 
thelmess. 'Their The Bright Shawl had charm, if little 
virility, but their The Fighting Blade, a story of Crom- 
wellian days not yet released, has both. Herbert Brenon 
has been disclosing his fine ability, even with inadequate 
materials, at Famous Players. Maybe his The Spanish 
Dancer, with Pola Negri, will give him his opportunity. 

The Shrinkage of Stars 

JL here has been a shrinkage of stars all along the line. 
The meteoric rise and' legal eclipse of Rodolph Valentino 
was the big histrionic event of the year. Valentino proved 
that he was a fine actor with his matador in Blood and 
Sand, and gave the part color, passion and a breathless 
touch of brutality. It was a stark and palpitating per- 

The biggest advance of the year was made by Harold 
Llqyd. There is no bigger box (Continued on page 88) 

The Ben AH Hoggin tableau, "The Triumph of Venus" is an interesting cuticla 
display in the Ziegfeld Follies. But suppose the films tried this! Just suppose! 







At the left, Ethel Kenyon, one of the cutest of the 
Winter Garden flappers in "The Passing Show of 
1923." Here the costumes are frank, to say the least. 
Above, Margie Whittingtmi, one of the beauties of the 
Ziegfeld Follies. 




57 • 

Mac Daw, another charmer of the 
Zie'gfeld follies. 


Above, the now fa- 
mous "living curtain" 
in George White's 
Scandals of 1923. Save 
for property foliage,, 
the girls are abso- 
lutely devoid of any- 
thing but tan and a 

Vera King is one of the 
attractions of "The Pass- 
ing Show of 1923" at the 
Winter Garden. A glance 
at her portrait will make 
you understand why. 

. 58 


Culver City, Cal. — 

The minor players of 
the Marshall Ncilan 
Company while aivay 
moments between scenes 
with little lla Anson 
doing "Hot Lips" as an 

Los Angeles, Cal. 

— Haccl Keener, 
who is the dancer 
in Maurice Tour- 
neur's "The Brass 
Bottle," displays 
her brand new 
bathing suit. 



Los Angeles, Cal. — Holding hands but nothing 
serious, y' know., Agnes Ayers and Casson Fergu- 
son at the Lasky call board. 



Rye Beach, N. Y.— 
Charming Zena Keefe 
and her playmates in 
their radio canoe. The 
girls — left to right — 
are Alyce Mills, Sadie 
Mullen, our own Zena, 
and Lucy Fox. 


Invermere, Brit- 
ish Columbia. — 
Sccna Owen tries 
out a new pair of 
snowshoes between 
scenes of " Unsee- 
ing Eyes." 

Berlin, Germany — Betty Blythe in a scene of "Chu- 
Chin-Chow," now being shot in the German capital. 
The sheik is Jameson Thomas, an English actor. 


Los Angeles, Cal. — Three 
brains at- work on a single 
story, "Rita Coventry." The 
brains (from left to right): 
William de Mille, the dircctoi— 
Clara Beranger the adapter; 
and Julian Street, the author. 

Hollywood, Cal. — Doug Fair- 
banks, Jr., in training to eclipse 
his illustrious dad. Doug, Jr., 
by the way, is highly proficient in 
the art of self-defense. 

Astoria, Long 
Island — Between 
scenes of "His 
Children's Child- 
ren," with Direc- 
tor Sam Wood 
explaining things 
to the principals: 
J a in e s Rcnnie, 
Mahlon Hamilton. 
Mary Eaton and 
Bebe Daniels. 

im « 



On the California Sand Dunes. — A 

blase burro surrounded by Charles de 
Roche, the Rameses II of "The Ten 
Commandments," and Lealrice Joy; 
who plays the girl of the modern 
theme in the same production. 

Los Angeles, Cal. 

— Something new in 
bathing attire, the 
"Tango Togs." 
The wearer? of 
course you recog- 
nize 'cm. You're 
r ig h t. Phyllis 
Haver. The "Tan- 
go Togs" arc high- 
ly popular along 
the Pacific. 

Los Angeles, Cal. — 

Herbert Brcnon (not 
visible) has selected a 
pretty zuoodland dell 
for this scene of "The 
Spanish Dancer." The 
embrace consists of 
Antonio Moreno and 
Pola Negri. 




We have been taught to expect fine things of 
Victor Seastrom. His greatness was first heralded 
by the pictures which came before him from 
Sweden. These pictures were made by a master 

black-robbed figure, its youth and strength subdued 
to stately step, heads a solemn procession through the cold 
austerity of an English courtroom. The moment is fraught 
with intensity, for this young man — the newly-made deem- 
ster — is to sit in judgment on a girl accused of killing her 
illegitimate baby. Out of all the world, only the girl and the 
judge know who the father of that child is. 

The courtroom is crowded with spectators eager for de- 
tails of the sordid tragedy. The girl, white-faced and cold 
in the extremity of her terror, has steadily refused to speak 
the name of her seducer. She has not faltered even though 
she knows that that seducer is the judge whom the prosecut- 
ing attorney is forcing into a pronunciation of the death sen- 

Back of this great dramatic conflict stand the minds of 
two men. One of them is Sir Hall Caine, who first created 
the situation in his ''The Master of Man." The other is 
Victor Seastrom, the director who is transferring that novel 
to the screen for Goldwyn. 

Depends Upon the Director 


N the hands of a weak man, the story could become merely 
a melodramatic sequence of fights, rainstorms, ranting vil- 
lians, and noble heros. Under the guidance of a certain loud- 
mouthed director — incidentally my pet personal aversion — I 
can easily imagine the girl's trouble resulting from a cafe 
drinking party in which three hundred and fifty extras 




Constance Valmer Littlefield 

blithely stick confetti down one another's necks 
and thirty-two scantily-dressed Follies girls 
languish in the middle of the cleared dance-floor, 
thereby giving the exhibitors the pesky "big set" 
which he demands. 

But we have been taught to expect better 
things of Victor Seastrom. His greatness was 
first heralded by the pictures which came before 
him from Sweden. These pictures were made by 
a master-mind. They sounded truly and surely 
the sombre note of tragedy which deepens and strengthens 
the great symphony of life. 

American producers and American audiences — which one 
is the cause and which the result we cannot say — have mada 
of life a fairy tale of Cinderellas and happy endings finally 
punctuated by the last fade-out clinch. Producers say ex- 
hibitors demand these abortions, and exhibitors in their turn 
say they are prompted by the public which supports the box- 

Public Demanding Realism 

JL he public — as far as can be judged from letters received 
by Screexeand and other film magazines — is slowly but 
surely rousing from its passive acceptance of things as they 
are. and is demanding a true reflection of life. 

There is every reason to believe a great, thinking, earnest 
public exists. But, unfortunately, this public never puts pen 
to paper in the interest of motion pictures. It is the same 
public which has tamely allowed certain laws to be foisted 
upon it. 

In the mad dash for ducets, the producer aims to make 
pictures which will at one and the same time please Flossie 
Bright-eyes and an old man with a long white beard, a pro- 
fessor and a cook, a lady and a scrub-woman. Obviously, it 
can't be done. 

But in Victor Seastrom lies hope. Since his coming to us 
from Sweden, he has been instrumental in organizing the 
Little Theatre movement of the screen. It is related to 
motion pictures much as the Theatre Guild is related to the 



C Is Victor 
the Swedish 
"Director, a 
~New Force 
in Our 
World of 

Little Theatre Film 

A he aim of the 

organization is to pro- 
vide, through existing 
little theatre groups, 
university dramatic 
societies and women's 

Victor Seastrom on location with his "The Master of Man" cast. This was 
taken while Joseph Schildkraut was still a member of the company. Later 
Conrad Nagel succeeded him. Elsie Bartlett, Mrs. Schildkraut, can be seen 
sitting in the foreground while Schildkraut is sitting on the platform. 

clubs, a practical release for those 
artistic films which cannot find a place in the commercial 
theatre," its announcement states. 

The first film scheduled for release by this organization 
is "Mortal Clay," a picture which Seastrom made in Sweden. 
The movement is still in the process of formation. It is 
independent in that one studio contributes no more toward 
it than another. Yet it so happens that practically every 
large company contributes one or more of its big names to 
the list of sponsors. 

For instance, Rex Ingram, Ernst Lubitsch, 
Hugo Ballin, Paul Bern and Rob Wagner are a 
few of the men interested. Outside the industry, 
the Federation of Women's Clubs for Southern 
California, the Juvenile Protective 
League, the Friday Morning Club and 
the National Board of Review all 
sponsor the cause. 

High Purpose of Idea 

i- hose who have investigated the purposes of 
the Little Theatre movement in pictures have 
every faith in its ultimate success. With these 
brains behind it and its first release "Mortal 
Clay," it will have a good start on the road. 
Once started, all it will need is support — yours. 

The editor of Screenland wired me to 
ask Mr. Seastrom for his views on 
"What is the matter with American 
photoplays?" But after talking with 
persons who knew the director well, 
I decided that discretion was the 
better part of valor. He is, it 
seems, very bashful with inter- 
viewers and very reticent in 
his expressions of opinion 

Victor Seastrom and 
his earner am an, 
Charles Van Engcr, 
"shooting" a scene of 
"The Master of Man." 

regarding American films. The method of approach, there- 
fore, had to be roundabout. 

I found him in the stone court-room I have described. 
He is a tall man, strongly built. His eyes are typically 
Nordic blue — the blue of the winter sea, and his voice, soft 
now, gives suggestion of great strength and volume. In 
fact, latent strength is the keynote {Continued on page 83) 





. A'" exotic lounging 
robe from old Canton 
lends piquancy to Claire 
Windsor. It is of heavy 
grass silk, the foundation 
color being of cool lemon 
yellow, While the squares 
are batikcd in orange. 

il T the right 
Carmel Meyers 
may be seen 
adorning a new 
and striking 
bathing suit de- 
signed principal- 
ly for beach 

(above) is wearing a navy blue 
and white sport suit, the coat of 
which is half cape. With this 
Miss Milford wears a white felt 
hat trimmed with navy blue. 
. Grey suede pumps and grey 
stockings complete the ensemble. 

utumn & 






Swanson — wear- 
ing a cape of un- 
usual novelty, 
combining a Jer- 
sey-knit and a 
collar of mantil- 
la lace. 

shows a plain ermine 
coatee of decided 
charm. The dress is 
of blue and gray silk 
brocade and the band 
of fur which forms 
the hem is also of 
plain ermine. 


A T the left 
Carmel Meyers 
reveals the nczi'- 
est thing in Cal- 
ifornia seaside 
coats, now all the 
rage along the 
Southern Cali- 
fornia beaches. 
It is a "huppic," 
or Chinese coolie 
coat, made of 
rice fibre and 
cotton — not too 
cool when the 
wind blows, nor 
too warm when 
the sun shines. 

, 66 





Lillian Gish re- 
cently spent nine 
months in Italy 
filming the late F. 
Marion Crawford's 
novel, "The White 
Sister." Herewith 
are three scenes 
from the tragic ro- 
mance of the ill- 
s t a r r e d heroine. 
Miss Gish has re- 
turned to Rome to 
do George Hliot 's 
"R o m o la" — with 
her sister, Dorothy, 
playing a leading 





C The public dearly loves 
to sympathize. 


Sorrows for 

By Anne Austin 

f certain motion picture people now in the limelight 
were to advertise in the classified sections of the news- 
papers, their bid for business would read like this: 

For Sale : Sorrows. Nationally advertised, guaranteed 
to bring tears and sympathy. Seller, realizing enormous 
publicity value of the great tragedy which has marred 
his life, offers his sorrows to the highest bidder. Address 
Hollywood, Box, 23, P. D. Q. 

Sorrow is the most salable commodity in the world of fil- . 
lum and hokum. For sorrow is the woof and warp of hokum. 

The public dearly loves to feel very sorry for someone, 
to see in the flesh or in the film the person for whom it is 
sorry. Of all our emotions, we enjoy our sympathy, our ■ ■ 
vicarious grief, the most. The public never loved Wally Reid 
so well in life as they did in his heart- 
breaking death. So its interest turned 

to Mrs. Wallace Reid and it was natural j can Acker, who has 
that she would be approached by motion capitalized the sorrow 
picture producers with starring con- market — b i', headlining 
tnH-s «;hp had a enrrnw fnr snip vaudeville bills and ItS- 

tracts bne had a sorrow tor sale i, w her former, husband's 
No doubt high motives actuated name. 

Mrs. Reid when she 
made Human Wreckage. She 
wanted to save other fellow - 
creatures from the agony 
which poor Wally suffered. 

There are rumors that 
little Bill Reid will be put 
into pictures. No doubt his 
mother has been offered con- 
tracts. Bill would be a good 
bet for the same reason that 
Mrs. Wallace Reid was a 
sure-fire box-office attraction. 
And to add to his sales, value, 
Bill— called Bill plainly for 
all the five or six years of 
his life, by both his mother 
and dad — Bill has had his 

{Continued on page 94) 

Mrs. Wallace Reid, whose "Hu- 
man Wreckage" is a bid for pub- 
lic sympathy, and her son, Wallie, 
Jr., together with her adopted 
daughter, Betty. Little Wallie 
may enter pictures. 




ocreen , 

Douglas Fairbanks 
as he li-ill appear 
in his new spec- : 
taclc, "The Thief ! 
of Bagdad." Doug 
promises that the 
new Arabian Night 
romance nil! out- . 
do the magnitude 
of his 'Robin 






P - i- i 



"'- ? *"7 



'■ - 1 

K|.l if 

!*"**« L 

1 i 


>, .•hmmhIME 

. ; : ; |>#t 

• 1 





s ^^"* 


» ■ 1 


1 £$ '^ .• i 



<• 9o-/x? 

An interesting moment in 
Cecil de Mille's production of 
"The Ten Commandments" — 
•with Theodore Roberts a digni- 
fied Moses. 

Herbert Brenon seems 
to have achieved a su- 
perb screen moment in 
his production of 
"T he S pan is h 
Dancer." ■ Pola Negri 

is the poignant figure 
on the steps. 





Cowgentleman from 
the vast, open spaces 
who believes he 
would make good in 
them he-man parts. 
He is now in the 
act of wondering if 
the Kaiser's shock 
troops could stand 
up to the 98-pound- 
on-the-hoof blonde 
who meets you in 
the outer office and 
asks your business. 

The embarrassing-est 
moment of all! The 
extra gentleman 
thought he could make 
a hit with the gang by 
addressing the comedi- 
an by name. What 
looked like a comedian 
in makeup is nothing 
more or less than Mor- 
timer Floode, the direc- 
tor, in his new golf 

The near-actress who has rushed all 
the way from Kokomo, Iowa, to 
make finer and better silent drama. 
And she has a correspondence 
school diploma to prove it. The 
casting director is retiring to his 
inner office to gaze upon said 




Ted Rupert 

One-tenth of one 
per cent of the 
daily crop of 
beauty prize win- 
ners. They toil 
not, neither do 
they spin, for the 
visible supply of 
beauties in Holly- 
wood exceeds the 
demand by sev- 
eral thousand. 

Two specimens of the" boy 
who looks like Jackie Coo- 
gan. The profession of 
being a double for Jackie 
is preferable to some 
others, a cap and suit be- 
ing the only capital re- 
quired. There are never 
more than seven of them 
around any one studio. 

Young gent trying to crash the 
studio gate. He is deciding that 
the average gate man posseses fewer 
brains than the law allows. The 
vocabulary of this particular one is 
sadly limited. It consists entirely 
of "No." 







he avalanche of costume drama is on ! 

D. W. Griffith's next production will be a big spectacu- 
lar drama of the American Revolution. 

Richard Barthelmess is going to do a big special in the 
Spring. It will present the tragic story of Nathan Hale. 

Marion Davies is now well into her new costume picture, 
"Yolanda," at her New York studios. 

And there are dozens of others in preparation. 

Divorce in the Air 

A.s Screenland goes to press there seems to be some doubt 
in Paris to whether or not Irene Castle is divorced. Cable 
reports indicated that divorce proceedings had been started 
in Paris but, upon her return from France, Irene declared 
that there was nothing to it ! So there you are ! 

However, Elsie Ferguson did get a Paris divorce. That's 
that. • 

Day of Best Sellers 

roduction is at its height in that portion of the motion 
picture industry located on the West Coast. Best sellers 
are being bought for the screen; plays dickered for, and 
even — oh, unprecedented ! — here and there an original 
story is being filmed. 

It is really surprising how leary the astute producer 
is of the innocent, unassuming little original story. "Has 
it ever been published?" asks the high and mighty one of 
the trembling author. "N-no, s-sir," gasps the intimidated 
one. "Well, I can't look at it until it is. Any magazine 
will do, just as long as it's in print." 

The bewildered wretch stumbles off, not knowing the 
whereof of which. But by and by he learns the reason. 
It's because the chooser of motion picture stories does not 
trust his own judgment — he must first have the product 
stamped with the approval of another brain. 

An interesting example of this is the story which Mar- 
shall Neilan has just finished filming. It is called The 
Rendezvous and was written by Madeline Ruthven, a Texas 
girl. She came to Los Angeles from a Dallas newspaper, 
intent upon gaining a foothold in some lucrative scenario 

To make a long story short, after months of effort, she 
took a stenographic job in the Lasky scenario department. 
Here she learned every bit of knowledge there was to 
know about the actual construction of photoplays. By 
and by — but not nearly so easily as that — she evolved 
The Rendezvous which in due course of time was returned 
from practically every studio in the business. Then Marshall 
Neilan saw it, and Marshall Neilan does not need any one 
else to tell him when a thing is good. 

And here's the 
s e q u e 1 — Mrs. 
Ruthven kept 
right on at her 
secretarial job at 
Lasky's for some 
months. Promises 
were made her, 
but nothing mate- 
rialized until 
about ten days 
ago, when she 
was made an as- 
sistant editor. 

Yes, dears, it's 
a hard, uphill pull, 
this movie busi- 
ness. Don't let 

One reason why Cali- 
fornia is popular. The 
beaches are zvarm the 
whole year 'round — and 
tony day you may glimpse 
Sigricd Holmquist on the 





'em tell you the streets are paved with gold — good intentions 
is more like it. 

Gulliver's Travels 

„ing Vidor has had a clear enough vision to see the won- 
derful picture possibilities in Gulliver's Travels. He says 
that all his life he has wanted to film it, and he is delighted 
that at last he is to have a chance. As soon as he finishes 
Wild Oranges, from the novel by Joseph Hergesheimer, 
he will stamp Gulliver on celluloid. He says, 

"I believe there is a crying need for more imaginative 
and fanciful productions on the screen. Our growth has 
been retarded by our worship of realism. Most people 
get their fill of realism in their own lives and they seek 
escape into the realm of imagination for their entertainment. 
The cinema is ideally suited to portray fantasy and myth." 

Think how the kiddies will love the giants and pigmies — 
how they will revel in Gulliver's adventures ! And how the 
grownups will enjoy the splendid satire of Swift's fairy 

Searching for Paul 

not find it in her heart to refuse. And so Three Weeks, 
which has almost become a classic — so widely has it been 
read — will become a motion picture the latter part of August. 

The cast of the picture will be small, and necessarily Mrs. 
Glyn is bending all her energies to picking actors and ac- 
tresses who are ideal types. There are many rumors afloat 
as to the heroine. Theda Bara and Aileen Pringle seem 
to be the runners-up so far. 

Picking the hero is even harder. The author favors a 
stalwart Englishman, name so far unknown, who she thinks 
is the ideal. But insofar a she is unknown to the public, 
Conrad Nagel — who is also a popular choice for the part — 
seems more logical. 

Carmcl Myers Entertains 



ilikor Glyx, one of the most interesting figures of the 
literary world, is to venture again into the motion picture 
field. Her first experience — not a very happy one — was 
with the Famous Players-Lasky company. It has never been 
quite clear just 
what the trouble 
was, but Mrs. 
Glyn returned to 
England shaking 
the dust of pic- 
tures from her 

But when most 
generous offers 
were made for 
the purchase of 
her dearest brain- 
child, with every 
assurance of co- 
operation on the 
part of the com- 
pany, she could 

A perfect day in Cali- 
fornia. A sea breeze, the 
soft music of the waves, 
the vsprmtk of the shift- 
ing sands — and Alma 
Bennett. Particularly 


'Armel Myers, who is the lady-villian of George D. 
Baker's production of Balzac's The Magic Skin, gave a 
luncheon at the Goldwyn studios in honor of Daniel Froh- 
man, President of the Actors' Fund. Mr. Frohman is in 
Los Angeles to promote the interests of this charity. 

The guests were: Mr. and Mrs. Abraham Lehr, George 
D. Baker, Conrad Nagel, King Vidor, Rupert Hughes, 
Josephine Quirk, Carey Wilson, Gilbert E. Gable, June 
Mathis, Mrs. Myers, Mae Busch, Herbert Howe, George 
Walsh and Bessie Love. 

By the way, Bessie and Carmel used to be chums in high 



Pola Negri reads her di- 
rector's fortune. The in- 
terested director is Her- 
bert Brenon. Pola, by 
the way, found a lot of 
ominous cards when she 
tried this on her former 
director, George Fits- 

time, were said to be re- 
united. I suppose it's 
just a case of not being 
able to believe what you 
read in the papers. 

Tommy Meighan Back 


school ten years ago. They went into pictures at the same 
time, and played-., together . in The Flying. Torpedo— -with 
Bessie the heroine and Carmel the disturbing element. 
However, though they remained as close friends as ever, 
they^ were never. cast in the same picture again — until this 
summer when, in The Magic Skin, Bessie is' the heroine 
and Carmel the disturbing element. 

Nagel in Real Estate . 

peaking, of Conrad Nagel — he's been bitten by the 
fatal California real estate bug. The attack, though severe, 
promises to be lucrative. 

He owns two ranches. The first comprises 40 acres 
planted to watermelon, honeydew melon and cantaloupe, 
and is valued at $65,000. This he will subdivide and sell 
five lots to the purchaser with the admonition to build resi- 

The second ranch extends over 25 acres of ground and 
is covered with orange trees. As it is situated closer to 
the business section Conrad will subdivide it and build apart- 
ment houses thereon. 

Schildkraut Moves 

JL he Master of Man, now being filmed by Victor Sea- 
strom from the novel by Hall Caine, started out originally 
with Joseph Schildkraut as leading man. After several 
weeks' work on location, the daily rushes revealed the fact 
that Mr. Schildkraut looked too — well, too — Yes, that's 
it. So they put Conrad Nagel in his place, and retook all 
the shots in which Mr. Schildkraut appeared. 

Lila Lee and Kirkwood Marry 

.eee's news hot off the wire! Lila Lee and James Kirk- 
wood are married. The rumor of their engagement had been 
bruited about Hollywood for some time,- but was firmly 
denied by all parties concerned. Piersonally, we're just a 
little bit puzzled about it, because not so long ago Mr. 
kirkwood and his wife, who have been separated a long- 

homas Meighan 
arrived the other day 
from his umpty-steenth . 
trip hither from yon 
New York. He says he ' 
really prefers to travel . 
because one meets such 
nice people on the 
train! He will start al- 
most immediately \ on 
Woman-Proof, another 
George Ade Story. Lila Lee will be his leading woman. 

Doug, Jr. to Do His Stuff 

Douglas Fairbanks, Jr. is about to start on his first 
motion picture. It is called Stephen Steps Out, arid is 
taken from a story by the late Richard Harding Davis. 
In the cast supporting him will be Theodore Roberts, Harry 
Myers and Noah Beery. Quite a lot of high priced support 
for one young feller ! 

Name Changed Again 

illiam de Mille has again changed the name of The 
Faun, which he has been making into a photoplay from 
the William Faversham stage success. The preceding title 
was Spring Magic. Now it is The Marriage Maker. 
If Mr. de Mille doesn't watch out, he will run Norma Tal- 
madge a close second as a title changer. Only no one 
could beat Norma when it comes to terrible titles ! . Agnes 
Ayres and Jack Holt are the featured players of The 
Marriage Maker. 

Louise Fascnda 

JL< ouise Fazenda has been given a long-term contract by 
Warner Brothers whereby she will play straight roles. By 
the contract she will virtually become a star, although a 
provision is made enabling her to go on immortalizing her 
inimitable slavey characterization. 

Hale with Warners 

•reighton Hale started' August 20th in a picture, as yet 
untitled, directed by Ernest Lubitsch. Creighton has two 
children and three brothers. The three brothers are all 
officers in the Navy. One is a commander, another a 
lieutenant-commander and the third a lieutenant. The two 
kidlets are also in the Navy — as much as they can be. 
The eldest wears an officer's uniform and the youngest that 
of a gob ! 


Speaking of Engagements 

JUillian T ashman, that decorative young lady of 
stage fame, is in Los Angeles as the guest of the 
parents of Edmund Lowe, well known stage leading 
man who is playing Don John in Ik the Palace of the 
King. I'll bet they're engaged ! 

Mary on Goldwyn Lot 

Lary Pickford come over to Culver City to pay 
Abraham Lehr and the Goldwyn lot a little visit the 
other day. Immediately all the publicity hounds were 
out with their cameras, and all sorts of rumors ran 
rife. Now what significance had the visit of Mary? 

Did You Know That 

..oscoe Arruckle appears before you in Hollywood, 
the James Cruze production for Lasky? When 
Angela, the heroine, tries to find work at the casting 
window of one of the big studios, she turns away 
hopelessly to give place to a gentleman of generous 
proportions. The casting director takes one look at 
that rotund countenance and slams the window shut. 
Although they do not tell us so, the actor is none other 
than our own Roscoe — more power to him ! Watch 
for him, you fans who have been hungry for sight of 
that genial face. 

The Motion Picture Exposition 

JL he Motion Picture Exposition, celebrating the Cen- 
tennial of the Monroe Doctrine, was expected to be 
an affair that was going to make the San Francisco 
exposition look like an Elks' minstrel show in Paducah. 
But there's many a slip 'twixt the cup and the hip, 
and we regretfully announce that the exposition was 
more or less of a flop. 

The exposition was held on a huge park, very beauti- 
ful to look at in the evening, when the colored domes 
of the buildings gleam under the electric lights. On 
the opening night, tickets were ten dollars apiece. 
The visitors paid and paid and paid, and when they 
got past the eagle-eyed guardians of the gate, they 
thought at first that all they had purchased was the 
right to go in and spend more money at the Owl drug 

A chic glimpse of Carmclita GeraffKty, daughter of 

the redoubtable Tom Geraghty and now making a 

name for herself at the Goldwyn studios. 

store booth, at Brandstatter's cabaret, and at the other 
booths scattered around the grounds. But later they 
found their way to the Coliseum, where a three-ringed 
circus was going on, punctuated by the exhibition of stars, 
driven around the arena in their motors to be stared at 
by the tourists. 

Fred Niblo, the noblest master of ceremonies of 
them all, announced them. He worked hard, did Fred, that 
night. In fact, he got a greater amount of applause than 
any of the stars, especially when he introduced his wife, Enid 

Bennett, with the remark, 
"This is Enid Bennett, and I 
think she's sweet !" She looked 
sweet, too. 

Last year, under the super- 
vision of Daniel Frohman, the 
picture people put on an out- 
door-performance of A Mid- 
summer Night's Dream which 
was enormously successful. 
Never will I forget Charles 
Ray as Thisbe, nor Viola Dana 
as a hard-boiled little Puck! 

Although Jackie Coogan pre- 
fers his toy motor cars, he zvas 
persuaded to try out this bit of 
rolling stock at the Pasadena 
Ostrich Farm. fl 



Alary Pichford paid a visit to Abraham Lehr, vice-president of 
loldwyn Pictures, the other day — and started all sorts of rumors. 

A Family Affair 

icture making is getting 1 to be more and more a fam- 
ily affair. Now Natalie Talmadge Keaton has announced 
her intention of supporting her husband, Buster Keaton, 
in his next feature comedy. And to make the family circle 
complete, Baby Joe Keaton, a little more than a year 
old, is to have a part in the picture, too. 

A Sacrifice for Art 

nna Q. Nilsson had a wealth of lovely blonde hair. 
We hope you notice the tense. She had it. She hasn't any 
more. When they cast Anna Q. for the leading role in 
Ponjola, she at first thought she could wear a man's wig 
when she came to the sequences where she would have to 
doff skirts for male clothes. But the realism wasn't per- 
fect, so Anna Q., like a heroine, marched into a barber- 
shop and ordered, "Cut it short and shave my neck." By 
the way, Ponjola isn't the heroine's name, as you might 
think. It's Rhodesian for ''hooch." 

Louise Presented Cup 

JL» ouise Fazenda had a new job wished on her out at the 
Ship cafe, at Venice, the other evening. She presented a 
silver cup to the pair of best dancers on the floor. And 
although a number of screen players contested, the winning 
dancers were non-professionals. 

Harry's Life Story 

■It's stylish to get the bi- 
ographies of stars for studio 
records, now. They gave Harry 
Myers a blank questionnaire the 
other day, and here is the way 
he filled it out : 

Lillian Tashman paid a visit 
to Edmund Loive at the 
Goldwyn Studios and the 
rumor of their engagement 
tvas revived. Mr. Lowe is 
the Don John of In the 
Palace of the King. 

Name: Harry Myers. 

Bom: Yes. 

Lived: In luxury until I was weaned. Since then 
it's been a devil of a struggle. 

Educated: At all saloons north of the Mason and 
Dixon line. 

Pets: Directors, stars and cameramen. 

Father's profession: He hated work, too. Just a 
good talker. 

How entered films: Had something on Lubin, 
Laemmle, Beaumont, Lasky, and Warner Bros., and un- 
less I get some work for Louis Mayer soon, I'll pull one 
on him. 

Company: Do you mean who I go with? 

(Signed) Harry Myers. 

Out of the Mouths of Babes 

D aby Peggy is a famous star and all that, but she 
has to mind her p's and q's. Her mama is very 
anxious to keep her little girl surrounded by the best 
of influences. So she was rather up-set when her baby 
came home from visiting her auntie at a week-end party 
for grown-ups at the beach the other day. Mrs. Mont- 
gomery wanted to know if the host had said grace at 

"What did Mr. B say, dear," she asked. 

"Oh," said Peggy, "he said, 'We'll be seated now.' " 

"And then what," pursued mama. 

"He said," Peggy answered, " 'never mind putting 
too much orange juice in it!'" ... 



The Hollywood Exodus 

JL hey're coming back, all of 
Hollywood's little film pilgrims 
to the -wicked shores of New 
x ^ork. Harold Lloyd and Mil- 
dred Davis Lloyd are back from 
their honeymoon in Gotham, 
speaking in awed tones of the 
wonderful time they had. Only 
the Follies didn't come up to 
expectations, with Will Rogers 
gone. For Will is in Holly- 
wood, too, now. 

Which reminds us that Will 
was one of the reasons that 
Harold Lloyd packed up and 
left Hal Roach, according to 
rumor. Harold had been hav- 
ing some friendly disputes 
with Roach over salary 
But when Roach brought a 
rival comedian to the studio 
where Harold had reigned 
alone for so long, the dis- 
satisfaction came to a head, 
and Harold took his doll rags 
and went over to the Holly- 
wood studios. And took his 
.whole organization with him. 

Tommy Meighan is back, 
too. Again. It's hard to keep 
track of Tommy, he's back 
and forth so frequently. This 
time Tommy received all re- 
porters at one fell swoop before leaving the big town, and 
entertained them in B. V. D's and black dressing gown, the 
while he threw shirts and socks into his bag. No, Ella- 

Rin-T in-Tin, 
high jumping 

the canine movie star, gives a demonstration of 
at the Los Angeles Motion Picture Exposition. 

belle, the reporters were all men. 

Lila Lee is another prodigal who has deserted the bright 

lights for the Kliegs, Agnes Ayres decided that she was 

needed at home, too, so 
now Bebe Daniels is the 
only Paramount star still 
A. W. O. L., and the 
Paramount lot is looking 
less like a set for The De- 
serted Village. 

George Ade, who came 
to the coast again to work 
on another story for his 
friend, Tommy Meighan, 
announced that Hollywood 
has progressed wonder- 
fully since he was here 
three years ago. 

"It then took two min- 
utes to cross Hollywood 
boulevard, owing to the 
traffic," he said. "Now 
it takes five minutes." 

Fatty in Germany 

JL hey aren't so fussy in 

Germany, and the censors 

{Continued on page 86) 

One of the first "stills" of 
the first Potash and Perl- 
mutter production, with 
Barney Bernard, as Abe 
Potash, a very puzzled in- 
vader of the model's dress- ' 
ing room. 



All you need for these exercises is a 
bathing suit and a roof. Dorothy Mac- 
kaill, by the way, runs away with a 
big hit in Dick Barthelmess' "The 
Fighting Blade." 

Dorothy Mackaill uti- 
lizes the roof of her 
apartment building for 
her setting up exercises. 
Dorothy really doesn't 
need 'em. An English 
girl, she was one of the 
most popular of the 
Ziegfeld flappers. That 
was before she made 
her successful screen 




/ lasted about twenty seconds. It was a trick horse. 
The rest you can guess. I landed a fall instead of a job. 

Versatile Vera 

€L "Iris in" on Hollywood 
as the film folk know it. 


The Diary of an Extra Girl 

The Diary Qontinves From Yebrvary 1923 

Could I Roller-Skate? 




.f I can't do anything else when I get to Hollywood, 
I'll do extra work" — I'd like to het that nine out of ten of 
you aspirants to movie fame have secretly admitted this 
to yourselves. But you little dream that what is demanded 
of us in extra work is ten times more than what is de- 
manded of a star. 

For one all too short period of my Hollywood career, I 
Ritzed about like a Jazz-Queen. Didn't I have a job at 
$150 a week with Gilbert Tarryton? I did — for two weeks. 
But Nemesis still pursued me. The "Hell's Litany" com- 
pany went broke and my contract was a scrap of paper. 
When I found myself outside the studio doors, well then — 
I jumped at whatever came my way. 

One day a call came from Hope Hampton's director. 
Was there a girl at the Studio Club who could both sing 
and play the piano very well, and both at the same time ? 
Anyhow, the job was wished on me. I reported at nine 
A. M. on Sunday morning at a little Victrola and music 
store on Broadway in Los Angeles. I was to be an "ivory 
tickler" who jazzed off popular melodies, chewed gum and 
sang — over and over again, the two or three hits of the 
hour. This sounds easy. Try it sometime. 

I sang and chewed and pounded till I was dizzy, but I 
felt an utter failure that night. I needed the seven fifty 
they, gave me for the day's work, or I'd have mailed it 
back. I knew I didn't make the grade. 

JL he next day the Service Bureau wanted 
three girls to roller-skate. Again I was pushed 
in on the job. This time I had no fear, be- 
cause as a child I used to neglect the higher 
branches to improve the lower limbs. Many 
a time and oft, have I "hookied it" from school 
to roller-skate around Mt. Tom on Riverside 

So, forgetting the years that " have inter- 
vened, I vowed to the director that I could 
skate. So I was promised three days' work 
oh my glib assurances. 
My first hours on those skates ! Trying to look grace- 
ful, keep my balance, and talk naturally to the spectators 
made one of the most painful memories of my life. Again 
I barely made the grade. However, I now feel I must 
practice roller-skating several hours daily, so I won't feel 
a fool if ever (large if) another chance comes to do roller 
skating. I might be called on to double for a star, or I 
might be a star myself some day. 

A girl I knew called me up and told me there was a 
great job coming up at Ince. Just a few girls to be used 
all through a picture in riding habits. She knew I'd get 
it if I went out all dressed up in a stunning habit. She 
had done this and had landed the job. 

The next day the casting director called me up about 
this. He said, 

"Put on your habit and come right out. I can promise 
sixty-five dollars a week for several weeks." 

Scattering cats ! All the money I could borrow in 
one's, two's and five's I gathered together, went forth 
and bought me a real riding habit — latest model, all wool ; 
rented a taxi and drove in state to Culver City. They 
liked my looks. They led me to a path and helped me 
mount a horse. A trick horse. I lasted about twenty 
seconds. The rest you will guess. I landed a fall instead 
of the job, and I tore a large hole in my brand new riding 
breeches. They have never graced my girlish figure since 



Being a Bathing Beauty 

1 n the strength of my accumulated debt I jumped at a 
call that very week to go to Santa Monica with a comedy 
company for three days' location. There we had to jump 
into barrels, into fake fishes' mouths, with our feet and 
legs sticking out, play leap frog, and last but not least, dive 
off a cliff — really quite a dangerous trick. I was utterly 
disgusted with life, myself, the jobs 'I'd been handed, and 
the people I'd been working with. 

Generally speaking, I love movie people. As a class, 
they are as fine and real as any other people in the world. 
But this particular crowd didn't vibrate with me, nor I 
witli them. So instead of going home with them when 
the work was over, I said I was going to visit a friend. 

With my three days' checks in my pocket, to be cashed 
later, plus my car ticket and seventy-six cents, I started 
off walking down the board walk beside the ocean, thinking. 

About an hour later I passed a fortune telling parlor — 
"Prisda, the Gypsy Queen." Now I must confess to a 
weakness for having my fortune told, so I stepped in and 
asked the "Gypsy Queen" what she could tell me for fifty 
cents. She led me into her mystic den, and instead of 
telling my fortune, we began to talk — of life, its battles, 
its heartaches, its victories, and its joys. 

When I told her of my life, she said, "Why don't you 
stay here with me a few days? You can dress up as a 
gypsy. You can clear a few dollars. I'll advertise you 
as 'Vera, the Medium' — just here for a few days on her 
way to Roumania." 


"Tella-a da Fortune, Lady?" 

fell in with the idea, with the same thrill I'd have had 
as a child at running away with a circus. Think of ac- 
tually living with a gypsy queen! 

But had I visited the Queen of Sheba, she could not 
have treated me more royally. I told dozens of fortunes. 
Several of the biggest stars in pictures came into our 
little booth. And I wonder, now that I am back in Holly- 
wood, if the next time I'm working on a lot with some of 
them, they will recognize the mystic, seeing eyes of "Vera, 
the Medium." 

Hollywood's Religious Complex 

T March 10, 1923. 

he newspapers and magazines throughout the coun- 
try accuse Hollywood of all sorts of things. But I feel 
that Hollywood's greatest complex is a religious one. 

There are many churches in this small community. Every 
other person you meet discusses science, truth, healing, 
demonstrations, the subconscious, or the particular Karma 
you are working out, until sometimes at night I find my 
head reeling with isms and ophies that I had never even 
heard of before. 

And even in my film work, this summer, I've lived in a 
deeply religious, strictly orthodox, Biblical atmosphere. 

I read the other day that ninety per cent of the High 
School children in New York City knew -nothing of the 
Bible. I suggest sending them to Hollywood to enter the 
so-called "wicked world" of filmdom. Here at least, they 
will imbibe a bit of sacred history, just from extra work, 
or the constant talk about the Pilgrimage Play, or the open 
discussions on religion. 

Here, no one is ashamed to profess his faith openly and 
ardently. Neither do we have religious martyrs. Tolerance 
is perhaps Hollywood's greatest crime. 

Making Bible Pictures 

JL began early in June, working with the Sacred Film 
Company, in the episode of Sarah and Abraham. 

We searched days and days, in scorching sand and through 
barren waste, to find the Promised Land. 

It was there, oddly enough, that I met one of the .real 
people of Hollywood. A carpenter who had been building 
the tiny hillside homes to be used as the setting for the 
great Pilgrimage Play. I was fascinated in the sketches 
he was making from colored prints of Bethlehem and 
Nazareth. We began talking, of course, and one day he 
took me with him up into the canyon where the work was 
going on. There, clinging to both sides of the narrow 
canyon, on the steep sides of the hills, were small, flat- 
roofed homes, just like the ones we had pored over to- 
gether in the big library Bible. 

Things come about in strange ways, and it was really 
through this new friend Davies that, about a month later, 
I got a chance to play the part of Martha in the Pil- 
grimage Play. 


The Pilgrimage Play 

John the Baptist rode to rehearsals on 
a motor cycle. 

OR three summer months, the life of Christ is por- 
trayed every evening. The performance takes place in the 
hills in a real natural theatre, and the audience, about fif- 
teen hundred in number, sits at the foot of the hills, on 
the sloping floor of the canyon. 



The entire play is handled in a reverential spirit. But to be in the Pilgrimage Play, 
and possess a sense of humor, is to be handed a laugh a minute. 
And surely the Lord loveth joy. 

John the Baptist on a Motor Cycle 

X. he first thing I laughed loudly o'er was the approach of the man playing John 

the Baptist. Can you imagine the "Voice crying in the desert" riding on a motor cycle ? 

Well, "John" did. He attended rehearsals and performances at the risk of his life, 

approaching in breakneck speed on a snorting red motor cycle. 
Then suddenly someone would call out to me — 
"Martha, if you go down the street, bring Herod and Caiaphas a 

couple of eskimo pies." 
- Another remark oft heard was, 

"Lazarus, have you got a Lucky Strike?" or "Pilate, give me a 

stick of gum." 

St. Peter Will Be Waiting 

1 ne day, during the run of the play, I was working in a picture in 
the daytime, and the gate man on the lot came to me with a baffled 
expression on his face, and said, 

"There is a strange man outside — he sent this message: 
He says to tell you St. Peter will be waiting at the 
gate for you in his Ford to take you to the performance 

When the demoniac boy left before the season was over, 
we all chipped in to buy him a cigarette case. 

Six Maids and a Man 

April 4, 1923. 

Pame Fortune's daughter has clamped her hands heavily 
upon us Extra girls, lately. Not a call from any of the 
agencies. Not even a promise of work at the studios. 

The portals of the "Land of Make-Believe" seem locked 
and bolted for at least three months. Everywhere the of- 
fice boy would say, 

"We are not casting today." 

This threw a great gleam of gloom upon us. So one 
night, about six weeks ago, we held a debate in the attic 
of the Studio Club. Three held fast to the affirmation of 
the affirmative : 

"It is worth while to struggle, suffer, and starve for 
Art's sake." 

The negatives : 

"It is selfish, stupid, and soul-slaughtering, to let Youth 
slip by on the quicksands of the Film world." 

It was about two A. M. when the debate abated. I saw 
Pat slip out of the room chattering with the cold, but 
grasping a pad and pencil. Babs followed her. We all 
felt the "muse was on." 

Two hours later, when the other four of us, still wide 
awake and huddled together in one bed, were about ready 
to cash in on the whole movie game, Pat entered the 
room and demanded our undivided attention. In two hours' 
time, seated on the side of the bathtub, she had written a 
short Vaudeville "Act," depicting the life of six girls in 
Hollywood, struggling for entrance into filmland. It fairly 
glistened with clever, witty lines. And Babs had, with 
the aid of a night light and a blunt pencil, written some 
adorable lyrics for three songs. Pat had a friend who 
could write jazzy music. We could think up some dances, 
and go storming into vaudeville with the act, while the 
studios were so dull, playing about on small time for a 
few weeks, and perchance be booked on Orpheum time later 
on. We felt we had a great message to bring to girls in 
the big cities and girls in small towns and hamlets, warn- 
ing them against entering into this heart-breaking struggle 

My first hours on 
those skates! Try- 
ing to look grace- 
ful, keep my bal- 
ance and talk 
naturally I barely 
made the 

unless one had an herculean constitution, aided by the pos- 
session of at least one thousand sheckles. 


Rehearsing for Big Time 

I ext day rehearsals actually started and continued for 
many days to come. If you've ever tried getting anything 
ready for vaudeville, you know what hard work is put 
on things that are apparently dead easy. Pat was terribly 
strict about rehearsals. Glory used to tumble downstairs 
in exactly one garment, and the rest of us hadn't much 
more on, I must admit. 

Booked at Last 

e tried to make each a distinct character, and true to our 
own type, and at last the Act seemed really whipped into 
shape enough for its "premiere." We managed to get a 
booking at one of the cheap little movie theatres at the 
Beach for two days, giving four performances a day. 

I must tell you that our chauffeur on this and many suc- 
ceeding occasions was none other than Davies, my old friend 
of the Pilgrimage Play. There are rare individual souls 
scattered here and there in the world, who give and 
give without a thought of receiving. Davies is one of 
them. His battered old Saxon {Continued on page 97)-. 


Thousrnds of Dollars Are blasted on the Altar of Ego. 

Justifiable Waste. 

irERE is wanton waste and eco- 
nomical waste, paradoxical as the lat-. 
ter may sound. Cecil B. DeMille has 
been an expert on making- wastefulness 
bring in dividends. Did you ever see 
a. C. B. DeMille picture that did not 
have at least one big scene that looked 
like a million dollars ? You never did. 
There is always a great ball-room scene, 
or an expensive-looking bacchanal, or 
a historical Hash-back with intricate 
and elaborate costumes. You whistle 
and comment, "Gee, C. B. certainly shot 
his wad on that scene." 

The exhibitor reacts in just the same 
way. He sits in the projection room 
.and mentally calculates how little he 
can buy the picture for. But expensive 
looking scenes impress him. He figures 
that he must expect to pay niore for a 
picture that cost so much to make. 

It is an error in economics to spend 
money that does not show. No matter 
if it is artistic, the lavishness must be 
as visible as the nose on the exhibitor's 
face. In Charles Ray's picture, The 
Ctrl I Loved, a whole farm was built 
on the studio lot, at enormous expense. 
But Charlie couldn't convince an ex- 
hibitor of the fact. 

"Go on," the exhibitor would argue 
slyly. "Don't tell me that picture 
should cost mc so much money: Why, 
you could shoot most of it out in some- 
body's cow pasture." 

"More sincerity and less flashy os- 
tentation" is the plea of the critics and 
the public, but the plea is not echoed 
by the exhibitors. And as the policy 
of pictures is often- held in the pudgy 
hands of some ignorant, pig-headed ex- 
hibitor who firmly believes that what 
the public wants is something they have 
outgrown at least two years back, can 
you blame the producer for deciding in 
favor of ostentation? 

Driven, on the other hand, cost some- 
thing like $35,000 to make. An ab- 
surdly small budget to make a picture 
on. Yet Charles Brabin did it, and his 
picture was acclaimed one of the finest 
of the year. 

Economy did it. Brabin took his 
company up into the Georgia moun- 
tains. They lived the life of the moun- 
taineers, in little cabins. Every ex- 
pense had been figured out beforehand. 
Brabin knew almost to the foot how 
much film he would shoot. And he did 
not over-shoot. 

Over-shooting is one of the greatest 
sources of waste. A producer often 
shoots four and five times as much film 
as he ever expects to use. 

Is This Waste? 

{Continued from page 19) 

Occasionally a canny producer gath- 
ers up the rejected film and patches it 
up into a new picture. 

Do you remember the Paramount 
comedy, Don't Tell livery thine) ? If 
Hollywood gossip was true, it was 
made partly of the remnants of the 
ill-fated Affairs of Anatol. 


'Time Is Money 

J-ME is money, with the enormous 
studio overhead running up every 
minute. But you would never know it, 
gazing at the leisurely fashion in which 
motion pictures seem to be made. Some- 
times hours pass by, while a director 
fumes and frets and the actors yawn 
and gossip, and electricians sweat over 
some lights that refuse to function. 

Sometimes a camera will balk right 
in the midst of a great mob scene, and 
the whole thing will have to be repeated. 

"I never saw a camera balk over a 
small shot," Cecil DeMille said once. 
"But take a big, smashing scene using 
thousands of extras, and ten to one 
something will happen to the camera." 

It is the apparent time-waste that re- 
duces the efficiency experts to a state 
of inarticulate frenzy. These "cost- 
hounds" are the most cordially hated 
persons on a lot, and sometimes justly 
so. Used to the cut and dried function-, 
ing of a factory, they cannot under- 
stand that a motion picture cannot al- 
ways be turned out with all extra move- 
ments eliminated. They pounce upon 
little evidences of waste with all the 
gleeful zest of a cat upon a mouse. 

"Look here," the cost hound demands 
of a director. "This cost sheet shows 
that you bought two fifty-cent cigars 
for your picture on location. Why 
wouldn't nickel cigars have done just 
as well?" 

"Because we were in a small town, 
and that was all they had. Tt would 
have taken three hours of valuable 
time to go to the next town for cheaper 

Cosily Philanthropy 

Sometimes a director allows hundreds 
ol extra folk to dawdle on salary for 
days, in order to preserve the strength 
or humor the whim of a high-salaried 
star. One director is greatly beloved 
by extra people because of his bent 
for keeping as many extras on salary 
throughout the picture as he can. He 
knows how much a day's work means 

to an extra, and when he has the slight- 
est excuse for keeping an actor, he does 
it. Because he is a very good director, 
he gets away with this laudable but 
costly philanthropy. 

The malady known as "klieg "eyes" 
has caused more waste of time and 
money than any other malady. Scenes 
have been held up for days, while the 
star kept ice packs on her streaming 

But the inveterate cost hound is 
working on this expensive malady, and 
little by little it is being conquered. 
Many actors wear colored glasses on 
the set, when not working, to prevent 
the ultra violet rays of the big lights 
from inflaming their eyes. 

Handling Mobs 

■IT or years, a great deal of time has 
been wasted in handling extras in the 
big mob scenes. But army efficiency 
methods are being injected into -the 
movies. Fred Datig and Harold Stal- 
liugs, . casting directors at Universal 
City, worked out a successful plan for 
handling the great crowds used in The 
Hunchback of Notre Dame. 

It has formerly taken from three to 
four hours to check the extras into. the 
studio and give them their costumes. 
Under the new system, it took just 
fifty minutes to dispose of some 1,200 
extras and start the cameras grinding. 
They received their tickets at the froni 
gate. Then, instead of the usual tedi- 
ous roll call on the set,, they passed 
before two men at typewriters. The 
typists took their names as fast as they 
were given, and the next official, gave 
them their costumes. 

Salvaging Sets 

great source of waste in days 
past has been the huge and elaborate 
sets built. Much of this waste is now 
being overcome. 

At the Lasky studio, there is a studio 
carpenter who makes a study of cheap 
materials, lie can build the most mar- 
velous ball-room out of composition 
board, stained or covered with wall 
paper. The wall corners are held to- 
gether only by small iron keystones. 
The polished ball-room floor is usually 
made of composition board, too, and 
treated with bard glaze finish. 

The elaborate fireplaces, . friezes, 
fountains and carved panels are de- 
signed by the studio artists, and cast 
in plaster moulds. A fter they have 
been used, the plaster is discarded, but 
{Continued on page 84) 



Victor Seastrom Talks About Our Motion Pictures. 

of his -character. One can see it iri'his ; 
hands, in his every move. 

Difficult to. Interview 

JL cudgeled my brain for the opening 
question. This is all-important, for by 
it, the interview may freeze his vic- 
tim into ice on the instant. 

They had planned that T talk with 
him at lunch, but at noon, when they 
approached him on the subject, I could 
see him shaking his leonine head vigor- 
ously, something like terror in those 
. sea-blue' eyes. I thought, with- an ir- 
reverant inward giggle, of the terror of 
an elephant for a mouse. 

At last they persuaded him to remain ; 
cornered for a very few minutes, .v. . 

Now for my carefully-couched ques- 
tion !''■-'- ".-. - -"- " ' • _ 

"Would you mind telling me, Mr. 
Scastrom ; a little of how they make 
pfctiires in Sweden?' Is the ■- industry 
oh/a^arge' Sscale as>it isvliere^ 1 ' * 
~ "Wellr-",- and this strong man 'ac- 
tually .faltered, chob^^ words oh, 
sp carefully. . "It is quite large." ;_..";".. 

. Not so good on that' one, but an open- 
ing at least. ' - . 
. "Is there .as Imiich,- money invested 
there. as there, is here ?",. . ,;._ . . 

"Ye-es there is a good deal of- money 
in pictures there." . 

Not so good. 

"Are pictures in Sweden backed by 
independent capital? 'is "the industry, 
made .up of. independent producers ?" - 

Swedish Film 'Trust 


^j.uN,aT exactly. Tt is_ more like a 

Ah ha — an admission ! Poor man; — • 
he had fallen into the : trap ! 
' "But aren't - there ' anti-trust laws 
there, as there are here?" \ - 

- "Oh, yes,— but there" are always ways, 
you know," smiling apologetically. 

So ; rriuch for that; Well— 

- "Are "the studios aslarge as they are 
here?"- ■ - . ' -/---:-- 

"Yes, they are - quite large. Maybe 
not so large; though." (Yes, we have 
no bananas, I thought. )• "Maybe not 
so large as Stage Six.": You have all 
heard of Goldwyn'-s Stage Six; the: 
largest in the" world. "Maybe as large 
as this',"- lie waved his hand inclusively 
at the courtroom, which is not large .as 
sets go. : 

Evidently, "stage" as " picture fans' 
understand the -ward, means "studio" in 
Sweden. - ."...... ' ~ 

"How about working facilities?"- 

New Hope for 

the American 


(Continued from page 63) 

One-Man Pictures ."' ." 

e have /not' so many as here,", he ; 
said more positively. "One has no as-" 
sistants there.; One does all" oneself. -' 
" "How about, lights-^how: is, location 
work managed ?" _"''.. 

"W e have fine lights, . too. '..You . see 
we work only . in ; summer because the - 
theatres dose" and. the .actors come direct ; 
from, them to the studios. There are 
rco' actors .vyhp : ;give their talenta^oiely;. 
to the screen" 

"Is the stellar . system practiced in ■ 
Sweden.".; ; > - • -.-' .-.. 

"No— oh, np, indeed," further "warmth . 
and interest. "We do not believe in. 
that. The same actors appear in all 
the pictures made, by the producer. . Yes 
— a stock "company.: It is like one big 
family." , Again the smile. "One is 
very happy to work with them." 

But in spite of the smile, I could 
see him becoming more and more res- 
tive. I could not find it in my heart 
to torture hini longer. He was ' so r ob- 
viously unhappy. I intimated that he! 
was released. 

"Oh,-~-thank you!" and before I could 
turn to him from a" glance about in 
search of my guides, he had, vanished. 
Whether he had flown through the; 
ceiling or had disappeared into thin air, 
I know not. 

with, him— not. about ships and sealing 
wax^-iiut about Victor Seastrom, his 
one poor subject of conversation. , . 

So, - if we are to learn his views on 
American photoplays and photoplay- 
making, we must reconstruct them from 
the few remarks recorded on these 
pages. ... 

Therefore, at. the risk of incurring 
his righteous wrath, I shall make so 
bold. as to give you his views as I con- 
ceive them: 

He— quite naturally^-likes to make 
pictures' better in Sweden than he does 
here; You can't blame him. There he 
is v ampng his people, speaking his 
tongue, basically thinking his, thoughts. 
His mind is' Swedish and his pictures 
appeal first and foremost to Swedish 

Great Technical Opportunities ^ 

•Dux America gives him greater tech- 
nical . opportunities for the making" of 
pictures 1 -— providing the American pub- 
lic will accept .them.- That- ft the' ehafrce : 
he is "running, now. In all probability, 
the thought 'which is uppermost in his ; 
riiind. during. these days of-fihmng The 
Master of Man is r, '..""" * 

"Am I making a picture which the 
American mind will embrace ? Will each 
and every scene in this picture be clear ; 
to the American public?" 

I sensed that he regretted having said 
that Swedish motion pictures were con- 
trolled .by . a trust. The remark oozed 
out, jits . it were, and was quickly re- 
pressed." But here, perhaps, is another 
reason ..why Seastrom is making pic- 
tures -"iri this " country. "It is possible 
that Jie was restricted too much by this 
combine, and feels that America is the 
promised land, in that respect at least. 


Short Picture Making Season 

Vast Knowledge of Life 

' o : not. think . I. am ; poking fun at 
Victou Seastrom. Far from it. My life 
as an interviewer: has been made up of 
such a large number of things, that I 
have honest liking and gratitude for 
this particular variety of .victim. When 
one realizes the past achievements of 
the man— realizes' the nice application of 
his vast knowledge of life and acting 
to the work at hand, it. is astounding- to 
find such reticence: 

Poor, Unhappy man ! He is doomed 
to many an uncomfortable hour, for the 
world within, the next' year will send 
many and- many an interviewer to talk 

hen, too, the time alloted to Swedish, 
picture making is short. A few brief 
months in the summer and— -ppuf ! it 
is over. ■ . - 

We are all awaiting eagerly the re- 
lease of both Mortal Clay and The 
Master of Man. These pictures, made 
under varying circumstances, in two - 
different countries, will offer food for 
comparison. By them we can learn the 
relative merits and demerits of the 
native and the foreign branches of the 
industry. In other words, we will see 
what America has done for or done to] 
Victor Seastrom. 

I prophesy that the world will soon: 
recognize him as the greatest director 
in motion pictures. _ . : 



CL, The 'Hollywood Venting Instructors Are Growing Yat. 

Woman and :. One 'Arabian - Night — 
there canfc a . veritable tidal wave- of 
American made costume pictures .to 
fill and . overflow the channels that had 
been opened by these sturdy pioneers. 
Oddly enough, the native productions 
made money where most of the orig- 
inators had. failed. 

Our Stars Try Costumes 

considering categorically, the big- 
gest stars and directors in The Filmy 
Way, we ..find that each of them has 
taken a flyer in romantic drama. Some 
of them have gone in for costume stuff 
to the exclusion of everything else. 

Douglas Fairbanks, in the past three 
years, has made two pictures — The 
Three Musketeers and Robin Hood 
■ — both of which were reeking with 
romance. His next production, The 
Thief of Bagdad, v/fll follow the same 

Mary Pick ford has made Little Lord 
Fauntleroy and is now engaged on 
Lolita, a story of old Spain. 

Rex Ingram has done The Prisoner 
of Zenda and Scaramouche. 

Norma Talmadge reflected two stages 
of the 19th Century in Smilin' Thru 
and The Eternal Flame, and has 
gone even farther back into the dim past 
in Ashes of Vengeance. 

Even the sprightly, sophisticated, 
ultra-modern Constance has attempted 
to. prove that . the flapper isn't a new, 
invention. In . The Dangerous Maid . 
»and. Mine. Pompadour, she. is follow-, 
ing the fashionable trend into history. 

D. Wi Griffith, who was adept at this; 
sort of thing even before the German 

The Romantic Age 
In the Movies 

(Continued from page 16) 

invansion, produced Orphans of . the 
Storm and then, characteristically, 
shifted his scene to the present time 
and started to put romantic drama into 
dress suits. ''- ■•■'- '■--.-' 

Barthelmess Tries It, Too 

.ichard Barthelmess, whose chief 
charm has* always been his essential, 
homely Americanism, has chosen to cast 
off the humble habiliments of Tol'able 
David and step forth in the finery of an 
elder day. The Bright. Shawl- was a 
flashing affair of the brave days in 1850 
when Cuba was 1 first struggling for. in- 
dependence. The Fighting Blades- 
Dick's latest — is a romantic melodraifia 
of the early 17th Century. 

. Marion Davies, whose picture, is 
published regularly ' in many of our 
leading newspapers and magazines, 
has run wild with costume pictures. 
When Knighthood Was in. Flower' 
and Little Old New: York have been 
as. complete as Wells' Outline of His- 
tory and Yoland and Alice of Old 
Vincennes are to follow. ' "' .". ; '"-"- 
William Fox ~ has' donated rThe' 
Queen of Sheba, Nero, Monte Crisio, 
Monna : Vanna, A . Connecticut. Yankee 
in' King Arthur's Court and a few 
others of equal ~ magnificence. 

Cecil B. De; Mi-He" has never quite 
departed from his favorite Fifth Ave- 
nue mansion, with its marble beds and 

patent leather, sheets, but he has in- 
serted in each of his pictures a streak 
' of historical stuff. 

There are many more names on the 
list : 'The Covered Wagon, To Have 
and to Hold, Oliver Twist, Down to -the 
Sea in Ships, Grandma's Boy, Trilby, 
Richard the Lion Hearted, Under ■ jl 'wo 
Flags, The Green Goddess, The Hunch- 
back [of Notre Dame, The Brass Bottle, 
Omar the Tentmaker, Blood and Sand, 
Rupert of Hentzau^— and so on as far 
as the eye can reach. 

: .' -,- •'■;' Satisfying Stellar Vanity 

here" is-' no doubt that many of 
these spectacular romantic dramas have 
been produced to satisfy the star's per- 
sonal" . vanity. There is no actor ;or 
actress 'in.; the. world . who doesn't like 
to! dress up, and the gorgeous costumes 
of the olden days offer great opportuni- 
ties for costly display. But it is equally 
certain that films of this type have, on 
the whole, been successful financially. 
Although" statistics gathered by the 
energetic"' Mr. . Roger Babson indicate 
that exhibitors still believe that the pub- 
lic doesn't * want" costume . pictures, ~the 
actual box-office' records prove other- 
wise. "." .' ■ ". "''..N 

So the production of costume dramas 
will probably continue until every pe- 
riod in* the : history of the world has been 
carefully covered. Then, perhaps, the 
silent drama will pass quietly from the 
romantic age and achieve its full 

In the meantime, however, it's going 
to be pretty tough for the Hollywood 

the moulds are retained, altered a bit 
and used again. . -. 

The" Lasky studio saves every piece 
of lumber. over, four feet long. A spe- 
cial nail-pulling gang pulls out all nails 
from the wood, and even saves the 
nails for the next job. >' 

Presto Change! 

Jl_ he efforts of the much-maligned 
"cost hounds''" have vanquished waste-, 
ful tactics in the "prop" "line;- at least. 
At the Lasky studio; a drapery, may. 
start its screen career, at a drawing- 
room window. -Tn. its' next appearance,' 
it may be cut up for. pillows or act as 
a piano cover. Or it may be bleached 
andrdyed' and, used '■ over, again. . War 
clubs;' spears ,.aud/.§wr>rds are used :pxsX: 
and -over again to suit -the fashions of" 

-Is This Waste? 

(Continued from page 82) 

different eras. Cobble stones, Belgian 
blocks and marble floor slabs are kept, 
in stock and used . to pave streets of 
foyers at a moment's notice. They are 
used over and over again. 

Telegraph poles used on locations 
are saved to make log cabins for some 
plains picture.!.. 

'. Stairways, arches and portions of 
the walls are saved. ■ Structurally, they 
are not changed, but you would never 
recognize them under' a disguise of new 
paper and fitted ! info a new setting, 
t,, There, is. an emulsion rich in silver 
salt Jeft in. the developing fluid by the 
filmy Laboratory experts treat this 

fluid carefully, removing the silver. 

So gradually, the wasteful days are 
passing.. And they must. In the flush 
pioneer days of pictures, waste didn't 
matter. The new business was so great 
that it carried the movie makers along 
to fortune as on a tide. They couldn't 
help making money. But today compe- 
tition is murderously keen. The public 
appetite for pictures is a bit sated. 
Waste is cutting into the profits so 
deeply that the producers, being busi- 
ness men first, last and foremost, are 
taking steps to prevent waste. 

Let's hope they succeed.. Then per- 
haps the price of pictures will come 
down, and father can take ma and the 
kids to the show oh Saturday night 
once more, without feeling that he has 
paid a quarterly instalment on the na- 
tional debti 



The study of Miss Shannon (just 
above) is an interesting one; but 
if another amendment is made to 
our constitution, we hope it will 
strictly prohibit the adorning of 
Ethel with more than one per 
cent of a zvrinklc. 



WiS Be 


Judging from the accompanying 
camera studies Ethel Shannon success- 
fully spans a half century or so in 
the forthcoming celluloid version of 

the operetta, "Maytimc." Ethel's pul- 
chritude attracted attention in 

"Daughters of the Rich" and "The 
Girl Who Came Back." 


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The Listening Post 

(Continued from page 77) 

have nothing to do. Roscoe Arbuckle 
learned this, and is taking the next boat 
for Berlin. He's going to make come- 
dies, backed by American capital, for 
foreign consumption. He has a good 
chance for success, too, for the- Ger- 
mans are still laughing uproariously 
over Fatty's old custard pie comedies. 

• Tom Moore To Tread Boards 

JL ,he silent drama is all very well in 
its way, but there's a fascination in the 
"legitimate" that calls its children back 
to the footlights, sooner or Liter. Tom 
Moore is taking his Irish smile and 
his choicest brogue to the Mason thea- 
tre in Los Angeles, in a play called 
Dust of Erin, according to Tom's Scan- 
dinavian manager, Terrence Duffy. 

Lucille Rickscn to Have Lead 

J-»ucille Ricksen is really and truly 
grown up she says. She has been 
assigned a leading role in support of 
Jack Pickford in his new mountaineer 
picture, as yet untitled. Lucille says 
she is 16, but privately we think she's 
nearer 14. Never mind, she'll reverse 
the ratio in a few more years. Mean- 
while she's a fine little actress. 

Sympathy Wasted 

e had been feeling very sorry for 
Margaret Leahy. You know, the little 
English girl who was brought over here 
by the Talmadges. She was highly 
touted, had all sorts of publicity, but 
somehow, when it came to acting, she 
just wasn't there. Buster Keaton en- 
gaged her for his leading lady in one 
picture. Then Margaret found other 
jobs not available, and quietly she crept' 
off back home. We felt mighty sorry 
for Margaret. But we needn't have 

A copy of a staid old British news- 
paper reached Hollywood from London. 
This was what it had to say about Mar- 
garet Leahy: 

"Although no one knew of it in ad- 
vance. Margaret Leahy was in London 
yesterday incognito. Her one day's 
slay at home on her way to Paris was 
supposed to be a secret. 

"But Margaret Leahy, in England, 
cannot keep her identity a secret. When 
at Euston station she left the train 
which brought her to London after her 
enthusiastic reception at Liverpool, 
1000 people were waiting to see her. 

"Then Miss Leahy dropped into 
Giro's for lunch. No one in the club 
knew she was in the city. But as she 
passed down the floor to her table, 
luncheon parties rose and stood, out 
of courtesy to her, until she was seated. 

"For dinner, she stepped in at the Em- 
bassy club. Here, again, there had 
been no announcement. Not even a 
table was reserved for her. But the 
club staff recognized her at once and 
addressed her by name. In a few 
minutes glasses were lifted to her in 
silent toasts, whichever way she 

The paper said more. It told of how 
she had begged to be hidden away [at 
Murray's Club late that evening, for a 
bite of supper, and how again she was 
recognized and toasted and cheered. 
And it seems the King and Queen have ' 
commanded her presence at the pre- 
viewing of "her picture" at Bucking- 
ham palace. And wlien she gets ^to 
Paris, President Millerand is going -to 
receive her. 

After long and earnest thinking, we 
have come to the conclusion that our 
sympathy has been wasted. Hereafter 
when we have any sympathy left over 
after contemplating our own troubles, 
we're going to donate it to Will Hays. 
He needs it worse than Margaret does. 

$7500 A Week No Living Wage 


*-t IS a Christmas tree year in filmdom. 

Actors who last year were down to 

their last limousine now turn up their 

noses at a contract that reads less than 

four figures. And sometimes even 


Elmer Harris offered Dorothy Gish 
the lead in his new picture, at the 
miserly wage of $30,000 for four weeks 

Dorothy wired back: 

"What other stars will be in cast? 
Who will direct picture? What is the 
story? Are you sure it won't take 
longer than four weeks to shoot? And 
anyway I don't care for the job." Or 
words to that effect. 

The Perfect Monologist 


levy's is one of our most patronized 
cafes. It has metropolitan atmosphere ; 
it does not close at ten P. M. The other 
evening a party of extra people were 
dining at one of the round tables sacred 
(Continued on page' 90) 



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The Screen Year In Review 

(Continued from page 55) 


. Established 1879 $1,000,000 Stock 

» 63 Park Row-Dept. lies -New York 

office attraction in America today than 
Harold Lloyd. He doesn't approach, of 
course, the serio-comic genius of Chap- 
lin, but he is a conscientious, highly 
likeable and ingenious funmaker. Right 
here let us note that, curiously, the sad- 
faced Buster Keaton, working along the 
same lines, has been wanning. This 
is an old phase of the screen, to be sure. 
The only other star who has more 
than held his own is Richard Barthel- 
mess. This earnest young actor has been 
steadily going on. His invasion of the 
costume drama has been an interesting 
one. Here is a star who turned to ro- 
mantic stuff to develop himself. He 
felt that to stick to the field of homely 
Americanism, in which he is pre- 
eminent, would be to limit himself. 
Barthelmess, we might add, is many 
degrees higher in popularity than a year 

Lillian Gish's Position 

L/ illian Gish worked nearly all year 
in Italy on The White Sister but 
the production has not been revealed 
publicly. Her position as our foremost 
emotional actress still seems to stand 
untouched, however. Doug Fairbanks 
is still plunging on spectacles. There 
is a limit to this sort of thing, but 
apparently Fairbanks hasn't reached it 
yet. They say that The Street Singer 
will reveal a new Mary Pickford. We 
shall see. Just now her status is doubt- 
ful; her revival of Tess of the Storm 
Country wasn't such a happy thought 
after all. Norma Talmadge is slowly 
dropping backward, while Constance 
Talmadge seems to have slipped almost 
from view. On the other hand, Gloria 
Swanson, plus clothes and personality, 
has more than held her own. 

Pola Negri gained nothing by invad- 
ing America and is nowhere nearly as 
important a personage in Hollywood 
as she was in Berlin. Yet the next 
month may change all this. Pola is a 
person of high power potentiality. 
Thomas Meighan, to be honest, is get- 
ting along in life. He is reaching the 
difficult age of getting vehicles — and 
holding his followers. Jackie Coogan 
has not made any particular progress 
in the twelve months. 

Tzvo Sensational Come-Backs 

Two sensational come-backs were 
staged during the year. Mae Marsh 
gave a brilliant performance through 
much of the turgid distance of Griffith's 
The White Rose and Charlie Ray, 
after a long chain of artificial screen 
creations, came back to his hoosier boy- 
hood and did a smashing thing in The 
Girl I Love. We wouldn't be at all 
surprised to §£e Blanche Sweet do a 

real come-back in Eugene O'Neil's 
Anna Christie. 

Marion Davies' Progress 

ariox Davies has made a surpris- 
ing progress during the year. Long 
just a pretty star, Miss Davies has 
suddenly developed into an actress, as 
well as a comedienne, of distinct pos- 

We credit Florence Vidor with the 
greatest personal development of the 
year. She is steadily advancing and, 
if all goes well, should soon challenge 
the historionic leadership of Lillian 
Gish. Here is an actress of charm, 
beauty and a rare humanness. Her 
Alice Adams and her Carol. Kcmiicuit 
of Main Street were superb charac- 

Ramon Novarro, the Rex Ingram 
discovery, made a striking flash across 
the horizon as the pagan lover of 
Where the Pavement Ends and rather 
took us off our feet. And yet, looking 
back at this distance, we aren't wholly 
convinced about Novarro. For a mo- 
ment we looked upon him as the young 
actor to challenge Valentino but we 
doubt all that now. 

Barbara La Marr was another strong 
personality to hit success during the 
year. From a minor role in The Pris- 
oner of Zenda she has stepped to star- 
dom in little over a year. A picturesque 
but not a sweeping personality. Nita 
Naldi lent picturesqueness to a role in 
Blood and Sand and immediately be- 
came popular. A colorful 'personality 
— but we now realize her limitations. 
Of more potentiality is little Mary 
Philbin, the heroine of Merry-Go- 
Round. Here is a young actress who 
may really do something worth while. 
We see nothing in that much touted 
"discovery," Eleanor Boardman. 

Leatrice Joy has been striking a very 
good average but our chosen six as to 
reliability are Baby Peggy, the Prince 
of Wales in all his news reel appear- 
ances, Farina, Mae Busch, Lois Wil- 
son and Strongheart. 

Mae Murray seems to be able to 
go on capitalizing affectation. An odd- 
ity of popularity this. 

It has been a bad year for the No. 2 
stars, such as Agnes Ayres, Bebe Dan- 
iels, Jacqueline Logan, and even wo"S2 
for .wanning. lights such as Mary Miles 
Minter and Dorothy Dalton. Other 
minor figures, such as Viola Dana, go 
along their way seemingly untouched 
by time. Yet Priscilla Dean isn't quite 
the same. 

The season's worst flops? Cecil de 
Mille's Adam's Rib and the Over- 
lordship of Will Hayes! 



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Anyone Who Can Remember a Tune Can Easily and Quickly Learn to Play 

Popular Jazz or American Rhythm By Ear at a Very Small Cost. The 

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No matter how little you know about music — even though you "have never touched a piano" — if you can 
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system. It shows you so many little tricks that it just comes natural to pick out on the piano any piece you 
can hum. Beginners and even those who could not learn by the old fashioned method, grasp the Niagara idea 
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You learn many new styles of bass, syncopation, blues, fill-ins, breaks and trick endings. It's all so easy — so 
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A Simple Secret to Success 

No need to devote years in study to learn 
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applies to the songs you play. Once learned, 
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You Become Master of the Piano 

Even talented musicians are amazed at the rapid prog- 
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why this method was not thought of years ago. Natu- 
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rights and cannot be offered by any other school. A 
special service department gives each pupil individual 

Learn at 
home in 


Be Popular in Every Crowd 

One who can sit down at any time without 
note? or music, reel off the latest jazz and 
popular song-hits that entertain folks, 
is always the center of attraction, the 
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center of attraction — master the piano 
by spending an hour 'a day studying 
le fascinating Niagara Method. 

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Decide to Begin Now ! 

Just spend a part of your spare time with a few easy, 
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and learn to play. You will he amazed, whether you 
are a beginner or an advanced student. 

Write for interesting, illustrated booklet, "The Niagara 
Secret" — it describes this wonderful new method of play- 
ing piano by ear. This booklet sent FREE. 

Ronald G. Wright, Director, NIAGARA SCHOOL OF MUSIC, Niagara Falb, N.Y. 



Curiosity to know what 
our neighbors are doing; 
what the young married 
couple in the apartment 
next door are quarreling 
about; why the old lady on 
the next floor has tear-red- 
dened eyes; why the police- 
man on his beat wears such 
a jaunty smile of cockey 
happiness; how the pretty 
stenographer can dress so 
well on twenty-five dollars 
a week ; why the clever young 
man is failing in business ; why 
the Gardners are getting a di- 
vorce — curiosity is one of the 
. ruling passions of our lives. 

And that passion is not an evil one. 
It is a hungering after knowledge to 
use as a torch to light our own stum- 
bling feet. Maybe the others have 
learned lessons from their experiences, 
which would help us in ours. This 
stretching out of the curious, exploring 
fingers of the heart toward other hearts 
is our only means of contact. Every 
soul is bitterly lonely, for at least a 
fraction of the time. And every soul 
yearns to touch other souls, to get 
warmth from contact. 

We have gone into the business of 
wholesaling soul contacts. We believe 
you want what we are giving you — a 
magazine of real life stories, from 
which you can garner the. experience 
you crave, and by which your soul can 
touch other souls, in a satisfying, hu- 
man contact that will lift the weight 
of loneliness — and help. 

* * * * 

That is the purpose of our 
new magazine — REAL LIFE 
STORIES. The first issue will 
be Hhe October, on sale Sep- 
tember 1 5 on all news stands. 
Twenty-five cents the copy. 

Buy a copy of the first issue and 
judge for yourself if we have made 
good on our promise. 


Published monthly by Screenland, Inc,. 
119 West Fortieth Street, New York 

The Listening Post 

{Continued from page 86) 

to the "profession" when Charlie Chap- 
lin dropped in. Charlie happened to 
know one of the party and came over 
to pass the time of day. The party 
proved hospitable and Charlie proved 
responsive, so a solicitous waiter hurried 
up with another chair. And for hours 
Charlie talked, brilliantly, interestingly 
and uninterruptedly. All about his new 
picture, which by the way, deals with 
the life experiences of Peggy Hopkins 
Joyce; about his trip abroad — he's still 
talking about it; and about Charles 
Spencer Chaplin. The Tatler stag- 
gered out about midnight, but the mono- 
log continued until 3 :3S the next 

Egoism, would you say? Or artis- 
tic temperament? Or just loneliness? 
Any man that talks as interestingly as 
Charlie Chaplin and loves an audience 
as well as he does, ought to have a wife, 
sav we. 

Take Your Choice 


here seems to be a difference of 
opinion over why Evelyn Brent took 
her make-up box and left the Fairbanks 
lot. Evelyn said that she had signed 
with Doug to work in pictures, and that 
so far she had been the world's cham- 
pion rester. 

Doug said that his Thief of Bagdad 
picture had to be an airy, ethereal sort 
of picture, and that Evelyn was a bit 
too voluptuous to match the picture. 

But Dame Gossip says that Mary put 
her pretty little foot down and told Doug 
to get another leading lady. For be it 
known that Doug has an appreciative 
eye for feminine pulchritude, and Mary 
knows the weaknesses of sex. 

The same thing is said to have hap- 
pened when Doug was casting for 
Robin Hood. Marguerite de la Motte 
had been eminently satisfactory to the 
public, and to Doug, and Fairbanks ex- 
pected to retain her for Robin Hood. 
But Marguerite had been announcing 
fondly in print that all that she was 
and all she hoped to be she owed to 
Douglas Fairbanks, or words to that 
effect. So Mary changed his mind and 
picked out Enid Bennett, a lady who 
was safely in love with her own hus- 

So there's three stories. You pay 
your money and you takes your choice. 

Page Cupid 

olleen Moore and John McCormick 
were married on August 26, and Colleen 
has a platinum band next to her engage- 

ment ring of two tiny emerald sham- 
rocks with diamond centers. Emeralds 
bring Colleen luck, she says, and the 
Shamrock is her favorite flower. 

Ruth Holds Her Own 


few years in serial pictures cer- 
tainly makes a gal agile. The other 
evening at the Cocoanut Grove, hun- 
dreds of brilliant balloons were released 
on the dancing floor. The game was 
to keep one's own balloon intact, while 
endeavoring to burst one's neighbor's 

A glorious scramble ensued. Big 
stars and little stars scurried in and 
out between the tables, hugging their 
balloons as if they were more precious 
than rubies. But Ruth Roland knew a 
trick worth two of that. She climbed 
up on a table and stayed there. And 
when the conflict ended, her pretty red 
balloon was the only one intact. 

For a prize they brought out a mon- 
key, a most inquisitive little beast. 
Ruth took him home and parked him 
in the bathroom over night. The next 
morning she sprung him on her aunt, 
who promptly fainted when the monko 
hopped onto her shoulder and wound 
his tail around her neck. It looked as 
if the little monkey was all set to enjoy 
a good home, but monko was too effer- 
vescent. After he had wrecked the con- 
tents of the china closet and a vase or 
two, Ruth turned him over to the zoo. 

Agnes Doesn't Diet 

^on't diet! Eat what you like," 
says Agnes Ayres in a recent interview. 
Agnes declares that she never diets, and 
one might well infer that this is the 
cause of her slenderness. 

Oli Agnes ! Wait until you are fair 
and forty, and watch the ounces climb ! 
Just keep on absorbing three square 
meals a day and Father Time will at- 
tend to the rest. It might be well for 
ambitious reducing specialists to take 
Miss Ayres' address for future use. 

Pauline Starke to Wed 

auline Starke is wearing a spark- 
ling square-cut diamond on the right 
finger, and blushingly admits that the 
diamond is the gift of Jack White, the 
youthful producer of Mermaid come- 
dies. When will they be married? 
Pauline isn't quite sure. 

"It's too late to be a. June bride now, 
isn't it?" queried Pauline when ques- 
tioned. "Maybe we'll decide to make 
it fifty-fifty and get married about 
Christmas time." 

(Continued on page 98) 



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The Crepe de Chene Revolution 

(Continued from page 27) 

nightgown. It is the sort of garment 
that makes serving on movie censor- 
ship boards a real pleasure. Her new- 
est negligee is a riot of black satin and 
lace with silver brocade. It's pretty, 

yellow taffeta lingerie underneath. And 
another of pink and white, covered 
with frills and edged with marabou. 
It is all very well for movie stars to 
wear marabou because thev can send 

of course, but when you see it, ask their clothes back to the wardrobe de- 
yourself if it would be practical for a partment as soon as they show signs 

woman who has to get the family break- 

Pola's Lingerie Caution 

of wear. But marabou is apt to shed 
its fuzz after a few weeks' wear and 
there you are, looking shabby ! 

Leatrice, who is a brunette like Pola, 
Tir l another one of Gloria's negli- also wears sealing wax red trimmed in 
gees is of apricot and silver chiffon fox fur and, because she has white 
and it is made to match an apricot skin, she can dare to wear apricot 
nightgown. But be careful how you pajamas — when the script calls for 
choose apricot silk ; it is only becoming them, 
to women who have very white skin, -n- 

You have probably noticed that Gloria JL/ouise Faz^nda was a flannelette 
only wears the most trying colors. And heroine when she worked for Mack 
she gets away with it. Sennett. You cannot stand the hard 

Pola Negri is more cautious than work of slapstick comedy unprotected ' 
Gloria about disrobing for the benefit by anything but a layer of chiffon. But 
of an enthusiastic public. Pola hasn't Louise cuts loose in her first vamp 
been in this country long enough to part — that of Mabel in The Gold Dig- 
know that posing for the public in your gers and she is going to prove to the 
underwear is one of our quaint native world that she, too, has a chiffon soul, 
customs. Rags were royal raiment for May McAvoy and Lois Wilson have 
Pola in her German-made pictures, never vamped a man in all their screen 
even though they were never worn for careers and so their lingerie has never 
virtue's sake. caused the Lasky wardrobe department 

However, in The Cheat, I hear that to work overtime. 
Pola actually walks up to the edge of The whole history of the "right" and 
the famous Lasky bath-tub. And she "wrong" in lingerie is told by Louise 
makes the trip in a bathrobe of sealing Dresser in Rugglcs of Red Gap. When 
wax red and white with flowing sleeves. Louise first appears, she is garbed in 
The robe is draped in Russian blouse what is called snappy stuff on Main 
effect. In Bella Donna her negligee Street, Red Gap. Some of her negli- 
was of white chiffon with beads and gees illustrate what is decidedly not 
ermine trimming. And there was one being done this season. Crude, stuffy, 
brief glimpse of her in a radium silk lace affairs that look as though Louise 

had sacrificed the family Battenberg 
curtains. Uncouth and "rough dia- 
mond" tea gowns with big, flaunting 
bows and the. stripes running all the 
wrong way. Expensive but declasse. 

Posing in Crepe de Chine 

hen Louise goes to Paris and buys 
some negligees guaranteed to bring out 
the morality committee of Red Gap. 
Paris almost succeeds in making her 
over but, like Cousin Egbert, she can 
be pushed only so far. Therefore her 
lingerie doesn't quite measure up to 
Gloria Swanson's. 

Many of the studios employ extra 
girls and sometimes leading players as 
fashion models. And so it is the duty 
and pleasure of these girls to pose in 
lingerie. While Jacqueline Logan is a 
discreet little ingenue on the screen, 
she occasionally obliges the Lasky pub- 
licity department by donning one-piece 
bathing suits and disastrous negligees. 

nightgown trimmed with filet lace and 
with a bed- jacket of crepe satin. 

White More Dangerous Than Blaek 


ike most smart foreign women, 
Pola likes white lingerie, made of the 
finest silk or hand-drawn linen. It's a 
wise vamp who knows that soft white 
is more disastrous than black jet. 

Anna Q. Nilsson is a good model for 
tall blondes to imitate — if they can. 
Anna is one of those rare girls who 
can wear blue without making it seem 
insipid. In The Rustle of Silk, she 
donned a blue satin brocade negligee 
which she wore over orchid lingerie. 
She looks well in grey, too, especially 
when the grey is outlined in black. For 
another scene, the Lasky wardrobe de- 
partment furnished her with a green 
and magenta chiffon tea gown which 
was trimmed with rich gold net, 
ported at $25 a yard. 

Leatrice Joy is rather too ingenuous She appeared in one tea gown of Delft 
to make a perfect lingerie model. Her blue embroidered in copper. Like Bebe 
smile usually outshines her clothes. Daniels, Jacqueline looks well in fluffy, 
Still in Four Chauces she wears a neg- frilly things, 
ligee of yellow and silver with pale So far as lingerie is concerned, Nita 



Naldi and Barbara La Marr are the 
enigmas of the screen. What do they 
wear under those slinky, tight-fitting 
evening gowns ? Why do their clothes 
fit them so perfectly? Why is it im- 
possible to detect a wrinkle or a crease 
on the surface of those satin garments? 
Could it be possible that — ? 

After all, why not? Since we have 
discarded layers and layers of flannel- 
ette and long-cloth, anything might 
happen. Perhaps, it has. 


K.T is reported that elaborate experi- 
ments are being made by Thomas H. 
Lice's cameramen to get new fog effects 
for the impressive fog scene in "Anna 
Christie," Eugene O'Neill's play, which 
Mr. Ince is making. 

The old fog machines that blew a 
cloud of silver dust in front of the 
cameras have recently been discarded 
in favor of smoke pots, which give a 
good effect when used on "sets," but 
which are hardly practical for exterior 
scenes made "on location." 

The fog sequence in "Anna Christie" 
is one of the most effective scenes in 
the play. In reproducing this scene on 
the screen great care, it is said, must 
be taken to make it evident that the 
hazy, silhouetted outlines are done in- 
tentionally and are not the result of 
poor photography. 


T is thought by Mary Pickford's man- 
agement that at no time in the history 
of films has a greater variety of locales 
been selected by producers than those 
which form settings for pictures soon 
to be released. Regarding this Mary 
Pickford said: "The reason' for this is 
that until a comparatively short time 
ago the majority of pictures were set in 
American locales, and naturally there 
was a tendency of the public to tire of 
such settings. Consequently producers 
are now striving for variety by seeking 
not only to get stories that are different, 
but also to place their stories in foreign 
locales. This way of obtaining a change 
can be compared to the practice of many 
persons changing the setting of their 
jewels." Miss Pickford's new picture, 
"The Street Singer," is a Spanish story 
of how a beautiful street singer ex- 
tricates herself from the clutches of a 
decadent king. 

a^-ccording to Samuel Goldwyn, 
Rex Beach and Rupert Hughes are the 
only well-known authors who under- 
stand the technique of the screen. 
Both these men direct the screen ver- 
sions of their own novels. Mr. Hughes 
has recently returned to Hollywood 
after a visit to New York, where he 
witnessed the opening of his "Souls 
for Sale," based on his novel of the 
same name, which Harpers published 
last year. 

Womanly Beauty Marred 
By Surperf luous Hair 

WOMAN'S crowning glory is her hair, but she must exercise 
care not to have it show in embarrassing places. Most efforts 
to rid milady of superfluous hair result in stronger growth, 
because only the surface hair has been removed, leaving the 
follicles to produce a more luxuriant growth just where it isn't 

A Safe Treatment 

It has been absolutely 
demonstrated that no strictly 
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secretions of the endocrine 
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has proven perfectly effica- 
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hair growth not only by re- 
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power to penetrate and dry f 
up these gland secretions. \ 
The natural and inevitable 
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to the follicle which produces 
and nourishes the hair. 

Kilrute consists of a powder 
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hands. It can be applied to 
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In fact it has the added fea- 
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(A s effective for men as forwomen) 

You Owe It To Yourself 
And To Society 

There is no longer any 
need to suffer the annoyance 
and humiliation caused by 
superfluous hair growth. No 
extravagant claims are made 
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application has given perman- 
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sightly hair growth. You owe 
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womanly charm and daint- 

Kilrute will be sent C. O. D. 
or on receipt of $5.00 plus a 
few cents for postage. 


Dept. 410, 247 West 72nd St. 
New York City. 

(Copyrighted and Trade Mark 
Registered, 1923, Kilrute Co. 


News of the wonderful work of 
KILRUTE has caused such an over- 
whelming demand that we are 
obliged to discontinue sending out 
free trial samples, but we shall be 
happy to give FREE DEMON- 
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Owing to postal regulations, post' 
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all foreign orders. 

I Kilrute Company, 
Dept 410, 247 West 72nd St., New York City. 

1 Gentlemen: 
Please semi me on approval a complete Kil- 
rute Combination Treatment for superfluous hair 
I (Kilrute Powder and Kilrute Lotion) which you 
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Sorrows For Sale 

(Continued from page 67) 

name twisted on him, and now he's 
Wally Reid, Jr. 

J) uanita Hansen was a fairly well 
known motion picture actress before 
she interrupted her career by letting the 
drug habit get the best of her. On the 
tide of sentiment aroused by Wallace 
Reid's gallant fight and pitiful death, 
Juanita Hansen rode into the safe port 
of a gorgeous vaudeville contract. 

A crushing sorrow or a great per- 
sonal calamity causes a motion picture 
star's stock to jump. Mildred Harris, 
for instance, was a little blond ingenue 
in pictures. Nobody particularly 
noticed Mildred Harris, until she mar- 
ried Charlie Chaplin. 

.Out the public is a fickle jade. You 
can never tell just what type of sorrow 
will go over big. Rodolph Valentino 
stepped pretty lightly when he first 
broke with Famous Players-Lasky. He 
couldn't be quite sure how the public 
would take his wares. He had several 
distinct brands of sorrows to sell. First, 
he knew he was a good actor on a 
salary which did not look so big in 
Hollywood, where others not so good 
were drawing down two or three times 
as much. Second, he had been divorced 
by his pretty wife, Jean Acker, and 
then thirdly, given the very deuce of a 
time by the California authorities over 
his marriage with his true affinity, 
Natacha Rambova. An overdose of ro- 
mantic troubles, suffered by Tom Mix 
or Buck Jones, would have been fatal 
to popularity. Tears of sorrow would 
have turned to tears of mirth. But 
the romantic Italian got away with it in 
fine shape ! 

Jean Acker, strangely enough, took 
her wares to the same market and did 
pretty well, thank you. Her particular 
sorrow for sale was that Valentino 
hadn't let her in on the secret that he 
was going to become America's Sheik, 
and that she had divorced him, and that 
now the ungrateful boy didn't want her 
to use his name. She managed to head- 
line vaudeville bills throughout the 
country, in spite of the fact that she 
apparently received scant sympathy. 

O ympathy comes from devious 
sources, and, if adroitly taken advantage 
of, can be turned into most satisfyingly 
chill hard cash. Take the case of Doug- 
las Fairbanks, Jr. Subtly the public 
feels a going out of the heart toward 
this thirteen-year-old boy who has been 
reared away from his wonderful 
father's influence. 

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Bursting Bubbles 

{Continued from page 39) 

passed the Binet test and thought in 
terms of "full-face" and "profile," 
but the interviewer was nothing if not 

Everything was going famously. 
Agnes had exhibited her butler, her 
Gallic maid, her new pup, a newer Fox 

"Do you use rouge, Miss Ayres?" 

Agnes mulled over that one for some- 
time, then her face was lighted with 
intelligence. The eyes snapped. Her 
round chin lifted. 

"Why," asked Agnes with gestures, 
"why paint the lily?" 

A New Theda 

JL hat famous vampess, Theda Bara, 
is far different from our fond imagin- 
ings. Theda has swept the incense 
ashes out of her home and is willing to 
let you see just what she is — a nice 
gal with a neat sense of proportion 
and of the ridiculous. 

The Chamber of Commerce points 
with pride to Conrad Nagel — who 
spends his Sundays ushering at church. 
Poor Conrad one peccadillo from him, 
and the Chamber of Commerce would 
resign in' a body. If Conrad ever took 
to blonde ladies and brunette liqueurs, 
1 can't imagine who'd be the next purity 
sign-post. Jack Holt, perhaps. 

More Bubbles to Burst 

delightful piece of hokum that is 
hooted here is this "nationality" stuff. 
A certain star with blue-black hair 
and the orbs of Esther, claims she is 
Spanish. You almost believe it un- 
til you hear the rich tongue of the 
Talmud from her mama's lips. Then 
you recall that Madrid types are often 
1 loiules with violet eyes. 

Why doesn't someone step forward 
and claim Lapland as her birthplace? 
You can't expect the Latin countries 
to born all the movie stars. 

Eight Yards of Books! 

.BMEMBER the movie star who said: 
"George Sand? Of course, I know 
George Sand. He used to go to school 
with my brother." 

And the other who ordered "eight 
yards of the best new books"? 

Enough ! 

Here are three rosy illusions to cling 

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Rodolph Valentino and Marriage 

(Continued from page 24) 

fight — has been against "Sheik stuff." 
Does she care when crowds of 

People laugh when you talk about ideals 
in this business. They think you are 

women mob her husband every time crazy. They say the public doesn't 

he appears in public ? 
she's used to it. 

No, she doesn't ; 

The Inconvenience of Popularity 

JL t only means that he is popular 
on the screen. Sometimes it is incon- 
venient. When we were on tour, the 
children used to crowd around the 
private car and try to look through the 
windows while we were eating break- 
fast. We had to pull down the shades 
and stuff towels in the cracks. I sup- 
pose you can't blame the children. 
Private cars aren't an everyday occur- 
rence in small towns. It must have 
been just like a circus to them. 

"But in most of his pictures, Ro- 
dolph has been a false personality. 
People have the wrong idea about him. 
In 'The Sheik,' for instance, he was 
an impossible sort of man. No wonder 
the men took a dislike to him. As soon 
as people hear him talk, they change 
their minds about him. They forget 
all the ridiculous and impossible things 
they have read about him." 

No Secret of Matrimonial Success 

want good pictures. How do they 
know ? Have they ever tried making 
them ? 

A Pretty Woman zvith an Idea 

nd the secret of the success of their 
marriage ? 

"There is none. You can't speak 
about marriage in generalities. Of 
course, Rodolph and I have the same 
interests. Perhaps this fight — this law- 
suit — has brought us closer together. 
We both believe in the independence 
of the artist. Yes, and in the dignity 
of the artist, too. The whole tangle 
has been inconvenient but it hasn't been 
exactly hard because we know we are 

"If Rodolph had simply been an at- 
tractive man with a certain charm for 
women, it would have been easy to 
replace him. But it hasn't been so easy 
to find another Valentino, has it? 

"The movie fans will learn that suc- 
cess — permanent success — isn't a ques- 
tion of luck and a good-looking face. 

hen Rodolph begins working 
on his new pictures for Ritz Carlton, \ 
he's going to make good pictures. 
And I believe the public will like them. 
And then, we'll know that it has been 
worth all the trouble and all the fights." 
Substitute the small, blonde Mary 
Pickford for the tall, dark Mrs. Val- 
entino and you have the same argu- 
ments that launched Douglas and Mary 
on their career as independent artists. 
Mary, stubborn and contrary, also 
fought her way through lawsuits and 
matrimonial difficulties. A pretty 
woman with an idea firmly fixed in her 
mind can baffle strong men. 

Nataclia Like Mary Pickford 

■O esides their stubbornness, Mary 
Pickford and Mrs. Valentino have 
another trait in common. They have a 
sense of humor. They can laugh at their 
husband's jokes and at the grotesque 
comedy of the rest of the world. They 
are experts at discovering the silver 
lining and at making the best of bad 
situations. The dancing tour may have 
been bad in many ways, but it made 
new friends for Rodolph. The law- 
suit was disagreeable but it has proved 
to the public that Rodolph has the 
courage of his convictions. The more 
adventures that befall you in marriage, 
the less possibility is there that mar- 
riage will suddenly turn dull and stale. 
And marriage can weather many storms 
but it can't stand a long period of 
calm. Just ask the man who has mar- 
ried a placid wife! 

Will H. Hays is fond of urging con- 
fidence and co-operation on the pro- 
ducers. The Valentinos, unlike the 
producers, have taken the motto 1 
seriously and lived up to it. And look 
at the trouble they've started ! 

S)mitillDiiiiimiiitDliil»mii!C]iii!iliiiiliailtiniiiii!atiiiiiiumDiiiiittttiiirjiiiiiiiiiiiiQiiiiiiitiiiiaiiiiiiimiiiiiiii3i[ii ioiimiiiiii:iiiniiiiiiiiDiiiiiiiiiiii»jiiiimmiomiim:i! juiiiMimniiiurSfii 

Turn to Page 20 and Chuckle Over 


You will find amusing new adventures 
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Fool's Gold 

(Continued from page 81) 
had long since seen its best days, but 
somehow Davies always managed to 
pull it together for just one more trip. 
So here he was, helping with the stage 
scenery for our Act. tending to the 
Radio outfit, flying off for popcorn for 
our small white mouse, — an important 
member of the cast, — paying for our 
lunches and being general handy man. 

A Great Party, Girlie 

e were all excited. So much was 
at stake besides the mere retreiving of 
our battered fortunes. The local man- 
ager was lovely to us, in fact, he quite 
showered us with attentions. Pat was 
suspicious, but I laughed at her. My 
motto is to love everyone, and to be 
willing to take as well as to give. But 
at the last performance, he became en- 
tirely too friendly. One after another 
of his friends kept coming into the 
stage entrance, standing in the wings, 
and trying to chat with us. In the end, 
he invited us all to a grand party in his 
home. Said he had some good old 
vintages, etc., etc., that it was the cus- 
tom of the road, and he would be able 
to insure us return booking, etc., etc. 

And now out of the blue stepped forth 
friend Davies with plenty of plain and 
unvarnished words, mentally dealt him 
a knock-out, and carried us all oft", bag 
and baggage, homeward bound. 

"Hurrah for Davies, Long may he 

He'll Use a Double Next Time 

J ohn Bowers used to scoff at doubles. 
His trick stuff he did himself, by 
Gorry. But now he's willing to admit 
that there are time when doubles are 
advisable. John has the leading role 
in the western picture, When a Man's a 
Man, and in it he is supposed to bull- 
dog a steer. Several cowboys from 
Prescott, Ariz., offered to double for 
him but Jawn waved them aside with 
a superb gesture. The next gesture he 
made didn't carry quite so much dignity, 
for poor John's left foot caught in the 
stirrup, his body was thrown too far 
toward the steer he was pursuing to 
maintain his balance, and he fell and 
was dragged by his horse. . 

Hozv Come, Mickey? 

arshali. Neilan plays a part in 
Edward Dillon's picture, Broadway 
Gold. He appears dragging a baby 
carriage, which may or may not make 
him a leading man. Edward Dillon 
returns the compliment by appearing in 
Neilan's Eternal Three. What are they 
doing, trying to get even with each 
other for something? However, it is 
the public which pays and pays and 
pays, and then has to suffer ! 

Latest Photograph of Earl E. Leid 

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The Movies? Mr. Gallagher? 
Absolutely! Mr. Shean! 

(Continued from Page 47) 

Luncheon on ' the Roof 

R. Gallagher and Mr. Shean 
smiled pleasantly. They thought we 
were mad and suggested luncheon. It 
was brought to all of us on the roof 
and our spirits rose immediately, after 
the consumption of a ham and egg 
sandwich, coffee in a container and 
some chocolate almonds. Only the 
"hound dogs" teased nearly all of ours 
away from us. There is one thing we 
cannot resist and that is the reproach- 
ful eyes of a great Dane. "How melan- 
choly he looks," we exclaimed to the 
camera man, "you should call him 

"We should," retorted the C. M., 
"but we call him Ophelia, instead. 
That one is Hamlet and that little one 
is Hans." 

"Why do you call him Hans ?" 

"Let me tell it," interrupted little 
Mr. Shean. "It's a good one. We call 
him Hans because he is 'the blue eyed 
Dane.' Isn't that a good one " • 

And sure enough Hans' eyes are 
bright blue. The first Great Dane we 
ever saw with azure orbs ; and we used 
to be kennel editor of the Tribune 
before we went into the dramatic de- 
partment and began to write about ac- 
tors. These beautiful canines, which 
will take prominent parts in Around 
the Town ivith Gallagher and Shean, 
are from the kennels of Francis X. 
Bushman ; he has bred many champions. 
Hans is picturesque, but he is only 
three months old and he likes to play 

better than he does to work. His idea 
of a corking good time is to leap on 
you when you're not expecting it and 
hurl you to the mat. Hamlet and 
Ophelia are the two seen in the picture 
nearest the center. They are the ones 
wearing kegs around their necks. The 
kegs are empty! On the left is Mr. 
Gallagher and on the right is Mr. Shean. 

Comedv Detectives 

ut on the set away from the of- 
fices of the "world's greatest detec- 
tives," we detected Alan Hale, Lucy 
Fox and Arthur Houseman. 

"What are they doing here?" 

"Oh, yes," answered Mr. Shean. 
"There are really two stories in this 

"A love story and a detective story," 
added Mr. Gallagher. 

"And the two never meet," continued 
Mr. Shean. "You see, we are hired 
to find the girl, Lucy Fox." 

"Who iias been stolen by the villain, 
Alan Hale" — 

"Is pursued by her lover, Arthur 
Houseman" — 

"And we go all over the world on 
all sorts of adventures." This is Mr. 
Gallagher talking now. "And never 
once come anywhere near the girl." 

"How true to life," we ejaculated. 
"This scenario writer certainly has held 
the mirror up to nature !" 

Again the two versifiers smiled at 
us pleasantly. They have a way of 
saying exactly what they mean and of 
not understanding people who speak in 

The Listening Post 

Sessue To Work in France 

essue Hayakawa is to appear in a 
big French picture, to be made abroad, 
according to w-ord recently received here. 
He and his dainty little wife, Tsuro 
Aoki, who is to be in the picture also, 
are in France now. They are to return 
in the' fall, when Sessue will make an- 
other attempt at legitimate fame, in a 
new stage vehicle. 

Fame is Rclathe 

Los Angeles exhibitor had a bright 
idea last week. He booked The Sheik, 
with Rodolph Valentino, and The 
Shriek of Araby with Ben Turpin, a 
take-off on the Valentino picture, and 
ran them side by each on the same 

from page 90) 

program. For purposes of comparison, 
you understand. 

Alone at Last 

J ack Pickford and Marilyn Miller 
would rather be scrappily married than 
happily separated. They don't like this 
East and West stuff, so after a trip to 
Europe this summer, Marilyn will ap- 
pear in another Zeigfeld show and Jack 
will make pictures in New York. Later 
Marilyn may go in pictures with the 
rest of the in-laws, which will be vera 
vera nice and much better than being 
a bride by correspondence. 

*u*l ,W AS1 1 '<■'•■ ' 

' .1 



From A. M. to. P. M. 

(Continued from page 35) 

4:35 Telephone ordered in August 
1921 is installed. 

4:50 Studio press agents deny all 

5:00 English authors gather for tea. 

5:30 Location cars return to Uni- 
versal City. 

5:31 6,798 actors try to cash pay 

5:45 Lines form in front of cafe- 

5:59 92 special traffic police go off 

6:00 Greatest traffic jam in history 
of Los Angeles. 

6:05 Movie ingenue, abandoning all 
hope of being invited to the 
Ambassador, decides to pay 
for her own dinner. 
















Charles Ray's butler announces 
that "Dinner is served." 

Another "second Valentino" sits 
down to answer his solitary 
fan letter. 

Curtain rises on "premier" of 
moving picture shown two 
weeks previously in New 
York and Tuskaloosa, Ala. 

Curtain rises on road-show that 
left New York in May, 1919, 
with original Broadway cast. 

Morning newspapers come out. 

Next day's evening newspapers 
come out. 

First husband of the evening is 

106 movie stars retire for the 

490 extra girls cavort in cafes 
for benefit of tourists. 

6 movie stars complain that wild 
and noisy tourists are keeping 
them awake. 

Automobile speeds down Broad- 
way at 45 miles an hour, un- 

Young girl tourist is mistaken 
for Viola Dana and never re- 

Midnight train for San Diego. 

Time for all good little boot- 
leggers to be in bed. 

Hurry call from roadhouse. 
Rupert Hughes shoots big night 

scene and calls it a day. 
16 movie ingenues explain to 
their mothers that they were 
only out with a bunch of the 
Will Havs retires for the niaflit. 

'llhis Mehj Slender 
~tyum ZrTOURS 

Bis Beautiful Woman *Y0U 

It is natural to be beautiful. Every woman is by 

nature beautiful. Only when artificial influencesinterfere 

does the human body, Nature's most beautiful product, 

lose its grace, slenderness, or symmetry. The delicious 

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one eats too much. Machinery does so much of our 

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rse, is disfiguring fat— yet underneath every stout 

fleshy figure lies the lovely slender figure that is 

yours — the beautiful woman that is you. 


Dr. R. Lincoln Graham, famous stomach 
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problem of counter-acting the fattening 
effect of modern methods of living. After 
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thousands of stout women who have called 
complete success. Most important of all, 
there is not the slightestelement of danger 
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Professional Con- 
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Any patient who is tak- 
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call at the Sanitarium. 
123E.89th St., New York, 
for special advice, or you 
may feel free to write 
fully concerning your 
case. Dr. Graham or a 
Stan! physician will give 
you professional advice 
without charge. 


No bother to make out a check or little packet of Neutroids arrives, de- 
money order; merely fill in and send posit purchase price with postman, 
this convenient coupon now. If you This money will be immediately re— 
haven't your pencil handy tear out the funded if you write us that you are 
coupon and send it later. When the not entirely satisfied with results. 

Dr. R. Lincoln Graham, care of The Graham Sanitarium, Inc., 123 East 89th Street. Dept.407, 
New York City:— Send me 2 weeks' treatment of Neutroids which entitles me to free professional 
mail consulting service and free booklet on Obesity. I will pay postman $2 (plus 15c postage) on 
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get a satisfactory reduction from this 2 weeks' treatment. 



Address Weight . 


/Wfou Reaching forthc (tnithl 


I'mlcr which Zodiac 
Sign were you born? 
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Were you born under a lucky star? I wil 
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Simply send me the exact date of your birth 
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Your astrological interpretation will be written 
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Do not fail to send birthdate and to enclose 
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in mailing. 

Write now— TO-DAY— to the 
ASTA STUDIO, 309 Fifth Ave.,Dept.C.S.,NewYork 


'practical Information all sex matters. 
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In 2 Months— 

French Woman Reveals Secret for 
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to Every Reader. 

"NOTHING EXTERNAL ever reduced me one single inch," says famous French Obesity 
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When vou read my book you will understand why DIETS, EXER- 
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For a limited time only I have made arrangements with the Scientific 
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pift I will send free to every one who 

I writes for it my special booklet on 
obesity — It shows you just what to do to 
reduce and it gives you the secret of a 
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Mme. M 

Send me one treatment of San- 
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"I Got Rid of 6 Pounds of Fat in One Day" 
You Can Do The Same 

Thousands of stout persons have testified to the wonderful results obtained from 
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Stories-Wanted by Producers 

A valuable money making field 

Try it! Mail us an idea, in any form, at onco for free 
examination and criticism. We Rive our honest services 
to amateurs who would convert their thoughts into 
inllnxa.No experience necessary. 

Free booklet sent on request 

Continental Photoplay Studio 

154 NassauSt., New York 

Suite 1112-14, Ocpt. B 

Kills Catarrh Germs 
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Wonderful French Discovery Succeeds 
After Everything Else Has Failed 

Thousands who have suffered from catarrh, 
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. Lavex ' is a French discovery, easily used by 
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accept this introductory offer today by simply 
sending your name and address to Mr. Smith. 

An Outline of 
Motion Picture Etiquette 

(Continued from page 45) 

knickers, belted coats, and two-toned 
sports shoes for the boys. At one time 
a girl appeared on a tennis court in 
sweater, skirt, and low-heeled shoes. 
She was frowned down, laughed at, 
by those who know. She never realized 
that low-heels were her undoing. Girls, 
profit by her mistake. 

A riding habit must be included in 
your wardrobe for week-ends. You 
don this for tea. It is hardly, the 
thing, however, to be seen on a 

Family Dinners 


SUALLY given on the occasion of 
Dad and Mother's wedding anniversary. 
All children and grandchildren should 
be present, also food in large quanti- 
ties. The children should just be them- 
selves. The baby must not neglect to 
smear its face with jam. It is not 
amiss for one of the little ones to spill 
the stew on Grandma's new silk' dress. 
One of the sons-in-law must balance 
peas on his knife while the rest of the 
company exchange nudges. A toast by 
the eldest son is always in good form : 
"Mother — God bless her." Mother, at 
this point, must not neglect to dab at 
her eyes. 

Carnival Time in Venice 

JLs attended largely by wives. You 
should not go with your husband — leave 
him, and the Jiild, at home. Go off in 
a gondola and enjoy yourself. Just 
before returning home assume an in- 
jured expression. You will need it 
for the reckoning scene. This, never 
ends tragically if you conduct yourself 
in the proper manner. Throw your- 
self upon a divan while your husband 
stands over you in a threatening atti- 
tude. Just then sonny will patter in in 
his little night-things and everything 
will be all right. ■■ 

Conduct for Shop Girls, Mission 
Workers, and Telephone Operators 

hen the young man with the derby 
hat enters your life, as he is bound to 
do sooner or later, permit him to see 
you home in his car. His father will 
call to tell you that you will ruin his 
son's career if you marry him. This 
should strike you as a good idea. 
Weep, and promise to give him up. 
When the young man calls, tell him 
you cannot see him any more, and why. 
If he is the right kind of young man, 
lie will scowl and say, "Father had no 





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Motion Picture 

right," and clasp your hands in his. 
It will be only a question of time be- 
fore the career will begin to crumble. 

The Errant Wife 

fter months and months of neglect, 
you may decide that your husband 
cares no longer. The thing to do then 
is to don a duster and a little hat with 
a veil. Never depart except at night, 
and by no means forget to write the 
letter. The form letter follows : 

Dear Husband : 

I am going away. Do not try 
to find me, as you will not succeed. 
May you never know the unhappiness 
you have caused me. Goodbye. 

Your Loving Wife. 

If you have a butler, give the letter 
to him. Otherwise prop it against the 
reading lamp. 

For Girls Leaving Home 

e do not recommend this course of 
action unreservedly, but at times it 
seems to be the best tiling to do. Select 
a stormy night — snow storm is to be 
preferred, but a thunder storm is almost 
as good. Never wear a hat, but fling 
your cape about you before going out 
into the night. Carry your clothes in 
a bundle or a box. Before leaving, 
pause before your parents' door and 
stretch out your arms. You may even 
lean against the door and sob, but be 
careful not to wake them. Once out- 
side, do not neglect to turn back and 
stretch out your arms again. After 
that the storm will have everything its 
own way. 




The foremost film authorities 

of America will tell you 

in the 





Containing complete story of , 
the origin and history of that 
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Can Learn 
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Tobacco Habit 


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{Continued from page 42) 

little immigrant heroine and Bryant 
Washburn for the stalwart hero. They 
needed a mother, and they chose Rosa 
Rosanova. They didn't realize they 
were choosing her for the star, but 
they were. 

Madame Rosanova, with all the 
wealth of her stage training, both in 
America and in Russia, endowed her 
small part with such pathos and feeling 
that the director enlarged her part, 
wrote in more scenes for her — in 
fact, gave her the picture. The love 
interest ? Superbly handled, particu- 
larly by Helen Ferguson. Yet Mine. 
Rosanova overtopped everything. 

He Stole His Chance 

ears ago Charles Ray was griev- 
ing his boy heart out over the fact 
that he couldn't get a chance to show 
his ability. He was an actor — he knew 
it. But, in tiny, unimportant roles, 
how could he prove it? 

Fate finally smiled upon Ray. She 
gave him the role of the son in The 
Coward, in which Frank Keenan was 
the star. It was a story of the Civil 
War, revealing the suffering of a proud 
old man wh6 sees his son lacking in 
courage. Keenan had the "fat part." 
Or he thought he did — until Charles 
Ray took it away from him by sheer 
force of fine acting. Ray was made 
overnight ! 

Other Famous Screen Thefts 

II here are at least two other famous 
cases of celluloid grand larceny. Re- 
member how Theda Bara first flashed 
across the film horizon? It was in a 
small role with Nance O'Neill in The 
Kreutser Sonata. Miss O'Neill was 
the star — until the picture appeared. 
Miss Bara's hit led immediately to 
the vampire role in A Fool There Was. 

The other famous instance centered 
about Florence Vidor. She appeared 
in a tiny role in A Tale of Tzvo Cities 
with William Farnum. It was such 
a minor character that she wasn't even 
listed in the cast. But the audiences 
centered their interest upon "the girl in 
the tumbril" and she was lifted to in- 
stant fame. 

Richard Barthelmess, too, ran away 
with a lot of pictures before Griffith 
noticed him and made him a star. Re- 
member how he galloped away off with 
Marguerite Clark's series of Bab 
stories? And how Thomas Meighan 
slipped away with many a picture before 
he was advanced to stardom? 

The Most Famous Case of Theft 

aciiT here we should list the one 
supreme case of silversheet grand 
larceny. We refer to the immortal 
theft of The Kid from Charlie Chap- 
lin. And the gay little bandit was no 
other than Jackie Coogan. 

Chaplin realized that the comedy 
would make Jackie. He told everyone 
sc in advance. But Chaplin is a great 
genius of the screen; fearless and un- 
afraid of competition. Besides, Charlie 
had come to love little Jackie. So his 
generosity went at least half way into 
the making of a comedy classic. And, 
of course, it lifted Jackie to supreme 

Rudie Was Notorious Bandit 


t wasn't any unusual thing for Ro- 
dolph Valentino to steal a picture away 
from the star. It was his usual pro- 
cedure. After his sensational success 
in The Four Horsemen and The Sheik, 
every feminine star on the Lasky lot 
would have given a week's salary to 
have Rudie for her leading man. But 
after they got him, and saw with tears 
how neatly he took the picture away 
from them, they would have given twice 
the sum to hear of his swift demise. 

Dorothy Dalton was starred in Moran 
of the Lady Letty. I'm telling you 
that here, because otherwise you might 
never have known it. The canny ex- 
hibitors just sort of neglected to men- 
tion Dorothy Dalton's name in the bill- 
ing, and blazoned Valentino's name in 
electric lights. Or if they had over- 
developed consciences, they announced, 





Dorothy Dalton. 

Beware of Hackathorne 

^ne of the best little stealers of 
pictures these days is young George 
Hackathorne, who suggests the Bobbie 
Harron and the Henry B. Walthall of 
younger days. Hackathorne has been 
running away with a lot of fil-ems 
lately. Doubtless you have noticed his 
hits in Mcrry-Go-Round and Human 
Wreckage. He certainly ran away with 
the individual success of Mrs. Reid's 
propaganda production. 

Another character player, Dial Pat- 
terson, stood out of one or two of 
Richard Barthelmess' pictures this year. 
Remember her bit in "The Seventh 


Is the Screen Afraid of Sex? 

(Continued fr 
Whereupon Madame pointed out 
that there are two ways of looking at 
sex. Much like the opposing points 
of view of two persons who might he 
discussing it. One of these persons 
will say "Sex" and will mean innuendo, 
sensuality, peep-holes and a cartooning 
of the vital instincts which are as 
true and as necessary and should be 
as frankly and normally treated as the 
equally necessary functions of food 
and sleep. 

Another person will say "Sex" and 
will mean frankly what he says, the 
creative functioning going on from 
the amoeba to the heirs of the First 

Strike at Morbid Curiosity ' • 

om page 37) 
cally. is not afraid. 

Instead of telling us that innocent 
little Daisy Dimple "went wrong" in 
order to pay dear, old mother's bills 
at the hospital or to buy her little lame 
brother a wheeled chair we should see 
the 'orrid truth about little Daisy, with 
the always inevitable consequences one 
way or another. 


No Lession Taught by Sex Evasion 


t is this last, frank, revealatory 
aspect of sex which Madame declares 
the screen fears. 

The screen should have on orgy of 
such sex material. 

Rend the skirts from the piano legs 
and deal morbid curiosity its death- 
blow. Or else dispense with it 
altogether. Abandon innuendo. 

Provocative pandering with sensu- 
ality is the danger-point. And it is 
this parody of the organic functioning 
of sex of which the screen, paradoxi- 

nstead of witnessing a cinema flapper 
entering an anomalous road house to 
the lilting strains of jazz never to reap- 
pear quite as she went in, but ever after, 
haloed with pensive peplum of pain 
we should be called upon to observe by 
what processes nature arrives at this 
sickly conclusion. 

No lesson is taught by an evasion of 

It is the fact of sex which the screen 

It is the fiction of sex with which, 
constantly, it whets the appetite of 
curiosity-mongers and half-feeds the 
amorous appetites of the audiences. 

Once tell the truth about sex on the 
screen and there will be neither curi- 
osity nor fear. 

Thus spake Petrova. 

Grand Larceny 

(Continued from page 102) 

Day"? With half a chance Miss Pat- 
terson will burn up the celluloid. 

Watch for Sid Chaplin 

idmebody once said that the only 
rival Charlie Chaplin has in comedy is 
his brother, Sid. Perhaps you think the 
statement is exaggerated. Charlie has 
kept Sid so busy being his manager 
that Sid has had little opportunity to 
display his talents. You remember him, 
perhaps, as the neighbor whose derby 
hat is used as a casing for a plum pud- 
ding in The Pilgrim. 

The wise ones in Hollywood are say- 
ing that Sid Chaplin, is purloining 

» Marshall Neilan's picture, The Ren- 
dezvous. It is a Russian picture, writ- 
ten by Madeleine Ruthven, and Sid 

^ affords the comedy relief as a British 
soldier. He looks as if- he had been 
lifted bodily from The Better 'Ole. 
Certain it is that Sid is contributing 
some rip-roaring comedy to an other- 
wise sombre story. 

Watch for Moses 


T seems highly irreverent to accuse so 
venerable a figure as Moses of stealing 

a picture, but that is what he appears 
to be doing. Theodore Roberts is a 
dominant figure in any scene. In fact 
his little playmates on the screen assert 
plaintively that he is too dominant, that 
he is too apt- to rub his famous nose 
or chew his equally famous cigar 
while they "have the scene." 

But as Moses, in The Ten Command- 
ments, Roberts is doing some remark- 
able work that stands head and should- 
ers above the acting of the other 
members of a fine cast, it is said. An- 
other triumph of brawn over beauty ! 

Barbara LaMarr fairly wrested her 
stardom from the reluctant hands of 
producers. They frowned upon her, 
because she would not bind herself 
with a long-term contract. But when 
they saw exhibitors feature the name 
of Barbara LaMarr over other mem- 
bers of the cast, in The Hero and Poor 
Men's Wives, they saw a great light. 
Everything Barbara achieved, she 
helped herself to. But now she is in 
such demand that she works in three 
pictures at one time. And dividing 
her energies thus, children, how many 
of those three pictures will Barbara 
steal? Quite right, Bobby, she won't 
steal any. 

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Does Gloria Believe It Herself 

{Continued from page 30) 

Just a Middle-Western Gal? 

Jo ut she did it very well. Behind her 
Benda mask— her curious eyes and the 
mouth that has been called mysterious 
—is there just a good business woman 
from the middle- west? 

There have been whispers that Gloria 
had become temperamental. That she 
carried her emotions around with her, 
in and out of focus.- Zasa, went the 
whispers, is such a darned emotional 
part that it- can hardly be played two 
days in succession. 

I watched and waited for an outburst. 
I have wasted precious hours in stu- 
dios hoping for a display of tempera- 
ment. I have never seen one. It was 
always just the day before that Elsie 
Ferguson threw something at someone. 

Stars and Their Temperament 


have heard that Blanche Sweet, in 
a justifiable irritation, cleared the top 
of a dressing table of its contents. That 
Mary Pickford once retired weeping to 
her dressing room because Marshall 
Neilan, then her director, gave her a 
good talking-to. But I am always a day 
too late. Perhaps, if I had taken Miss 
Swanson quietly aside and told her just 
how I felt about it, she would have 
given us something to talk about. As 
it was, she spoke of such things as the 
modern woman. 

thing in her arms; followed various 
attendants. The parade proceeded to 
the throne. Zasa held out sparkling 


Gloria and the Modern Flapper 

v3 he is. much abused. I believe she 
is more wholesome than her mother or 
grandmother. . The things they longed 
to do and dared not, she does naturally. 
She is herself. Her cigarettes, her 
passion for Jazz and speed, are simply ; 
little symbols of her : Urge for expres- 
sion. I see the psychology of it— one 
of the: results of war 1: Women had 
faith, and waited and prayed for their 
sons, sweethearts, husbands, brothers, 
who often did not come back. Now 
they have felt the reaction. They have 
lost some of that faith. They seek 
relief in action. And she is none the 
worse for it, that I can see." 

It was then that what seemed to be 
a small parade passed through the set. 
Everyone waited — -if not with bared 
heads, still with bated breath. Came 
a correct nurse, shearing a white, fluffy 

The Swanson Baby 

Ly baby," she cried. 

It was just like a scene from a play. 
1 expected director Dwan to call 
"Camera" at any moment. And the 
sub-title would read, "The great actress 
paused in her make-believe and became 
— just a mother." 

Gloria the Second was made to stand 
upon a chair. She surveyed the ador- 
ing group about her and. ducked her 

"What," . asked Gloria the First, 
"does my baby think of mother all 
dressed up like this?" 

Her baby looked at mother and made 
no answer. 

"Adorable !" gurgled the group. 

Gloria II Is Two Years Old 

- JL he LiTTi.R Swanson-Somborn is 
about two years old now. She has eyes 
like her mother's as to color, but they are 
not in the least oriental— yet. Th ev 
are just wide, infant's eyes. She has 
a mouth, and a nose, and light hair. 
It may have been an off day in the 
nursery, but it did seem that Gloria II 
was a bit bored with it all. Her life 
is practically her own. She never poses 
for publication. Her mother believes 
a baby's place is in the home; that if 
Gloria wants publicity when she's old 
enough to know . her own mind, she 
shall have it, but not before. 

"She's been crying all day," remarked 
her nurse. 

"A-a-ah," murmured the sympathetic 
group; ; ; >f v — : ':'•'' 

• Living in Norma' s House 

JL. he Swansons are installed in the 
house at Bayside, Long Island, which 
belonged to Norma Talmadge and Joe 
Schenck. : After the Swanson place in 
California, it is probably 7 little more 
than a rude shelter. But Gloria and 
little Gloria must put tip with it for 
two more pictures. The next, to fol- 
low Zasa will be a costume affair. 
. Red on the eyelids; by the- way, is 
a detaiL of the Swanson make-up. It 
helps to give her eyes that inscrutable 
expression which has innocently caused 
so many of our home girls to acquire 
lasting squints. 



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Finding s Xhe 
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JlongSought Secret Vital to 
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/His! t'lui! spring should vanish with the rose! 
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■ — Omar Khayyam. 

A SECRET vital to human happiness has been, dis- 
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This newly-revealed secret is not a new "philosophy" . 
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The peculiar value of this discovery is that it removes 
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These difficulties have caused untold unhappiness — fail- 
ures, shattered romances, mysterious divorces. True 
happiness does not depend on wealth, position or fame. 
Primarily, it is a matter of health. Not the inefficient, 
"half-alive" condition which ordinarily passes as "health," 
but the abundant, vibrant, magnetic vitality of superb 
manhood and womanhood. 

- Unfortunately, this kind of health is rare. Our civili- 
zation, with its wear and tear, rapidly depletes the organ- . 
ism, and, in a physical sense, old age comes on when life 
should be at its prime. 

But this is not a tragedy of our era alone. Ages ago 
a Persian poet, in the world's most melodious epic of 
pessimism, voiced humanity's immemorial complaint that 
"spring should vanish with the rose" and the song of 
youth too soon come to an end. And for centuries before 
.Omar Khayyam wrote his immortal verses, science had 
searched— and in the centuries that have passed since 
then has continued to .search— without halt, for the 
fabled "fountain of youth," an infallible method of 
renewing energy Tost or depleted by disease, overwork, 
worry, excesses or advancing age. ... 

Now the long search has been rewarded. .A "fountain 
of youth" has been found! Science announces uncondi- 
tionally that youthful vigor can be restored quickly and 
safely. Lives clouded by weakness can be illumined by 
the sunlight of health and joy. Old age, in a sense, can 
be kept at bay and youth made more glorious than ever. 
And the discovery which makes these amazing results 
possible is something any man or woman, young or old, 
can easily use in the privacy of the home, unknown to 
relative, friend or acquaintance. 

• The discovery had its origin in famous European 
laboratories. Brought to America, it was developed into 
a product that has given most remarkable results in 
thousands of cases, many of which had defied all other 
treatments. In scientific circles the discovery has been 
known and used for several years and has caused un- 
bounded amazement by its quick, harmless, gratifying- 
action. Now, in convenient tablet form, under the name 
of Korex compound, it is available to the general public. 

Anyone who finds the youthful stamina ebbing, life 
losing its charm and .color or the feebleness of old age 
coining on too soon, can obtain a double-strength treat- 
ment of this compound, sufficient for ordinary cases, 
under a positive guarantee that it costs nothing if it fails 
and only $2 if it produces prompt and gratifying results 
In average cases, the compound often brings about amaz- 
ing benefits in from twenty- four to forty-eight hours. 

Simply write in confidence to the Melton Laboratories, 
818 Melton Bldg., Kansas City, Mo., and this won-, 
der .restorative will be mailed to you in a plain wrapper. 
You may enclose $2 or, if you prefer, just send your name 
without money and pay the postman $2 and postage when/J 
the parcel is delivered. In either case; if your report aftertl 
a week that the Korex compound has not given satis- 
factory results, your money will be refunded immediately. 
The Melton Laboratories, are nationally known and thor- 
oughly reliable.; Moreover, their offer is fully guaranteed, 
so no pne need: hesitate to accept it. If you need this re- 
markable scientific rejuvenator, write for it today. 

Miss Marilyn Miller, scar of 

Ziegfield's musical comedy, 



"And you can study under my personal 
direction right in your own home. " 

FEW people living outside of New York, 
Chicago or the great European capitals have 
the opportunity to study dancing with any of 
the really great masters. And the private, personal 

instructions of even average 
teachers range upward from 
ten dollars an hour. 
But now, the famous Sergei 
MarinoS has worked out a 
system of home instruction. 
You can learn classic dancing 
in all its forms — interpretive, 
Russian, ballet, aesthetic, Greek 
— at a mere fraction of the cost 
of lessons in the studio. 

A Fascinating Way 
to Learn 

It is so easy and so delightful. Just 
put the record on the phono- 


'Dancing Costume, 'Phonograph 
'Records, Complete Studio Outfit 

A dainty costume designed so as to 
permit free use of the limbs, ballet 
slippers, everything you need to help 
you with your lessons comes FREE 
with the course. Simple charts and 
beautiful photographs illustrate 
every lesson while phonograph rec- 
ords and simply worded text teach 
the essential points of technique. 
You can learn to dance, as you have 
always longed to dance; and your 
lessons will be pleasant and easy. 

graph, slip in to the dainty little dancing costume (fur* 
nished free with Course) and you are ready to start. 

And guided by the charts, the photographs of MarinoS stu- 
dents and the easy text, you master the technique of the dance. 

Charm and Grace 

The natural beauty of the body is de- 
veloped, an exquisite grace and flexibility 
cultivated by correct training in classic 
dancing. For better health — for greater 
beauty; for poise; for slenderness; dance! 

As a means of developing grace in chil- 
dren, dancing is unsurpassed. And with 
my method, mother and daughter can 
grow graceful together. 

For the theatre — vaudeville — the movies 
— civic and college pageants — for private 
and social affairs — everywhere the dancer 
is in demand. Startling salaries are paid. 
And those who can dance for charitable 
entertainments or for the pleasure of their 
friends quickly become social favorites. 

M. Sergei Marino ff. 

School of Classic Dancing, 

1924 Sunnyside Ave, Studio 13-17 Chicago 

Please send me FREE portfolio of art plates and 
full information abour your home study course 
in Classic Dancing. I understand that this is 
absolutely FREE. 




Write to Sergei MarinofF — Today! 

Everyone interested in dancing should write to Sergei Marinoff at once 
and get complete information concerning his splendid system of home 
instructon in Classic Dancing. Anyone can learn by this method. M. 
Marinoff will accept any pupil — beginner or professional— who is 
sincerely anxious to learn dancing. Find out more about this remark- 
able system of training. This information is free. Send the coupon. 

M. Sergei Marhroff-fSchooloi Classic Dancing— "SSEHfiFcSSS} 



For you, Madamq^ 

—a new secret of 
charme Parisien 

Of the toilette of Madame, Paris has rightly 
said: "It is only the details which matter, 
but they must be perfect." And those Pttrisi- 
ennes of the type one sees at Longchamps 
and wherever fashion gathers, would send 
to the American ladies this message: 

"In Paris we select, with what care, a 
single scent. Each of our articles de toilette 
bears this same French fragrance. The one 
odeur we have made our own, breathes 
gently through our entire toilette. " 

Naturally, then, and with so great con- 
fidence will the American ladies turn to 
Djer-Kiss — the parfum masterpiece of M. 
KerkofF. For does not each of the Djer- 
Kiss toiletries bear the same odeur captivante 
of Parfum Djer-Kiss itself? The Parfum; 
Toilet Water, Face Powders, Talc, Sachet, 
Soap and Rouges — all are French, adorably 

May we ask that Madame look over her 
table de toilette. If any of the Djer-Kiss 
Specialties are missing, do obtain them this 
very day. Do achieve, through the purchase 
of the Djer-Kiss Specialites, the secret of this 
French harmony of the toilette. 

Send for M. Kerkoff's 
new sample paquet 

A new paquet of Djer-Kiss samples, con- 
taining Parfum, Face Powder, Cold Cream 
and Vanishing Cream, will gladly be 
mailed in return for merely 15 cms. 
Address Alfred H.Smith Co.30\Vcsc 
34th St., New York City 

Djer-Kiss CREAMS! Cold Cream and 
Vanishing C 'am both are fragranccd with 
Parfum Djer-Kiss itself. Fairy aids, indeed, 
to the beauty of Maaame's complexion. 
How needful the warm summer through ! 

Djer-KissFACE POWDERS! Fragranccd in 
France, they are, with Monsieur Kerkoff's 
masterpiece — Djer-Kiss., So soft, so pure 
and so approved of fashion. 


At the Longchamps races 
one may mingle ttilb 
Princes. Dukes and Dm b- 
esses— the elite of u.-rld 


iMaitc in J-nmcc. 


These specia litis — Rouse. Up Rouge, Compacts at/it Creams— -blended here 
with pure Djer-Kiss Parfum imported from Prance 

L'ooperstown, N. Y. — Xi-w York City.