tfl OCTOBER 1QQ5 dPRICE Q5 CENTS &
GREENLAND
C ISA I RE- /WINDSOR
^LAIRE.Wl'NDSOR . * .^ - T f
moon i^-Alrs-Rpdolf
¥ Mm I VALENTIN
KOT6X
•'-
L
* >
Ail Important Part of the Toilette
Few new ideas have ever met with such inscanc
approval, such quick success as Kotex,
Only three years since its introduction and yet
women everywhere know and appreciate this
wonderful sanitary pad
Kotex forms a new habit, meets most exacting
needs, solves a difficult laundry problem. Com-
fortable, convenient, soft, light, cool, obtainable
everywhere in stores that serve women, and easy to
dispose of by following simple directions found in
each box.
Kotex is made from fine gauze and Cellucotton,
said by scientists to be the most perfect absorbent
material — much more absorbent than ordinary
cotton.
Kotex is instantly available. It constitutes a new
convenience, a new economy.
Ask for Them by Name
licgtilttr sisc
12 for 65c
Ilttufiittil nize
6 for 45c
(Additional Thickness)
Kolexcabincts a re new being
distributed in wotnoi' s rest-
rooms ev.ry-ilicrc — hi If Is,
office build iiigs.resti! iirnnis,
thsutres, mid other places —
from which may be obtained
one Kotex with fa/0 safely
pins, in plain wrapper, for
10 cents.
Copyright ltu.1, CeUueotton J'r<*lttct.* Cima/tii'V, 1&8 IV - Jack/ton Bo'tfcvmd. Chicago,* $t Chambers SI., .Vru- Tt
Faetw fat nt A << nan, li vt.i ( BRosi.riri (.flic*:, .Y». \3 At. AWxat'drr St., JlwtiT'ut.
Inexpensive, comfortable, hygienic and Safe ■ — KOT6X
I
.ijk
gCREENLAN©
Latest FoxTiiots
- i
i
, FOX TROTS}
f w Carolina Atf am my,
9 Swingin f Down the Lane,
3, Yes! We Have No Banana:
4 Bambalina.
S. Wild Flower.
fi. Barney Google.
7. Carolina in the Morning.
0. Who') Sorry Now?
U.
IS.
16.
Mr. Gallagher and Mr. Shean.
1 L . l. c Me.
parade of the Wooden Soldier:
Sun Kiit Rowe.
You Know You Belong to Somebody tit*.
WALTZES}
Lota Sen J i a Liltle Gift Of Rozri.
Red Moon.
Mellow Mao A.
Sensational Bargain!
HERE is the greatest phonograph -record
bargain ever offered ! All brand new rec-
ords, right straight from factory to you!
The very latest Broadway hits — the most popu-
lar dance music of today. All New York is danc-
ing to these wonderful, catchy, swingy Fox Trots
and Waltzes. Eight full size, ten -inch brand new
records which play on BOTH SIDES, giving you
SIXTEEN complete selections, PLAYED
BEAUTIFULLY by the most wonderful
DANCE ORCHESTRAS you ever heard! A
wonderful collection of latest hits — ALL FOR
ONLY S2.9S. Never before such a bargain in
up-to-the-minute records.
SEND NO MONEY !~
^■Try these records for ten days in your own home. Xote the beauty
of recording, the catch iiiiss of the tunes, and the wonderful volume
and clearness of tone. Send no moncv now — just give postman S2.98
plus postage, on deliver}-. If not delighted with your bargain return
the records and we will refund money and pay the postage BOTH
WAYS. This low rate made possible by manufacturing in enormous
quantities and selling direct to users,
DO NOT WAIT! WRITE NOW
THOUSANDS OF SETS ARE BEING ORDERED
Mail Coupons or Postal to
National Music Lovers, Inc.
3S4 Fourth Avenue Dapfa 21510 New York City
******^am%Wk%%%%%n%%%%%%%%Wk%Wm mmmm tttt%t%*%%mtmmmmmm%mmmmWkW
I
NATIONAL MUSIC LOVERS, Int
Dcpt. Z15IQ. 354 Fourth Avenue, New York City
flea*? send me for ten day** trial. PHB collection of Ifi Fox Trots
nod WaJunuD ei^'it do ublr - face (m-inch trcord** luaranteed equal
to any record! made. f will pay One pwim.-tn only 33.98 plus pou-
nce on arrival. This is not t« br ramidierrd a purchase, however*
Ifllie record! do not come up to my erprctniioni* I refe-rwe th* ri*ht
to return them at any time within 10 day* and you will refund my
money.
Note: Mark X here it you aUo dcrirc Fniemcd Record Album at
irpedial price of only 69c. (store: price *l-00-> Attractive and
durable: bold* cicbt record*.
1
SCKEEN3LAND
THE MAGIC NAME IN ENTERTAINMENT
THE WORLD OVER
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
,'; FAMOUS P LAYERS- IAS KV CORPORATION
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 !
nd
a yiagazine of Young Ideas
<LSl9pJ>
Publisher:
Myron "Label
Editor:
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
FEATURES OF THE MONTH
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
DEPARTMENTS
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
C&&
S035>
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.
SCEEEMLAHltt
Announcing
A NEW MAGAZINE
Screenland, Inc., publishers of Screenland Mag-
azine, announce the first issue of a new national
magazine— REAL LIFE STORIES.
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
STUDIOS and
ADDRESSES
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.
EASTERN STUDIOS
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
Ml (ONGOLEUM RUGS
1VU11U IKS than the
►rice ©f ONE
TRIPLE GUARANTEE—
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 *»''"
INN
Other
Furniture
Bargains
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
Free
Catalog
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
Gatatog
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
lPi828l.Mau.ltern^
_— __ 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_,
Citu-
jma w oa mo >cur uttit ft** rujmitu
SCREENLAN©
r
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.
ASSOCIATED FIRST NATIONAL PICTURES. INC. pr^ms
% HUNTRESS"
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
^
)&3i^-Z\0^
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 lon.nr, nuncl uptown
ami iwJrftcdimo a bun in the back. Just as you BW.lt 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
FRANCES ROBERTS COMPANY
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
iife.
"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
J
SCHEEM1LAN©
UJlNetfYo
$3^) aiihe mselike
IPP complexion of
^ the famous Spanish
beaut}/
mir
Even blase New York marveled 1 When this dainty
Seriorita who had come from sunny Spain to make her
American film debut, stepped oil the liner, spontaneous
exclamations of wonderment came from the welcoming
throng. At the docks — hotels — and studios — all wondered
at the saintly beauty of the complexion of this great Spanish
film star.
«. i i s >- - L J ■ -1 1 ■.' ■ S later, she !.n.i,:ht:i,:l> Tepllud:
''Since childhood I Imvo used unty cocoii
Ltnlpt— the, fa.-.isri.li' cosmetic of SponJ^li
i!i-:niit^. Hut — since coming Lo AniL'tlca I
havrj found a lli'W MU\ bAttSE Iviy 10 n--
my bef oveti ewoa buit er. Now 1" m Bern
will iout Uoco-Blaoni ( Cocoa - Butter) Crema.
"I i-.<i:i.i talk for haunt ,1=1- • i ex Coco-tltonm
{Cocoa- Ifoltcrl Cranio. It fairly melts Into
tl]4* tkhl', iitunt^iiiri the cells and allmulatlnic
<$
0O7<
COCOA -BUTTER
Giifes agloWmg
complexion
circul&tlmi. It win brlttjg tliir plow of htaltli
to -.-nir ■.■!!>■! ;.-i hs it h.i . to mine.
"1 mnt nil American Women lo know
of ilia uniLi|i;rj it litis in- rf armed for mo, s"
1 Itaiy Imtocfid ill,- maker* iu make a •-;■ = - ■.- 1 :* i
Introductory offer, reducing price from 75c;
lo &rjc tli ill Ml Screen I ami'* readers m&y set"
for ihLiHuulyei the waiLderfLd rydulu/*
. The singly at thin price li limited, ita
order your Mr today, money Luck It nor
satisfactory.
Coco-Bloom Laboratories
6400 Kinsman Road
Cleveland, Ohio
©ttart $fjoto
'"PHESE studies set new
x standards of grace and
beauty for art work. They
were made for artists, sculp-
tors and students.
Book of 28 reproductions,
$1.00.
Six sets — A to F — rarely
beautiful photographs, eight
photos to a set now ready.
Sets 8 jl 10 size, £3.50 per set
Sets 5x7 size, £2.00 per set
Single prints of picture
shown £1.00
© 3£ (TWIRRORj
TRIART PUBLISHING COMPANY, Inc.
416 West 31st Street New York City
'9
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."
M
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."
10
SCKEEMLAND
The Most Daring Boole
Ever Written!
Elinor Glyn, famous author of "Three Weeks," has written an
amazing book that should be read by every man and woman
— married or single. "The Philosophy of Love" is not a novel
— it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read below how you can
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TJ17ILL you marry the man
"" you love, or will you take
the one you can get?
If a husband stops loving lus
wife, or becomes infatuated with
another woman, who is to blame
— the husband, the wife, or the
"other woman?"
Wil I y ou win th e gi rl you want,
or will Fate select your Mate?
Should a bride tell her husband
what happened at seventeen?
Will you be able to hold the
love of the one you cherish — or
willyourmarriageendindivorce?
Do you know how to makepeople like you?
IF you can answer the above questions —
if you know all there is to know about
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What Do YOU Know
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DO you know how to win the one you
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What Every Man and
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—how to win the maQ
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■ — why "pettina parties"
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• — why many marriages
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home n.Rhts.
— thine.3 that turn men
acainst you.
— bow to mnkc marriage
a perpetual honey-
moon,
—the "dan Her year" of
married life.
■ — how to i unite love —
haw to beep it namEmr
—how to rekindle it
[ f burnt out.
— how 10 cope with the
"hunting instinct" in
men.
— how to attract people
you like.
— why some men and
women are nlways lov-
able, regardless of age.
■ — are there any real
C round s [ or dl voree ?
— how to Increase your
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— how to tell II someone
really lovvs you.
— thinsa that m:ikL: a
woman "cheap" or
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Do you know how to re-
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know the things that most irri-
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Can you tell when a man really
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make women like you? Why do
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elinor GLYN comethoughtlesshusbandssoon
The Oracle of Love" a f ter ma rriage— and how can
the wife prevent it? Do you know how to
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In "The Philosophy of Love," Elinor
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is spared. She warns you gravely, she sug-
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"The Philosophy of Love" is one of the
most daring books ever written. It had
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lem had to be faced with utter honesty,
deep sincerity, and resolute courage. But
while Madame Glyn calls a spade a spade
— while she deals with strong emotions
and passions in her frank, fearless man-
ner — she nevertheless handles her subject
so tenderly and sacredly that the book
can safely be read by any man or woman.
In fact, anyone over eighteen should be
compelled to read ; "The Philosophy of
Love"; for, while ignorance may some-
times be bliss, it is folly of the most danger-
ous sort to be ignorant of the problems of
love and marriage. As one mother wrote us:
"I wish I had read this book when I was a
young girl — it would have saved me a lot
of misery and suffering. "
Certain sliallow-minded persons may
condemn "The Philosophy of Love." Any-
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is. But Madame Glyn is content to rest her
world wide reputation on this book — the
greatestmasterpicceofloveeverattempted!
YOU need not advance a single penny
for "The Philosophy of Love." Simply
fill out the coupon below — or write a letter
— and the book will be sent to you on ap-
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ook to your door — when it is actually in
your hands — pay him only $1.98, plus a
few pennies postage, and the book is yours.
Go over it to your heart's content — read
it from cover to cover — and if you are not
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WARNINQ!
The publishers do not euro to eond "The Phi-
losophy of Lovo" to Anyone Ubder eiehteerrr
years ol age. So. unless you are over eigii teen ^
please do not fill out the coupon below.
back in good condition within five days
and your money will be refunded instantly.
Over 75,000,000 people have read Elinor
Glyn's stories or have seen them in the
movies. Her books sell like magic. "The
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NOW. Mail it to The Authors' Press,
Auburn, N. Y., before it is too late. Then
be prepared to read the most daring book
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I The Authors' Press, Dept. 177 , Auburn, N. Y. |
1 PI ease send me on approval Elinor Glyn's master-
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man delivers the bonk to my door. I will pay him I
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ALMA RUBENS
By Alfred Cheney Johnston
NITA "NALDI
By Edward Th«ter Monroe
PHYLLIS HAVER
By Edwin Bovver Hesber
GLORIA SWANSON
By Willi j\m Eolinton
SQREENILANB
6
Romantic
Age
in the
Movi
ovies
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
Fat.
F
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, ..
T6
SCREENLANB
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.
T.
Hoiv "Passion" Started It
/
- 5 ~'J* >w -.
'5*
' :' 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
Pictures."
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
over.
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
startling.
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)
,
SCEEENLANEJ
17,
(^Hundreds of Thousands of
Dollars Are Annually
Thrown Away in Pictures
because of Ignorance. Van-
ity and Wilfulness.
is
THIS
WASTE?
By
HELEN STARR
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
SC1EENLAND
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
is
SCMEENLAN©
m
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
statement.
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
street.
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
day.)
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(k
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
ie
DVENTURES
By John Held, Jr.
SCMENLAND
21
And, awakening,
found she had
dozed off in the
caff pasture.
22
SCREENLAN©
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."
s SC1EENLAND
23
O. Mrs. Valentino says there is
no secret of love and matri-
mony—and that Rudy's film
personality is a false one.
RODOLPH YALENTINO and MARRIAGE
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
Wales.
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
Jokes
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
that.
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
California
and they
laugh at
and
year,
time
still
each
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.
24
SCEEENLAND
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)
SCKEENLANB
25
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."
WIDE WOULD
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.
©UNDERWOOD AND,
UNDERWOOD
26
j?
SCMEENLANH)
B.
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
e
Q:epe de chene
Revolution
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.
*7
<L The Photoplay
has changed the
taste of America
in what ourpre-
movie land once
called "unmen-
tionables"
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.
E
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)
28
SCEEENLAND
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
SCREENLAND.
CAMPBELL STUDIOS
Delight Evans
2§
1
P mm. - m
jJg&BP-''--- ''"IF ^^S; :-:"-'-"^Bk
■■ Rtu.
■ -^Bl • -.- : 'V- '■'
■ MB ■
I
&_S .-_!"^. . ",.-_- _^_ „._„.----__ ___^^^ _.".
fl^ Behind her Benda Mask,
is Miss Swanson jus! a good
business -woman from the
middle-west?
C
(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
DOES
Gloria
Relieve It
Herself?
f^ Gloria and her des-
tined -to-be- cele-
brated wig, as they
appear in Zasa
opposite H. B.
Warner.
By "Delight Evans
30
SCEEENLANB
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
Lo
"I believe ihe t modern flapper is more wholesome lh.au her
mother or grandmother," says Gloria. "The things they
longed to do and dared not, she docs naturally. She is
herself."
lovely young things, presumably from the
New Amsterdam, stood about waiting to be
called.
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
JC/LINC
>: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."
■
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■
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»■. T
REX INGRAM
By Alfred Cheney Johnston
AUCE TERRY
By Alfred Cheney Johnson
*
MARTHA MANSFIELD
By Alfred Cheney Johnston
r
SGREENLANID)
3. e
&?%
rom
A. M.
P.M.
IN HOLLYWOOD
6:00
6:30
7:00
7:01
7:15
8:00
8:30
9:00
9:15
9:30
9:45
10:00
12:00
12:05
12:06
12:30
1:00
1:15
1:16
1:30
1:31
1:35
1:50
1:55
1:57
2:00
2:15
Morning
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.
10:30
10:50
10:59
11:00
11:02
11.15
11:30
11:45
Noon
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.
12:31
12:35
Afternoon
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
bureau.
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.
2:30
2:45
3:00
3:05
3:15
3 :30
3:31
3:33
3:34
3:35
3:36
4:00
4:15
4:30
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
Negri.
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-
citement.
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
37
THE
SCREEN
AFRAID
I OF SEX?
By Gladys Hall
W
HY IS
the
screen afraid of
We put the question naively.
Laughter.
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
by."
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
<unr
-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}
38
n.
■ ■ ■ . ■ '■
; -;':'-^ :''■-■-■';'■ V
^ljs»3SOTr>
SCIREENILAN1B
{^Shattering Illu-
sions About Our
Dear Stars is
Hollywood's
Favorite Indoor
Sport.
H,
.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.
But—
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
station.
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.
SCKEENLAND
39
/ lURSTING
/3 UBBLES
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!
til
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 — '
apologetically.
"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
doubles.
Then There's Alice Terry's Hair
A
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
cure.
Alice ^ Terry wears a wig — even in private life.
This, hozvever, is the wig she adorns in
"Scaramouche"
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
Lc
/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
gymnastics.
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 %)
40"
"He Stole thePicture!"
is the one Glorious
Phrase in all Screen-
dom — FamousThefts
from Charles Ray to
Ernest Torrence.
T
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
act!
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
roles.
RAND
I
/
.Xarceny
By Eunice Marshall
be he hero, villain or 'comic relief,' is the man for our
money.
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
E
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.
*42
SCREENLANB
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-
light.
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
over.
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.
SCEEENLANB
43
THE EDITOR'S PAGE
W IIAT do y° u think of this issue of Screenland?
In it you will find a number of writers new to Screen-
land.
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
photoplay.
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
magazines.
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!
JL ICTORIALLY SCREENLAND will
be the most attractive magazine of
the films. The foremost photo-
graphers in this country are now
taking pictures exclusively for its
pages.
T
•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-
strong.
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-
mains.
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. *■
44
5-UMltf
Perfect behavior at orgies: All the Quests
should fall yrace fully into reclining attitudes.
A
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.
SCEEEN1LAN©
AN OUTLINE OF
otion Picture
Gtiquette
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. ;
T,
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
attention.
«HWW
■9
45
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.
A
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
scenes.
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)
4
46
SCREENLANB V
fl^The famous comedians of the
Vollies invade the screen ivith
a film comedy.
4
T&M.
0WJ"
P
ribsolutely, Air. Kjallagher !
Positively, Air. ohean!
By HARRIETTE UNDERHILL
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-
scrapers.
"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. . . .
I
47
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.
Shean.
"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.
48
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.
SCREENLANID)
She
Comes
From
Iowa
«&£
* SC1EENLAKD
49
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
rings.
PANEL
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
director,-
"50
SCEEENLANB
F.
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
commenced."
Reginald Denny a Benedict
L,
' 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."
BALI.
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. .»
IFynn
& SCREENLANB
THREE OF THE YEAR'S BEST FILMS: THE COVERED WAGON, DRIVEN AND BLOOD AND SAND
A.'.-.-ji^-^ . J4-
CREEN WEAR in REVIEW
np
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
Wagon"
3. May Marsh in "The White Rose"
4. Emily Fitzroy in "Driven"
5. Rodolph Valentino in "Blood and
Sand"
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.
Fair"
An Interesting Year
A,
.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
fallacy.
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.
KMENLANB 53
THREE OF THE SEASON'S LEADERS: ROBIN HOOD, THE PILGRIM AND SAFETY LAST
By Frederick James Smith
Artificiality of Our Films
"The Covered Wagon"
"Blood and Sand"
"Driven"
"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
7.
8.
.9.
10.
n.
12.
'Robin Hood"
"When Knighthood Was in Flower"
"Peter the Great"
"Merry-Go-Round"
"Where the Pavement Ends"
"Down to the Sea in Ships"
that. It was vital — and it wasn't
overdone.
Away-from-Studio Hits
s<
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
IBM
54
When Knighthood Was in Flower, Where the Pavement Ends and Peter the Great w
ERE SIGNIFICANT
"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
Ti
. 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
I
n A directorial way, Fred Niblo and Rex Ingram alone
NITA NALDI, MAY McAVOY, ANNA MAY
r
I "SCREENLAN©
Interesting events were Merry-Go-Round, Down To the Sea in Ships and Nanook of the North
55
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,
WONG AND CHARLES RAY DID FINE BITS
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
triumph.
Niblo's "Blood and Sand' :
F.
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-
formance.
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!
And
YET
They
Censor
THE
Movies
c#
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.
GFOKG
[
SCKEENLAND
57 •
Mac Daw, another charmer of the
Zie'gfeld follies.
SCHWABZ
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
smile.
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
SCREENLAN©
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
interlude.
Los Angeles, Cal.
— Haccl Keener,
who is the dancer
in Maurice Tour-
neur's "The Brass
Bottle," displays
her brand new
bathing suit.
OUR
OWN
NEWS
REEL
Los Angeles, Cal. — Holding hands but nothing
serious, y' know., Agnes Ayers and Casson Fergu-
son at the Lasky call board.
1
59.
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.
SCREEN
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 «
SCEEENLAND
61
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.
62
SCEEENLAN©
A
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
mind.
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-
tence.
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
1
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
NEW HOPE
FOR THE
AMERICAN
PHOTOPLAY
BY
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-
office.
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
theatre.
SCKEENLAND
63
C Is Victor
Seastrom,
the Swedish
"Director, a
~New Force
in Our
World of
thednemaP
Little Theatre Film
Movement
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)
-64
SCEEENLANto
S
GRENBEAUX
. 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
strolling.
IARY BETH MILFORD
(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 &
(M/ilady;
ashions
SQREENLANB
65
.*
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.
BALL,
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
SCEEENLAND
UNDER
Italian
SKIES
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
role.
PHOTOGRAPHS BY ABBE
-* SC1EENLAN©
r
67
C The public dearly loves
to sympathize.
I
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.
68
Yhree
Big
ocreen ,
NLoments
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
Hood."
^GREENLAND
;
69
1
E^^kw^l
P - i- i
-
<
"'- ? *"7
-=^_
X
'■ - 1
K|.l if
!*"**« L
1 i
4M
>, .•hmmhIME
. ; : ; |>#t
• 1
"*^9W8(BI
r
is
\
s ^^"*
^
» ■ 1
M
1 £$ '^ .• i
-
W*am
<• 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.
^Q
SCKEENLAN©
Stars
In
Embryo
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
pants.
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
diploma.
-■* ^GREENLAND
/i
By
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."
J
n
SCKEENLAN©
istening
ost
T
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
department.
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
beach.
I
SCKEENLAKB
73
By CONSTANCE PALMER LITTLEFIELD
AND EUNICE MARSHALL
'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
tale!
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
C.
E,
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
feet.
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
Alma,
'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
f
SCEEENLAN©
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-
maurice.
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
T,
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-
dences.
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 !
75
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
36
SCEE1BHLAN©
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
dinner.
"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!'" ...
SCiEEHLANP
77
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.
78
©GREENLAND
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
debut.
PHOTOGRAPH BY BALL
m SCREENLAND
79
/ 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.
FOOLS
GOLD
The Diary of an Extra Girl
The Diary Qontinves From Yebrvary 1923
Could I Roller-Skate?
nr
((
I,
.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
Drive.
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
80
SCMEEMLAND
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."
I
"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.
F.
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.
^ SCEEENLANB
81
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
tonight."
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.
N,
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)-.
82
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.
T
'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
ones."
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
eyes.
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)
^SCIREENLM©
83
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
m
^j.uN,aT exactly. Tt is_ more like a
'trust."/';
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
Photoplay
(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
minds.
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. _ . :
84
SCKEENLANB
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
schedule.
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
growth.
In the meantime, however, it's going
to be pretty tough for the Hollywood
barbers.
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
SCREEHLAHB
85
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.
n
QJ
Xouth
WiS Be
erved
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."
SCIREENLANIU.
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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
been.
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
glanced."
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
I
*-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
then
Elmer Harris offered Dorothy Gish
the lead in his new picture, at the
miserly wage of $30,000 for four weeks
labor.
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
L„
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)
SCMSENLANB
LIONEL STRONGFORT
Dr. Sargent, of Harvard, said of me,
"Strongfort is untiucstionably the finest
specimen of physical development ever
seen."
STRONGFORTISM
Strongfortism is the science of buoyant,
alive, vigorous, health, developed after
tzventy-five years of physical and health
teaching by me. I developed myself to be
one of the strongest and healthiest men the
world has ever known. Dr. Sargent, of
Harvard, said of me; "Strongfort is un-
questionably the finest specimen of physical
development ever seen." I did this for
myself through natural means — nature's
own way. For twenty-five years, I have been
teaching others how to do the same thing
for themselves; how to become physically
able, without the use of pills, or dope or
drugs of any kind; without the use of fads
or fancy methods or expensive contraptions;
without interfering with your occupation;
entirely in the privacy of your own room.
My way is the scientific way, nature's own
way — you follow my simple, sensible in-
structions and you will build up your
health and restore your vitality. I guar-
antee that I shall, accomplish all that I
undertake.
LIONEL STRONGFORT (signed)
HUM
^reYOU
One of
Them?
By the side of the road to success, the road to happiness and content-
ment, are heaped up the soulless, bloodless, unhealthy bodies —
human wreckage of the pace of life— the failures in the home and in
business*— those who could not make the grade.
ARE YOU ONE OF THEM?
Man, Oh, Man, look yourself over! Take stock of yourself! Check
your ailings and failings before it is too late. Don't strike the high
road of life unfit for the happiness of home and the battle of business.
Don't let yourself be dumped on that heap of human wreckage !
In all the whole wide world there is nothing so pitiable as a heart
burning with ambition, a mind determined, but a body unwilling ; the
saddest failures in life are those of souls fired with genius but seared
with a despoiled body.
BEFORE IT IS TOO LATE, AWAKE!
Shake from your shoulders that indifference, that listlessness, that
lack of ambition and lack of health — make yourself healthy, strong,
vigorous and alive — be a man — a real man — a man who gets some-
where in the world and who can go to a happy home and look his wife
and children proudly in the eye. Do it now — before it is too late —
Strongfortism can help you as it has thousands of others.
SEND FOR MY FREE BOOK
If your body is failing and is your unwilling servant, send for my free book,
"Promotion and Conservation of Health, Strength, and Mental Energy." The
experience and research of a lifetime are contained in this wonderfully instructive
book. It will tell you frankly how you can make yourself over into a vigorous
specimen of vital manhood. Fill in the coupon and send it with your request for
the free book. I shall treat it confidentially, and writing to me entails no obligation
on your part. Do not turn over this page without filling in the coupon, and sending
it in — if you turn over this page you are turning from the road of happiness, con-
tentment, and success, to the road that leads to the heap of human wreckage.
LIONEL STRONGFORT
Physical and Health Specialist
Dept. 702 FOUNDED 1895 Newark, N. J.
FREE CONSULTATION
Absolutely Confidential
Colds
....Flat Chest
. .. .Biliousness
. Catarrh
. . ..Successful
. . . .Torpid Liver
.Asthma
Marriage
Indigestion
.Hay Fever
.... Rheumatism
Nervousness
.Obesity
Pimples
... .Poor Memory
. Headache
.... Blackheads
. . . .Vital Losses
.Thinness
.... Insomnia
tmpotency
. Rupture
....Neurasthenia
Weak Eyes
. Lumtj.iqo
Short Wind
Despondency
....Flat Feet
Diabetes
....Female Disorders
Disorders
Increased Heiaht
(Describe)
... .Constipation
Youthful Errors
Mr. Lionel Ktronpfort, Dept. 702, Newark. N. J. Please
send mc your book. "Promotion and Conservation of
Health, Strength and Mental Energy." for postaRO on
which I enclose a 10c piece (one dime). I have marked
<X) before the subject in which I am interested
Manhood Restored
Prostatitis
. . . .Falling Hair
Gastritis
Heart Weakness
. . . .Poor Circulation
. . . .Skin Disorders
Round Shoulders
. . . .Lung Trouble
Muscular
Development
Great Strength
Mention other Ailments here:
NAME
AGE OCCUPATION
STREET STATE CITY
88
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The Screen Year In Review
(Continued from page 55)
STERLING
. 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
ago.
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-
sibilities.
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-
terizations.
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!
G SCREENLANB
PLAY PIANO BY EAR
Be a Jazz Music Master
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
New Niagara Method Makes Piano Playing Wonderfully Simple.
No matter how little you know about music — even though you "have never touched a piano" — if you can
just remember a tune, you can quickly learn to play by ear. I have perfected an entirely new and simple
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
readily, and follow through the entire course of twenty lessons quickly. Self-instruction — no teacher required.
You learn many new styles of bass, syncopation, blues, fill-ins, breaks and trick endings. It's all so easy — so
interesting that you'll be amazed.
A Simple Secret to Success
No need to devote years in study to learn
piano nowadays. Special talent unneces-
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cinating that you just "can't keep
your hands off the piano." Give it
part of your spare time for 90 days
and you will be playing and entertaining
almost before you realize it. No tiresome
scales, no arpeggios to learn — no do-re-mi
— no difficult lessons or meaningless exer-
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applies to the songs you play. Once learned,
you have the secret for all time — your difficul-
ties are over and
You Become Master of the Piano
Even talented musicians are amazed at the rapid prog-
ress of Niagara School students and can't understand
why this method was not thought of years ago. Natu-
rally, the Niagara Method is fully protected by copy-
rights and cannot be offered by any other school. A
special service department gives each pupil individual
attention.
Learn at
home in
QQdays
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
life of the party, sought after and in-
vited everywhere. Make yourself the
center of attraction — master the piano
by spending an hour 'a day studying
le fascinating Niagara Method.
As easily as thousands of others have
learned, so you, too. can learn and profit —
not only through the pleasure it provides,
but also by playing at dances, motion pic-
ture houses and other entertainments.
Decide to Begin Now !
Just spend a part of your spare time with a few easy,
fascinating lessons and see how quickly you "catch on"
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.
90.
CURIOSITY!
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.
SC1EEHLAN1D
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
morning.
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
T:
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-
band.
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
A
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
balloon.
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)
SC1EENLANID
91
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The wonderful thing about the scientific formula known as Rid-O-Fat
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92
SCMEENLAHE)
Which one
will help you win
jatncandjbrtuntl
For half a century the world's great art 5
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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-
fast?
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
Ln
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
mi-
SCKEENLANB
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.
93
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.
I
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
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hair growth not only by re-
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up these gland secretions. \
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Kilrute consists of a powder
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In fact it has the added fea-
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There is no longer any
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Kilrute will be sent C. O. D.
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KILRUTE COMPANY
Dept. 410, 247 West 72nd St.
New York City.
(Copyrighted and Trade Mark
Registered, 1923, Kilrute Co.
NOTE:.
News of the wonderful work of
KILRUTE has caused such an over-
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happy to give FREE DEMON-
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Owing to postal regulations, post'
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I Kilrute Company,
Dept 410, 247 West 72nd St., New York City.
1 Gentlemen:
Please semi me on approval a complete Kil-
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I (Kilrute Powder and Kilrute Lotion) which you
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J (If you prefer, send S3 with this coupon, suh-
i 1 ject to above money-back guarantee.)
Address
SCEEENLANJD
SEND NO MONEY
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HE PRICE CUTTING CO.,
55 Broadway, New York
bb! til AIM
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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Just a wee touch of "MAYBELLINE" and your eyebrows
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SC1EEN1LANB
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
fair.
Everything was going famously.
Agnes had exhibited her butler, her
Gallic maid, her new pup, a newer Fox
scarf.
"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
May McAvoy is a nice girl.
Mary Philbin is really seventeen.
And Bull Montana was a wrestler.
95
44 th
Cor.
BVay
B
R
O
A
D
W
A
Y
W— -
YORK
Always a Room
and Bath
$3.50
C
L
A
R
I
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G
E
WE would like to make it
clear that our operation
of the BROADWAY -CliAR-
IDGE HOTEL in the heart of New
York is going to be successful only
because we render sincere service at
a "square price."
It is our privilege to prove the old
slogan "A Room and a Bath for
$3.50" is not just a fairy story which
generally applies to ONE ROOM in
a 300-room unit.. We wish to go on
record that the BROADWAY-CLAR-
IDGE HOTEL has 100 rooms and
baths for $3.50. This does not mean
that the rooms are cheap. It is
simply corking good value.
Now making yearly leases at
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We are desirous of catering to the
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them of a hearty personal welcome.
There is NO CHANGE OP POLICY,
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THE BROADWAY -CLARIDGE. It is
just as clean, wholesome and well
conducted as in the past, with a
warm personal greeting and welcome
from its old staff and its new
operator.
Edward Arlington
THE HARDING, BAth Street and Broadway
COLONIAL ARMS at Jamaica, L. I.
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ARS MINIMA GALLERIES, Department I
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{FAT
Get R id
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HOW TO
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SCMEENLANB
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THOMSON-HEYWOOD,
Dept. X, Chronicle Bldg., San Francisco, Calif.
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
right.
"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
THE ADVENTURES OF PHOTOPLAY PHYLLIS
By JOHN HELD, JR.
You will find amusing new adventures
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NOVEMBER SCREENLAND
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SEXUAEr** LOVE AND LIFE/
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
wave."
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 !
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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
Hamlet."
"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
picture."
"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
bitterness.
The Listening Post
(Continued
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
'•■.--
99
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
rumors.
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
checks.
5:45 Lines form in front of cafe-
terias.
5:59 92 special traffic police go off
duty.
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.
Evening
7:30
7:45
8:00
8:15
8:30
8:45
9:00
9:30
10:00
10:30
11:15
11:30
12:00
1:00
1:10
2:00
2:30
2:35
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
shot.
106 movie stars retire for the
night.
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-
seen.
Young girl tourist is mistaken
for Viola Dana and never re-
covers.
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
girls.
Will Havs retires for the niaflit.
'llhis Mehj Slender
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SEX!
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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
horse.
Family Dinners
u
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-
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for the reckoning scene. This, never
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in the proper manner. Throw your-
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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
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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
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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
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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.
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WANTED: NEW FACES -NEW TYPES. In HOLLYWOOD
"where Uie movies aro made". Every man and woman Interested
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Tell us about yourself .age nnd state what branch of Motion Picture.
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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
popularity.
Rudie Was Notorious Bandit
I
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,
RODOLPH VALENTINO
in
MORAN OF THE LADY LETTY
with
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
103
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
Man.
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.
I
No Lession Taught by Sex Evasion
I
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
fact.
It is the fact of sex which the screen
shuns.
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
I
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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FRANK DISCUSSION OF SEX FACTS
LOVE AND MARRIAGE
BIRTH CONTROL
ESSENTIAL SEX KNOWLEDGE
DISEASE AND SEX IGNORANCE
VICIOUS SEX PRACTICES
THE SOCIAL EVIL
IMMORALITY IN MARRIAGE
MISTAKES OF BRIDEGROOM
ANATOMY OF REPRODUCTIVE ORGANS
PHYSIOLOGY OF REPRODUCTION
CHILDBIRTH
SEX DETERMINATION
ENCYCLOPEDIA OF HEALTH
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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
I
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
arms.
it
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
head.
"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.
105
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106
SGEEENLANl
Finding s Xhe
of ^butK
JlongSought Secret Vital to
Jhppittess,/fasBeen Discovered.
/His! t'lui! spring should vanish with the rose!
That youth's swccl-scented manuscript should close!
■ — Omar Khayyam.
A SECRET vital to human happiness has been, dis-
covered. An ancient problem which, sooner or
later, affects the welfare of virtually every man
and woman, has been solved. As this problem undoubt-
edly will come to you eventually, if it has not come
already, 1 urge you to. read this article carefully. It may
give you information of a value beyond, all price.
This newly-revealed secret is not a new "philosophy" .
of financial success. It is not a political panacea. It has
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vidual — success and happiness in love and marriage — and
there is nothing theoretical, imaginative or fantastic about
itj~ because it comes from the coldly exact realms of
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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-
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happiness does not depend on wealth, position or fame.
Primarily, it is a matter of health. Not the inefficient,
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- Unfortunately, this kind of health is rare. Our civili-
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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
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searched— and in the centuries that have passed since
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Now the long search has been rewarded. .A "fountain
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be kept at bay and youth made more glorious than ever.
And the discovery which makes these amazing results
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• The discovery had its origin in famous European
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treatments. In scientific circles the discovery has been
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of Korex compound, it is available to the general public.
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coining on too soon, can obtain a double-strength treat-
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In average cases, the compound often brings about amaz-
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Miss Marilyn Miller, scar of
Ziegfield's musical comedy,
"Sally"
IGftlbadiT&tttoDMiBilikeThis
Ser&eCMarinotT
"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-
FREE
'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-
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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-
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cultivated by correct training in classic
dancing. For better health — for greater
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As a means of developing grace in chil-
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For the theatre — vaudeville — the movies
— civic and college pageants — for private
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And those who can dance for charitable
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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.
Xante
Address
Age
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
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M. Sergei Marhroff-fSchooloi Classic Dancing— "SSEHfiFcSSS}
.
q
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-
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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-
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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
Society.
TALC
iMaitc in J-nmcc.
KERKOFF, PARIS
EXTRACT • FACE POWDERS
TOILET WATER • VEGETALE • SACHET • ROUGE
LIP ROUGE • FACE CREAMS • SOAP
These specia litis — Rouse. Up Rouge, Compacts at/it Creams— -blended here
with pure Djer-Kiss Parfum imported from Prance
THE COOPEUSTOvVX PRESS, INC
L'ooperstown, N. Y. — Xi-w York City.