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Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIO-VISUAL  CONSERVATION 
at  The  LIBRARY  of  CONGRE9S 


Packard  Campus 
for  Audio  Visual  Conservation 
www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 
www.loc.gov/rr/mopic 

Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 


TV  o- 


(T$  not  what  you've  done 

DEAR.  /T'S  WHAT  You  HAVEN'T 
DONE.   /VE  BEEN  SO  BUSY  / 
HADN'T  NOTiC ED  HOW  DRAB 
AND  DULL  V0UR  HAIR  j%* 

BECOME.   ILL  GET 
SOME  MARCH AND'S 
TODAY 


•••»Vt*i.  "'f* 

w°man  v        ter">jern«,  g 

Dru*°  De?d'S  <°d*y  fr 


ym  mm  w 

Smartest' om e n  jTl  A  T C  ll  A  11  Cl  ^ 

GOLDEN  HAIR  WASH 

TO :  The  Charles  Marchand  Co. 
745  Fifth  Ave.,  New  York,  N.  Y. 

Please  send,  postage  prepaid,  regular  4  fl.  oz. 
bottle  of  Marchand's  Golden  Hair  Wash.  I  en- 
close 50c  (stamps  or  money  order) : 

Name  

Street   

City  State  

(please  print)  MM-140 


MODERN  SCREEN 


He  first  admired  her  Tartan  Plaids  but 
he  lost  his  heart  to  her  lovely  smile! 


•  Tailored  simplicity  in 
plaid  with  schoolgirl  col- 
lar, buttoned  blouse  and 
below-the-elbow  sleeves. 


Your  smile  is  priceless— it's  YOU!  Don't  neglect  "Pink  Tooth  Brush". 
Ipana  and  massage  makes  for  firmer  gums,  brighter  teeth! 


HOW  QUICKLY  a  bold,  bright  plaid  can 
capture  the  eye  of  a  man.  But  it  takes 
a  smile,  a  bright  and  sparkling  smile,  to 
hold  his  rapt  attention. 

For  without  a  radiant  smile,  a  girl  wins 
not  admiration,  but  indifference.  Pathetic 
the  one  who  spends  hour  after  hour  select- 
ing the  style  that  best  becomes  her— but  ig- 
nores "pink  tooth  brush." 

Don't  let  such  tragic  neglect  threaten  your 
smile.  Remember  "pink  tooth  brush"  is  a 
warning  that  gums  are  being  neglected— a 
warning  you  should  heed. 

Never  Ignore  "Pink  Tooth  Brush" 

The  very  first  time  your  tooth  brush  "shows 
pink"— see  your  dentist!  It  may  not  be  serious 


—but  get  his  advice.  He  may  say  that  yours 
is  another  case  of  "lazy  gums"— gums  robbed 
of  vigorous  chewing  by  modern,  soft  foods 
—gums  that  need  the  "helpful  stimulation 
of  Ipana  and  massage." 

For  Ipana  is  designed  not  only  to  clean 
the  teeth  but,  with  massage,  to  aid  gums. 
Every  time  you  brush  your  teeth  put  a  little 
extra  Ipana  Tooth  Paste  on  your  brush  or 
fingertip  and  massage  it  into  your  gums. 
You  feel  a  pleasant,  exhilarating  "tang"— 
exclusive  with  Ipana  and  massage.  It  means 
circulation  in  the  gums  is  awakening— gums 
are  being  helped  to  health  and  to  strength. 

Get  a  tube  of  Ipana  at  your  druggist's 
today.  Let  Ipana  and  massage  show  you  how 
bright  and  lovely  your  smile  can  be! 


IPANA  TOOTH  PASTE 


dec  14  lyjy 


NOTE  BRENDA  JOYCE  S 
lovely  hands.  With  RICHARD 
GREENE  in  20th  Century-Fox 
hit,  "Little  Old  NewYork". 


v^ClB  439131 


BRENDA  JOYCE 


(Lovely  Hollywood  Star) 


says 


"Only 

SOfTHANDS 

are  worthy  of 

LOVE " 


You're  foolish  if  you  let  work,  or 
use  of  water,  or  cold,  chap  and  roughen 
your  hands.  Exposure  robs  your  hand 
skin  of  its  natural  moisture.  But  Jergens 
Lotion  supplies  new  beautifying  moisture 
to  help  keep  your  hands  adorable.  In 
Jergens,  you  apply  2  fine  ingredients  many 
doctors  use  to  help  soften  harsh,  rough 
skin.  Easy;  never  sticky.  For  hands  a 
man  dreams  of,  use  Jergens  Lotion.  50tf, 
25tf,  10<£  —  $1.00,  at  beauty  counters.  Get 
Jergens  today,  sure. 


"FREE!  PURSE-SIZE  BOTTLE 

See — at  our  expense — how  Jergens  Lotion  helps 
you  have  adorable,  soft  hands.  Mail  this  coupon 
today  to: 

The  Andrew  Jergens  Co.,  3711  Alfred  St.,  Cincinnati, 
Ohio.  (In  Canada:  Perth,  Out.) 


Name— 
Streets 
City  


(please  print) 


ere  en 


Copyright,  1939,  by  the  Dell  Publishing  Co.,  Inc. 


NOW  SHOWING 

WITH  STARDOM  AHEAD 

— Jean  Somers   8 

MADELEINE  CARROLL  WANTS  CHILDREN 

— Julia  Shawell    24 

HEAVENLY  HARD  GUY 

— Kirtley  Baskette   26 

THEY  MADE  HER  WHAT  SHE  IS  TODAY 

—Betty  Colfax    28 

WE.  THE  CAGNEYS 

— Caroline  S.  Hoyt   30 

SHE'S  A  REBEL 

— Ben  Maddox    32 

THIS  STAR  STUFF 

— Gladys  Hall    34 

DO  THEY  DISLIKE  EACH  OTHER 

— Mary  Parkes   36 

HE  HATES  HIMSELF! 

— Faith  Service    38 

THE  NEW  JOAN  CRAWFORD 

—Ida  Zeitlin    40 

LET'S  GO  CHRISTMAS  SHOPPING 

— Carol  Carter   42 

THE  RETURN  OF  ROZ 

— George  Benjamin    52 

HORROR  MEN  TALK  ABOUT  HORROR 

— Martha  Kerr    64 

THEY  RIDE  THE  PICTURE  PLAINS 

— Robert  Mcllwaine   66 

SHORT  SUBJECTS 

MOVIE  REVIEWS 

Our  Ratings   10 

XMAS  TREATS 

Holiday  Goodies    12 

GOOD  NEWS 

Movie  Chatter    14 

PORTRAIT  GALLERY 

For  Your  Album   1 9 

A  DOLLAR  FOR  YOUR  THOUGHTS 

Prize  Letters    54 

MODERN  SCREEN'S  REVIEW  OF  1939 

Highlights  of  the  Movie  Year   58 

KNITTED  NIFTIES 

Make  Your  Own   74 

INFORMATION  DESK 

Questions  Answered    76 

OUR  PUZZLE  PAGE 

Movie  X-Word    78 

MOVIE  SCOREBOARD 

General  Ratings    80 

Reginn  Cannon   Editor 

Lois  Svensrud  Hollywood  Editor 

Abril  Lamarque  Art  Editor 

Vol.20,  No.  2,  January,  1940.  Copyright,  1939,  by  the  Dell  Publishins  Co.,  Inc.,  149  Madison 
Ave.,  New  York.    Published  monthly.    Office  of  publication  at  Washington  ana  South  Aves., 
I  Dunellen,  N.  J.    Single  copy  price  10c  in  U.  S.  and  Canada;  subscription  price  $1.20  a  year, 
foreign  subscription  $2.20  a  year.    Entered  as  second-class  matter,  Sept.  18,  1930,  at  the  Post- 
office,  Dunellen,  N.  J.,  under  Act  of  March  3,  1  879.    Additional  second  class  entries  at  Seattle, 
1  Wash.;  San  Francisco,  Calif.;  Houston,  Texas,  Savannah,  Ga.  and  New  Orleans,  La.  The  pub- 
I  lishers  accept  no  responsibility  for  the  return  of  unsolicited  material.   Names  of  characters  used 
1  in  stories  and  semi-fictional  matter  are  fictitious.     If  the  name  of  any  living  person  is  used  it  is 


4 


MODERN  SCREEN 


<0N<5 


TRlUMpf|! 


Behold  the  beauty  of 
exotic  song -bird  llona 
Massey  as  she  hears 
throbbing  love-lyrics 
from  impassioned 
Nelson  Eddy !  (His  great- 
est role  since  "Naughty 
Marietta".) 


starring 

NELSON  EDDY 

ILONA  MASSEY 

with 

CHARLIE  FRANK  UONEl 

RUGGLES  •  MORGAN  •  ATWILL 

C.  AUBREY        JOYCE  DALIES 

SMITH  ♦  COMPTON  •  FRANTZ 

Screen  Play  by  Leon  Gordon, 
Charles  Bennett  and  Jacques  Deval 
Based  upon  the  Play  "Balalaika" 
Book  and  lyrics  by  Eric  Maschwitz 

Music  by  George  Posford  and 
Bernard  Griin 

Directed  by  Reinhold  Schunzel 
Produced  by  Lawrence  Weingarfen 
AN    M-G-M  PICTURE 


MODERN  SCREEN 


*  "IT'S  A  HAP-HAP-HAPPY  DA*"-Wor<Ja  and  Music  by  Al.  J.  Nelbarg  and  Sammy  Timborg  &  Winston  Sharpies 


Copyright  1939.  Paramount  Pictures  tno. 


MODERN  SCREEN 


AND  A  VERY 


A  Paramount  Picture  with 


Allan  Jones  •  Mary  Martin  •  Walter  Connolly 


Lee  Bowman  ■  Judith  Barrett  •  Susanna  Foster  •  Produced  and  Directed  by  ANDREW  L.  STONE 

Screen  Play  by  RussVl  Crouse  and  Robert  Lively  *  Based  on  a  story  by  Robert  Lively  and  Andrew  L.  Stone 


BY  JEAN  SOMERS 


CLAIRE  TREVOR  claims  that  she  knows  more  about  "B's" 
than  a  drone.  Her  B's,  of  course,  are  of  the  second-rate 
picture  production  variety  and  not  of  the  honey-making 
breed.  For,  whenever  a  story  has  come  up  that  no  one  else 
would  do,  the  Powers  That  Be  handed  it  to  Claire  and,  ever 
the  obedient  blonde,  she  accepted  it.  In  a  way,  the  assign- 
ments might  be  construed  as  flattering,  for  a  director  always 
knew  that  with  the  Trevor  handling  a  role,  nothing  but 
good  could  come  of  it.  And  so,  this  young  woman  saved 
many  a  poor  story  from  being  utterly  hopeless. 

Of  course,  this  "good  Samaritan"  stuff  didn't  tend  to  do 
much  toward  helping  Claire  herself.  There's  an  old  saying, 
you  know,  that  a  star  is  only  as  good  as  her  last  two  pictures. 
And  Miss  T.'s  "last  two"  were  usually  nothing  to  write 
home  about.  Yet,  not  only  has  this  clever  player  survived, 
but  she  is  headed  for  stardom.  And,  thereby  hangs  a  tale. 

The  tale  concerns  the  actress  leaving  Fox.  "You  see,"  she 
says  very  frankly,  "Mr.  Zanuck  never  had  faith  in  me. 
Why,  I  don't  know.  Perhaps  he  even  may  have  been  justi- 
fied. The  point  is,  however,  that  if  he  hasn't  confidence  in 
a  player,  said  player  might  just  as  well  up  and  leave  at  the 
outset.  And  that's  what  I  did. 

"I  decided  that  free-lancing  might  really  give  me  a  new 
life  in  movies.  While  I  couldn't  select  my  roles,  at  least,  I 


Left,  John  Wayne  and  Claire, 
together  in  "Allegheny  Upris- 
ing." Remember  "Stagecoach"? 

had  the  authority  to  reject  unsuitable  parts.  Bad  women 
came  under  that  heading.  Maybe  I  look  like  one.  I  hope 
not,  but  nevertheless,  if  there's  a  wild  wench  called  for  in 
the  script,  said  w.  w.  is  sure  to  be  Claire  Trevor.  Now  that 
all  had  to  be  stopped!" 

Yet,  in  "Stagecoach,"  our  heroine  was  a  baddie,  although 
in  the  end  she  reformed  and  won  the  sympathy  of  the 
audience.  That,  said  Claire,  takes  the  "coise"  off  it. 

Miss  Trevor,  you  may  know,  is  a  happily  married  young 
matron  these  days.  She's  the  wife  of  Clark  Andrews,  who 
directs  radio  programs.  As  a  matter  of  fact,  they  met  in  a 
station — radio — when  Claire  appeared  in  New  York  on  the 
air  with  Edward  G.  Robinson. 

Mr.  Andrews  saw  to  it  that  Miss  Trevor  needed  plenty  of 
rehearsals.  That  was  as  good  a  way  as  any — and  better 
than  most — to  keep  her  in  his  company.  Claire  confesses 
that  for  a  long  time  she  didn't  "catch  on."  One  evening, 
after  the  program,  Mr.  A.  surprised  Claire  by  asking  her 
to  be  his  wife.  That  same  evening  Miss  T.  surprised  Clark 
by  accepting  the  honor.  And  there  you  have  it.  And  they 
have  happiness  and  contentment  in  a  town  that  isn't  too 
well  noted  for  it.  What's  more,  they  know  the  value  of  it. 

Claire  Trevor's  life  from  childhood  has  been  an  easy  one. 
She  knew  none  of  the  early  struggles  and  hardships  that 
most  young  girls,  bent  on  a  theatrical  career,  become 
acquainted  with.  Claire  was  a  prom-going  belle,  with 
more  beaux  than  Brenda  Frazier.  Life  to  her  was  indeed  a 
bowl  of  cherries — with  all  of  'em  ripe  and  red. 

She  didn't  even  have  to  combat  the  usual  parental  ob- 
jection of  the  well-born  when  she  decided  to  go  on  the 
stage.  She  merely  arrived  in  Broadway's  managerial  offices 
with  a  winning  personality  and,  as  she  says,  a  pack  of  lies. 
She  told  more  producers  about  all  the  experience  she'd 
had  when,  actually,  she  was  as  green  as  a  park  in  April. 

Finally,  a  gullible  guy  took  a  chance  on  her  and,  he  wasn't 
sorry.  She  has  a  natural  theatre  sense  and  it  showed  up 
in  her  first  small  part  in  a  stock  company.  Much  later  came 
a  chance  at  pictures.  Claire  grabbed  it.  You  know  the  rest. 
She's  been  grinding  them  out  ever  since.  She  started  in 
a  western  and  her  most  recent  is  a  western — "Allegheny 
Uprising."  Only  the  latest  is  really  a  super-super,  when 
the  first  was  a  cowboy  quickie.  And,  we  predict  that  pretty 
soon  she'll  get  star  billing",  for  Claire  certainly  rates  it! 


Claire  Trevor  emerges  from  a  hive  of  "B's"  to  first-class  pictures— and  about  time! 

8 


He's  Here... .On  the  Screen. ...Radio's  Rage! 

THE  OLD  PROFESSOR 

And  His  College  of  Musical  Knowledge 
In  a  Roaring  Full-Length  Feature  j 
Comedy-Romance! 


REVIEWS 


****  Ninotchka 

Garbo  laughs,  Garbo  dances,  Garbo  falls  in  love  with  Melvyn 
Douglas.  And  while  she's  having  her  fun,  you're  being  treated 
to  the  most  entertaining  picture  of  the  year. 

Melvyn  Douglas  is  such  a  fascinating  man-about-Paris  that 
it's  nc  surprise  when  Garbo  melts  from  a  stern  and  sober  female 
Bolshevik  into  a  gal  who  likes  gayety,  champagne  and  Mr. 
Douglas.  Her  visit  to  Paris  is  occasioned  by  the  cavortings  of 
Sig  Rumann,  Felix  Bressart  and  Alex  Granach,  sent  to  sell  the 
crown  jewels  confiscated  during  the  Revolution.  Arriving  in 
Paris,  the  three  men  met  up  with  Melvyn  Douglas  who  com- 
pletely undermined  every  serious  thought  they  had,  and  Garbo 
is  a  special  envoy  sent  to  find  out  what  happened  to  them. 
The  Ex-Grand  Duchess  (Ina  Claire)  also  happens  to  be  a  friend 
of  Melvyn's,  and  both  believe  the  jewels  belong  to  her. 

Of  course,  Melvyn  finally  wins  Garbo,  and  the  Duchess  and 
her  jewels  are  forgotten  in  the  sweep  of  romantic  events.  The 
dialogue  is  excellent.  Special  mention  is  due  writers  Charles 
Brackett,  Billy  Wilder  and  Walter  Reisch.  Directed  and  pro- 
duced by  Ernst  Lubitsch. — Metro-Goldzvyn-Mayer. 

(More  about  Greta  Garbo  on  page  76) 


****  Elizabeth  and  Essex 

Worth  seeing  for  its  magnificent  pageantry  alone,  is  this 
picture.  Beautifully  photographed  in  Technicolor,  against  back- 
grounds of  impressive  elegance,  the  story  is  presented  with 
all  the  pomp  and  ceremony  which  were  so  vital  a  part  of  the 
court  of  Queen  Elizabeth.  And  Bette  Davis,  as  the.  red-headed, 
tyrannical  Elizabeth,  rises  to  the  grandeur  of  the  occasion  in 
true  Davis  style.  She  is  convincing  and  awe-inspiring  in  her 
unholy  tempers,  her  moments  of  warm-hearted  womanliness 
and  the  emotions  which  her  suspicious  nature  forces  on  her. 

Errol  Flynn  was  a  happy  choice  to  play  the  swashbuckling 
Essex,  whose  bravado  and  ambition  wreaked  such  havoc  in 
Elizabeth's  life.  In  the  supporting  cast,  Donald  Crisp  as  Francis 
Bacon,  Vincent  Price  as  Sir  Walter  Raleigh  and  Alan  Hale  as 
the  Irish  leader,  give  outstanding  accounts  of  themselves. 
Olivia  de  Havilland,  as  the  Lady  Penelope  who  loves  Essex, 
gives  an  excellent  performance  and  looks  breathtakingly  lovely. 
The  costumes  and  make-up  deserve  special  mention  for  the  in- 
terest they  add  to  the  picture. 

No  doubt  about  it,  "The  Private  Lives  of  Elizabeth  and  Essex" 
is  film  entertainment  of  a  high  calibre.  Directed  by  Michael 
Curtiz. — Warner  Bros. 

(Olivia  de  Havilland' s  biography  on  page  76) 


^HHHk"  Mr.  Smith  Goes  to  Washington 

When  Mr.  Smith  goes  to  Washington,  he  takes  Mr.  Average 
American  with  him  to  learn  both  the  •  good  and  the  bad  of 
what  goes  on  there.  The  picture  is  a  thought-provoker,  done 
with  a  simplicity  that  is  smoldering  dynamite. 

Jimmy  Stewart  is  Mr.  Smith,  appointed  by  the  governor  of 
a  southwestern  state  to  complete  the  term  of  a  deceased  sen- 
ator. Mr.  Smith  goes  off  to  Washington  with  high  hopes  of 
doing  a  great  deal  of  good  for  both  his  state  and  his  under- 
privileged friends,  the  Boy  Rangers.  When  he  bangs  straight 
into  the  fanciest  "machine"  ever  set  up  in  politics,  everything 
looks  pretty  black.  He's  disillusioned  and  ready  to  go  back 
home  defeated.  Then  Jean  Arthur,  his  secretary,  who  is  wise 
to  the  ways  of  crooked  politicians,  steers  him  into  a  one-man 
filibuster  that  makes  senate  history,  and  incidentally  re-estab- 
lishes Mr.  Smith's  and  the  audience's  faith  in  our  government. 

Both  Stewart  and  Arthur  are  excellent  in  their  roles,  and 
Claude  Rains  as  the  senior  senator  does  top  work.  High  praise 
is  also  due  Thomas  Mitchell,  Edward  Arnold,  Harry  Carey,  Guy 
Kibbee,  Eugene  Pallette  and  H.  B.  Warner.  Directed  and  pro- 
duced by  Frank  Capra. — Columbia. 

(Additional  data  on  Edward  Arnold  on  page  76) 


Choose  your  entertainment!  Study 


BY     LOIS  SVENSRUD 


ititit  Intermezzo,  A  Love  Story 

Of  outstanding  interest  in  this  picture  is  the  introduction  of 
Ingrid  Bergman,  the  Swedish  actress.  She  has  a  refreshing,  calm 
beauty  and  dignity  that  will  impress  every  audience  and  leave 
many  hoping  to  see  her  again — and  soon.  Leslie  Howard's 
performance  is  artistically  perfect,  even  to  the  difficult  technicali- 
ties involved  in  his  role  as  a  violinist.  Edna  Best  and  John  Halli- 
day  bring  sincerity  and  charm  to  their  roles  and  little  Ann  Todd 
and  a  wire-haired  terrier  are  among  the  others  in  the  cast  who 
deserve  praise. 

From  a  photographic  standpoint,  it  would  be  hard  to  top  this 
production.  Gregg  Toland  has  excelled  his  previous  admirable 
work  in  the  beautiful  lighting  effects,  while  the  sets  are  effective 
in  every  instance.  If  there  is  a  fault  to  find  with  "Intermezzo," 
it  would  be  in  the  story — which  is  so  old  it  creaks.  The  tale 
concerns  a  musician,  Leslie  Howard,  who  leaves  his  devoted  wife 
and  two  children  to  go  away  with  a  talented  pianist,  Ingrid 
■  Bergman,  only  to  find  that  one  cannot  so  lightly  dismiss  life's 
obligations.  But  it  must  be  said  that  the  acting,  directing  and 
photographic  effects  in  this  picture  are  so  impressive  that  one  is 
not  painfully  aware  of  the  lack  of  story  material.  Directed  by 
Gregory  Ratoff. — United  Artists. 


Hollywood  Cavalcade 

Remember  Buster  Keaton,  the  Keystone  Cops,  Mack  Sennett's 
Bathing  Beauties  and  Rin-Tin-Tin?  Remember  Al  Jolson  singing 
"Kol  Nidre"  in  "The  Jazz  Singer?"  They're  all  in  "Hollywood 
Cavalcade,"  the  most  authentic  record  of  motion  picture  history 
yet  to  reach  the  screen. 

There's  a  fictional  story,  too,  about  a  Broadway  actress  brought 
to  Hollywood  by  an  unknown  but  ambitious  director  when  the 
movies  were  first  struggling  for  recognition.  Alice  Faye  is  the 
actress,  while  Don  Ameche  is  the  director  who  makes  her  a 
famous  star,  and  both  players  turn  in  sincere  performances— 
perhaps  the  best  that  either  has  done  before.  Alice  Faye  is 
photographed  beautifully  in  Technicolor,  and  Don  Ameche  is  a 
composite  character  of  some  of  the  most  famous  personalities  in 
movie  history.  The  story  marries  Alice  Faye  to  her  leading  man, 
Alan  Curtis.  Ameche  cannot  withstand  the  shock  and  sinks  to 
the  bottom,  only  to  be  brought  back  up  again  by  Alice  and  their 
mutual  business  manager  and  adviser,  J.  Edward  Bromberg. 

Curtis  and  Bromberg  make  the  most  of  their  good  roles,  and 
other  players  that  contribute  praiseworthy  work  are  Stuart  Erwin, 
Donald  Meek,  Chick  Chandler,  Willie  Fung  and  the  many  old- 
timers.    Directed  by  Irving  Cummings. — 20th  Century-Fox. 

The  Roaring  Twenties 

Many  a  memory  will  be  brought  back  by  this  picture  of  the 
hectic  days  following  the  First  World  War.  For  those  who  do 
not  remember  so  vividly  "The  Roaring  Twenties,"  this  film  will 
provide  an  excellent  historical  account  of  that  period,  and  every- 
one in  the  audience  will  find  his  money's  worth  of  action,  sus- 
pense and  drama. 

James  Cagney  scores  again  in  a  role  that  might  have  been 
tailored  to  his  measure.  As  a  returned  soldier,  he  tries  to  find 
work  in  the  country  which  he  has  been  risking  his  neck  to  pro- 
tect. When  no  job  turns  up,  he  turns  to  bootlegging,  feeling  that 
he  might  as  well  grab  off  the  dough  as  the  next  guy.  The  whole 
story  of  the  speak-easies,  the  rum-runners  and  the  racketeers 
unfolds  from  there  on  with  lightning  paced  events  leading  up  to 
a  terrific  climax. 

Cagney 's  performance  can  be  chalked  up  as  his  best  to  date. 
Next  in  line  for  praise  is  Gladys  George,  as  "Panama"  of  the 
speakeasies.  Her  role  of  the  cynical,  big-hearted  gueen  of  the 
nightclubs  is  admirably  done.  Priscilla  Lane  is  disappointing 
as  the  nice,  young  girl  with  whom  Cagney  is  in  love.  The 
youngest  Lane  seems  to  be  at  a  disadvantage  in  other  than 
modern  roles.  Humphrey  Bogart,  Jeffrey  Lynn,  Frank  McHugh 
and  Paul  Kelly  give  excellent  accounts  of  themselves.  Directed 
by  Raoul  Walsh. — Warner  Bros.      {Continued  on  page  56) 


our  guide  to  the  best  in  film  fare 


XA/lAS 
TREATS 


Co"1' 


IN  THE  annual  pageant  of  traditional  Christmas 
A         foods,  one  of  the  smallest  of  fruits  plays  one  of  the 
MjL        largest  roles.  I  refer,  of  course,  to  the  raisin.  True, 
JaBi        these  tiny  sun-dried  products  of  the  vines,  with 
fiJ^K,      their  delightful  flavor  developed  through  a  concen- 
tration of  grape  sugars,  provide  a  delicious  fruit 
for  year  'round  use.    But  out  here  in  Hollywood, 
as  elsewhere,  their  popularity  is  never  so  notice- 
able as  around  the  holidays.  Then  it  is  that  Cali- 
fornians  really  go  to  town  in  featuring — in  forms 
too  numerous  to  mention — one  of  their  own  state's  outstanding 
products.    For  it  is  a  fact,  you  know,  that  more  than  one  half 
of  all  the  raisins  grown  in  the  world  are  produced  in  the  vine- 
yards that  literally  cover  California's  fertile  San  Joaquin  Valley. 
Small  wonder,  therefore,  that  in  the  Yuletide  favorites  of  the 
stars,  raisins  are  used  to  perfection  in  countless  ways. 

Leading  the  list  of  their  recipes  is  Plum  Pudding,  with  the 
grandest  Hard  Sauce  to  go  with  it.  There  are  hundreds  of 
versions  of  this  best  liked  of  all  Christmas  dinner  desserts,  but 
this  one  has  particularly  good  points  to  recommend  it.  For 
enjoyment  during  the  entire  holiday  season — rather  than  on 
the  festive  day  alone — are  Golden  Glaze  Cookies  and  Star 
Sweets.  Special  treats,  these,  to  make  Christmas  merrier! 

"DELIGHT"  PLUM  PUDDING 


1% 

cups  seedless  raisins 

4 

eggs,  beaten 

% 

cup  seeded  raisins 

1% 

cups  bread  crumbs 

% 

cup  cut  citron 

1 

cup  chopped  nut  meats 

% 

cup  preserved  cherries 

2 

cups    sifted    all  purpose 

% 

cup  cut  preserved  orange 

flour 

peel 

% 

teaspoon  soda 

% 

cup  cut  preserved  lemon 

1 

teaspoon  salt 

peel 

% 

teaspoon  nutmeg 

m 

cups  butter  or  other  short- 

% 

teaspoon  cinnamon 

ening 

Yz 

teaspoon  cloves 

i 

cup  granulated  sugar 

1 

teaspoon  vanilla  extract 

Vi 

cup  molasses 

Vi 

teaspoon  lemon  extract 

Rinse  raisins,  drain  and  dry  on  a  towel.  Rinse,  drain  and  dry 
citron,  cherries  and  peels  before  cutting  them.  Cream  short- 
ening thoroughly  with  the  sugar.  Add  molasses,  then  the  eggs 
and  mix  together  thoroughly.  Add  bread  crumbs  and  nuts, 
then  the  prepared  fruits.  Stir  until  blended.  Add  flour  sifted 
with  soda,  salt  and  spices  and  mix  well  until  no  dry  flour  re- 
mains. Add  flavoring  extracts.  When  thoroughly  blended, 
turn  into  2  greased  one-quart  pudding  molds.  Molds  should  be 
about  %  full;  one-pound  coffee  or  baking  powder  cans  may  be 
used.  Cover  molds  securely.  Place  molds  on  rack  in  steamer 
(or  large  kettle)  and  steam  over  boiling  water  2%  to  3  hours. 
Remove  from  steamer,  uncover  and  cool,  then  cover  with  wax 
paper,  adjust  cover  on  mold  and  put  away  to  age.  This  pud- 
ding may  also  be  served  immediately,  while  still  hot.  However, 
when  it  is  put  away  for  a  time,  it  must  be  steamed  again  for 
a  half  hour  before  serving. 

Tradition  demands  a  smooth  Hard  Sauce  as  the  perfect 
accompaniment  for  the  above  pudding.  However,  there  is  much 
to  be  said  for  also  serving  a  liquid  sauce  since  this  keeps  the 
dessert  from  being  too  dry  and  thus  adds  greatly  to  its  appeal. 
Here  is  the  recipe  for  an  unusual  Fluffy  Hard  Sauce.  I  suggest 
that  you  keep  some  of  this  sauce  out  of  the  refrigerator  for  a 
time,  before  serving,  so  that  it  will  be  soft  enough  to  use  as 
a  topping  for  the  pudding,  as  shown  in  the  illustration.  Dis- 
regard this  last  suggestion  entirely,  naturally,  if  the  pudding 
is  to  be  brought  on  in  a  blue  blaze  of  lighted  brandy. 

FLUFFY  HARD  SAUCE 


Vz  cup  butter 

2  cups  confectioners'  sugar 


2  egg  whites,  stiffly  beaten 
lYz  teaspoons  vanilla 


Cream  butter  until  very  soft.  Gradually  beat  in  lYz  cups  of 
sugar.  Continue  beating  for  several  minutes — the  longer  the 
better.  (By  all  means  use  your  electric  mixer  for  this  task,  if 
you  have  one.  It  assures  the  creamiest  hard  sauce  imaginable 
with  practically  no  effort!)  Beat  in  the  stiffly  beaten  egg  white 
and  the  vanilla.  Add  remaining  sugar.  Pile  lightly  into  serving 


12 


MODERN  SCREEN 


dish  leaving  an  uneven  top  surface.  Or 
turn  into  fancy  mold  which  has  been 
lined  with  wax  paper.  Chill  until  firm. 
Also  see  suggestion  following  the  Plum 
Pudding  recipe. 

GOLDEN  GLAZE  COOKIES 

Filling: 

1  cup  seedless  raisins 
Vi  cup  orange  juice 

2  teaspoons  finely  cut  orange  peel 
x/z  cup  water 

V2  cup  granulated  sugar 

V4  teaspoon  salt 

V2  cup  finely  cut  nut  meats 

Dough: 
I/2  cup  butter 
1     cup  granulated  sugar 

3  eggs,  beaten 

3V2  cups  sifted  all-purpose  flour 

1  teaspoon  cinnamon 

Vz  teaspoon  salt 

3  teaspoons  baking  powder 

Glaze: 

1  egg  white 

2  tablespoons  honey 

Filling:  Combine  raisins  with  orange 
juice.  Add  finely  cut  fresh  orange  peel 
from  which  all  white  membrane  has  been 
scraped.  Add  water,  sugar  and  salt,  bring 
to  a  boil  and  continue  boiling  until  very 
thick,  stirring  constantly  at  the  last  to 
prevent  burning.  Remove  from  heat,  add 
nuts,  cool. 

Dough:  Cream  butter  and  sugar  to- 
gether thoroughly.  Add  beaten  eggs  and 
beat  until  blended.  Add  flour  which  has 
been  sifted,  measured,  then  sifted  again 
with  the  cinnamon,  salt  and  baking  pow- 
der. Mix  thoroughly.  Work  dough  with 
hands  until  smooth.  Divide  dough  into 
portions  of  convenient  size  to  handle  and 
roll  very  thin.  Cut  into  rounds,  stars  and 
other  fancy  shapes.  Place  half  the  pieces 
on  greased  cookie  sheet.  Top  each,  in 
the  center,  with  a  little  of  the  cooled 
raisin  filling.  Cover  with  corresponding 
cookies  which  should  have  a  small  circle 
cut  in  center  of  each.  Press  edges  to- 
gether, firmly. 

Glaze:  Beat  egg  white  and  honey  to- 
gether and  use  to  brush  tops  of  cookies 
before  placing  them  in  a  hot  oven 
(400 °F.)  Bake  about  15  minutes,  to  a 
golden  brown. 

STAR  SWEETS 

3  cups  (15  oz.  package)  seedless  raisins 
1     cup  brown  sugar 

1  cup  white  Karo 

IV3  cups  irradiated  evaporated  milk 

2  tablespoons  butter 
1     teaspoon  salt 

1     cup  chopped  nut  meats 
1%  teaspoons  vanilla 

Rinse  raisins  in  boiling  water,  drain 
and  dry.  Place  brown  sugar  and  Karo 
in  saucepan,  bring  to  a  boil  slowly,  stir- 
ring constantly.  Cover,  boil  5  minutes. 
Add  evaporated  milk  very  slowly  so  that 
boiling  does  not  stop  at  any  time.  When 
all  milk  has  been  added  stir  in  butter. 
Continue  boiling,  stirring  frequently  at 
first,  then  almost  constantly  toward  the 
last,  to  prevent  burning.  Remove  from 
heat  when  "a  little  of  mixture  in  cold 
water  will  form  into  a  very  soft  ball 
(232°F.  on  candy  thermometer.)  Add 
raisins,  salt,  nut  meats  and  vanilla.  Stir 
just  enough  to  blend,  then  turn  into  but- 
tered pan.  Cool.  Form  mixture  into 
balls  about  the  size  of  golf  balls  between 
the  palms  of  your  hands.  Wrap  each  ball, 
individually,  in  red  cellophane. 


Pond's  New  Rosy  Powders 
are  Tops  for  Glamour" 


Hard  and  shiny 

With  just  a  pale  powder,  under  harsh 
lights  even  May  Byrne  Simpson's 
fragile  young  face  would  harden  . . . 
she'd  be  forever  powdering  an  «>n- 
roittanticaily  "shiny  nose." 


Soft,  Romantic 

Under  the  brightest  lights, 
with  Pond's  Rosy  "Glore- 
Proof"  Powder,  May's  skin 
keeps  a  glamorous  rose- 
petally  look.  And  she 
doesn't  have  to  bother  » 
her  pretty  head  so  often 
about  "shiny  nose." 


New  Rose  Shades  reflect  only  the  softer  rays 
.  .  .  are  "Glare- Proof".  .  .  Shine-resistant 


GLAMOUR  find  of  the  season  for  debutante 
"charmers"  is  Pond's  Rosy  Powder.  With 
one  of  these  shine-resistant  Rose  shades,  even 
under  harsh  night-club  lights,  smart  debs  are 
still  dazzling  the  stag  line  after  hours  of  dancing. 

Pond's  "Glare-Proof"  Rose  shades  keep  bright 
lights  from  hardening  faces — keep  pert  noses 
from  shining  longer — because  they  re- 
flect only  the  softer,  pinker  rays. 

Be  glamour-wise!  Choose  the  Pond's 
Rose  shade  that  gives  your  skin  that 
irresistible,  rose-petally  look.  And  com- 
bat that  arch-enemy  of  Cupid — "shiny 
nose"!  In  lOtf,  20t  and  55tf  sizes. 

■     Or  send  for  free  samples  of  Pond's  3 
w  glamorous  Rose  shades  —  Rose  Dawn,  Rose 
Cream  and  Rose  Brunette.  Write  for  them 
today.  Pond's,  Dept.  9MS-PA,  Clinton,  Conn. 

Copyright,  1939,  Pond's  Extract  Company 

13 


BY   LOIS  SVENSRUV 

HEDY'S  BABY 

The  mystery  of  the  play-room  at  the 
Markey  home  has  been  finally  cleared 
up  with  the  adoption  of  James  Mar- 
key,  aged  two  months.  But  the 
mystery  of  the  chicken-coops  is  still 
unsolved.  Hedy  insists  that  she  had 
the  coops  built  in  the  backyard,  be- 
cause she's  going  to  take  up  chicken- 
raising  on  a  small  scale  this  year 
and  next  year  move  to  a  ranch  in  the 
San  Fernando  Valley  and  go  into 
the  business  in  a  big  way.  Maybe 
Hedy  will  copy  Mickey  Rooney's 
idea  of  putting  a  sign  up  on  his 
ranch  gate,  "Rooney,  Egg  Merchant." 
For  instance,  "Lamarr  Fryers." 

A  PRACTICAL  PRESENT 

One  of  Bob  Howard's  wedding  gifts 
was  a  standing  order  for  thirty  meals 
at  the  Thrifty  Drug  Co. — the  29-cent 
Thrifty  special.  The  gift  was  from 
some  of  his  pals  who  told  him  mar- 
rying a  movie  star  was  great,  but 
this  present  might  help  him  over  the 


first  month  when  Andrea  Leeds 
would  undoubtedly  try  to  whip  up 
some  cozy  meals  for  the  two  of  them. 

SHIRLEY.  THE  FINANCIER 

The  Milk  Fund  in  Los  Angeles  is  one 
charity  that  doesn't  have  to  worry 
about  funds.  Not  with  Shirley  Temple 
in  there  pitching.  Remember  the 
time  she  hired  her  pony  to  the  stu- 
dio for  $25  a  day,  after  that  tactful 
letter  to  Boss  Zanuck?  Now,  for  "The 
Bluebird,"  Shirley's  rented  them  all 
her  toys  for  the  "House  of  Luxury" 
sequence.  The  Milk  Fund's  coffers 
will  be  swelled  $250  by  this  finan- 
cial wizardry  on  Shirley's  part.  Gone 
forever  are  the  days  when  Shirley 
idled  away  her  time  between  scenes 
playing  leap-frog  with  Ihe  prop  boys. 
Life  is  real,  life  is  earnest,  and 
the  other  day  we  came  upon  her 
huddled  in  a  camp  chair,  concen- 
trating on  darning  a  sock.  "It  won't 
hurt  her  to  know  how,  even  if  she's 
a  movie  star  for  the  next  fifteen 
years,"  said  Mrs.  Temple.  "Even  the 
glamor  girls  must  get  holes  in  their 
stockings."   Isn't  it  the  truth! 


HAWAIIAN  HOLIDAY 

Romantic  Hawaii,  with  its  famous 
Waikiki  Beach,  is  still  the  favorite 
vacation  spot  for  many  of  Holly- 
wood's importants,  and  the  Matson 
Line's  Lurline  is  still  their  favorite 
way  of  getting  there.  In  fact,  to 
Janet  Gaynor,  George  Burns,  Gracie 
Allen,  Shirley  Temple  and  loads  of 
others,  this  ship  has  become  almost 
a  ferry  boat  between  California  and 
Honolulu,  the  best  spot  they  know  of 
to  "get  away  from  it  all." 

THE  AHERNES  AT  HOME 

Brian  Aherne  and  his  bride  are  on 
speaking  terms  again.  For  "Rebec- 
ca," Joan  Fontaine's  picture,  is  now 
finished  and  so  is  "Vigil  in  the 
Night,"  the  film  in  which  Aherne 
worked.  The  studio  assignments  kept 
both  of  them  busy  from  the  moment 
they  returned  from  their  honeymoon 
week-end,  but  now  they  have  a 
chance  to  be  Mr.  and  Mrs.  B.  Aherne 
for  awhile.  Their  Beverly  Hills  home 
is  a  pretty  little  one  of  French  colo- 
nial design,  with  the  predominant 


JUDY  GARLAND 


JAMES  STEWART 


SHIRLEY  ROSS 


color  scheme  the  French  blue  which 
is  both  Joan's  and  Brian's  favorite 
shade.  So  far,  the  only  servant  in 
the  house  is  a  Chinese  valet,  a  hang- 
over from  the  bridegroom's  bachelor 
days,  so  Joan's  making  the  biscuits. 

SERVICE  FOR  GREENE 

After  the  "Hollywood  Cavalcade" 
premiere,  the  doorman  started  call- 
ing, "Richard  Greene's  car!"  No 
Greene  appeared  and  the  doorman's 
aggravated  tones  rang  out,  "Mr. 
Greene,  your  car's  been  waiting  a 
half -hour!  Will  Mr.  Greene  please 
come  and  get  his  car?"  About  this 
time  the  whole  crowd  of  fans  in  the 
bleachers  took  up  the  chant,  "Will 
Mr.  Greene  please  come  and  get  his 
car?"  Finally  Richard,  blushing  furi- 
ously, elbowed  his  way  through  the 
crowd  and  got  into  his  car,  while  wild 
cheers  went  up  from  the  bleachers. 

SOME  STILT-WALKER 

At  a  rehearsal  for  the  Screen  Guild 
Theatre  the  other  day,  Cary  Grant 
had  the  cast  gazing  at  him  in  wide- 


eyed  admiration  when  he  walked 
onto  the  stage  on  a  pair  of  stilts 
which  he  had  unearthed  in  the  stu- 
dio prop  room.  How  could  he  even 
stand  up  on  them,  Ann  Sothern  want- 
ed to  know.  "This  is  nothing,"  yelled 
Cary,  and  proceeded  to  go  into  a  jit- 
terbug routine.  Then  he  revealed 
that  he  earned  his  living  as  a  stilt- 
walker  before  embarking  on  a  screen 
career.  Ann  immediately'  decided 
she  wanted  some  lessons  on  the  fine 
art  of  stilt-walking,  but  Roger  Pryor, 
emcee  of  the  show,  said  nothing  do- 
ing. "You  can't  tell  what  a  thing 
like  this  might  lead  to,"  said  Roger. 
"I'd  hate  to  read  in  the  gossip  col- 
umns that  my  wife  was  stepping  out 
on  me  on  stilts." 

OOMPH.  UMPH,  YUMPH! 

Betty  Field,  though,  is  one  gal  in 
town  who  doesn't  want  any  part  of 
glamor.  On  the  set  of  "Of  Mice  and 
Men,"  she  was  saying  that  any  ac- 
tress in  town,  possessed  of  a  good 
masseuse  and  a  face  that  didn't  look 
too  much  like  a  poached  egg,  could 
look  like  a  glamor  girl.    "All  these 


Annabella  and  Tyrone  have  settled 
down  again  to  enjoy  their  new  home 
in  Beverly  Hills  and,  according  to 
both  of  them,  they  would  just  as 
soon  never  leave  town  again,  after 
their  recent  hectic  experiences.  Anna- 
bella's  daughter  is  in  boarding-school 
— just  around  the  corner  from  the 
Power  home. 

SHE'S  HAPPY  NOW 

For  her  role  in  "Reno,"  Anita  Louise 
is  going  sophisticated  for  the  first 
time.  She  has  slinky  clothes,  a  glam- 
orous make-up  and  a  sleek  coiffure. 
As  she  sat  in  her  dressing-room  the 
other  day,  laboriously  pasting  on 
inch-long  lashes,  Anita  admitted  that 
she  thought  the  whole  idea  was 
swell.  Because  after  all  these  months 
of  devotion,  boy  friend  Buddy  Adler 
had  dared  to  venture  that  he  thought 


MODERN  SCREEN 


WENDY  BARRIE 


OLIVIA  DE  HA  VILLANV 


JOAN  BENNETT 


STUART  ERWIN 


Hedy  Lamarr  has  a  certain  mysterious 
something  that  he  never  noticed  befo"". 

THE  BOSS  SPEAKS 

The  Warner  ranch  in  the  San  Fernando  Val- 
ley was  the  site  of  the  location  for  a  scene 
in  "The  Fighting  69th"  the  other  day.  The 
crew  went  out  and  set  up  lights,  cameras  and 
commissary  tents.  They  were  in  the  midst 
of  digging  trenches  when  a  man  wandered 
up  with  a  gun  slung  over  his  shoulder. 
"What's  going  on  here?"  he  demanded. 
"We're  building  a  set  for  a  Warner  Brothers 
picture,"  answered  one  of  the  workmen,  "and 
take  a  tip  from  me,  brother,  you  better  not 
trespass  on  this  ranch."  The  man  thanked 
him  courteously  for  the  information  and  ad- 
vice. "But  I  guess  I'll  hang  around  for 
awhile,"  he  added.    "I'm  Harry  Warner." 

ANIMALS  AND  ACTORS 

The  set  of  the  "Swiss  Family  Robinson" 
looked  like  the  livestock  exhibit  of  the  county 
fair  most  of  the  time.  For  the  Robinson  fam- 
ily, if  you  remember  your  sixth  grade  reader, 
were  stranded  after  a  shipwreck  and  man- 
aged to  save  many  of  the  pigs,  cows,  sheep, 
ducks  and  geese  which  they  had  on  board. 
Also  on  the  set  in  constant  attendance  was 
a  gentleman  representing,  the  "Society  for 
the  Prevention  of  Cruelty  to  Animals."  When 
the  cast,  crew  and  livestock  were  required  to 
work  late  one  night,  it  was  necessary  to  get 
some  still  pictures  with  the  help  of  flash- 
bulbs. When  the  first  bulb  went  off,  one  of 
the  cows  jumped  with  fright.  So  the  repre- 
sentative of  the  Society  informed  the  director 
that  no  more  stills  could  be  taken,  it  wasn't 
right  to  scare  the  cow.  "And  here  I've  been 
jumping  out  of  my  skin  for  fifteen  years  every 
time  a  flash-bulb  went  off!"  said  Thomas 
Mitchell.  "How  about  a  Society  for  the  Pre- 
vention of  Cruelty  to  Actors?" 

PETER  AND  NORM1E 

The  other  day  Melvyn  Douglas  brought  his 
five-year-old  son,  Peter,  for  a  visit  to  the  set. 
One  of  the  scenes  required  that  Douglas  be 
handcuffed  and  led  off  the  stage.  Peter  was 
overcome  with  excitement,  to  the  extent  that 
he  couldn't  say  a  word  when  the  director 
asked  him  how  he  liked  it.  "He'll  be  all 
right  in  a  minute,"  said  Douglas.  "He's  just 
thrilled  to  death  at  seeing  his  old  man  taken 


off  to  jail."  Another  day,  Joan  Blonaell's  son 
was  struck  dumb  in  admiration  of  Peter.  The 
two  children  had  been  brought  for  a  visit  to 
the  studio  on  the  same  day,  and  the  actress 
offered  to  take  them  to  lunch.  Afterwards 
she  complained  of  not  feeling  very  well- 
Seems  that  Normie  had  been  too  spellbound 
to  eat  when  in  the  presence  of  Peter,  who  is 
a  year  older.  So  his  mother  had  cleaned  up 
on  the  spinach  and  milk  ordered  for  her  son. 
"And  I  feel  terrible,"  she  moaned.  "I  don't 
see  how  anyone  can  survive  vitamins." 

WOLF!  WOLF! 

Looks  like  they  really  mean  it  this  time — and 
we  mean  Phyllis  Brooks  and  Cary  Grant.  For 
Phyllis  is  trying  to  sell  her  home  and  Cary 
Grant  suddenly  purchased  the  old  Norma 
Talmadge  house  at  Santa  Monica  beach. 
Decorators  are  re-doing  the  house  from  stem 
to  stern — and  taking  their  orders  from  Phyllis. 

SIGN,  PLEASE 

After  a  preview  the  other  evening,  a  boy 
asked  Carole  Lombard  for  her  autograph. 
The  actress  obligingly  signed  "Carole  Gable." 
The  boy  looked  at  it  and  then  said,  "Shucks, 
I  can  sell  your  Carole  Lombard  autograph  for 
two  bits  to  a  pal  of  mine,  but  this  ain't  worth 
nothing." 

POPULAR  JENNIE 

Rosalind  Russell  generally  wins  all  popular- 
ity contests  on  any  set  where  she  appears 
for  work.  But  on  "My  Girl  Friday,"  over  at 
Columbia,  Roz  has  had  to  take  a  back  seat. 
For  her  colored  maid,  Jennie,  has  been  the 
center  of  attraction  since  the  day  the  picture 
started.  Jennie's  the  aunt  of  Kenny  Washing- 
ton, star  of  UCLA's  football  team,  so  every- 
one at  the  studio  has  been  hanging  around 
for  tip-offs  on  the  teams.  Added  to  that  tal- 
ent, Auntie  can  name  every  horse  that  is 
running  this  season  and  prophesy  the  out- 
come of  nine  out  of  ten  races. 

DON'S  VACATION 

The  new  Don  Ameche  baby  is  home  from  the 
hospital  and  doing  well,  after  that  two- 
months'  stay  there  for  observation.  Mrs. 
Ameche  is  feeling  fine,  too,  but  father's  not 
so  good.  The  combination  of  a  third  son, 
constant  picture  work  and  that  weekly  radio 


program  proved  too  much  for  him.  So  Zan- 
uck  issued  orders  that  he  is  to  rest  for  three 
months  before  showing  up  to  work.  Ameche 
refused  to  give  up  work  at  first,  but  the  boss 
insisted.  "If  you  don't  take  a  vacation,"  he 
said,  "they'll  be  calling  you  the  Prisoner  of 
Zanuck." 

BILL'S  A  HOME  BODY 

That  most  sophisticated  gentleman  of  the 
screen,  William  Powell,  insists  that  the  simple 
pleasure  of  hitting  the  hay  at  home  tops  his 
list  of  thrills.  After  two  years  of  hotels,  hos- 
pitals, boats  and  trains,  Powell  has  at  last 
moved  into  a  home  of  his  own.  He's  rented 
a  place  in  Beverly  Hills,  taken  his  furniture 
©ut  of  storage  and  settled  down  to  complete 
domesticity.  It  was  Myrna  Loy  and  her  hus- 
band who  persuaded  the  actor  that  there's  no 
place  like  home  and  took  him  for  daily  drives 
past  the  most  tempting  houses  in  town  that 
were  for  rent. 

BETTE  STANDS  PAT 

Bette  Davis  insists  that  she  won't  come  to 
terms  with  her  studio  until  they  guarantee 
that  only  two  pictures  a  year  will  be  on  her 
schedule.  To  prove  she  means  what  she 
says,  Bette's  refused  to  even  do  "One  Way 
Passage"  with  George  Brent.  Though  that 
romance  is  as  dead  as  yesterday's  news- 
paper, the  actress  says  that  Brent  is  still 
her  favorite  leading  man — but  the  Davises 
never  compromise. 

GARFIELD'S  ANSWER 

All  is  not  lilies  and  bluebirds  between  John 
Garfield  and  his  studio,  either.  Garfield 
wanted  to  go  back  to  New  York  and  do  a 
Group  Theatre  play,  but  his  studio  insisted 
they  couldn't  get  along  without  him.  Gar- 
field's response  to  that  was  that  they  needn't 
be  so  upset.  He  wasn't  taking  his  stand-in, 
so  any  roles  which  the  studio  had  lined  up 
for  him  could  be  adequately  handled  by  that 
gentleman. 

PERSNICKETY  FOLKS 

Barbara  Stanwyck  and  Robert  Taylor  moved 
into  that  new  Beverly  Hills  house  before  the 
garage  was  completed.  One  morning  Bob 
couldn't  resist  going  out  and  tinkering  with 
some  of  the  tools.  He  was  pounding  a  nail 
into  a  wall-board  when  the  foreman  arrived. 


16 


MODERN  SCREEN 


"Don't  know  your  nane,  Bud,"  said  the  man, 
tapping  the  actor  on  the  shoulder,  "but  get 
your  pay  and  consider  yourself  through  on 
this  job.  These  Taylors  are  persnickety  folks." 

THAT  CHARLIE! 

When  Clark  Gable  and  Charlie  McCarthy 
were  practicing  for  their  radio  program, 
Carole  Lombard  was  right  on  deck  for  the 
rehearsal.  The  script  called  for  a  discussion 
on  how  feminine  hearts  are  won  and  lost, 
and  Edgar  Bergen  was  shushed  off  immedi- 
ately. "Quiet,  Bergen,"  commanded  Mc- 
Carthy. "You  don't  belong  in  this  conversa- 
tion. You're  listening  to  experts."  Then  he 
turned  to  Mrs.  G.,  sitting  in  the  front  row. 
"Ain't  that  so,  Carole?" 

HEDY'S  HOPPING  MAD 

No  doubt  about  there  being  an  economy 
wave  on  at  Metro.  For  they're  going  to 
patch  up  and  release  "I  Take  This  Woman," 
and  hoping  to  make  back  some  of  the 
reputed  $350,000  spent  on  its  production. 
Spencer  Tracy  and  Hedy  Lamarr  aren't 
as  enthusiastic  budgeters,  apparently,  as 
Louis  B.  Mayer.  Mr.  Tracy  would  just  as 
soon  leave  the  picture  on  the  shelf  and 
Miss  Lamarr  is  requesting  $5,000  per  week, 
in  place  of  her  weekly  stint  of  $500,  before 
she  will  set  foot  on  the  Metro  lot  again,  for 
retakes  or  anything  else. 

MAYBE  JIM'S  RIGHT 

Tip  to  girls  who  like  the  Stewart  type:  Joan 
Blondell  was  telling  the  cast  of  "The  In- 
credible Mr.  Williams"  all  about  her  new 
corset.      "It's    wonderful,"    she  exclaimed. 


"Even  if  it  does  takes  two  hours  to  lace  it 
up,  it  certainly  does  a  lot  for  a  girl."  Jimmy 
Stewart  wandered  by  at  this  point.  "Say, 
listen,"  he  stopped  to  say.  "When  I  hug 
a  girl,  I  want  to  feel  like  that's  what  I'm 
doing.  Not  like  I've  grabbed  an  armful  of 
railroad  ties." 

OUCH.  MR.  BENNY! 

Jack  Benny  is  equally  vehement  on  the 
subject  of  the  new  figures  in  fashion.  Said 
he  told  Mary  Livingstone  that  if  she  didn't 
care  about  his  personal  reactions,  she  should 
at  least  consider  the  professional  aspects 
of  her  case.  "An  hour-glass  figure,"  he  told 
his  wife,  "has  no  place  on  a  half-hour  pro- 
gram." - 

A  REAL  ROMANCE 

Jane  Bryan  and  Eddie  Albert  are  going  to 
start  wedding-ahapel  shopping  any  day 
now.  Those  rumors  of  Eddie's  secret  mar- 
riage were  caused,  according  to  the  actor, 
from  the  fact  that  he  and  a  gal  named 
Grace  used  to  have  a  vaudeville  team.  The 
act  was  billed  as  "Grace  and  Eddie  Albert." 
Jane  never  goes  to  previews  because  the 
crowds  give  her  the  jitters.  But  when  "The 
Roaring  Twenties"  was  previewed  the 
other  night,  she  decided  that  nothing  could 
keep  her  from  seeing  her  idol,  Jimmy  Cag- 
ney.  When  the  picture  was  over,  Jane  sat 
dazed  and  unmoving  until  Eddie  Albert  sug- 
gested they  get  going.  "No,"  said  his  girl 
friend  breathlessly,  "let's  stay  and  see  it 
again."  "What  do  you  want  to  do,"  hissed 
Eddie,  "wait  here  until  next  Monday  to  see 
that  Cagney  guy?  That's  when  the  picture 
opens  its  regular  run." 


DIDJA  KNOW 

That  Jimmy  Stewart  plays  a  harmonica  be- 
tween scenes  .  .  .  the  hand  used  in  the 
final  sequence  of  "All  Quiet  on  the  Western 
Front,"  where  Lew  Ayres  reaches  out  to 
catch  the  butterfly,  was  really  the  hand  of 
Lewis  Milestone,  who  directed  the  picture, 
because  Milestone  is  superstitious  about  in- 
cluding a  personal  gesture  of  some  type  in 
his  every  picture  .  .  .  Don  Ameche,  Chet 
Lauck  and  Lou  Crosby  each  have  a  one 
third  interest  in  a  fighter  (heavyweight) 
named  Eddie  Mader  .  .  .  another  Orson 
Welles  way  of  "going  Hollywood"  is  smok- 
ing long,  big  black  cigars  .  .  .  Jack  Benny 
always  introduces  Rochester  as  "the  man 
who  stole  my  last  picture"  .  .  .  Jeanette 
MacDonald  gained  eight  pounds  on  a  ginger 
ale  and  ice  cream  diet  .  .  .  May  Robson 
and  Edward  Everett  Horton  like  nothing 
better  than  a  good  fast  badminton  game  be- 
tween sets  .  .  .  Madeleine  Carroll  vetoed 
the  idea  of  wearing  only  a  Turkish  towel  in 
one  scene  for  "Safari"  .  .  .  "Golden  Boy" 
William  Holden  really  hung  one  on  George 
Raft  during  fight  scenes  for  "Invisible 
Stripes"  .  .  .  Mickey  Rooney  lives  on  a 
ranch  in  Van  Nuys  about  ten  miles  from  his 
studio  .  .  .  Kay  Kayser's  singer,  Ginny 
Simms,  made  a  big  hit  at  RKO  during  pro- 
duction of  "That's  Right,  You're  Wrong,"  and 
may  get  a  contract  out  of  her  performance 
.  .  .  Alice  Faye  wears  a  brunette  wig  in 
"Hollywood  Cavalcade,"  but  wasn't  even 
trying  a  bit  to  look  like  Hedy  Lamarr  or 
Joan  Bennett  .  .  .  Edna  Best  did  not  attend 
the  preview  of  "Intermezzo"  because  pre- 
views make  her  nervous  .  .  .  Baby  Leroy 
is  now  seven  years  old  and  called  "Lonnie," 
and  is  coming  back  to  pictures  very  soon? 


LOOK.'  AREN'T  THEy  THE 
REDDEST,  ROUGHEST  HANDS   J  \Z 
YOU  EVER.  SAW',  ft  k 


17 


MODERN  SCREEN 


EDDIE  ROBINSON  IRENE  DUNNE  FREDMAC MURRAY        JEANETTE  MACDON AID 


RAFT'S  "ROMANCE" 

George  Raft  says  he  knows  Norma  Shearer 
"only  slightly."  When  an  interviewer 
added  some  random  thoughts  on  that  ro- 
mance to  her  story,  Raft  blue-penciled 
every  reference  to  Norma.  "Miss  Shearer 
would  be  annoyed  to  read  anything  like 
this,"  he  said,  "and  I  don't  like  it  either." 
Certain  it  is  that  Raft  has  given  up  any 
ideas  of  domesticity  in  the  near  future, 
for  he's  put  his  beautiful  new  home  in 
Coldwater  Canyon  up  for  sale — and  at  a 
sacrifice  price.  Says  he's  anxious  to  get 
back  into  bachelor  quarters  again  and  .  not 
have  to  worry  about  anything  except  what 
time  Mack  (the  Killer)  Gray  gets  home  at 
night  or  who's  going  to  win  at  the  fights. 

GARGANTUA  SCARED? 

When  the  circus  came  to  town,  Joe  E.  Brown 
and  his  small  daughters,  Mary,  Elizabeth  and 
Kathryn,  were  right  up  there  in  the  front  row. 
Since  Milt  Taylor,  the  clown,  is  a  friend  of 
Joe  E.'s,  he  arranged  for  the  giant  gorilla, 
Gargantua,  to  be  brought  up  for  inspection. 
He  gazed  at  Joe  E.  for  twenty  seconds,  then 
turned  and  ran  away,  dragging  his  trainer 
after  him.  "No  comment,"  said  Brown  when 
pressed  for  an  explanation. 

LORETTA'S  TREAT 

Loretta  Young,  looking  very  beauteous,  came 
to  the  Victor  Hugo  the  other  evening  with 
Jimmy  Stewart.  When  it  came  time  to  pay 
the  check,  Jimmy  went  frantically  through 
all  his  pockets  while  the  waiter  stood  by 
eyeing  him  disapprovingly.  Loretta  finally 
noticed  his  embarrassment  and  slipped  her 
evening  bag  under  the  table  to  Jimmy.  From 
it  the  embarrassed  Stewart  fished  out  the 
necessary  money  and  the  two  departed  in 
a  hurry. 

GUN  GAL.  MAY 

May  Robson  is  getting  gayer  and  giddier 
roles  assigned  her  every  day.  Now  in 
"Granny  Get  Your  Gun"  she  plays  a  Calam- 
ity Jane  character,  completely  equipped  with 
two  guns  on  each  hip  and  a  cow-girl  outfit. 
Jimmy  Cagney,  visiting  the  set,  told  her  she 
really  ought  to  learn  to  shoot  those  guns. 
"And  I  will,"  said  Miss  Robson  at  once,  "if 
you'll  teach  me!"    Jimmy  was  delighted,  so 


that  gal  you  see  getting  marksmanship  les- 
sons every  noon  outside  Stage  2  at  Warner's 
is  75-year-old  May  Robson. 

ANN'S  PRETTY  DRESSY 

For  her  role  in  "A  Call  on  the  President," 
Ann  Sothern  has  to  wear  one  of  those  floozy 
costumes  which  have  fallen  to  her  lot  in  re- 
cent pictures — a  very  ornate  hat  and  a  be- 
ribboned  dress.  In  addition,  a  ratty  red  fox 
scarf  was  handed  her  from  the  wardrobe 
department.  "Look  here,"  Ann  said  to  the 
director,  "I  don't  mind  this  dress  and  hat, 
really.  But  this  red  fox — couldn't  I  just  leave 
it  in  a  corner  for  the  day?" 

LEW'S  "LUNCH" 

A  strange  sight  is  Lew  Ayres  arriving  on 
the  set  every  day  clutching  a  brown  paper 
bag.  The  paper  bag  holds  all  his  make-up 
equipment  from  shaving,  soap  to  greasepaint. 
Lew  admits  he  has  several  make-up  boxes 
at  home  which  have  been  given  him  by  co- 
workers. "But  I  feel  like  a  sissy  carrying 
one  of  those  things,"  he  explained.  "This 
way  people  only  think  I'm  bringing  my  lunch." 

SH-H-H.  FURRINERS! 

On  the  tremendous  set  built  fof  the  "Hunch- 
back of  Notre  Dame,"  Director  Dieterle  was 
giving  instructions  to  the  five  hundred  extras. 
It  was  a  difficult  scene,  calling  for  the  mob 
to  break  up  and  run  in  several  directions. 
The  director  issued  orders  from  the  raised 
platform  on  which  he  stood.  After  three  un- 
successful rehearsals,  Dieterle  grabbed  his 
megaphone  and  yelled,  "Vot's  de  matter? 
Can't  anyone  understand  de  English?" 

FINE  FARE  FOR  GARBO 

Whether  it's  love  or  not,  we  wouldn't  know. 
But  certainly  Greta  Garbo  and  Dr.  Gaylord 
Hauser  have  a  wonderful  time  together.  The 
other  day  they  came  into  Jones'  Health  Store 
on  the  Boulevard,  bubbling  with  good  spirits, 
in  spite  of  rain  dripping  from  their  hats  and 
coats.  Garbo's  outfit  consisted  of  a  green 
slicker,  navy  slacks,  brown  galoshes  and 
what  was  left  of  a  broad-brimmed  straw  hat. 
They  seated  themselves  at  the  bar  and  or- 
dered a  glass  of  cucumber  juice  apiece. 
After  that.  Dr.  Hauser  helped  Greta  select  a 
pound  of  dried  figs  and  they  went  merrily 
on  their  way. 


SPENCE  IS  JUDY'S  FAN 

Spencer  Tracy  asked  for  his  first  autograph 
the  other  day.  He  met  Judy  Garland  coming 
out  of  the  studio  commissary  and  said,  "Look,  j 
Judy,  after  'Babes  in  Arms,'  I  would  certainly 
appreciate  your  autograph."  Judy  gulped, 
blushed  and  then  managed  to  say,  "Thanks, 
Mr.  Tracy.  Gee,  thanks."  Then  she  took  a 
deep  breath  and  said,  "May  I  send  it  to  you 
tomorrow?  Right  now,  even  my  'X'  would 
be  wobbly." 

TEMPER,  TEMPER,  MARLENE! 

After  seeing  some  unretouched  pictures  of 
herself  in  a  national  magazine,  Marlene  Die- 
trich stormed  into  the  studio's  head  office. 
"So  all  right,  so  I'm  the  new  Dietrich!"  she  i 
cried.  "I  give  interviews.  I  work  overtime. 
I  exude  sweetness  and  light  every  moment 
I'm  on  the  set.  And  then  you  release  pic-  i 
tures  that  make  me  look  as  new  as  some- 
thing that's  kicked  around  a  bargain  base- 
ment."  So  all  right,  from  now  on  la  Die- 
trich gets  to  okay  every  picture  taken  and 
things  are  beginning  to  seem  like  the  good 
old  days  again. 

MICKEY'S  NOT  IMPRESSED 

The  other  evening  Mickey  Rooney  decided 
to  step  out  into  high  society,  so  went  calling 
on  a  Pasadena  deb.    Her  home  turned  out 
to  be  an  imposing  mansion  and  an  equally 
imposing  butler  let  him  in.  Obviously,  the 
butler  wasn't  impressed  with  the  caller,  nor 
was  the  deb's  father  who  advanced  across 
the  huge  hallway  to  greet  Mickey.    But  it 
takes  more  than  a  sour  expression  to  get  a 
Rooney  down.     Mickey  shook  the  pater's 
hand  and  then  said,  "I  wonder,  gentlemen, 
if  you  could  tell  me  what  picture  is  being  S 
premiered  here  tonight?"     No  doubt  about 
it,   Mickey  rates  just  about   tops  on  Judy 
Garland's  preferred  list.    The  other  evening,  ! 
Clark   Gable  was  telling  Mickey  what   a  I 
wonderful  girl  Judy  is  and  Mickey  nodded 
agreement.     "She's  a  swell  kid,  all  right," 
he   said.     "But,"   he   added,    "just   a   kid,  ! 
Gable." 

THE  RETORT  SNAPPY 

Cary  Grant  is  an  amiable  guy  around  the 
studio,  but  there  is  one  rule  which  he  has 
(Continued  on  page  81) 


18 


HOLLYWOOD'S  MOST  beautiful 
blonde-with-brains  definitely  is  not 
through  with  marriage — just  with  the 
one  in  which  she's  now  involved. 

The  reasons  attributed  to  Madeleine 
Carroll's  deferment  of  her  European 
divorcement  from  Captain  Philip  Ast- 
ley  are  only  part  of  the  story.  It's 
true  that  when  the  fascinating  golden 
girl  of  the  cinema  took  a  rain  check 
on  the  action  that  would  dissolve  her 
matrimonial  contract  with  the  impor- 
tant Britisher,  she  was  influenced  by 
the  fact  that  this  estranged  spouse 
has  once  again  donned  a  uniform  for 
war  duties. 

But  Madeleine's  lily  white  knuckles 
have  gently,  if  quietly,  been  rapping 
at  a  higher  tribunal  than  the  Paris 
divorce  courts.  Her  secret  purpose  is 
an  annulment  from  the  Englishman 
she  married  several  years  ago  in  Italy. 
She  wants  a  dissolution  from  Rome 
that  will  permit  her,  within  her  own 
religious  convictions,  to  marry  again 
and  have  children.  There  have  been 
no  babies  in  this  mixed  marriage  of 
hers  from  which  she  hopes  the  church 
will  free  her. 

Changing  one's  mind  is  a  feminine 
prerogative,  one  to  which  the  beau- 


BY     JULIA     SH  A  WELL 


Madeleine  with  little 
Carolyn  Lee  in  "Honey- 
moon in  Bali,"  her  latest 
screen  success. 


- 


MADELEINE  CARROLL 


WANTS  CHILDREN! 


Madeleine  and  Captain  Philip 
Astley  were  married  in  a  little 
Italian  village  seven  years  ago. 
It  was  indeed  a  love  match. 


"I  trust  that  some  day  I  shall 
have  the  children  that  are 
every  woman's  right,"  says 
Madeleine  Carroll  confidingly. 


teous  Miss  Carroll  may  some  day  re- 
sort. If  all  else  fails,  she  may  yet 
content  herself  with  a  civil  divorce. 
But  such  a  procedure  will  be  a  com- 
promise with  her  present  plans.  And 
it  will  be  one  of  the  few  times  in  her 
life  when  Madeleine  Carroll  has  not 
gotten  what  she  wanted. 

"How  can  one  think  of  divorce 
when  the  world  is  again  at  war  and 
my  husband  has  been  called  back  to 
service?"  is  the  way  Miss  Carroll  was 
quoted  by  newspaper  men  on  her  re- 
turn from  Europe  not  long  ago. 
Madeleine  was  quoted  correctly,  and 
she  meant  it,  too.  But  she  didn't  tell 
all.  Nor  was  the  intimation  that  she 
might  pick  up  the  broken  threads  of 
her  marriage  true. 

Retracing  her  steps,  fitting  pieces  of 
anything  into  a  mended  pattern,  is 
not  a  habit  with  Madeleine  Carroll. 
The  first  time  she  said,  "My  mar- 
riage to  Philip  is  over,"  she  meant  it. 
Though  now  she  confides,  "My  mother 
was  heartbroken,  my  friends  were 
shocked  at  the  idea  that  I  would  be- 
come a  divorced  woman.  Divorce  is 
against  my  convictions  and  I  have 
been  given  the  hope  that  what  I  may 
some  day  be  able  to  secure  is  an 


annulment.  This  will  permit  me  to 
marry  again  and  have  children  in  a 
second  marriage.  When  I  have  been 
freed,  I  certainly  trust  that  some  day 
I  shall  again  be  a  wife  and  have  the 
little  ones  that  are  every  woman's 
right.  That's  why  I  originally  bought 
the  house  outside  Paris.  It  was  my 
hope  to  see  my  own  youngsters  liv- 
ing there.  Only  I  didn't  know  how 
soon  it  would  be  filled  to  overflow- 
ing." When  France  entered  the  war, 
Miss  Carroll  turned  her  chateau  over 
to  French  nuns  and  had  two  hundred 
boys  and  girls  established  there. 

"Certainly  being  a  wife  in  Holly- 
wood and  having  a  husband  in  Lon- 
don is  not  conducive  to  a  happy 
marriage,"  Miss  Carroll  suggested 
when  she  admitted  she  plans  her 
freedom.  But  there  was  the  added 
intimation  that  it  wasn't  only  the 
separation  of  an  ocean  and  a  conti- 
nent that  made  the  bonds  strain. 

Even  as  Miss  Carroll  spoke  of  her 
hope  for  a  religious  annulment,  she 
had  with  her  a  cable  from '  Philip  in 
which  he  addressed  her  as  "darling" 
and  in  which  he  reassured  her  that 
he  would  look  after  her  mother  who 
is  living  outside  the  City  of  London. 


"Some  people  say  that  you  could 
get  any  man  you  wanted,"  was  cas- 
ually suggested  to  Madeleine.  And 
that  seemed  no  overstatement  as  she 
sat  gracefully  in  the  black  crepe  dress 
which  made  her  lovely  blonde  hair 
softer  and  lighter,  her  large  eyes  a 
deeper  blue.  Madeleine's  slender 
hands  went  up  in  a  deprecating 
gesture. 

"If  that  were  only  true!"  She  smiled 
ruefully,  as  though  remembering. 
"There  have  been  some  I  wanted,  who 
didn't  want  me — some  I  couldn't  get," 
she  explained. 

And  she  further  admits  that  she 
has  no  chosen  successor  to  the  Brit- 
isher with  whom  she  has  come  to  the 
end  of  a  marriage  that  started  so 
beautifully  and  promisingly  in  a  small 
Italian  village  one  warm  sunny  day. 
Just  now,  "he"  is  merely  a  vague 
somebody  with  whom  she'll  want  to 
spend  the  rest  of  her  life,  and  who, 
as  she  says,  will  want  her. 

In  the  meantime,  Madeleine  is  back 
in  Hollywood  making  money,  which 
she  also  admits  is  her  only  reason  for 
being  in  the  movie  citadel  at  all. 

"There  was  a  period  while  I  was  in 
France  this  (Continued  on  page  57) 


Here  is  a  star  who  realizes  that  fame  and  fortune  do  not  insure  happiness 


HEAVENLY 
HARD  GUY 


BY  K/RTLEY  BASKETTE 


1  If  HEN  producers  say  their  prayers 
l/lf  at  night  they  ask  for  a  guy  like 
■  •  Robert  Preston. 

"Dear  Lord,"  they  implore, 
devoutly  tilting  their  anxious  eyes 
heavenward,  "please,  please,  send  us 
a  young  muscle  man  with  a  beau- 
tiful mug!  Give  us  a  modern  Gable 
who  can  plant  a  kiss  with  his  phiz 
and  a  shiner  with  his  fist.  And,  Lord 
— send  him  special  delivery!" 

Today  when  big  Bob  Preston  swings 
his  wide  shoulders  and  Greek  statue's 
torso  across  the  Paramount  lot,  these 
producers  hit  him,  buzzing  like  horse 
flies.  They  grab  him  by  his  open  col- 
lar, snatch  him  by  his  crisp,  curly 
locks  or  even  tackle  him  around  his 
husky  ankles.  "Bob,"  they  pant,  "say 
— can  you  ride  a  bucking  horse? 
Look,  Bob,  can  you  ski?  Can  you 
swim  like  a  fish,  box,  play  football, 
pitch  curves,  tame  gorillas,  wrestle 
alligators,  break  a  bucking  bronco?" 

To  most  of  these  startling  interro- 
gations, Robert  Preston  says,  "Yes." 
When  he  says  "No,"  the  producers 
bark,  "Well,  learn!"  and  then  fly  into 
a  free-for-all  scuffle  over  who  gets 
Bob  next. 

He's  straight  from  heaven,  this 
Preston  party,  the  answer  to  a  pro- 
ducer's prayer.  He's  handsome,  hot 
and  heroic  and  he's  headed  for  the 
top  of  the  he-man  heap  in  one  short 
hop,  skip  and  jump.  Paramount  has 
already  co-starred  him  with  Gary 
Cooper  and  again  with  Dorothy  La- 
mour,  and  he'll  solo  soon.  All  of 
which  stacks  up  with  Bob  as  very 
pleasant  indeed,  but  a  little  screwy. 
He  can't  forget  that  only  a  few  months 
ago  he  was  standing  in  the  chilly 
reception  room  outside  this  same 
studio's  talent  department  looking 
back  in  and  trying  to  keep  himself 
from  wrecking  the  joint. 

In  his  burning  ears  rang  the  curt 
brush-off  of  the  casting  office.  "We're 
hunting  for  romantic  types.  We  can't 
use  any  truck  drivers  or  gorillas!" 

The  cords  in  Bob's  sturdy  neck 
tightened  like  strings  on  a  bull  fiddle 
and  his  fists  knotted.  But  his  manager 
eased  him  out,  still  shaking. 

So  it's  still  a  little  strange  for  Rob- 
ert Preston  Meservy  suddenly  to  find 
himself  the  fair-haired  Harry  at  the 
same  studio  whose  bum's  rush  still 
wrinkles  the  seat  of  his  pants.  But 
then,  a  great  many  things  about 
Hollywood  and  the  business  of  being 
a  movie  star  seem  slightly  bizarre  to 
an  honest,  straight-punching  hard  guy 
from  across  the  tracks,  like  Bob. 

For  instance,  they  told  him  to 
sprout  a  beard  for  his  new  picture, 
"Typhoon,"  and  after  he'd  raised  a 
daisy,  thick  and  curly,  they  shot  the 
last  of  the  picture  first,  or  something, 
and  shaved  it  right  off  the  first  day. 
So  Bob  had  to  wear  a  tickly  spinach 
piece  the  rest  of  the  picture. 

Later  on,  they  hired  a  double  to 
swim  across  Catalina's  bay  for  Bob. 
But  the  double  couldn't  make  it,  so 
Bob  had  to  splash  in  and  double  for 
the  double. 

When  Hollywood  had  a  pre-season 
spell  of  icy  weather,  they  put  Bob 
to  work  indoors  on  a  steamy  jungle 


set.  When  the  hottest  heat  wave  in 
history  followed,  they  went  outdoors 
and  whipped  up  a  howling  typhoon 
with  wind  machines.  And  when  Cali- 
fornia promptly  came  through  next 
with  a  real  typhoon  of  its  own — well, 
Bob  points  out  disgustedly — the  pic- 
ture was  over. 

On  the  personal  side,  it  also  baffles 
Bob  why  he  should  have  money  prob- 
lems now  that  he  has  a  little  geetus 
in  the  bank,  when  he  never  had  any 
such  trouble  while  he  was  broke. 
Also,  why  everybody  should  get  all 
worked  up  whenever  he  steps  out 
with  a  dame,  like  Dottie  Lamour,  for 
an  ice  cream  soda.  But  those  are 
common  first  season  Hollywood  com- 
plaints. 

What  really  stuns  and  depresses 
Robert  Preston  is  that  in  "Typhoon," 
Paramount  has  dressed  up  a  two- 
fisted  tough  guy  like  himself  in  a 
sarong  to  match  Dottie's  famous  hip 
piece  and  exposed  his  shame  to  the 
world.  "A  skirt,"  he  moans.  "Baby 
blue,  with  flowers — and  in  Techni- 
color! What  will  the  guys  over  in 
Lincoln  Heights  say  to  that?" 

You  see  Lincoln  Heights  is  one  of 
the  most  hard  cooked  neighborhoods 
in  Los  Angeles  and  it  is  also  Robert 
Preston's  home  bailiwick.  What  the 
guys  and  gals  think  of  him  there  is 
what  really  counts  in  his  young  lif e. 
And  up  to  the  time  he  started  run- 
ning around  in  baby  blue  tea  towels, 
Bob  was  known  as  a  strictly  right  gee, 
a  Jo  who  could  dish  it  out  and  take 
it  too,  which  is  the  way  worth  is  mea- 
sured in  Lincoln  Heights,  instead  of 
by  how  much  fan  mail  comes  in  a 
week  or  by  what  the  studio  cashier 
hands  out  in  a  sealed  envelope.  Bob 
had  spent  a  good  many  scrappy  sea- 
sons punching  out  his  reputation.  In 
fact,  ever  since  he  was  two  years  old. 

That  was  when  the  Meservys 
ducked  out  of  Newton  Heights, 
Massachusetts,  where  Bob  was  born, 
and  hit  the  trail  west.  The  trek  was 
supposed  to  be  for  Grandpa  Meservy's 
health,  but  it  turned  out  mostly  in 
grandson  Bob's  favor.  The  southern 
California  sun  and  the  outdoor  life  was 
all  Bob  needed  to  sprout  into  a  young 


giant  with  a  gladiator's  body.  He  bat- 
tled the  Pacific's  rolling  surf,  hiked 
through  the  mountains  and  sparred  and 
wrestled  in  the  neighborhood  gyms. 

A  few  years  ago — very  few,  for 
Bob  is  only  twenty-one  today — all  the 
movies  meant  to  Robert  Preston  was 
a  place  to  take  your  best  girl  on 
Saturday  night  when  you  had  a  half- 
buck  in  your  pocket.  The  thing  that 
counted  in  his  husky  young  life  was 
what  sports  writers  sometimes  call 
the  squared  circle.  He  wanted  to  be 
a  prizefighter.  That's  a  common  am- 
bition in  Lincoln  Heights  where  the 
young  rooster  who  cannot  punch  his 
way  out  of  a  wet  paper  sack,  as  the 
saying  goes,  might  as  well  tag  along 
behind  a  cop. 

BOB  COULD  handle  his  dukes  ever 
since  he  was  hefty  enough  to  hold 
them  up  in  front  of  him.  He  got 
plenty  of  practice,  too,  starting  at  an 
age  when  most  small  fry  are  hanging 
for  dear  life  to  their  mama's  apron 
strings.  Pretty  soon  there  were  few 
scrappers  in  the  Heights  who  cared 
about  brushing  chips  off  his  wide 
shoulders.  Then  Bob  took  his  knuckles 
into  the  local  sporting  clubs  and  semi- 
pro  gyms  where  young  cauliflower 
artists  blossomed.  You  can  find  his 
name  on  plenty  of  the  old  semi-pro 
program  cards,  Bob  Meservy  vs. 
Wildcat  So-and-So,  Bob  Meservy  vs. 
The  Tequila  Kid,  vs.  Pancho  the 
Filipino  Puncher,  and  so  on.  The 
point  is,  Bob  threw  plenty  good 
leather,  and  it's  just  possible  that  you 
might  be  reading  about  him  today  on 
the  sport  pages  instead  of  right  here 
if  there  hadn't  been  a  dusky  school- 
mate of  his  at  Lincoln  High  named 
Kenneth  Washington. 

On  his  Saturday  afternoon  Bob 
likes  to  sit  in  the  grandstand  now 
and  watch  Kenny,  an  Ail-American 
halfback  at  the  University  of  Cali- 
fornia at  Los  Angeles,  do  his  stuff 
on  the  gridiron.  But  all  Bob  saw  the 
night  they  tangled  in  the  smoky  fog 
of  a  sports  writer's  benefit  fight  was 
a  hail  of  leather  attached  to  Kenny's 
hamlike  fists.  Pretty  soon  every 
square  inch  of  Bob's  golden  hide  was 


26 


either  rosy  red  or  black  and  blue, 
and  when  it  was  all  over  his  jaws 
were  so  sore  he  couldn't  chew  the 
fried  chicken  that  was  supposed  to  be 
his  reward  for  the  mauling.  Sucking 
a  gizzard  gingerly,  Bob  Meservy  de- 
cided then  and  there  his  talents 
needed  a  rerouting  if  he  ever  ex- 
pected to  end  up  anywhere  besides 
in  a  hospital. 

Setting  one's  sights  for  a  dramatic 
career,  of  course,  is  not  quite  as  sim- 
ple and  direct  as  socking  straight 
away  for  a  prizefighter's  belt.  Bob 
Meservy  would  probably  never  have 
had  a  look-in  at  a  studio  if  it  hadn't 
been  for  Tyrone  Power's  mother, 
Patia,  which  only  goes  to  show  how 
very  tricky  are  the  dipsy-doos  of  fate 
around  Hollywood. 

At  that  time  Bob  was  sixteen,  but 
not  so  sweet.  He  was  still  punching 
his  way  through  Lincoln  High  School, 
playing  center  on  the  football  team, 
first  base  on  the  baseball  nine  and 
relaxing  between  contests  in  school 
amateur  dramatics  class.  He  was 
careful  to  keep  this  sideline  from  his 
rough  and  tumble  playmates,  though, 
lest  they  shout  "Woo-woo!" 

Then  it  was  that  Patia  Power  de- 
cided to  get  up  a  travelling  stock 
company  in  Hollywood.  She  held  try- 
outs,  somebody  pushed  Bob  forward 
and  the  next  thing  he  knew  he  was 
signed  up  for  a  road  tour.  The  six- 
teen-year-old high  school  punk  was 
so  darned  manly  he'd  up  and  won  the 
part  of  "Julius  Caesar"  in  Shake- 
speare's play,  although  a  score  of 
middle-aged  actors  competed  against 
him  in  the  try-outs. 

Well,  that  started  it  off — and  from 
then  when  the  acting  bug  really  bored 
in  until  Paramount  called  him  a 
"truck  driver,"  Bob  had  little  use  for 
anything  else  but  trying  to  get  an 
acting  break.  He  dropped  boxing  and 
he  dropped  football,  and  sometimes  he 
dropped  eating,  too.  Because,  after 
Bob  graduated  from  high  school  he 
was  strictly  on  his  own.  He  worked 
at  anything  he  could  get  for  his  cakes 
and  coffee  while  he  learned  the 
ABC's  of  the  acting  dodge  at  the 
Pasadena   (Continued  on  page  75) 


A  great  many  things  about 
being  a  star  seem  bizarre 
to  an  honest  lad  from 
across  the  tracks,  like  Bob. 


0» 

55; 


/T  MAY  take  a  long  time,  but  I  think  I'll  live  it 
down!  At  least  I'll  do  my  best." 
The  "oomph"  girl  appellation  was  what  Ann 
Sheridan  was  meaning  and  she'd  like  to  find  out 
who  really  concocted  that  tag  line  for  her.  "I 
suspect  a  couple  of  people  on  the  lot  but  they  look  so 
innocent  when  I  mention  my  suspicions  that  so  far  I 
haven't  settled  the  final  biame  on  any  individual. 
Needless  to  say,  I  wasn't  present  at  the  naming  cere- 
monies," is  the  way  the  gorgeous  redhead  explains  it. 

Miss  Garbo  may  have  obligingly  lived  up  to  the 
hermitage  tradition  about  her,  Clara  Bow  may  have 
enjoyed  her  career  as  the  "It"  girl,,  but  Ann  Sheridan 
wants  to  be  known  as  the  actress  whose  ability  rates 
her  feminine  leads  with  such  stars  as  Cagney,  Gar- 
field, O'Brien  and  Raft.  And  if  she  has  the  oomph, 
"it"  or  whatever  cognomen  is  given  to  sex  appeal, 
she'd  rather  the  public  discovered  it  for  themselves, 
and  only  as  an  incidental  acquisition. 

Ann  Sheridan  is  "Annie"  to  everybody  who  knows 
her.  Everybody,  whether  she  knows  them  or  not, 
is  "honey"  to  Annie.  She  may  like  it  or  not,  but 
Oomph  Girl  she  is  to  her  public  and,  when  she  meets 
them  en  masse,  her  most  critical  superior  can't  com- 
plain that  Annie  doesn't  cooperate. 

"Honey,  I've  got  to  go  downstairs  for  a  few  min- 
utes," Miss  Sheridan  apologized  as,  careful  of  her 
artfully  arranged  red  tresses,  she  wriggled  her  slen- 
der figure  into  a  seductive  white  chiffon  gown,  shot 
with  silver.  "Downstairs"  was  the  stage  of  the  New 
York  Strand  Theatre  on  which  Annie  appeared  sev- 
eral times  daily  for  two  weeks  and  sang  blue  songs 
to  a  musical  background  by  Ted  Weems'  orchestra. 

The  Oomph  Girl  they  had  made  her  and  oomphish- 
plus  she  would  be  when  she  walked  to  the  footlights. 
On  her  arm  from  wrist  to  elbow  she  fastened  glit- 
tering baubles  that  came  out  of  a  cardboard  box. 
Her  scarlet-nailed  toes  slipped  stockingless  into 
fragile  silver  sandals. 

Annie  reached  for  a  tiny  bottle  in  the  top  drawer 
of  her  dressing  table.  Carefully  she  measured  the 
drops  and  injected  them  into  her  nostrils.  No 
precious  vial  of  rare  perfume  was  this.  Ann  Sheridan 
may  have  oomph — but  she  also  has  sinus  trouble. 
It  was  on  a  rampage  all  the  time  she  was  making 
her  personal  appearances  in  the  east.  And  as  though 
little  hammers  doing  an  anvil  chorus  continuously 
in  her  head  weren't  enough  to  add  to  understandable 
stage  fright,  she  contracted  a  cold  in  the  environs 
of  Broadway  that  sent  her  naturally  husky  voice 
down  an  octave  or  two. 

"This  time  does  it!"  she  exclaimed  fearfully  as  the 
knock  on  the  dressing-room  door  warned  her  to  go 
to  the  wings.  Even  a  healthy  contralto  throat  can't 
take  more  than  its  quota  of  incessant  coughing,  and 


there  wasn't  a  working  moment  of  Miss  Sheridan's 
stage  weeks  in  Manhattan  that  she  wasn't  afraid  her 
voice  would  crack  into  huge  gaps  of  discordant 
sounds. 

She  bit  her  hps  in  vexation  at  the  avalanche  of  her 
woes — and  ate  most  of  her  thickly  applied  lipstick. 
So  she  had  another  sip  of  black  coffee,  repaired  the 
damage  to  make-up  and  then  made  for  the  stage. 

A  sigh  of  relief  attended  her  return.  One  more 
show  over,  and  the  voice  hadn't  completely  deserted 
her.  Annie  slipped  out  of  her  oomph  gown  and 
reached  for  a  simple  taupe  street  dress.  The  Sher- 
idan figure  doesn't  need  any  artifices  to  accentuate 
outlines.  She's  as  thin  as  she  could  get  and  still  have 
curves.  She  may  have  been  born  with  the  rudiments 
of  the  form  divine  but  Miss  Sheridan  believes  in 
giving  Nature  some  help.  The  remnants  of  her 
luncheon  were  significant  evidence  that  the  up-and- 
coming  glamor  gal  of  the  screen  does  not  regularly 
feast  on  caviar  and  guinea  hen  under  glass.  One 
soft-boiled  egg  had  left  its  yellow  pattern  in  the 
cup;  most  of  the  toast  remained. 

MISS  SHERIDAN  certainly  looked  beautiful  sans 
girdle  or  uplift — or  anything  except  tailored  silk 
step-ins  that  she  was  wearing. 

"I'm  counting  an  awful  lot  on  what  'Years  Without 
Days'  will  do  for  me  as  an  actress,"  Annie  com- 
mented, wistful  hope  in  her  voice  as  she  reached  for 
her  stockings.  The  picture  is  a  remake  of  'Twenty 
Thousand  Years  in  Sing  Sing'  and  she  appears  with 
John  Garfield.  "No  emphasis  on  oomph  in  this  one," 
she  added  with  a  laugh.  Although  this  actress  makes 
you  believe  she  knows  as  well  as  anyone  that  the 
quality  that  has  been  lavished  on  her  for  publicity 
doesn't  depend  on  cloth  of  gold  and  overly-long  false 
eyelashes.  Her  next  picture,  "And  It  All  Came  True," 
will  find  her  again  opposite  Garfield  and  with  George 
Raft  also  emoting. 

For"  a  girl  who  came  to  the  screen  by  way  of  an 
international  beauty  contest,  Ann  Sheridan  has  cer- 
tainly worked  long  and  hard  for  recognition  as  an 
actress — six  unsatisfactory  Hollywood  years,  in  fact. 
She  wants  to  act  and  let  who  will  inherit  the  oomph 
throne.  "Too  much  to  five  up  to,"  expresses  her 
feelings  about  the  whole  thing. 

Oomph  Girl  she  became  by  the  simple  process  of 
looking  that  way  and  seeming  to  fit  the  characteriza- 
tion more  than  any  of  her  glamorous  sisters  on  the 
west  coast.  But  the  road  that  led  to  leading  roles  in 
Class  A  pictures  was  too  long  and  difficult  to  be 
called  Oomph  Boulevard  as  far  as  Miss  Sheridan  is 
concerned.  It  bumped  along  too  many  periods  of 
extra  jobs,  detoured  into  the  field  of  too  many  horse 
operas  and  stock  work  and  (Continued  on  page  70) 


THEY  MADE  HER 
WHAT  SHE  IS  TODAY 

So  Ann  Sheridan  hopes  they're  satisfied!  As  for 
herself— she'd  rather  act  than  "oomph"  any  time 


BY    BETTY  COLFAX 


mm 


WE,  THE  CAGNEYS 

Scratch  a  Cagney,  and  you'll  find  a  fund  of  devotion  to  other  Cagneys 


BY  CAROLINE 
S.  HOYT 


Love  and  esteem  for 
each  other  is  the  tie 
that  binds  the  Cagneys. 
Here  is  Jimmy  with  his 
wife.  They've  been 
married  twelve  years. 


JB 
sup 
pre 
av 


at 
bet 
b 
Soi 
gat 
sta 
imj 


Here  is  part  of  the  Cagney  famiiy — Bill,  Mrs.  Cagney,  Jean  and  Jimmy.   Ed  and 
Harry  are  the  other  two  boys.  They  make  their  homes  in  New  York. 


JIMMY  CAGNEY  once  attended  a  gay  gathering,  where 
supper  was  served  at  small  tables.  The  masculine  element 
predominated,  so  he  sat  at  a  table  with  two  other  men  and 
a  woman.  The  lady  was  charming,  but  depressed.  The 
gentlemen  tried  to  rally  her,  without  success. 

Suddenly  she  said,  "I  just  got  back  from  England  the 
other  day.  I  made  an  unpleasant  discovery.  I've  lost 
my  son." 

She  told  them  the  story — how  the  boy  had  been  away 
at  an  English  school  for  four  years,  how  she'd  suddenly 
been  seized  by  an  overwhelming  longing  to  see  him.  She'd 
flown  to  New  York,  caught  a  boat  the  next  day,  landed  at 
Southampton,  wired  her  son  and  driven  up  to  the  school 
gate  just  as  classes  were  being  dismissed.  The  boy  was 
standing  at  the  gate,  talking  to  some  friends.  Her 
impulse  was  to  leap  out  and  fling  her  arms  around  him. 
His  impulse  apparently  didn't  match  hers.  "Be  with  you 
in  a  minute,''  he  called,  and  went  on  talking  to  his  mates. 

"I  realized  then  he  was  gone  from  me,"  she  said.  "Can 
you  understand  why?" 

The  other  two  men  propounded  theories.  Jimmy  was 
silent.  The  lady  was  undeniably  distressed,  yet  she  seemed 
to  be  getting  a  kind  of  melancholy  pleasure  from  the  dis- 
cussion of  1  her  woes.    At  length  she  turned  to  Cagney. 

'You  haven't  said  a  word.  What  do  you  think?" 

"Ever  have  any  trouble?"  he  inquired  abruptly. 

"What  do  you  mean?" 

"Two  of  you  ever  fight  for  anything  together?" 
"We've  never  had  to." 

."That's  your  trouble  then.  If  you'd  had  to  stand  with 
your  back  to  the  wall — together — there  would  have  been 
a  tie  that  nobody  could  break." 

It's  the  tie  that  binds  the  Cagneys  or,  at  any  rate,  one 
of  its  firmest  strands.  Love  and  esteem  for  each  other  are 
closely  twisted  in  with  it.  Scratch  a  Cagney,  and  you'll 
find  a  fund  of  devotion  to  the  other  Cagneys,  all  the  deeper 
for  being  inarticulate.  It  finds  expression  in  action  rather 
than  words. 

An  exception  may  be  noted  in  the  case  of  Jean.  The 
boys  aren't  shy  about  showing  their  feeling  for  her.  She's 
the  only  girl.  The  three  eldest  were  in  their  teens  when 
she  was  born.  Their  father  had  died  a  few  months  earlier. 
She  was,  and  is,  their  darling. 

Their  mother  was  the  presiding  genius  of  the  family, 
a  woman  of  will  and  spirit,  with  a  passion  for  learning. 


Once  in  her  own  life  she  had  come  to  a  parting  of  the 
ways.  She'd  been  offered  a  scholarship  to  go  on  with  her 
studies  but,  being  in  love,  she  had  married  instead.  Though 
she  never  regretted  the  step,  she  resolved  that  her  own 
brood  should  take  advantage  of  the  opportunities  she'd 
missed,  whatever  privations  they  might  have  to  suffer  in 
the  process. 

"With  my  mother,"  chuckles  Cagney,  "education  was  a 
mania.  She  stood  on  the  platform  of  you -get-  an-  education- 
or-else.  It  was  a  lot  easier  to  study  than  to  face  her 
wrath.   She  had  a  will  of  steel." 

You  can  drive  a  child  to  study,  but  you  can't  make  him 
learn.  Luckily  for  Mrs.  Cagney,  her  children,  as  they 
grew  older,  proved  to  be  her  children  in  more  than  flesh 
and  blood. 

WHEN  HARRY  lost  his  appendix  at  twelve,  he  made  up 
his  mind  to  be  a  doctor,  and  never  veered  from  that  deci- 
sion. Majoring  in  languages,  Eddie  copped  medal  after 
medal  through  high  school  and  college.  He  thought  he 
might  be  a  teacher  of  languages,  but  the  temptation  of 
working  with  his  brother  sent  him  on  through  pre-med. 
Now  they're  both  practicing  physicians  on  Long  Island. 

During  his  last  year  at  high  school,  Jimmy  hopped  bells 
at  the  Friars'  Club  from  five  in  the  evening  till  three  in 
the  morning,  rose  at  7 : 30,  got  to  school  at  8: 20,  went  home, 
did  his  homework,  cleaned  up,  ate  and  departed  for  work. 
He'd  do  his  physics  as  he  rode  up  and  down  in  the  Friars' 
elevator.  That  schedule  taxed  even  his  stamina.  As  soon 
as  he  could  find  a  job  at  shorter  hours,  he  took  it. 

The  boys  all  went  to  work  at  fourteen,  because  they 
couldn't  get  their  working  papers  sooner.  They  worked 
after  school  and  during  summer  vacations.  They  waited 
on  tables,  juggled  packages,  stacked  books.  Whatever  they 
earned  went  into  the  common  treasury  as  a  matter  of 
course.  They  didn't  feel  sorry  for  themselves.  "In  our 
neighborhood,"  says  Jimmy,  "it  was  either  that  or  not  eat" 

Neither  did  their  mother  ever  indicate  that  she  felt 
sorry  for  them.  She  loved  her  children  with  wisdom,  not 
with  sentimentality.  Necessity  was  the  taskmaster.  The 
boys  could  have  earned  more  if  she'd  taken  them  out  of 
school,  but  she  probably  would  have  preferred  to  see 
them  go  hungry,  and  certainly  she'd  have  been  glad  to  go 
hungry  for  them.  She  knew  she  was  giving  them  the 
only  possibility  of  escape  into  (Continued  on  page  53 ) 


WHEN  YOU  talk  to  Lo- 
retta  Young  now,  you  hold 
^    forth  futilely  if  you  try  to  give 
her  unasked-for  advice.   She  will 
listen  politely  enough.  But  as  soon 
as  you're  out  of  sight,  she'll  put  your 
advice  out  of  mind.  She  is,  for  better 
or  worse,  definitely  allergic  to  hints  on 
how  she  ought  to  conduct  her  life. 
"I  don't  pay  any  attention  to  those  leisurely 
souls  who  assure  me  everything  will  be  all 
right  if  I  merely  sit  tight.  For  my  experience 
has  taught  me  you  can't  let  anything  slide. 
Things  don't  work  out.   They  don't  straighten 
themselves  out  until  you  decide  exactly  what 
you  want  and  how  you  want  it  and  then  do  some- 
thing about  it. 

It's  just  reaching  for  an  alibi  to  be  elegantly  and 
lazily  fatalistic.  When  I'm  informed  confidently  that 
my  desires  will  materialize  as  the  night  follows  the 
day,  I  smile  sweetly  and  say,  You'll  excuse  me,  won't 
you?'  and  retreat." 

Loretta  calmly  looked  up  at  me  over  a  plate  of  hot 
Texas  tamales.  As  modern  as  her  home  is  Colonial, 
she  doesn't  hesitate  to  serve  tamales,  with  bread  and 

butter  and  orange  juice,  instead  of  Tom  Collinses,  at 

the  cocktail  hour. 

"So  the  undecorated  truth  about  me  is,"  she  said  candidly, 
"that  I'd  rather  be  wrong  than  ruled!  I  can't  believe  a 
thing  until  it  happens  to  me,  personally.  I  may  look 
fragile  and  easily-swayed,  but  don't  let  appearances  de- 
lude you.  Never  judge  any  woman  just  by  her  face  and 
figure.  She's  apt  to  have  been  up  to  some  crafty  monkey- 
business  there! 

"I  am,  underneath,  a  stubborn  individualist  if  ever  there 
was  one.  I  suppose  I'm  a  rebel — a  rebel,  certainly,  against 
a  lot  of  fine,  foolish  old  theories  I'm  continually  meeting. 
The  common-sense  moves  you  must  make  may  work  for 
everyone  else,  although  I  doubt  it,  but  that's  no  proof 


BY  BEN  M  ADD  OX 


Loretta  Young  may  once  have  been  a 
gentle  drifter,  but  today  she's  a  stub- 
born individualist  if  ever  there  was  one 

they're  going  to  satisfy  me.  Furthermore,  they  don't." 

She  smiled  blandly,  firmness  in  her  blue  eyes.  "Every 
woman  should  have  some  rebellion  in  her  make-up.  As 
it  is,  too  many  of  my  sex  are  taken  in  by  too  much 
advice  that  nine  times  out  of  ten  is  emphatically  not  the 
solution  to  their  particular  cases  at  all.  A  weak  sister 
deserves  being  bossed  around,  however,  because  she's 
deliberately  let  herself  in  for  it!" 

"You  have  changed,"  I  broke  in.  "You  were  always  a 
'Victim  of  Fate,'  lovable  but  unlucky  in  love,  the  movie 
star  that  Destiny  was  down  on.  They  always  sigh  when 
they  mention  your  name.  They  always  say,  'Poor  Loretta, 
isn't  it  a  shame  she  can't  find  happiness!'  But  from  the 
way  you  sound  today  yon  aren't  the  tragic,  gentle  drifter 
any  more." 

"No,  I'm  not  a  gentle  drifter;  I  never  was  one!"  Loretta 
retorted,  buttering  herself  anotber  slice  of  bread  and  turn- 
ing down  the  late  afternoon  radio  music  a  trifle.  "I've 
never  been  'a  tragic  character.'  I  don't  consider  myself 
unlucky  in  love,  either.  Victim  of  Fate,  my  foot!  Destiny 
hasn't  had  me  in  its  mysterious  grip.  What's  more,  I  don't 
think  I  have  to  grab  a  husband  to  find  out  what  happiness 
really  means! 

"It's  true  I  am  not  hard-boiled,  as  all  determined  young 
career  women  have  to  be,  according  to  what  'they'  say. 
I  know  I  don't  have  to  be.  Furthermore,  I  know  that  I'd 
be  seriously  limiting  myself  if  I  were.  I  know  from  my 
own  experience.  I'm  too  headstrong  to  accept  all  the 
suggestions  of  others,  and  I'm  too  fond  of  action  to  learn 
from  books,  so  I  rely  on  my  own  memories.  I  know  that 
a  career  woman  has  to  be  nice  about  her  nerve,  that 
graciousness — which  is  a  quiet  tongue  and  a  courteous 
pair  of  ears  beneath  the  coiffure — is  well  worth  cultivat- 
ing. I  know  that  if  I'm  charming  I  may  get  what  I  want, 
that  if  I  were  crude  or  too  open  with  demands,  I'd  only 
be  laughed  at. 

"I'm  not  idly  philosophizing.  Remember  I  started  in  the 
movies  at  thirteen.  One  day,  when  I  got  beyond  being 
scared  to  death  every  time  I  entered  a  studio,  I  blew  up. 

Loretta  steps  out  with  Jimmy  Stewart.  Have  you 
ever  wondered  why  attractive  Miss  Y.  is  still  play- 
ing the  field?  She  tells  you. 


Very  ex- 
plosively! 
I'd  been  yelled 
at  unfairly,  so  I 
was    going   to  do 
that  nasty  man  one 
better.    I  proceeded 
to  weep  myself  into  a 
state  of  hysterics  violent 
enough  to  turn  the  most 
temperamental  prima  donna 
green.     Production   had  to 
stop  for  three  whole  days  be- 
cause of  me.  I  sat  home  in  in- 
jured dignity  until  I'd  forced  an 
apology.  It  was  a  great  waste  of 
effort.    They  weren't  impressed," 
she  recalled.    "They  were  pained 
by  my  pettiness. 

"I  rebel  against  the  constantly  re- 
peated advice  that  every  smart  girl 
must  put  on  an  act.  I've  discovered 
that  tricks  are  not  necessary  for  a 
career  or  to  interest  a  man.  Sincerity's 
the  only  rule  I  heed.  The  minute  your 
sincerity  is  questioned,  you  lose  what- 
ever edge  you  have.  It's  important  in  a 
job.    When  I'm  dissatisfied  with  some 
studio  detail,  I  telephone  whoever's  re- 
sponsible and  complain  as  intelligently 
as  I  can.  Sometimes  I'm  still  dissatisfied, 
but  at  least  I'm  sure  of  what's  blocked 
me.   Socially,  I  trust  to  good  manners 
and  instinct  instead  of  tricks.    If  you 
find  your  intuition  is  usually  right,  don't 
pooh-pooh  it. 

"You  can  bet  I'm  a  rebel  against  other 
women's  advice  (Continued  on  page  73) 


Loretta  Young  is  also  free-lancing,  pro- 
fessionally.   Her    latest    is  "Eternally 

Yours"  with  David  Niven.  k 


^djfeto  DEAR  MR-  POWELL: 

You  are  my  favorite  actress.  I  enjoyed  you  in 
"The  Good  Earth.'    Please  send  me  one  of  your 
pictures.   Yours  truly,  Mydalia  Mynch.  P.  S.   A  big  one." 

"And  that,"  said  Bill,  with  relish,  "is  an  exact  tran- 
scription of  a  fan  letter  recently  handed  me  by  my  secre- 
tary, a  twinkle  discreetly  drowning  in  her  eyes.  "This 
business  of  being  a  star,"  Bill  continued,  "has  its  prankish 
moments.  A  star  goes  to  New  York,  let  us  say.  He  ar- 
rives at  the  Grand  Central  Station.  It  is  somehow  bruited 
about  that  a  movie  star  is  about  to  de-train,  dark  glasses, 
Afghan  hound  and  all.  Dr.  Alexis  Carrel,  perhaps,  is 
coming  in  by  the  same  train.  The  crowds  mob  the  movie 
star.  Dr.  Carrel  passes  by  unnoticed  and,  if  the  rush 
for  the  movie  star  hasn't  been  too  strenuous,  unharmed. 
On  such  occasions,  the  most  immodest  star  feels  a  rabid 
desire  to  get  somewhere. 

"When  a  star  appears  personally,  he  always  feels  a  little 
guilty,  I  think.  I  do.  Because  the  people  who  pay  you 
the  compliment  of  tearing  you  limb  from  limb  do  not 
know  at  all  what  you  yourself  are  really  like.  They  don't 
know  the  Bill  Powell  I  know — the  fellow  who  sits  up  all 
night  and  sleeps  all  morning.  So,"  said  Bill,  "I'm  taking 
the  bows  for  the  characters  I  play.  I  must  try  to  take 
them,  as  the  Thin  Man  would  take  them.  The  sixteen- 
year-old  girl  who  says,  'Oh,  Mister  Powell,  I  think  you're 
wunnerful!'  doesn't  think  I  am  wunnerful  at  all.  She 
thinks  that  Nick  Charles  is  wonderful.  .She  has  far  more 
poise  than  Bill  Powell  has,  but  she  doesn't  know  that. 
She  doesn't  know  that  Bill  Powell  is  skulking  behind  the 
shadow  of  Nick  Charles.  But  I  know  it.  And  it's  busi- 
ness acumen  on  the  part  of  the  star  to  remember  this. 
It  prevents  the  ego  from  becoming  rampant. 

"We  do  stand  so  much  for  wish-fulfillment,  don't  we?" 
Bill  said.  "That  realization,  too,  is  part  of  the  business  of 
stardom.  And  it's  not  a  thought  to  be  taken  lightly.  We 
carry  the  flag  of  adventure,  romance,  glamor,  of  every- 
thing that  people  would  like  to  have  in  their  own  lives. 

"You  know,  I  have  the  feeling  that  we  are  story-book 
heroes  come  to  life  on  the  screen.  I  put  myself  back  in  the 
days  when  I  read  'Robin  Hood'  and  "The  Rover  Boys.'  I 
know  how  I  would  have  felt  had  Robin  Hood  come  to  life 
and  I'd  asked  him  for  his  autograph  and  he'd  refused. 


Something  in  me — a  belief  in  gallantry  and  graciousness — 
would  have  been  hurt.  Therefore,  and  in  so  far  as  it  is 
consistent  with  good  sense  and  good  taste,  I  try  to  play 
ball  with  the  people  who  might  be  hurt  if  the  Thin  Man 
were  to  say  'No.'  " 

We  were  talking,  Bill  and  I,  in  the  garden  patio  of  his 
Bel  Air  home.  Bill,  a  well  man  now,  had  remarked  how 
strange  it  is  that,  when  one  is  ill,  all  the  activities  and 
problems  that  matter  so  much  ordinarily  seem  to  recede 
to  some  distant  horizon  of  indifference  and  one  views  them 
with  detached  perspective.  It  was  so  that  we  fell  to  talk- 
ing about  this  business  of  being  a  star. 

"For  that  matter,"  smiled  Bill,  giving  me  his  profile, 
"why  am  I  a  star?  I  can't  answer  that  one.  But  it's  fairly 
obvious,"  amusement  tweaked  up  one  eyebrow,  "that 
physiognomy  is  not  the  answer. 

I  HAVE  a  better  perspective  on  why  other  stars  are  stars 
than  I  have  on  my  own  status.  I  can  say  that  I  know  one 
man  who  is  a  star  because  he  is  a  free-lance  which  means 
that  he  chooses  what  pictures  he  will  make,  and  makes  so 
few  that  the  public  never  has  enough  of  him.  But  that  is 
only  a  technical  explanation,  so  to  speak.  It  doesn't  at  all 
explain  what  qualities  in  this  man  earned  him  this  envi- 
able status.  I  can  tell  you  of  another  young  chap  who  is 
a  star  because  he  is  young,  handsome  and  presumably 
gifted.  But  you  can  tell  me  of  other  young  men  you  know 
who  are  as  young,  handsome  and  as  potentially  gifted  as 
my  young  man  and  yet  they  are  not  stars.  We'd  both  be 
right  and  the  question  would  be  unanswered. 

"If  stardom  could  be  defined,  if  it  were  implicit  in  the 
raw  personality  of  the  player,  stars  would  be  getting 
$11.00  a  week,  because  the  market  would  be  glutted,  star- 
dom would  become  a  wholesale  proposition,  the  ranks 
swollen  as  the  extra  ranks  are  swollen  today — and  the 
price  per  capita  would  drop  accoi-dingly." 

There  was  a  slight  pause  while  Mr.  P.  finished  a  glass 
of  grape  juice.  Then  he  said,  "Well,  I  can  only  give  you  my 
answer  for  what  it  is  worth.  I  say  that  a  star  becomes  a 
star  when  he  portrays  a  sympathetic  character — and  not! 
before.  Let  his  beauty  bloom,  his  talents  nourish  as  they  ■ 
will,  he  is  a  light  under  a  bushel  until  he  mounts  or  is 
thrown  into  the  vehicle  which  transports  him  to  the 


34 


At  last,  William  |>we  1 1  is 
to  make  his  long-awahed  return 
to  the  screen  in  "Another  Thin 
Man"  with  Myrna  Loy  and  Asta. 


Milky  Way.  I  really  think  that's  what  makes  a  star." 
"How  did  that  work  out  in  your  own  case?"  I  asked  him. 
Bill  sighed  a  little,  said,  "Since  you  ask  and  if  I  may  be 
pardoned  for  talking  about  myself,  you  remember  that  I 
went  along  for  years,  playing  heavies,  the  villain  of  the 
piece.  During  all  that  time  the  public's  'care'  for  me  was 
certainly  not  remarkable.  Then  I  made  'Interference,' 
with  Clive  Brook  and  Evelyn  Brent.  It  was  my  first  talk- 
ing picture  and  instantly  my  status  changed.  There  was 
that  sympathetic  reaction  and  instantly,  my  fan  mail  in- 
creased to  such  an  extent  that  it  required  secretarial 
handling  where,  before  this,  I  had  been  able  to  run  through 
it  over  my  cup  of  morning  coffee.  It  was  just  because  I 
had  played  a  sympathetic  character,  you  see,  a  raffish  fel- 
low with  a  heart  of  gold.  But,  and  this  makes  my  point, 
my  success  in  the  picture  was  not  due  to 
any  newly -minted  quality  in  me.   I  had 


not  changed.  True,  it  was  a  talkie  and 
perhaps,"  said  Bill,  with  a  Thin-Mannish 
smile,  "the  beautiful  clean  heart  that's  in 
me  came  out  in  the  voice.  But  seriously,  what  happened 
was  that  I  played  a  character  with  universal  appeal  and 
in  the  shoes  of  that  character  I  took  my  first  step  toward 
stardom,  a  step  for  which  I  deserve  very  little  credit." 
"And  the  next  step?"  I  prompted. 

"That  was  when  I  made  'The  Thin  Man.'  I  read  that 
script,  I  remember,  when  I  was  staying  at  Dave  Selznick's 
place  at  Lake  Arrowhead.  And  I  leapt  to  my  feet  when 
I  finished  it,  waved  it  over  my  head  and  cried  out  'Gen- 
tlemen, I  give  you  a  script!' 

"But,"  said  Bill,  "in  between  'Interference'  and  'The  Thin 
Man'  I  did  a  few  acrobatic  leaps  into  the  wire  of  public 
favor  and  several  slips  backward  into  that  oblivion  from 
which  so  few  stars  return.  I  played  Rothschild  in  "The 
Street  of  Chance'  and  Bill  Fallon  in  'For  the  Defense.' 
They  were  steps  upwards,  they  were  characters  with  popu- 
lar appeal.  I  played  'Philo  Vance'  and  earned  the  label 
'suave.'   During  this  period  my  graph  was  going  up. 

Then  I  tailed  off  during  the  making  of  'Ladies  Man' 
which  might  have  done  to  my  career  the  disastrous  thing 
that  'Butterfly  Man'  did  to  the  career  of  the  late  Lew 
Cody.  You  can't  force  that  type  of  man  down  the  throat 
of  the  American  public.   He  was  not  a  sympathetic  char- 


BY  GLADYS  HALL 


acter  and  repercussions  of  an  unsympathetic  nature  duly 
followed.  I  signed  a  contract  with  Warner  Brothers  and 
during  my  time  there  made  only  one  memorable  picture, 
'One  Way  Passage'  with  Kay  Francis.  Again,  and  simul- 
taneously, my  stock  began  to  rise  because  a  man  finding 
his  great  love  as  they  travel  to  their  deaths  is  a  sympa- 
thetic character. 

"But  of  the  doldrums  into  which  I  sank  during  a  subse- 
quent unfruitful  period,  I  emerged  into  'Manhattan  Melo- 
drama.' The  graph  took  a  little  heavenward  spurt.  Then 
came  'The  Thin  Man' — the  second,  as  'Interference'  was 
the  first,  of  the  solid  treads  of  the  stairs  which  lead  to 
this  thing  called  stardom. 

"It  sounds  a  little  boorish,  a  little  boastful  to  say  that 
'The  Thin  Man'  made  me  an  established  star.  Besides, 
there  is  no  such  thing.  If  your  pictures 
are  good,  you  live.   If  your  pictures  are 


bad,  you  die.  It  is  said  that  it  takes  two 
bad  pictures  to  kill  a  star.  I  should  say 
that  the  number  of  bad  pictures  it  takes 
depends  upon  the  resiliency  of  the  individual  corpse.  But 
certainly  there  is  nothing  so  dead  as  a  dead  star.  Certainly 
a  star  who  is  rumored  to  be  'slipping'  becomes  a  definite 
detriment  to  a  picture.  Word  gets  about  that  he  is  'poison 
at  the  Box  Office'  and  the  epitaph  is  written. 

"The  smart  star,"  said  Bill,  "as  any  other  smart  business- 
man, realizes  his  assets  for  what  they  are  worth  and  does 
everything  he  can  to  enhance  their  value.  For  instance, 
Philo  Vance,  Nick  Charles,  the  gentlemen's  gentleman  I 
played  in  'My  Man  Godfrey,'  and  in  'The  Baroness  and 
the  Butler'  had,  in  common,  certain  qualities  of  urbanity, 
of  taking  life  in  their  stride.  Recognizing  this  I  observed 
that,  when  men  seem  to  be  sure  of  themselves,  when  they 
have  poise,  they  command  our  liking.  Very  well,  then, 
these  characters  I've  played  most  successfully  must  com- 
mand liking,  I  figured,  because  they  have  poise.  But  what 
is  poise?  It  was  up  to  me  to  find  out.  Poise  indicated,  I 
concluded,  clear  thinking.  People  with  poise  are  people 
who  think  straight,  who  are  not  all  cluttered  up  and  clack- 
ing about  like  ducks.  Poise  comes  from  having  really 
digested  life. 

"The  perspective  of  many  stars  as  to  what  they  can  and 
cannot  do  is  not  always  good.  And  (Continued  on  page  79) 

35 


with  Helen  Parrish,  Deanna  Durbin's  friends 
are  not  on  the  screen.  Why? 


At  one  time,  llona  Massey  shared  a  house 
with  Hedy  Lamarr.  Now  they  scarcely  ever 
meet.    They  see  to  that! 


DO  THEY  DISLIKE 

Well,  maybe  they  don't  but  just  the  same  you  can  place  a  bet 


DO  HOLLYWOOD  actresses  dislike  each  other? 

Well,  now,  I  dunno.  Loving  Sweetness  and 
Light  as  I  do,  I  would  like  to  say,  "What  an 
idiotic  question!  Of  course  they  don't!"  I  would 
then  like  to  prove  my  point  by  telling  cosy  little 
folk-tales  of  the  girl-talks  that  go  on  between 
Norma  Shearer  and  Myrna  Loy,  the  get-togethers 
enjoyed  by  Claudette  Colbert  and  Irene  Dunne 
and  the  chummy  way  in  which  Hedy  Lamarr  and 
Carole  Lombard  exchange  recipes. 

I'd  like  to  declare  that  the  girls  are  just  every 
bit  as  palsy-walsy  as  the  boys.  I'd  like  to  think 
of  a  femme  friendship  to  equal  the  comradeship 
which  exists  between  Jimmy  Cagney  and  Pat 
O'Brien;  a  mutual  Mademoiselle-admiration  to 
compare  with  the  duck-shooting  and  calf-roping 
sorties  enjoyed  by  Clark  Gable  and  Bob  Taylor; 
a  couple  of  gals  who  really  and  warmly  like  each 
other  as  Tyrone  Power  and  Don  Ameche  do.  But 
skitter  around  in  my  memory  as  I  will,  I  can't 
find  enough  palsy -walsies  among  the  femme  stars 
to  make  me  one  good,  round  sentence. 

On  the  embarrassing  contrary,  I  am  reminded 
of  how  Shirley  Temple  and  Jane  Withers,  two 
youngsters  working  on  the  same  lot,  never  even 
have  lemonade  together;  of  how  Hedy  Lamarr 
and  llona  Massey  shared  a  house  together  when, 


novices,  they  first  came  to  Hollywood  and  now, 
when  they  meet,  a  cool  "h'do"  is  the  closest  they 
come  to  intimacy.  I  think  of  how  Deanna  Durbin 
and  Judy  Garland  began  together  in  the  same 
studio,  once  made  a  short  subject  together,  are 
so  near  of  an  age,  should  have  so  much  in  com- 
mon and  yet  never  meet  at  all.  Deanna's 
friends,  indeed,  are  girls  who  are  not  on  the  screen 
at  all. 

Well,  maybe  Hollywood  actresses  don't  hate 
each  other,  but  you  can  lay  it  across  the  board 
that  there  are  no  female  Damon  and  Pythiases 
among  'em,  either. 

On  the  other  hand,  I  don't  believe  that  there 
are  many  mortal  enemies  among  'em,  either.  I 
suspect  that  much  of  this  "feud"  business  we 
hear  about  is  the  bunk.  I  don't  believe  that  Bette 
Davis  and  Miriam  Hopkins  feuded,  or  even  fenced, 
when  they  were  making  "The  Old  Maid."  But 
then,  again,  neither  did  they  put  their  blonde 
heads  together  over  a  folksy  cup  o'  tea.  And 
now  they  say  that  Dottie  Lamour  and  Patricia 
Morison,  both  sultry,  both  sarongy,  both  on  the 
same  lot  and  eligible  for  the  same  parts,  are 
feuding  something  fierce! 

And  even  though  I  do  question  the  actuality  of 
many  of  these  reported  feuds,  it's  really  almost  a 


PARKE S 


Nancy  Kelly  lunches  in  the  same  commis- 
sary as  Brenda  Joyce,  but  never  with  her. 
Is  this  due  to  jealousy? 


Sigrid  Gurie  has  girl  friends  in  Paris,  Brus- 
sels and  London,  but  none  in  Hollywood. 
She  can't  understand  it. 


EACH  OTHER? 

that  there  are  no  female  Damon  and  Pythiases  among  em! 


pleasure  to  believe  in  them  since  they  seem  somehow 
warmer,  more  alive,  more  human  than  the  sort  of  em- 
balmed ecstasy  with  which  these  belles  greet  each  other 
in  public,  ignore  each  other's  existence  in  private.  It's 
weird  and  wonderful,  for  instance,  to  go  into  the  Cafe  de 
Paris  on  the  Fox  lot  and  see  Nancy  Kelly  and  Brenda 
Joyce  lunching  alone,  at  separate  tables.  My  gosh, 
wouldn't  you  think  they'd  have  so  much  to  talk  about 
they'd  hold  up  production  while  they  gossiped?  Equally 
weird  and  wonderful  is  to  go  into  the  companionable 
Green  Room  on  the  Warner  lot  and  watch  Brenda 
Marshall  seated,  solitary,  against  one  wall  and  Jane 
Bryan,  also  lunching  solo,  against  the  other  wall.  What 
I  mean  is,  if  these  gals  were  calling  each  other  bad 
names  it  would  seem  healthier,  more  normal. 

It  was  comparative-newcomer  Brenda  Marshall,  in 
fact,  who  crystallized  this  dark  question,  "Do  Holly- 
wood Actresses  Hate  Each  Other?"  for  me  when  she 
said,  rather  wistfully,  "I  would  love  to  know  Jane 
Bryan.  I'd  love  to  have  lunch  with  her,  or  ask  her  to 
my  dressing-room  for  tea  afternoons.  We  are  doing  the 
same  kind  of  work.  We  should  have  so  much  in  com- 
mon. Oh,  no,  it  isn't  jealousy,  I'm  sure.  We're  such 
entirely  different  types,  it  couldn't  be  that!  I  don't 
know  what  it  is.  I  just  know  that  we  should  be  friends 
and  yet  we  have  never  said  anything  to  each  other  but 
'Good  morning'  or  'How  are  you?'  It  seems  so  queer. 


"It  wasn't  like  this  in  the  theatre.  In  every  other  line 
of  work,  I  think,  girls  get  together,  compare  notes  and 
discuss  their  problems.  Only  in  Hollywood,  it  seems, 
girls  don't  have  any  girl  friends.  I  don't  understand  it, 
unless  .  .  ."  Brenda  considered  the  question,  "it  may 
be  that  it's  all  so  big,  we're  afraid  of  it.  We  sort  of 
instinctively  shrink  into  our  little  cocoons  and  stay 
there.  We  may  be  just  plain  afraid." 

"Maybe,"  I  said.  I  thought,  I  don't  really  understand 
it  either.  Brenda's  solution  might  <lo  for  the  young- 
sters. It  would  hardly  explain  the  frigid  friendliness 
between  more  mature,  experienced  stars.  But  solutions 
apart,  I  also  realized  that  Brenda  had  put  the  finger 
on  one  of  the  most  puzzling  phenomena  in  phenomenal 
Hollywood. 

For  Hollywood  stars — feminine  gender — are  not 
friends. 

Hollywood  stars,  feminine  gender,  are  friendly.  Which 
is  not  the  same  thing  at  all.  They  do  give  it  all  the 
"How  are  you,  darlings"  and  "My  dear,  you  look  divine," 
as  ever  were.  That's  the  gruesome  part  of  it.  If  they 
were  avowed  enemies,  it  would  be  understandable.  But 
no,  most  of  them  are  excessively  complimentary  about 
each  other.  Though  it  is  to  be  noted,  too,  that  most 
every  one  of  them  says,  "Bette  Davis  is  too  marvelous!" 

In  the  past  year  Ann  Sheridan  has  said  that  to  me, 
Nancy  Kelly  has  said  it  and  (Continued  on  page  63) 


HE  HATES 
HIMSELF! 


The  sad  tale  of  Alan  Mowbray,  who  sits  by  and  sees  his  pet  aversion  make  good 


HAVE  YOU  seen  The  Llano 
Kid?'"   I   asked   first   of  all 

Alan  Mowbray  said,  "I  haven't 
even  seen  the  Topper'  pictures  and  I  don't  intend  to." 

"Why  not?   Most  players  can't  wait  to  see  themselves." 

He  said,  "Because  I  don't  like  this  fellow,  Mowbray." 

"Why  not?" 

He  said,  T  just  don't,  that's  all.  I  don't  like  the  Mow- 
bray face.  Now,  it's  not  a  stupid  face — it's  often  been  mis- 
taken for  a  doctor's  face — but  I  don't  like  it." 

"If  you  saw  it  on  the  screen,  you  might  think  better 
of  it,"  I  suggested  comfortingly. 

"I  have  never  seen  it  on  the  screen,"  Alan  confessed. 
"When  I  was  making  'Never  Say  Die'  with  Bob  Hope 
and  Martha  Raye,  I  mentioned  to  Bob  one  day  that  I  had 
never  been  to  see  any  of  the  seventy-four  pictures  in 
which  I  have  appeared  in  the  past  five  years.  Bob  said, 
'I  don't  get  it.  Do  you  hate  the  movies?'  I  told  him, 
'No,  I  hate  Mowbray.' 

"If  I  ever  should,  accidentally,  get  a  gander  at  my  face 
on  the  screen  and  find  myself  thinking  well  of  it,  I  would 
know  that  it  was  only  a  Mowbray  mirage.  I  am  too  canny 
to  be  fooled.  I  know  that  we  are  photographed  under 
the  most  favorable  circumstances,  by  those  magnificent 
cameramen  who  play  around  with  fights  as  does  the 
Almighty  with  the  Aurora  Borealis.  I  know  all  about 
soft  focus  and  turning  the  best  profile.  I  know  all  about 
the  beautiful  sets  created  to  make  alley  cats  look  like 
Persians.  No,  I  wouldn't  be  fooled.  Not  while  I  still  have 
to  shave  my  face  every  morning! 

"I  never  see  the  stills.  I  never  look  at  rushes.  I  don't 
like  myself  for  being  a  softie  this  way,  but  there  it  is. 
And  life  is  much  simpler,  much  happier,  the  way  I  five  it. 
My  instinct  of  self-preservation  is  pulled  up  around  me 
like  an  old  lady's  woolly  'fascinator.' 

"I  have  sat  in  evil-smelling  projection  rooms,  bearing 
my  fellow  artistes  company,  watching  them  squirm,  every 
man  of  them,  as  they  watched  their  screenings.  I  have 
heard  them  wondering  woefully  how  they  can  tuck  up  that 
extra  inch  of  chin.  I  have  heard  them  beating  their  fists 
futilely  against  their  heads,  crying  out,  'Absalom,  Absalom, 
can't  we  take  that  shot  out!' 

"I  don't  like  Mowbray  as  an  actor,  and  I  will  not  allow 
his  shadow  to  torment  me.  That's  why  I've  taken  up 
writing.  Two  plays  of  mine,  'Dinner  Is  Served'  and  Tn 
the  Spirit,'  are  now  being  translated  into  the  French, 
and  .  .  ." 

Patricia  Mowbray,  aged  about  nine,  came  into  the  room 
at  this  point.   She  said,  "Father,  where  is  my  big  eraser?" 
"I  ate  it,"  said  Father. 

Patricia,  having  accepted  this  remarkable  statement 
without  surprise,  withdrew. 

I  asked,  "Well,  do  you  like  yourself  as  a  father?" 

"No,  but  I  amuse  myself  in  that  role.  I  amuse  the 
children,  too.  Enormously.  Patricia  used  to  call  me  Alan. 
She  now  calls  me  Father.  It's  not  because  she  has  any 
more  respect  for  me  than  she  ever  had,  but  simply  be- 


BY  FAITH  SERVICE 


cause  she  is  growing  up  and  has 
heard  some  little  Miss  Fancy- 
pants  call  her  old  man  'Father.' 
When  Lorayne  and  I  go  out  in  the  evening,  I  always  say 
to  the  children,  'Going  to  be  good  while  we  are  out?' 
When  they  say  'Yes' — as  what  else  would  they  say,  poor 
darlings — I  ask,  'Why?    Don't  you  feel  well?' 

"I  am  the  kind  of  father  who  remembers  the  funny  things 
the  kiddies  say,  not  the  naughty  things  they  do.  When  Pat 
was  about  three  she  said  to  me  one  day,  'Alan,  I  want 
you  to  buy  me  a  bersire.'  I  said,  'Why?  What  for?'  She 
replied,  To  hold  my  lungs  up.' 

"Now,  if  I  find  myself  indulging  in  a  fatherly  speech,  I 
need  a  'bersire'  to  hold  my  lungs  up  lest  they  collapse 
from  my  laughing. 

"I  think  I  am  a  little  mad.  And  I  don't  like  that.  It's 
worriting. 

"I  talk  too  much,  when  I  get  enthusiastic.  My  habit  of 
over-enthusiasm  is  sickening.  I'm  very  cold-blooded  about 
my  talking  too  much,  too.  Even  after  the  enthusiasm 
runs  down  and  the  faces  of  my  listeners  are  blanks  of 
boredom,  I  find  myself  perched  on  my  own  shoulder, 
still  babbling.  When  some  victim,  more  daring  than  the 
others,  cries  out,  'Heavens,  will  he  ever  shut  up?'  I  hear 
it  and  feel  the  same,  but  I  keep  right  on.  It's  a  form  of 
sadism.  I  like  to  torture  people  with  my  talky-talk.  That's 
not  nice,  is  it?    Not  likable  of  Mowbray! 

"I  haven't  very  good  manners.  The  repulsive  part  of 
this  is  that  I  know  better.  My  mother  raised  me  right, 
bless  her.  But,  for  instance,  I  should  have  leapt  up  a 
couple  of  times  in  the  past  hour  to  hand  you  the  cigarettes 
you've  been  groping  for.  I  let  you  grope.  I  find  myself 
thinking,  'You're  just  as  healthy  as  I  am!  I  played 
eighteen  holes  of  golf  this  morning  and  I'm  nearly  dead!'  " 

I  changed  the  subject  out  of  shame  for  him,  "Do  you 
like  yourself  as  a  husband?" 

"No.  But  you  really  should  ask  Mrs.  Mowbray  for  my 
character  references  in  this  role.  She  probably  wouldn't 
give  me  the  kind  that  would  get  me  another  'situation.' 
She'd  tell  you  that  I  don't  send  orchids  on  our  anniver- 
saries and  that,  if  I  do  remember  to  take  her  out  to  dinner 
on  the  commemorative  night,  she  usually  steps  into  "a 
puddle  because  my  hand  doesn't  meet  her  elbow  at  the 
right  moment. 

"I'm  a  non-conformist,  I  fear.  I  don't  like  Mowbray  for 
this,  either.  It  must  be  such  fun  to  be  regular.  For  in- 
stance, everyone  in  Hollywood  is  supposed  to  play  polo. 
It's  being  done.  It's  awfully  chic.  But  I  don't  play  polo. 
I  can't  afford  the  ponies.  Besides,  come  the  Revolution 
and  I'd  rather  have  a  cellar  stocked  with  cans  of  spinach 
than  with  bales  of  hay. 

"My  social  graces  are  also  deplorably  disgraceful.  I 
admire  Emily  Post,  but  cannot  follow  her.  I  am  crude 
When  I  am  invited  out  for  dinner  and  my  prospective 
hostess  says,  'Will  you  come  to  dinner  tomorrow  night, 
formal?'  I  am  liable  to  ask,  'Why?'  Or  perhaps  she  calls 
and  I  ask  her  what  we  will  have  to  eat  and,  when  she 


Alan  Mowbray's  chil- 
dren are  surprised  at 
nothing  their  father 
does.  For  instance, 
there  was  the  time 
little  Patricia  lost  her 
favorite  eraser. 


"My  social  graces  are  de- 
plorably disgraceful," 
says  Alan.  Once  when 
he  was  on  time  and  his 
hostess  was  late  for  a  din- 
ner party — well,  let  him 
tell  you  the  story! 


"I  once  gave  a  Christmas 
party  in  August,"  Mr.  M. 
boasts  in  spite  of  himself. 
In  case  that  seems  a  bit 
strange  to  you,  let  it  be 
said  there  was  a  very 
good  reason. 


tells  me,  I  have  been  known  to  cry  out,  'Migod,  not  thatV 
I  don't  think  this  is  one  bit  funny  of  me. 

"Mostly  I  hate  going  out.  If  you  eat  in  your  own  home 
you  can  say,  'The  souffle  has  prolapsis;  give  me  a  ham 
sandwich!'  You  might  think  that  it  would  not  be  remark- 
able if  I  said  that  when  I'm  a  guest.  But  I  don't.  I  have 
my  limitations.  That's  another  thing  I  don't  like  about 
Mowbray — his  limitations. 

"But  to  get  back  to  the  subject  of  dining  out — or  in.  In 
dining  out  there  is  too  much  regimentation.  A  butler 
invariably  appears,  smirking.  Smirks  sour  my  stomach. 
He  hands  around  a  tray  of  Martinis.  Whether  you  like 
Martinis  or  not,  there  they  are. 

"I  have  an  absolute  phobia  about,  dinner  parties.  But 
if  I  do  accept  an  invitation  to  dine  and  the  invitation  says 
'7:30,'  I  am  just  naive  enough  to  turn  up  at  7:30.  And 
when  Mrs.  Mowbray  and  I  appear  at  that  time,  the  butler 
always  looks  startled  and  says  {Continued  on  page  56) 


THE  NEW 
JOAN  CRAWFi 


WA  ZEITUN 


"I'm  not  afraid  to 
start  all  over 
again,"  says  Joan.  "I 
could  still  wash  my 
clothes  if  I  should  have 
to.  But  I  won't  have  to!" 


91 


JOAN   CRAWFORD  is 
standing  at  the  threshold  of  a 
new  career  which  will  see  her 
out  of  the  glamor  girl  roles  and 
into    characterizations  which 
call  for  the  sincerity,  the  fire, 
the  drama  of  which  she  is  really 
capable. 

"The  Women"  gave  screen  audi- 
ences their  first  glimpse  of  this  new 
Joan.    It  convinced  studio  execu- 
tives, who  have  too  long  seen  her 
as  a  "Dancing  Daughter,"  of  the  true 
worth  of  this  actress. 
Joan's  career  has  ever  been  one  of 
straightforward  achievement.    No  side- 
roads  have  been  hers.   With  her  eyes  on 
the  stars,  she  forged  ahead  with  but  a  single 
goal  in  view,  dropping,  with  regret,  but  with 
finality,  whatever  has  threatened  to  keep 
her  from  that  goal.    She  is  married  to  the 
movies,  her  philosophy  is  the  movies. 
The  movies  get  you!   The  virus  enters  your 
blood.  You've  lived  at  the  heart  of  a  glittering 
kaleidoscope.  Whatever  else  may  be  said  of  it, 
the  life  of  the  studios  is  never  dull.  Moreover, 
you've  known  adulation.  Strangers  have  idolized 
you.  Thousands  have  hung  on  the  wonder  of  what 
you  eat  for  breakfast.  Girls  in  Australia  have  aped 
your  hair-do  and  young  men  in  Japan  have  bought  a 
magazine  because  your  picture's  on  the  cover.  Though 
you  may  be  strong-minded  enough  to  appraise  all  that 
at  its  proper  value,  you're  more  than  human  if  you  don't 
get  a  kick  out  of  it.  Giving  it  up  is  like  giving  up  the 
color  and  bustle  of  a  market  place  for  a  wayside  stream. 
There  are  those  for  whom  the  wayside  stream  has  its 
charms.  Joan  isn't  one  of  them.  Some  movie  queens  can 
contemplate  retirement,  if  not  with  shrieks  of  joy,  at  least 

Joan  has  voluntarily  stepped  from  the 


r 


Joan  with  Virginia 
Grey  in  a  scene 
from  "The  Wo- 
men." Miss  C.  in- 
sisted upon  doing 
an  unpleasant  part. 


Joan  and  Charles 
Martin  during  an 
"on"  moment  of 
their  on-again-off- 
again  romance, 
now  nearly  over. 


without  undue  anguish.  They  have  laid  up  other  trea- 
sure for  themselves.  Colbert  is  happily  married, 
Shearer  has  children,  Janet  Gaynor  has  a  philosophy 
that  would  keep  her  content  in  the  farthest  Hebrides. 

Joan  has  forged  ahead  with  a  single  goal  in  view, 
dropping— -with  regret,  no  doubt,  but  with  finality — 
whatever  has  threatened  to  keep  her  from  that  goal. 
She  is  married  to  the  movies,  her  children  are  the 
movies,  her  philosophy  is  the  movies. 

"If  I  were  a  man,"  she  says,  "nobody  would  consider 
it  strange  that  I  should  have  a  passion  for  my  work. 
Well,  this  is  the  modern  world,  equality  of  the  sexes,  so 
why  should  it  be  considered  strange  in  a  woman?  I'm 
not  in  this  business  just  to  draw  a  salary  and  get  fan 
letters  and  give  autographs.  I'm  in  it  because  I  would 
not  be  in  anything  else,  and  I'm  going  to  stay  in  it, 
come  the  revolution  or  the  deluge." 

The  question  before  the  house  is,  "Can  she?" 

On  her  side,  she  has  the  kind  of  determination  that 
won't  be  balked  by  a  high  stone  wall  with  a  spiked 
fence  around  it.  Against  her,  she  has  the  cry  for  new 
faces.  On  her  side,  she  has  the  clear-sightedness  to 
recognize  that  she's  in  a  tough  spot  and  to  lay  her 
plans  accordingly.  Against  her,  she  has  the  encroach- 
ing years. 

This  last  handicap  is  one  that  Joan  won't  acknowl- 
edge. "Who  says,"  she  inquires  scornfully,  "that  any- 
one's through  when  she's  past  thirty?  I'm  at  an  age 
when  people  begin  their  careers." 

True  enough  of  careers  that  exclude  the  stage  and 
screen.  True  even  of  character  actors.  But  Joan  started 
as  a  glamor  girl.  How  many  glamor  girls  do  you  know 
who  have  gone  on  through  the  golden  thirties  to  emerge 
with  their  footing  secure  and  their  acting  reputations 
enhanced.  You  can  name  several  on  the  stage — Kath- 
arine Cornell,  Helen  Hayes,  Tallulah  Bankhead,  Fay 
Bainter.  On  the  screen,  I  can  think  of  none. 

Joan  remains  unmoved.  "The  fact  that  a  thing  has 
never  been  done  doesn't  prove  that  it  can't  be." 

The  situation  holds  one  important  element  that's 
doubtful,  the  element  of  fan  loyalty.  Joan  counts  on  it. 
From  her  point  of  view,  she  has  reason  to  count  on  it. 
The  stream  of  fan  letters  hasn't  abated  very  much.  She 
clings  gratefully  to  these  people  who  have  clung  to  her 
through  the  years.  They  don't  always  praise,  but  their 
criticism  is  kindly,  spurred  by  their  interest  in  her.  "You 
shouldn't  have  played  that  part,"  they  write.  Or,  "I'm 
ashamed  of  you,  Joan.  You  could  have  done  better." 


Yet  what  of  the  new  generation  of  movie-goers  who 
didn't  know  Joan  in  the  brave  days  of  "Betty  Lynton," 
and  have  pledged  their  allegiance  to  fresh  young  faces 
like  Deanna  Durbin's,  to  the  casual  school  of  acting 
represented  by  a  comparative  newcomer  like  Rosalind 
Russell? 

After  "Ice  Follies,"  which  brought  no  cheer  to  Joan, 
she  went  to  New  York.  Crowds  hailed  her  as  she  left 
the  train,  milled  about  the  hotel,  stopped  traffic  as  she 
went  back  and  forth.  Joan  was  moved,  her  heart  lifted. 
In  spite  of  "Ice  Follies,"  then,  in  spite  of  "The  Bride 
Wore  Red,"  they  still  liked  her,  they  still  wished  her 
well  and  meant  it. 

It's  a  valid  interpretation — one  that  you  or  I  would 
doubtless  have  made  in  her  place.  But  how  many  were 
motivated  by  a  yearning  to  express  their  personal 
warmth,  and  how  many  by  the  mob  mania  to  view  a 
celebrity?  Would  it  have  mattered  much  what  the 
name  was,  so  long  as  they  could  go  home  to  tell  their 
gaping  friends  that  they'd  seen  Joan  Crawford  or  Mus- 
solini or  Ferdinand  the  Bull?  We  don't  know.  We're 
just  asking,  in  an  effort  to  arrive  at  a  just  estimate  of 
the  situation. 

THE  ANSWER,  as  always,  rests  with  the  box  office. 
For  the  last  couple  of  years,  that  answer  has  been 
snarled  in  a  tangle  of  statements  and  counterstatements. 
There  was  the  brazen  ad  of  the  Independent  Theatre 
Owners'  Association,  which  staggered  Hollywood  by 
coming  right  out  in  the  open  and  proclaiming  Miss 
Crawford,  Miss  Dietrich,  Miss  Hepburn  to  be  box  office 
poison.  It  was  followed  by  a  crash  of  denial  and  a 
torrent  of  defense  from  the  adherents  and  sponsors  of 
these  ladies.  Part  of  the  reaction  was  emotional.  But 
front  offices  have  never  been  suspected  of  allowing 
emotion  to  befog  their  commercial  sense.  Joan  was 
upset.  Naturally.  "Forget  it,"  said  her  bosses. 

You  may  wonder  whether  they  were  trying  to  soothe 
the  susceptibilities  of  one  of  their  stars,  stalling  for  time 
in  order  to  size  matters  up  at  their  leisure. 

But  the  studio's  faith  in  her  didn't  mean  that  the 
battle  had  been  won.  The  poison  ad  brought  a  series 
of  articles  in  its  wake.  "Is  Joan  Crawford  Slipping?" 
"Can  Joan  Crawford  Act?"  "Are  Joan  Crawford's 
Screen  Days  Numbered?"  They  made  her  unhappy,  but 
they  also  made  her  fighting  mad.  And  they  crystallized 
a  conviction  that  she'd  held  for  some  time. 

She  was  sitting  at  her    (Continued  on  page  72) 


ranks  of  the  Glamor  Girls  to  try  to  recoup  her  former  cinematic  standing 


LET'S  GO  CHRISTMAS  SHOPPING  WITH  CAROL  CARTER 


GET  OUT  your  gift  lists,  girls.  Your  local  chain,  drug  and  depart- 
ment stores  are  simply  bulging  with  smart  new  Christmas  ideas.  For 
example:  a.  Among  Colgate's  attractive  new  gift  packages  is  this 
combination  of  Cashmere  Bouquet  face  powder,  lotion,  talc,  soap  and 
cream,  all  for  50c.  b.  One  of  Max  Factor's  Chris tmasy  red  boxes  is 
this  special  make-up  set  containing  face  powder,  rouge,  True-color  lip- 
stick, Normalizing  cleansing  cream  and  Liquid  Brillox,  complete  for  $3.55. 
c.  Lady  Esther's  pretty  peach  and  blue  box  contains  Four-purpose 
face  cream,  lipstick  and  face  powder — $1.65.  d.  Hind's  Honey  and 
Almond  Cream  looks  ever  so  festive  in  a  new  cellophane  covered 
red  box,  all  for  $1.00.  e.  This  Kurlash  Metropole  set  contains  com- 
plete and  de-luxe  eye  make-up  in  either  a  wine  or  blue  leather- 
ette case  with  removable  washable  lining.    A  beauty  for  $4.95. 

f.  Woodbury's  huge  shaving  bowl  and  after  shave  lotion  in  a  good 
looking  box  should  please  any  man  on  your  list.    It's  just  $1.25. 

g.  Palmolive  boxes  five  products:  shave  cream,  brushless  shave, 
dental  cream,  after-shave  lotion  and  talc  for  men,  yours  for  50c. 

h.  One  of  Richard  Hudnut's  beautiful  gift  packages  contains  perfume, 
sachet  and  toilet  water  in  any  one  of  four  delightful  scents  for  $3.00. 

i.  Jergen's  little  blue  box  contains  their  famous  lotion  with  a  bottle 
each  of  eau  de  cologne  and  toilet  water — 25c.    j.  The  Duke  and  the 


Duchess  in  cunning  glass  domed  packages  are  Irresis- 
tible's  piece  de  resistance  at  25c  each.    k.  Djer  Kiss 
has  sculptured  a  perfect  love  of  a  girl's  head,  scented, 
tinted  and  boxed  in  blue,  for  $1.00.    I.  Hudnut's  delight- 
ful  dusting   powders   in   metal   boxes    of  heavenly 
pastel  colors  and  designs  are  $1.00.    m.  Volupte's  gold 
evening  bag  with  a  garnet  clasp  is  a  beauty  for  $5.00. 
a.  Tangee  face  powder,  cream  and  cake  rouge  and 
famous  Up  stick  are  boxed 
in  blue  velour,  at  $1.75. 
o.  Cheramy's  youthful 
April  Showers  scent,  love- 
ly in  talc  and  toilet  water 
for  just  $1.00.   p.  Hudnut's 
exquisite   jeweled  gold 
compacts   are  beautifully 
boxed.      Oblong,  $3.50; 
oval,  $5.00.  q.  Cutex  simu- 
lated leather  Club  Kit  is 
awfully  good  looking  for 
$2.50.    Happy  shopping! 


Patricia  Morison  is 
ready  for  Christmas. 


MERRY 
MOMENTS 


The  West  Side 
Tennis  Club  went 
gay  recently  and 
gave  a  costume 
party.  Dixie  and 
Bing  Crosby  were 
among  the  guests. 
Bing  is  getting  as 
slim  as  a  juvenile 

Look  left  and 
guess!  Believe  it 
or  not,  the  gent 
with  the  sequin 
jacket,  silk  topper 
and  flowing  mous- 
tache  is  none 
other  than  usually 
shy  Jean  Arthur. 

Of  course,  Richard 
Greene  and  Vir- 
ginia Field  came 
together.  They're 
about  as  insepar- 
able as  the  pork 
and  beans  Dick 
has  on  his  plate. 
It  looks  like  love. 


J! 


PHOTOS 


JULES  BUCK 


e  Trevor 
radiant, 
doesn't  she?  In 
fact,  she  drew  the 
most  raves  at  the 
party.  Incidental- 
ly, you'll  be  see- 
ing her  in  "Al- 
legheny Upris- 
ing" very  soon. 


What?  Phyllis 
Brooks  parked  on 
Cesar  Romero's 
lap?  Yet  if  Cary 
Grant  doesn't 
mind,  who-are  we 
to  make  a  fuss? 
However,  Brook- 
sie  better  think 
up  a  good  one! 


How  do  you  like 
Annabel  la's  new- 
est  evening 
gown?  She 
brought  it  from 
Paris,  when  she 
and  Tyrone  were 
visiting  there. 
Notice  her  cham- 
pagne  tastes! 


The  Arleen  Whe- 
lan  -  Alexander 
D'Arcy  combina- 
tion is  strictly  a 
big  romance. 
They're  an  attrac- 
tive  couple. 
Those  who  claim 
to  be  in  the  know 
predict  marriage. 


Sally  Eilers  and 
her  director  hub- 
by, Harry  Joe 
Brown.  With  a 
filled  plate 
each  hand,  our 
Sal  evidently 
sees  something 
else  she  should 
have  taken. 


Hedy  Lamarr  is 
quarreling  with 
her  studio.  Guess 
what  she  wants? 
You're  right — 
money.  Noting 
the  amount  of 
cracked  ice  she's 
sporting,  she's 
doing  all  right. 


Roger  Pryor  is 
some  snappy 
gent.  Note  the 
spit  curl,  eye- 
brows and  mous- 
tache, and  rib- 
bon around  his 
neck.  His  wife, 
Ann  Sothern,  is 
certainly  pretty. 


The  Cossack  is 
George  Murphy, 
who  was  in  charge 
of  the  party.  It 
looks  as  if  Phyllis 
Brooks  might  be 
explaining  the 
situation  that 
arose  on  page  44 
to  Cory. 


Now,  Randy,  be 
your  age!  Ran- 
dolph Scott,  usu- 
ally the  purveyor 
of  dignity,  cer- 
tainly got  into 
the  spirit  of 
things.  His  steed 
should  belong  to 
Shirley  Temple. 


45 


Our  cameraman  catches 
the  stars  at  play  and 
records  their  goings-on 
in  his  own  candid  way 


The  small  fry  go  dancing,  too — Bopita 
Granville  and  Buddy  Pepper  at  Hugo's. 


Marlene  Dietrich  and  Erich  Remarque, 
the  writer,  at  a  recent  premiere. 


\ 


Aw,  come  on,  Bob  Hope.    Shirley  Ross 
wouldn't  kid  you,  now  would  she? 


The  case  still  holds  good.  Jeffrey  Lynn 
and  Doris  Carson  attend  a  premiere. 


Lee  Russell  and  Herbert  Marshall  look 
mighty  happy  as  they  dine  at  the  Troc. 


This  is  a  romance  of  long-standing- 
Anita  Louise  and  Buddy  Adler. 


Mary  Astor  and  her  hubby  enjoy  a 
dance  at  the  Trocadero. 


Irene  Hervey  and  Jeanette  MacDonald 
are  snapped  when  they  don't  know  it. 


Two  attractive  young  things,  Ann 
Rutherford  and  Rand  Brooks,  step  out. 


The  Douglas  Fairbanks,  Seniors,  come 
forth  and  give  the  Cinema  City  a  treat. 


"What,  no  mustard?"  ask  Priscilla  Lane 
and  Oren  riaglund  of  Rosemary  Lane. 


46 


\ 


Cary  Grant,  Virginia  Bruce  and  Hubby 
J.  Walter  Ruben  in  an  off-guard  moment. 


No  fair!  Lana  Turner,  Joan  Crawford 
and  Ann  Rutherford  spied  the  camera. 


What  a  combination  of  pep — Mickey 
Rooney,  Judy  Garland  and  Jackie  Cooper! 


Edward  Robinson  chats  with  Grade  and 
George  Burns.  Gracie  can  listen,  y'know. 


Perc  Westmore,  make-up  man,  and  his 
wife,  Gloria  Dickson,  at  the  Troc. 


Dorothy  Lamour  and  Robert  Preston.  We 
/  can't  keep  track  of  her,  either! 


This  is  Helen  Parrish  and  her  heart- 
throb' from  Virginia,  Forrest  Tucker. 


George  Cufcor,  the  director,  and  Olivia 
de  Havilland  have  an  intermission  visit. 


Reggie  Gardiner  and  a  lady  with  some 
mighty  big  orchids — Wendy  Barrie. 


Tyrone  Power  may  be  married,  but  he 
still  plays  escort  to  his  mother  and  sister. 


47 


sas 


fo/Zoiv  f/?e  same  famous 
Skin  Care 


A  Southerner,  titian-haired  Mrs.  du 
Pont  is  very  hospitable,  and  her  historic 
old  home  on  the  Delaware  is  the  scene 
of  many  gay  social  affairs. 


QUESTION  TO  MRS.  DU  PONTt 

Southern  women  are  famous 
for  their  complexions, 
Mrs.  du  Pont.  Do  you  have 
any  particular  method  of 
skin  care? 

ANSWER: 

"Yes.  I  don't  believe  in 
taking  chances  with  my 
complexion — I  always  use 
Pond's  2  Creams.  Pond's 
Cold  Cream  is  perfect  for 
cleansing  my  skin — keeping 
it  soft  and  supple  at  the 
same  time.  And  for  powder 
base  and  protection  against 
weather,  Pond's  Vanishing 
Cream  is  ideal !" 

QUESTION  TO  MRS.  DU  PONTt 

Do  you  feel  that  using 
2  creams  helps  keep  your 
make-up  fresh  looking  longer? 

ANSWERl 

"I'm  sure  it  does!  That's 
why,  before  powder,  I  always 
cleanse  and  soften  my  skin 
with  Pond's  Cold  Cream  and 
smooth  it  with  Pond's 
Vanishing  Cream.  This  gives 
my  skin  a  finish  that  takes 
make-up  so  well  it  looks 
fresh  for  literally  hours!" 


QUESTION  TO  MISS  MILLER: 

When  a  girl  works  all  day, 
Bette,  is  it  hard  for  her  to 
find  time  to  take  good  care 
of  her  skin? 

ANSWER: 

"Not  if  she  follows  my 
system.  It's  quick,  thorough' 
— and  economical!  I  just  use 
the  2  Pond's  Creams.  First 
Pond's  Cold  Cream  to  get 
my  skin  really  clean — give  it 
the  clear,  'glowy'  look  that  I 
like.  And  then  I  never  fail  to 
smooth  on  Pond's  Vanishing 
Cream  for  powder  foundation 
— it  seems  to  make  make-up 
so  much  more  attractive!" 

QUESTION  TO  MISS  MILLER: 

When  you're  outdoors  for 
hours  at  a  time,  don't  you 
worry  about  sun  and  wind 
roughening  your  skin? 

ANSWER: 

"No — why  should  I?  Pond's 
Vanishing  Cream  smooths 
away  little  skin  roughnesses 
in  only  one  application. 
I  usually  spread  on  a  light 
film  of  Vanishing  Cream 
before  I  go  outdoors,  too. 
Just  for  protection." 


Off  fo  work.  After  graduation  from 
high  school,  Bette  got  a  secretarial  job 
in  the  Gulf,  Mobile  and  Northern  Rail- 
road freight  office. 


SEND  FOR  TRIAL      Pond's,  Dept.  9MS-CV-A,  Clinton.  Conn 

BEAUTY  KIT  Rush  special  tubes  of  Pond's  Cold  Cream,  Vanish- 

ing Cream  and  Liquefying  Cream  (quicker-melting 
cleansing  cream)  and  6ve  different 
shades  of  Pond's  Face  Powder.  I 
enclose  lOtf  to  cover  postage  and 
packing. 


Mrs.  du  Pont  arrives  by  private  plane  at 
the  airport  near  her  New  Castle  home, 
looking  fresh  and  unwearied  after  a 
quick  shopping  trip  to  New  York. 


Name_ 


Street— 


_State_ 


City  

Copyright,  1939,  Pond's  Extract  Company 


Beffe  and  her  companion  share  the 
local  enthusiasm  for  bicycling.  So  popu- 
lar is  this  sport  in  Kansas  City  that 
traffic  regulations  became  necessary! 


0* 


stf|J 


A.AO 


77/£  RETURN  OF  ROZ 


WHEN  ROSALIND  RUSSELL  appeared  in  "The  President 
Vanishes"  some  time  ago,  critics  and  public  alike  predicted 
stardom  for  her.  Here  indeed  was  a  new  personality,  a 
lady  who  actually  looked  like  one;  a  young  woman  who 
boasted  wit  and  ability,  good  taste  and  intelligence;  in 
short,  a  reel  revelation. 

After  the  gripping  story  which  marked  Miss  Russell's 
cinematic  debut,  she  fell  heir  to  a  lot  of  cinema  stuff  that 
should  never  have  rated  celluloid  recording.  Consequently, 
Rosalind  began  to  topple. 

At  about  that  time,  Myrna  Loy  was  having  trouble  with 
the  studio.  In  order  to  punish  the  perfect  picture  wife, 
the  studio  decided  to  groom  Roz  Russell  to  step  into 
Myrna's  dainty  cinema  slippers. 

Now,  nobody  has  ever  succeeded  at  being  a  "second 
Myrna  Loy"  or  a  second  any  one  else.  And  Miss  R.  proved 
to  be  no  exception  to  the  rule.  Two  strikes  were  im- 
mediately put  on  her  when  she  was  forced  to  try.  It  all 
made  Roz  as  sick  as  it  did  Myrna  and  the  fans  of  each, 
and,  the  only  reason  we  cite  the  experience  is  to  account 
for  the  slump  the  star  suffered.  It  actually  forced  her  to 
make  a  detour  on  the  always  rocky  road  to  fame. 

However,  Roz  Russell  is  nothing  if  not  a  good  sport. 
She  didn't  take  time  out  to  complain.  She  took  what  she 
got  and  hoped  for  the  best.  She  trusted  that  she'd  get 
a  break  before  her  name  was  written  on  the  roll  of  oblivion. 

And  so,  it  was  not  the  usual  gay  Russell  who  left  for 
England  over  a  year  ago  to  make  "The  Citadel."  It  was 
a  young  woman  who  felt  she  was  in  training  for  the  cinema 
ash  heap.  But — the  picture  turned  out  a  success  and  Roz 
52 


made  a  pei'sonal  hit.  And,  since  nothing  succeeds  like 
success,  our  heroine  was  once  more  a  candidate  for 
stardom. 

The  happiest  movie  event  that  could  have  occurred  to  her 
was  that  of  being  cast  as  the  catty  femme  in  "The  Women." 
The  role,  to  be  sure,  was  meaty,  but  the  actress  made  the 
utmost  of  it.  When  you  left  the  theatre,  you  found  yourself 
not  remembering  the  other  players,  but  having  a  very  vivid 
and  amusing  recollection  of  a  gal  named  Russell. 

Off  the  screen,  Roz  is  gay  to  the  point  of  being  giddy. 
She  reminds  you  for  all  the  world  of  the  character  Carole 
Lombard  essayed  in  "My  Man  Godfrey."  There's  never 
a  dull  moment  when  she's  around  and,  as  she  says  herself, 
"No  one  can  get  a  word  in  edgewise  when  I'm  in  the 
room."  Which  is  no  understatement,  either. 

Roz  has  a  Connecticut  background,  a  good  education,  a 
sense  of  humor  and  theatrical  training.  Besides,  she  makes 
a  fine  appearance  and  a  more  than  agreeable  impression. 
She  is  the  delight  of  every  cast  in  which  she  appears,  for 
everyone  knows  that  to  have  Roz  in  a  picture  is  to  insure 
plenty  of  laughs  between  scenes.  She  is  very  well  informed 
and  practically  has  the  answer  before  the  question  is  asked. 

Roz  is  a  vegetarian.  She  can't  stand  meat  and  has  spent 
quite  a  sizable  fortune  trying  to  tempt  herself  in  this 
direction.  Everything  from  psychoanalysis  to  hunger  has 
been  tried,  but  to  no  avail.  Her  most  embarrassing  mo- 
ment occurs  when  she's  been  invited  to  dinner,  can't  eat 
meat  and  her  hostess  goes  into  a  routine  of  apologies  and 
insists  that  they  get  together  something  in  place  of  it  for 
her — but  immediately.  "If  they'd  (Continued  on  page  73) 


MODERN  SCREEN 


WE.  THE  CAGNEYS 

(Continued  from  page  31) 


a  freer  life  and  her  faith  was  repaid. 

Jim  scorns  the  idea  that  any  sympathy 
was  called  for.  "We  had  a  swell  time — 
piano,  dancing,  friends  in.  My  mother 
liked  to  laugh,  still  does.  She  was  never 
serious  long,  except  in  a  crisis.  Worked 
harder  than  all  the  rest  of  us  put  together, 
stirred  up  the  tastiest  food.  Don't  ask  me 
on  what.  We  were  rarely  at  meals  together, 
always  running  in  at  different  hours  from 
work.  There's  a  job  for  a  mother — over 
the  sink  and  the  stove  the  live  long  day 
— and  never  a  complaint  out  of  her." 

It  wasn't  their  minds  alone  that  she 
wanted  trained.  Neighborhood  squabbles 
were  settled  with  fists.  So  were  Cagney 
squabbles.  Even  little  Bill  knew  that.  Bill 
was  Jim's  special  charge.  Jim  saw  to  it 
that  his  younger  brother  wasn't  knocked 
down  either  by  speeding  taxis  or  local 
bullies.  One  day  Harry  thought  it  would 
be  funny  to  waken  Jim  out  of  a  sound 
sleep  with  a  headlock.  Seven-year-old 
Bill  sent  him  a  haymaker  that  stopped 
him  for  a  minute. 

JIM  recalls  with  a  chortle  his  mother's 
face  when  one  or  the  other  came  in 
from  a  battle. 

"No  son  of  hers  could  let  himself  be 
beaten.  You  might  look  like  a  buzz-saw, 
she  wouldn't  croon  over  you.  'Did  you 
win?'  'No?'  'How  big  was  he?'  'All  right, 
go  out  and  fight  him  again.' " 

Her  sense  of  fairness  was  incorruptible. 
She  admired  a  stout  heart,  wherever  it 
was  housed.  Any  boy  who  gave  her  sons 
a  run  for  their  money  was  sure  to  get  a 
bid  from  Mrs.  Cagney.  "Bring  him  up  to 
the  house.    I'd  like  to  meet  that  lad." 

Ed,  at  eleven,  had  been  critically  ill 
with  cerebral  meningitis.  Still  wan,  he  was 
out  on  the  street  one  day,  bouncing  a  ball 
against  the  side  of  the  house.  Along  came 
a  gang  that  infested  the  neighborhood. 
They  raided  fruit  stands,  they  pried  money 
from  the  fists  of  kids  who  walked  along 
swinging  milk  pails.  Their  leader  was  a 
young  hopeful  of  fifteen  whom  we'll  call 
Bailey.  His  henchmen  picked  up  cigarette 
butts  and  dropped  them  carefully  into  a 
cigar  box.  Every  so  often  Bailey  would 
yell,  "Hey,  gimme  a  butt." 

He  spied  Ed,  struck  his  hand  with  a 
rolled-up  newspaper,  and  the  ball  dropped 
out.  Taking  careful  aim,  he  bounced  the 
ball  against  Ed's  chin.  Mrs.  Cagney's  son 
put  up  a  lusty  defense,  but  he  was  the 
weaker  by  four  years  and  a  lengthy  ill- 
ness. Jim  found  him  sitting  on  the  curb- 
stone, rocking  his  tender  brain  back  and 
forth.  By  his  private  grapevine  he  sent 
out  word  that  he  wanted  Bailey. 

The  bell  rang  as  he  was  eating  his 
dinner.  "Jim  there?  Joey's  fighting  Bailey 
at  77th  and  First." 
"See  you  later,"  said  Jim,  and  was  gone. 
At  the  arena,  he  tapped  Joey  on  the 
shoulder.  "Okay  with  you  if  I  take  your 
place?" 

It's  a  battle  still  cherished  in  local  an- 
nals. They  fought  from  seven  to  ten  for 
three  nights  running,  with  a  crowd  to 
watch  and  a  referee  to  guard  them.  "Where 
are  the  parents  of  these  boys?"  cried  one 
indignant  citizen.  "Isn't  it  awful?"  a  wo- 
man beside  him  clucked  sympathetically, 
and  craned  her  neck  for  a  better  view. 
That  was  Mrs.  Cagney. 

On  the  third  night,  Jim  threw  his 
knuckles  out  of  gear.  He  thrust  his  fist 
at  the  referee,  who  forced  them  back  into 
place.  It  happened  a  second  time.  "Fix 
it,"  said  Jim.  But  the  referee  shook  his 
head.  "I'm  fixing  nothing,  Red.  That's  a 
doctor's  job."  The  fight  was  pronounced 


a  draw  and  Jim  came  home  from  the 
hospital  with  his  hand  in  splints. 

Small  wonder  that  Mrs.  Cagney  refuses 
to  be  impressed  by  her  son's  screen  mis- 
haps. He  phoned  her  from  Hollywood 
not  to  see  "Public  Enemy,"  with  its  grue- 
some fade-out.  Her  heart  being  none  too 
strong,  the  doctor  had  warned  her 
against  unnecessary  strain.  "Better  stay 
away  from  it,  Mom.  May  be  too  much 
excitement." 

"What  kind  of  excitement?" 

He  told  her. 

"So  what?"  she  scoffed.  "I  never  was 
one  to  be  scared  by  boogyboos,  and  you 
can't  start  me  now." 

There  was  also  in  the  old  days  the 
affair  of  the  prunes.  Mrs.  Cagney  was 
on  neighborly  terms  with  her  tradesmen, 
but  she  happened  into  a  shop  whose 
manager  was  new.  "I'll  take  some  of 
those  prunes." 

As  he  weighed  them,  she  inspected 
them  more  closely.  "On  second  thought, 
I  don't  want  them." 

"What's  the  matter  with  them?" 

"They're  not  good." 

With  more  loyalty  than  good  sense,  the 
manager  resented  the  slur  on  his  prunes. 
It  ended  by  his  calling  her  a  liar. 

She  was  crying  when  she  got  home. 
Harry  was  there,  Jim  was  there,  Ed  was 
there,  Bill  was  there.  "She  ordinarily 
would  have  been  mad,"  says  Jim,  "or  she'd 
been  laughing  over  what  she  said  to 
him.  She'd  never  have  cried,  if  she'd 
been  feeling  well.  It  was  that  I  couldn't 
take.  I  walked  out  of  the  house  up  the 
street  and  into  the  store." 

The  defender  of  prunes  found  himself 
faced  by  a  young  red  head,  quiet  enough 
except  for  blue  eyes  that  blazed. 

"Did  you  just  call  my  mother  a  liar?" 

"Who's  your  mother?" 

"Lady  who  was  in  here  about  some 
prunes." 

THE  man  opened  his  mouth — and  kept 
it  open.  He  was  gazing  past  Jim's 
head  toward  the  window.  Jim  turned  to 
look.  Standing  outside  were  Harry  and 
Ed  and  Bill.  They  weren't  saying  any- 
thing, they  were  just  looking,  and  they 
looked  quite  agreeable.  Still,  the  store- 
keeper started  stammering  apologies.  A 
grin  twitched  at  Jim's  lips. 

"Stick  around  a  while,"  he  said,  "and 
you'll  find  out  we  keep  civil  tongues  in 
these  parts." 

The  other  all  but  burst  into  tears  as  he 
joined  his  brothers  and  the  four  marched 
off  together. 

Of  them  all,  only  Jean  escaped  the 
worst  rigors  of  the  struggle.  By  the  time 
she  had  grown  into  conscious  life,  her 
brothers  were  able  to  take  care  of  her. 
It  was  fun  to  have  a  baby  in  the  family, 
and  that  baby  a  girl.  Jim  would  get 
down  on  the  floor  and  read  the  funnies 
to  her,  and  sing  her  the  silly  vaudeville 
songs  he  picked  up. 

Though  she  wasn't  trained  in  the  same 
hard  school,  she's  made  of  the  same 
sturdy  fibre.  She  and  her  mother  have 
spent  recent  summers  in  Hollywood,  but 
they  didn't  go  out  west  to  live  till  Jean 
had  completed  her  college  course  in  New 
York.  Her  mother  refused  to  have  it 
interrupted.  She  was  graduated  with 
high  honors,  and  made  Phi  Beta  Kappa. 
For  a  while  she  thought  she  would  study 
medicine,  but  her  doctor  brothers  talked 
her  out  of  that. 

It  wasn't  only  because  Jim  and  Bill 
were  there  that  the  Cagney  women  folk 
settled  in  California.    After  all,  Harry 


and  Ed  were  in  the  east.  But  for  one 
thing,  the  climate  was  better  suited  to 
Mrs.  Cagney's  health.  For  another,  the 
movies  were  interested  in  Jean  and  she 
in  them.  That  her  brother  was  an  actor 
had  nothing  to  do  with  it.  A  scout  had 
seen  her  picture  in  a  magazine  among 
those  of  other  honor  students.  The  studio 
sent  for  her  and  suggested  a  test. 

She  talked  it  over  with  Jim  and  Bill. 
They  thought  it  was  fine,  if  that  was 
what  she  wanted.  She  decided  that  she 
wasn't  ready  for  a  test.  She  was  over- 
weight and  she  needed  experience. 

SHE  tackled  the  job  in  as  thorough- 
going a  manner  as  if  her  bread  and 
butter  depended  on  it.  Her  self-respect 
did.  She  doesn't  take  it  for  granted  that 
things  should  be  handed  to  her,  either  as 
an  actress  or  a  Cagney. 

"Listen,  darling,"  said  Jim,  "you're 
working  too  hard.  Take  a  boat  and  go 
to  Honolulu." 

"I've  had  enough  done  for  me,  Jim. 
I've  got  to  try  to  do  the  rest  myself." 

Several  studios  bid  for  her  when  the 
test  was  made.  She  signed  with  Para- 
mount and  has  been  cast  in  a  picture 
called  "All  Women  Have  Secrets." 

The  Cagneys  keep  their  pride  in  her 
below  the  bursting  point.  "But  think  of 
the  poor  guy  that  marries  her,  whew!" 
Jim's  brows  mount  to  a  quizzical  peak. 
"He'd  better  be  a  very  nice  fellow.  Hey? 
Don't  you  think?"  Recalling  the  prunes, 
you  think  he'd  better. 

Bill  has  always  been  the  business  man 
of  the  tribe.  He  was  with  an  advertising 
house  when  the  market  went  to  perdi- 
tion, and  Jim  suggested  he  come  out  to 
Hollywood  to  manage  his  affairs.  Or,  as 
he  put  it  at  the  time,  "I  used  to  do  the 
worrying  for  you,  now  you  do  the  worry- 
ing for  me." 

Bill  is  now  a  producer  at  Warners. 
Jim  had  nothing  to  do  with  that,  either. 
It's  a  tribute  to  his  brother's  skill  and 
fair  dealing.  The  studio  felt  it  would  like 
to  have  some  of  its  other  players  handled 
as  Cagney  had  been  handled. 

Bill  appeared  in  Jim's  dressing-room 
one  day  to  discuss  a  picture  which  had 
just  been  bought  for  him.  He  got  up 
and  fidgeted.  Then  he  said,  "I've  told 
you  about  your  deal.  Now  I'll  tell  you 
about  mine.  They've  just  made  me  a 
producer." 

"Good!"  said  Jim,  and  almost  crushed 
the  small  bones  of  his  brother's  hand  in 
his  grip. 

They  play  no  favorites,  but  Jim  goes 
so  far  as  to  say  that,  "When  Bill  and 
Harry  and  I  get  together,  the  fellow  we 
like  is  Eddie.  His  wisdom,  his  tolerance, 
his  humor,  his  slant  on  things.  Time  and 
time  again  Bill  and  I  will  be  sitting  here, 
talking  about  him,  and  I'll  reach  for  the 
phone  and  call  New  York." 

"How  are  you,  Eddie?"  Jim  will  say. 

"All  right.  How  are  you?" 

"Fine.  Thought  I'd  like  to  hear  your 
voice." 

"Good  to  hear  yours,  Jim.  How's 
everyone?" 

Then  they'll  ring  off. 

Mrs.  Cagney  likes  Hollywood.  Her 
sons  say  she's  very  busy  running  up  and 
down  Hollywood  Boulevard,  looking  into 
windows.  She's  a  movie  fan.  She's  also 
a  Woolworth  fan.  "I  had  a  great  time  at 
the  five-and-ten,"  she'll  say,  or,  "I  saw 
a  great  movie." 

She'd  like  Hollywood  better  if  Harry 
and  Ed  were  there.  So  would  the  rest  of 
the  Cagneys  and  I  don't  blame  them. 


53 


MODERN  SCREEN 


Write  a  letter  and  win  one 
of  the  ten  prizes  given  each 
month!   It's  as  easy  as  pie! 


War  Pictures 


When  the  grim  war  broke  out  in 
Europe,  Hollywood  producers  immedi- 
ately began  a  search  for  war  stories, 
stories  of  soldiers,  submarines,  warships 
and  bloodshed.  Even  former  war  pic- 
tures, such  as  "All  Quiet  on  the  Western 
Front"  and  the  "The  Road  Back,"  are 
being  reissued. 

Is  Hollywood  doing  the  right  thing? 
How  will  the  world  accept  war  pictures? 
Take  the  war -torn  countries  of  Ger- 
many, Poland,  France  and  England. 
Haven't  they  seen  enough  real  fighting 
and  bloodshed  without  seeing  an  imita- 
tion upon  a  movie  screen? 

And  what  about  the  United  States? 
Motion  pictures  have  a  wide,  far-reach- 
ing influence  upon  the  people  and  there 
is  a  possibility  that  war  pictures  may 
arouse  their  feeling  in  favor  of  entering 
the  war. 

It  would  be  better  for  the  United 
States  and  all  other  nations  to  skip  the 
war  pictures.  Why  should  one  sit  through 
the  grim,  sombre  tragedies  of  war  stories 
when  there  are  so  many  other  gayer, 
romantic  stories  to  enjoy?  Isn't  it  much 
better  to  see  Judy  Garland  being  carried 
away  to  the  colorful  land  of  Oz  than  to 
see  Lew  Ayres  killed  by  a  machine  gun? 
—Anthony  Perry,  Mountain  View,  Cal. 

"The  Wizard  of  Oz" 

"The  Wizard  of  Oz"  disappointed  me 
greatly.  The  characters  were  much  as  I 
had  always  pictured  them;  the  music, 
tuneful;  the  color,  lovely;  but  the  story 
was  almost  entirely  different  from  the 
Oz  books  I  read  and  reread  as  a  child. 

I  realize  that  many  people  are  seeing 
and  living  the  picture,  but  for  the  most 
part  they  are  people  who  have  never 
read  the  books  that  made  L.  Frank  Baum 
famous.  I  feel  that  they  would  have 
been  even  more  delighted  if  Oz  had  ruled 
the  land  and  lived  in  the  Emerald  Palace, 
if  Dorothy's  visits  to  Oz  had  not  been 
just  a  dream,  if  Aunt  Em  and  Uncle 
Henry  had  been  transported  there  to 
spend  their  old  age,  and  if  all  had  not 
returned  to  drabness  in  the  end. 

There  is  plenty  of  adventure  in  the 
books  to  provide  excitement,  without 
setting  a  bunch  of  script-writers  to  work 
making  up  a  story  of  their  own.  If  a 
story  is  good  enough  to  achieve  undying 
fame,  doesn't  it  stand  to  reason  that 
people  want  to  see  it  brought  to  life 
minus  Hollywood  improvements? — Mar- 
garet Connell,  Des  Moines,  Iowa. 


Encore 

Just  recently  I  have  noticed  that  many 
of  our  great  pictures  of  a  few  years 
ago  are  being  shown  at  local  theatre 
houses. 

I,  for  one,  am  glad  to  see  these  pictures 
come  back.  They've  been  memorable 
pictures  like  "San  Francisco,"  "Mutiny 
on  the  Bounty"  and  "Rose  Marie."  Sure, 
I  saw  them  the  second  time  and  found 
them  just  as  entertaining  as  I  did  the 
first  time.  Considering  the  number  of 
pictures  the  average  person  sees,  even  a 
great  picture  can  be  easily  forgotten. 

So  continue  to  let  these  great  pictures 
of  the  past  live  again  for  us. — Kathryn 
Smith,  Memphis,  Tenn. 


Sleeping  Time 

I  saw  "Miracles  For  Sale"  last  night. 
When  producers  begin  to  think  Robert 
Young  is  so  handsome  that  we  women 
don't  care  what  kind  of  story  we  see 
just  so  he  flits  around  before  our  eyes, 
they  had  better  guess  again. 

I  enjoy  sleight  of  hand  tricks  on  the 
stage  where  my  common  sense  tells  me 
if  my  eye  were  quick  enough  I  would  see 
how  the  trick  was  done,  but  when  they 
just  turn  the  machine  off  while  someone 
does  the  magic  work  for  our  Bob  I  get 
fed  up  quickly. 

If  they  must  make  plays  for  morons, 
why  don't  they  label  them  as  such? 
Then,  if  the  second  feature  is  worth  see- 
ing, they  might  do  us  a  favor  and  say, 
"Sleeping  time,  45  minutes." — Elsie  Wil- 
liams, Junction  City,  Oregon. 

Absolutely  Distractin' 

How  can  I  keep  my  mind  on  Latin 
When  Hedy  Lamarr  is  dressed  in  satin? 

When  Richard  Greene  is  flashing  a  smile 
Who  cares  who  settled  on  the  Nile? 

When  John  Payne  is  singing  a  lullabye 
Who  cares  what  equals  "x"  or  "y?" 

When  Shirley  Temple  shows  her  dimple 
Venus  de  Milo  seems  sort  of  simple. 

When  Edward  G.  Robinson  does  his  stuff 
Brutus  doesn't  seem  half  so  tough. 

When  Leslie  Howard  gets  dramatic 
Catiline  seems  like  so  much  static. 

— Rhoda  Krueger,  Newark,  N.  J. 


Lamour's  Hair 

This  is  a  vote  in  favor  of  a  hair  cut 
for  Dorothy  Lamour,  before  her  career 
bogs  down  in  a  tangle  of  sarongs.  With- 
out doubt,  her  hair  is  beautiful — as  a 
museum  piece — but  as  equipment  for  a 
modern  actress,  it  is  just  excess  baggage. 
It's  evident  she  can  act,  but  you  would 
never  know  it  from  the  parts  they  give 
her  because  of  her  hair.  The  wig  de- 
partment at  the  studio  could  fit  her  out 
for  an  occasional  long-hair  role,  so  why 
does  she  hesitate? 

I  would  like  to  see  her  get  some  mod- 
ern roles  where  the  attention  would  cen- 
ter on  her  acting  and  singing.  I  would 
like  to  see  her  in  roles  where  she  por- 
trays ordinary  stenographers  or  sales 
girls  and  dramatizes  the  problems  that 
appeal  to  us  because  they  are  our  own. 
But  she  will  never  do  it  while  she  has 
that  over-supply  of  hair. 

She  could  make  a  great  career  for  her- 
self if  she  would  only  pick  up  the  shears 
and  snip,  snip,  snip  her  long  locks  off! 
—Eleanor  Mouldry,  Oakland,  Calif. 


Fans,  get  out  the  old  pen  and  paper 
and  let's  hear  what  you  have  to  say 
about  that  picture  you  thought  was 
such  a  knockout,  or  the  one  you  labeled 
"flop,"  that  star  you  are  simply  cuh- 
razy  about  or  the  one  you  can't  abide. 
Glamor  queens,  Hollywood  styles, 
miscast  roles,  scene  stealers  —  what's 
your  opinion  about  these  or  anything 
else  concerning  Cinemaland?  Besides 
having  the  fun  of  speaking  your  piece 
(and  you'll  get  a  big  kick  out  of  that), 
you  have  the  chance  of  winning  one  of 
the  ten  $1.00  prizes  awarded  each 
month  to  the  writers  of  the  most  original 
and  interesting  letters.  Just  one  thing — 
we  expect  you  to  play  fair  with  us  and 
not  copy  or  adapt  letters  or  poems  al- 
ready published.  This  is  plagiarism  and 
will  be  prosecuted  as  such.  Remember, 
now,  this  is  your  own  page,  so  say 
what  you  honestly  think,  keep  it  brief 
and  send  your  letter  or  poem  to:  A 
Dollar  For  Your  Thoughts,  Modern 
Screen,  149  Madison  Ave.,  New  York, 
N.  Y. 


54 


MODERN  SCREEN 


Bill  Holden 

When  I  walked  out  of  the  theatre  after 
seeing  "Golden  Boy,"  my  mind  was  in 
such  a  crazy  whirl  that  I  scarcely  knew 
what  was  going  on  about  me.  The  rea- 
son— William  Holden. 

Without  ever  having  appeared  in  films, 
this  boy  co-starred  with  screen-wise 
Barbara  Stanwyck  and  such  ace-vet- 
erans as  Adolphe  Menjou  and  Joseph 
Calleia,  and  rendered  one  of  the  most 
brilliant  performances  I  have  ever  seen. 

The  talent  scouts  and  directors  who 
have  been  looking  for  new  faces  and 
new  talent  have  really  done  themselves 
justice  by  giving  to  the  movie  fans 
this  natural,  dynamic  personality,  Bill 
Holden. 

He's  the  1939  Wonder  Boy.  With  looks 
that  would  make  any  heart  stand  still 
and  acting  ability  that  holds  you  spell- 
bound, Bill  Holden  has  leapt  to  the  top 
rung  of  the  ladder  of  success. — Nell 
McGuinness,  Dallas,  Texas. 

We  Women 

We  women  should  view  with  alarm 

That  serious  challenge  to  charm 

That  movie  that's  batty 

Makes  us  fatty  and  chatty 

"The  Women"  is  doing  us  harm! 

There's  a  movement  I'd  like  to  advance, 

"Let's  kick  Clare  Booth  in  the  pants." 

I'd  like  to  repay 

That  gal  for  her  play 

Which  robs  all  us  femmes  of  romance! 

— Jean  Brown,  Tucson,  Arizona. 

Easy  on  the  Eyes 

Just  between  the  two  of  us,  I  am  won- 
dering if  the  producers  are  wise  to  the 
fact  that  in  the  sepia  colored  pictures, 
they've  got  something. 

After  "The  Adventures  of  Marco  Polo" 
was  shown  here,  I  heard  much  comment 
that  not  the  least  delightful  feature  of 
that  picture  was  lack  of  the  eye-strain 
found  in  the  black  and  whites.  It  was  so 
soft  and  easy  to  look  at.  Now  that 
"Golden  Boy"  has  come  and  gone,  I  am 
hearing  the  same  thing  when  I  discuss 
the  latest  pictures  with  my  friends.  To 
those  of  us  whose  eyesight  isn't  as  good 
as  it  was  twenty  years  ago,  such  pictures 
are  very  welcome. 

Also,  to  me  there  is  a  beauty  in  sepia's 
soft  tones  that  enhances  the  attractive- 
ness of  any  pictures  and  lends  a  delight 
to  scenes  of  natural  beauty  far  beyond 
mere  light  and  shadow. — Mrs.  Mildred 
M.  Sanborn,  Portland,  Maine. 

True  Artistry 

What  naturalness  Bette  Davis  portrays 
in  every  film!  It's  naturalism  resulting 
from  diligent  study  of  technique,  a  pas- 
sionate love  of  her  work,  plus  an  inner 
beauty  and  understanding  of  each  char- 
acter portrayed. 

Is  there  a  theatre-goer  who  does  not 
forget,  for  a  time,  the  woman  Bette 
Davis  and  live  the  situations  created  and 
portrayed  by  her? 

As  far  as  versatility  is  concerned,  her 
ability  to  fit  herself  into  every  role  as- 
signed to  her  is  unquestionable.  There 
are  actresses  who  can  play  nothing  but 
straight  parts,  despicable  parts,  character 
parts,  but  Bette  can  do  anything  on  the 
screen. 

If  she  isn't  living  in  the  memories  of 
the  majority  a  half  century  from  now, 
I  shall  have  no  faith  in  true  artistry. 
— Louise  Scott,  New  Haven,  Conn. 


Think  of  It- a  Cream  Nail  Polish  that 

IASTS7  LONG  DAYS  !" 


Try  all  12  Smart  Shades  of 
My  New  7-Day  Nail  Polish 
With  My  "Magic  Fingertips/ 
Send  For  Them  Free! 


NO  LONGER  need  you  put  up  with  nail 
polish  that  loses  its  lustre. . .  that  chips 
and  peels... after  one  or  two  days  on  your 
fingertips.  My  new  7-Day  Cream  Nail  Pol- 
ish ends  all  that!  For  it  gives  your  hands 
flattering  beauty  for  7  long  days. 

\bu'll  be  delighted  with  this  rich  cream 
nail  polish.  You'll  be  thrilled  with  its  12 
glorious  colors.  You'll  be  amazed  . .  .when 
you  see  how  its  starry  brilliance  stays  un- 
dimmed  for  one  whole  week.  And  one  sat- 
iny coat  is  all  you  need! 

New  Way  to  Pick  Your  Lucky  Shade! 

Never  has  there  been  an  idea  like  Lady 
Esther's  Magic  Fingertips.  Made  of  cellu- 
loid, they're  shaped  like  the  human  nail— 
and  each  wears  a  sparkling  shade  of  Lady 
Esther  Nail  Polish. 

You  simply  hold  these  Magic  Fingertips 
over  your  own  nail . . .  one  at  a  time  . .  . 
with  the  slender  side  tabs.  Quickly  you'll 
find  the  shade  that  natters  you  most— your 
hands,  your  costume  colors.  You  save  time, 
you  save  money.  And  best  of  all,  these  12 
Magic  Fingertips  are  yours  free! 


w 

n 

FREE!  Send  For  Your 
12  Magic  Fingertips! 

Let  Lady  Esther's  12  free 
Magic  Fingertips  show  you 
the  right  color  — the  correct 
color— luckiest  for  you.  For 
each  wears  one  of  the  new, 
smart  nail  polish  colors. 
Send  for  your  12  Magic  Fin- 
gertips now! 


NAIL  POLISH 


(You  can  paste  this  on  a  penny  postcard) 

Lady  Esther,  7110  W.  65th  St.,  Chicago,  111. 

CDCp  Please  send  me  by  return  mail 
ril.SK  your  Magic  Fingertips  showing  all 
12  different  shades  of  Lady  Esther  7-Day 
Cream  Nail  Polish.  (51) 


// you  live  in  Canada,  write  Lady  Esther ,  Toronto,  Ont. 


55 


MODERN  SCREEN 


HE  HATES  HIMSELF! 

(Continued  from  page  39) 


that  Mrs.  Muzzlepuss  is  upstairs  dressing. 
So,  invariably,  Lorayne  and  I  sit  down, 
alone,  on  time,  while  our  hostess  is  late. 
At  such  times  I  like  Mowbray  better 
than  I  like  his  hostess. 

"One  time  in  New  York,  some  years 
ago  when  the  blood  ran  high,  I  was  in- 
vited for  dinner  at  7:30.  I  had  gone 
to  quite  some  pains  to  rent  a  Tux,  those 
being  the  Park  Bench  Days  in  the  Mow- 
bray migration  through  Life.  I  arrived 
on  the  dot.  For  half  an  hour  I  sat  in 
that  big  mausoleum,  alone.  I  made  quick 
sketches  of  the  pattern  in  the  rugs  with 
my  little  crayons.  I  counted  the  roses  on 
the  wall  paper.  I  tickled  the  toes  of  a 
couple  of  marble  statues.  Finally  I 
arose,  took  off  my  coat,  vest,  shirt  and 
trousers,  rolled  myself  up  in  a  white 
bear  rug  and  went  to  sleep. 

"When  my  hostess  and  ten  guests  ap- 
peared simultaneously,  they  were  as- 
tounded. I  rose  with  dignity,  proceeded 
to  dress  again,  and  said,  'I  was  invited 
for  7:30.  It's  getting  late  now.  I  feel  I 
must  be  getting  home.  I've  had  a  lovely 
rest.  Thank  you  so  much.'  And  I  went 
home. 

"As  far  as  my  entertaining  is  con- 
cerned, I  once  gave  a  Christmas  party 
in  August.  We  hung  up  our  stockings, 
had  a  Christmas  tree,  holly  wreaths  and 
plum  pudding.  One  of  the  Ritz  Brothers 
read  "The  Night  Before  Christmas" 
aloud.  Why  did  I  give  a  Christmas  party 
in  August?    I  wanted  to — that's  all. 

"At  another  time,  we  gave  a  party  to 
celebrate  the  release  of  General  Chiang 
Kai  Shek.  It  happened  like  this:  Joe 
Lewis  and  I  were  sitting  in  the  Troca- 
dero  late  one  afternoon.  An  acquaint- 
ance passed  our  table,  stopped  and  said, 
'Why  are  you  two  looking  so  glum?'  I 
said,  'We  are  not  glum.  We  are  just 
resting  our  facial  muscles  between  jokes.' 
Then  I  added,  brightly,  'We  are  planning 


a  party.  We  are  planning  a  party  to  cele- 
brate the  release  of  General  Chiang  Kai 
Shek.'  I'd  never  thought  of  such  a  thing 
until  that  moment.  Once  I'd  thought  of 
it,  it  seemed  an  excellent  reason  for  giv- 
ing a  party. 

"The  next  night  we  had  two  hundred 
people  at  the  house  and  celebrated  the 
release  of  the  Celestial  Kingdom's  great 
general.  We  had  about  ten  thousand 
dollars'  worth  of  floor  show,  too.  Joe  E. 
Brown,  the  Ritz  Brothers,  Hugh  Herbert, 
Pat  O'Brien — we  all  did  our  stuff.  Dur- 
ing the  evening,  we  telephoned  a  rich 
planter  friend  of  Joe's,  in  Cuba,  and 
asked  him  if  he  would  be  co-host  at  the 
party.    He  said  he  would. 

"I  never  give  a  formal  party,  with  tents 
erected  and  gardenias  upholstering  the 
chairs  and  all.  If  I  did,  I'd  kill  myself 
laughing  as  I  sat  on  a  gardenia. 

NOW,  on  the  other  hand,  I  do  have 
some  very  admirable  traits.  I've  a 
hell  of  a  good  disposition.  I  shout  at  the 
children  now  and  then,  but  I  tell  my- 
self it's  nine  per  cent  fun  and  one  per 
cent  annoyance.  They  seem  to  enjoy  it. 

"Also,  I  have  perfect  control  over  my 
so-called  vices.  If  I  say  that  I'll  stop 
smoking  on  the  morrow,  I  stop.  I  never 
'taper  off'  on  anything.  If  I  go  on  the 
wagon,  I  go  on  it.  I  don't  teeter  on  the 
running-board. 

"I  have  a  strange  brand  of  conscien- 
tiousness, too.  I  never  pay  any  attention 
to  what  parts  I  play  until  I  start  to  play 
them.  Any  script  with  any  old  part 
from  that  of  the  butler  in  the  'Toppers' 
to  some  Baron  Bigwiggie  is  okay  by 
Mowbray.  But  once  I  start  to  work — 
how  this  little  busy  bee  improves  each 
shining  hour! 

"I  am  sensitive.  I  dislike  this  in  me, 
too.  I  favor  the  Tarzan  type.  But,  tough 
old  war  veteran  that  I  am,  thrice  gassed, 


five  times  wounded,  I  still  suffer  incred- 
ibly from  "first  night"  nerves.  When, 
recently,  I  was  on  the  Crosby  program 
on  the  air,  I  was  scared  stiff.  One  brain 
was  doing  the  broadcast,  the  other  brain 
was  perched  there  saying,  'How  do  you 
know  you're  not  really  saying  'pffusik- 
shsyt'  or  something?' 

"I  have  no  politics.  Having  a  passion  for 
men  of  violent  prejudices  and  partisan- 
ships, I  don't  like  Mowbray  for  this, 
either.  But  I  definitely  stay  away  from 
politics  believing,  as  I  do,  that  an  actor, 
like  a  soldier,  should  have  none.  An 
actor's  art  should  be  international.  For 
me,  if  I  can  give  laughter  that  will  ease 
things  throughout  the  world,  I  never 
stop  at  color  lines  or  at  little  lines  on  the 
shifting  maps  of  empires.  When,  recent- 
ly, I  was  asked  to  contribute  toward  an 
ambulance  for  one  side  of  warring  Spain, 
I  said  that  I  would  do  so,  gladly,  if  I 
could  also  contribute  toward  an  ambu- 
lance for  the  opposing  side.  An  ambu- 
lance, I  pointed  out,  is  a  humanitarian 
necessity.  And  a  piece  of  hot  lead  hurts 
either  side,  just  the  same. 

"Among  my  other  virtues:  I  don't 
gamble.  I  don't  get  the  faintest  kick  out 
of  losing  six  months'  salary  on  the  turn 
of  a  roulette  wheel.  I  don't  allow  people 
to  gamble  in  my  house.  I'm  not  extrav- 
agant except  with  tobacco  and  brandy.  I 
smoke  expensive,  imported  cigarettes. 
When  I  buy  brandy  it's  good  brandy. 
When  I  can't  afford  either,  I  go  without. 
I  won't  have  anything  I  can't  pay  for 
cash.  I  don't  like  Mowbray  for  these 
'virtues,'  either.  I  admire  the  reckless 
spendthrift,  the  wastrel,  the  devil-may- 
care  fellow  who  devours  today  like  a 
glutton  and  thumbs  his  nose  at  tomorrow. 

"So  there  you  have  Mowbray  and  all 
his  virtues  and  vices.  Do  you  wonder 
that  I  don't  like  the  chap?"  And  Alan 
sighed  deeply  and  looked  that  sad. 


MOVIE  REVIEWS 

(Continued  from  page  11) 


Jfirit  Babes  in  Arms 

A  rollicking  musical  that  will  keep 
your  feet  tapping  and  leave  you  hum- 
ming a  tune  on  the  way  out,  "Babes  In 
Arms"  is  worth  anyone's  money.  Mickey 
Rooney  and  Judy  Garland  take  things 
into  their  hands  from  the  opening 
sequence  and  see  to  it  that  you  don't 
have  a  dull  moment  from  then  on.  Judy's 
songs  are  excellent,  delivered  in  the 
practically  patented  Garland  manner.  But 
it  is  Mickey  who  actually  steals  the  show. 
The  Rooney  kid  amazes  with  a  display 
of  versatility  that  will  leave  you  gasp- 
ing for  breath.  He  sings,  dances,  fiddles, 
plays  the  piano  and  emotes  with  more 
gusto  than  seems  humanly  possible. 
You'll  like  his  imitations,  too.  He  does 
them  on  Gable,  Lionel  Barrymore  and 
Franklin  D.  Roosevelt  for  good  measure. 
Judy  Garland  gets  one  off  on  Mrs.  Roose- 
velt which  the  lady,  herself,  will  thor- 
oughly enjoy. 

The  story  is  no  great  shakes,  but  with 
such  a  fun-loving  crowd  of  youngsters 
to  keep  things  pepped  up,  you  probably 
won't  mind.  It  concerns  the  trials  and 
tribulations  of  ex-vaudevillians  who  find 
themselves  without  jobs  and  with  no 
means  of  supporting  their  children.  So 


the  children  assume  their  own  responsi- 
bilities and  show  that  a  good  thing  can 
be  made  of  courage  and  willingness  to 
work  hard. 

Charles  Winninger,  Guy  Kibbee,  Grace 
Hayes  and  Henry  Hull  contribute  good 
performances  among  the  older  players, 
while  June  Preisser  is  the  outstanding 
youngster,  aside  from  Mickey  and  Judy. 
Directed  by  Busby  Berkeley. — Metro- 
Goldwyn-Mayer. 

Fast  and  Furious 

This  is  the  third  of  the  series  of  pic- 
tures involving  the  tempestuous  lives  of 
those  fun-loving  people,  Mr.  and  Mrs. 
Joel  Sloane.  Only  this  time  the  Sloanes 
are  Franchot  Tone  and  Ann  Sothern. 
Nevertheless,  the  Sloanes  continue  their 
book  detective  work  with  the  same  gay 
abandon  established  in  the  former  stories 
by  Melvyn  Douglas,  Florence  Rice,  Rob- 
ert Montgomery  and  Rosalind  Russell. 

Ann  Sothern  is  quite  at  home  in  her 
role  of  the  teasing  and  high-spirited 
wife  of  Franchot  Tone,  who  is  also  rather 
spirited  but  inclined  to  having  a  few 
sane  moments.  The  Sloanes  go  off  to 
the  seashore  for  a  vacation  this  time,  but 
it  doesn't  take  them  long  to  get  in- 


volved in  a  bang-up  murder  mystery. 
In  Joel  Sloane's  efforts  to  clear  the  name 
of  a  friend,  he  gets  mixed  up  in  a  bath- 
ing beauty  contest  and  a  trio  of  roaming 
lions  which  provide  some  hilarious  com- 
edy scenes. 

There's  good  supporting  work  turned 
in  by  Ruth  Hussey,  Lee  Bowman,  John 
Mil j  an,  Mary  Beth  Hughes  and  Allyn 
Joslyn.  Directed  by  Busby  Berkeley. — 
Metro-Goldwyn-Mayer. 

itiir  Flying  Deuces 

You'll  laugh  uproariously  throughout 
this  picture,  then  wonder  why,  when  you 
leave  the  theatre.  It's  silly,  yes,  but  the 
kind  of  entertainment  that  makes  you 
forget  your  troubles. 

Laurel  and  Hardy  are  still  Laurel  and 
Hardy,  and  their  fans  will  report  that 
this  is  their  best  picture  to  date.  If 
there  had  been  some  sort  of  story,  "Fly- 
ing Deuces"  would  have  hit  the  gong 
but  the  lack  of  continuity  gives  it  the 
gong  in  many  sequences. 

The  story  opens  with  the  two  come- 
dians vacationing  in  Paris.  Hardy  is 
madly  in  love  with  the  inn-keeper's 
daughter  who  is  none  other  than  Jean 
(Continued  on  page  61) 


56 


MODERN  SCREEN 


MADELEINE  CARROLL  WANTS  CHILDREN 

(Continued  jrom  page  25) 


last  time  when  I  might  never  have  come 
back  to  Hollywood,"  she  confided.  "That 
was  before  war  was  actually  declared. 
But  my  mother  pointed  out  that  none  of 
us  knows  what  will  happen  in  the  next 
few  years — how  long  the  war  will  last, 
what  will  become  of  the  money  I  have 
managed  to  save,  how  much  we  shall 
need.  For  I  do  have  to  take  care  of  my 
family.  I  left  enough  money  in  London 
to  see  my  mother  through  this  next  year 
and  in  the  meantime  I  shall  fill  my  life 
with  enough  work  to  use  up  all  my 
vitality  and  to  insure  me  financial  inde- 
pendence, which  has  always  been  my 
most  important  goal." 

When  Madeleine  Carroll  speaks  of  her 
mother,  she  becomes  quite  another  per- 
son than  the  actress  who  will  say  dicta- 
torially,  "I  shall  not  take  that  role."  She 
is  different  from  the  famous  wife  who 
admits,  "This  marriage  of  mine  is  fin- 
ished." Her  voice  takes  on  a  warmer 
note,  her  face  a  kindlier  expression.  Her 
mother  is  the  most  important  thing  in 
her  life. 

"I  am  continuously  beset  with  anxiety 
when  I  think  of  her  over  there,  so  far 
away  from  me.  I  had  hoped  she  would 
come  to  Hollywood  this  time.  In  fact, 
that  was  the  plan  when  I  took  two  reser- 
vations on  the  Normandie.  My  mother 
was  to  board  the  boat  at  Southampton, 
but  she  wouldn't  come.  She  thought  her 
place  was  with  my  father  and  she 
stayed  in  England." 

Miss  Carroll  is  afraid  that  when  she 
speaks  of  her  academic  father  she  may 


sound  unfilial.  She  has  a  tremendous 
respect  for  his  fine  mind,  his  years  given 
to  educational  work.  But  she  has  never 
felt  close  to  him  as  she  has  to  her 
mother.  He  was  always,  to  her,  the 
austere,  unsentimental,  aloof  parent. 
Even  in  her  adolescence  when  she  was 
earning  a  meager  income,  her  aim  was 
to  get  enough  money  for  a  home  she 
could  share  with  her  mother.  She  has 
made  much  more  money  than  she  ever 
dreamed,  but  never  once  has  she  had  her 
mother  living  with  her. 

"My  mother  is  a  dear,  warm-hearted 
French  woman  who  has  always  believed 
her  place  is  with  her  husband."  And 
there  she  remained  even  when  Madeleine 
could  offer  her  luxuries.  Perhaps  it  is 
this  unassailable  virtue  of  wifely  fidelity 
which  has  caused  the  star's  mother  so 
much  distress  over  the  divorce  reports. 
Because  she  is  also  devoted  to  her  son- 
in-law  and  Philip,  as  Madeleine  said, 
"loves  my  mother  very  much." 

HP  HE  beautiful  English  girl  is  more 
■■-  earthy  than  she  appears  on  the 
screen,  not  quite  as  young  as  the  college 
boys'  enthusiastic  votes  would  indicate. 
Which  does  not  mean  that  she  is  less 
lovely.  She  had  an  excellent  education 
before  she  went  on  the  world  to  wrest  a 
living.  At  one  time,  she  was  a  school 
teacher.  Occasionally  she  was  broke  and 
jobless;  more  than  once  she  was  hungry. 
She  has  little  interest  in  the  social  activi- 
ties that  engage  the  free  time  of  so  many 
of  her  Hollywood  contemporaries.  She  is 


well  read  and  has  an  avid  intelligent 
interest  in  what  is  happening  outside  her 
own  glittering  sphere.  She  knows  the 
value  of  a  dollar,  for  she  gained  her 
knowledge  the  hard  way,  and  no  Car- 
roll earnings  will  ever  be  foolishly 
squandered. 

"I  feel  sorry  for  anyone  out  of  a  job 
these  days,"  she  remarks  with  earnest 
fear  in  her  voice.  "I  think  financial  se- 
curity is  a  wonderful  thing.  When  I 
speak  of  financial  security  I  am  thinking 
in  terms  of  fifteen  dollars  a  week  guar- 
anteed for  the  future.  I  often  lived  on 
far  less  than  that  and  I'm  sure  I  could 
do  it  again." 

But  no  one  knows  her  earning  value 
better  than  Madeleine  Carroll.  And, 
she'll  get  it  while  she  can. 

"Safari"  is  Miss  Carroll's  first  vehicle 
since  her  return  from  Europe.  She  went 
abroad  after  she  made  "Honeymoon  in 
Bali"  with  Fred  MacMurray.  She  hopes 
that  during  this  war  period  she  will  be 
permitted  to  make  light  romantic  pic- 
tures just  to  entertain  people. 

"It's  strange  how  my  feelings  have 
changed  about  that,"  she  says.  "Before 
war  was  declared,  I  felt  so  keenly  about 
problems  over  there.  I  wanted  to  make 
pictures  like  'Nurse  Cavell.'  But  when  I 
saw  how  Paris  reacted  to  the  certainty 
that  its  sons  were  again  to  be  sacrificed, 
I  knew  that  what  the  world  needs  is  a 
lighter  touch  in  its  film  entertainment. 
And  that's  what  I  hope  they'll  let  me 
contribute  as  my  share." 

(Continued  on  page  71) 


E  ".  ...    THE   PEPS  I  CO  LA  CQPS: 


Expecting  a  crowd  tonight? 
Then  stock  up  with  Pepsi- 
Cola.  Everybody  likes  its 
better  flavor.  And  the  6- 
bottle  Home  Carton  is  a 
real  bargain.  Each  big,  big 
bottle  holds  12  full  ounces. 


MODERN  SCREEN'S 


A  pictorial  resume  of  the  highlights  of  a  most  eventful  movie 


"Goodbye  Mr.  Chips"  depicts  the  joys  and  dis- 
appointments of  a  shy,  sincere  gentleman. 
Robert  Donat  and  Greer  Garson  make  its  char- 
acters live,  and  Sam  Wood's  direction  is  excellent. 


"Dark  Victory"  is  first  and  last  a  Bette  Davis 
performance,  the  story  serving  as  a  background 
for  the  very  high  talents  of  its  star.  The  story 
is  sad  with  little  to  lighten  its  dramatic  theme. 


HERE  ARE  THE  OUTSTANDING  CINEMATIC  SUCCESSES  CONSIDERED  FROM  BOW 


YEAR'S  LUCKIEST  NEWCOMERS 


WE  MOST  PROMISING  FINDS 


Gloria  Jean 

Skyrocketing  to  star- 
dom is  a  small  matter 
when  Producer  Joe  Pas- 
ternak, discoverer  of 
Deanna  Durbin,  takes 
you  in  hand.  Eleven- 
year-old  Gloria  Jean's 
experience  with  him 
proved  that.  She  scored 
an  immediate  success 
in  her  first  assignment, 
"The  Underpup." 

58 


William  Holden 

This  Pasadena  College 
student  was  too  modest 
to  answer  to  Momou- 
lian's  quest  for  the 
"Golden  Boy."  So, 
when  studio  officials 
were  going  through 
thousands  of  old  tests, 
they  came  across  Hol- 
den's.  They  immedi- 
ately sent  for  him,  and 
a  contract  followed. 


Brenda  Marshall 

Beautiful,  talented  and 
just  turned  twenty-four 
— no  wonder  she  is  a 
screen  find.  Her  work 
was  first  noticed  in  a 
Federal  Theatre  proj- 
ect, "On  The  "Rocks." 
Warners  screen-tested 
her  and  the  result  was 
a  contract  and  starring 
role  in  the  production, 
"Espionage  Agent." 


Robert  Preston 

It  took  three  "B"  pic- 
tures to  break  Robert 
Preston  in.  Then  his  big 
break  in  "Union  Pa- 
cific" came  along,  fol- 
lowed shortly  by  an  im- 
portant role  in  "Beau 
Geste."  He  received 
his  training  at  the  Pas- 
adena  Community 
Playhouse  and  now  is 
headed   for  stardom. 


REVIEW   OF   1939  < 


year,  in  which  pictures,  players  and   performances  topped  all  reel  records 


"The  Lady  Vanishes"  with  Margaret  Lockwood  and  Michael 
Redgrave  is  a  gay  spy  mystery  which  unravels  as  a  Trans- 
European  train  races  along  to  the  tune  of  Alfred  Hitchcock's 
swell  direction.    Quiet  character  humor  plays  its  role,  too. 


"The  Old  Maid"  gives  Bette  Davis  and  Miriam  Hopkins  an 
opportunity  to  share  histrionic  honors.  It  is  a  sombre  story 
of  unnatural  suppressions  which  blight  two  lives  for  the  sake 
of  a  t'lird.  George  Brent's  excellent  as  the  "man  in  the  case." 


WE  ARTISTIC  AND  BOX  OFFICE  POINTS  OF  VIEW!   VO  YOU  AGREE  WITH  OUR  SELECTIONS? 


TOP  KID  STAR 


Mickey  Rooney 

At  eighteen,  Mickey 
Rooney  is  still  the  typi- 
cal American  kid — 
snub  nose,  cocky  grin, 
devil-may-care  swag- 
ger and  hair  that  won't 
stay  put.  He's  a  nat- 
ural comic  but  can 
also  handle  emotional 
scenes  with  a  veteran's 
finesse.  Six  or  sixty, 
the  fans  love  him! 


"Pygmalion  is  a 
pleasant  and  witty 
whimsy  with  Leslie 
Howard  and  intro- 
ducing Wendy  Hil- 
ler  to  American 
movie-goers.  The 
acting  is  of  super- 
lative quality  and 
Anthony  Asquith's 
direction,  excellent. 


"Wuthering 
Heights"  is  a  dra- 
matic and  artistic 
masterpiece  with 
the  ominous  mood 
of  the  English 
moors  haunting 
the  tragic  lovers, 
Lauren  ce  Olivier 
and  Merle  Oberon, 
to  the  very  end. 


59 


MODERN  SCREEN'S  REVIEW  OF  1939 


COME-BACKS 


SCENE  STEALERS 


For  ages  Ann  Sothern,  left, 
was  handicapped  by  inferior 
stories  and  meaningless  roles. 
1 939  brought  her  a  second 
chance  in  "Maisie."  She  made 
a  come-back,  such  as  is  rarely 
seen  in  Hollywood.  Dick  Bar- 
thelmess,  lower  left,  was  ab- 
sent from  the  screen  for  years. 
In  "Only  Angels  Have  Wings," 
he  "came  back,"  and  showed 
his  many  fans  he  still  has  what 
it  takes  to  make  a  role  live. 


Above  right,  BrianAherne, 
Bette  Davis  and  Gilbert  Ro- 
land in  one  of  the  scenes  from 
"Juarez."  Despite  competition 
with  expert  actors  like  Bette 
and  Paul  Muni,  Brian  Aherne 
stole  the  show.  Lower  right, 
troupers  Bing  Crosby  and 
Mischa  Auer  didn't  have  a 
chance  when  Baby  Sandy 
Henville,  playing  the  part  of 
a  boy,  turned  on  her  charm 
in   "East  Side   of  Heaven." 


AT  LONG  LAST— WIS  YEAR  BROUGHT  THEM  A  BREAK 


John  Wayne 

He  has  made  over  fifty 
pictures,  most  of  them 
wild  and  woolly  westerns 
cf  the  eight-day  "quickie" 
variety.  This  year  brought 
John  Wayne  the  chance 
*o  play  the  lead  in  the 
super- production  , 
"Stagecoach."  Over- 
night, he  raised  his  status 
ro    that    of    a  star. 

60 


Jane  Bryan 

Though  this  young  lady 
has  always  turned  in  good 
performances,  she  has 
had  no  chance  to  show 
what  she  could  do  with 
heavy  dramatics.  Now 
she  has  the  most  envied 
role  in  Hollywood — that 
of  Paul  Muni's  leading 
lady  in  his  latest,  "We 
Are  Not  Alone." 


Robert  Cummings 

Having  made  a  name  for 
himself  on  the  legitimate 
stage,  Robert  Cummings 
went  to  Movietown. 
Strangely  enough,  he  had 
to  hang  around  casting 
offices  a  mighty  long  time 
before  he  got  his  break. 
Finally,  cast  in  "Three 
Smart  Girls  Grow  Up," 
he   clicked  immediately. 


Nona  Massey 

You  read  so  much  about 
this  singer  from  Budapest 
when  she  was  first  im- 
ported. After  she  made 
"  Rosalie,"  Hollywood 
seemed  to  forget  she  ex- 
isted. Now,  after  all  this 
time,  she  blossoms  forth 
in  the  starring  role  oppo- 
site Nelson  Eddy  in  "Bal- 
alaika." (Con't  on  page  62) 


MODERN  SCREEN 


*Be  UJiAe  -  For  the  Distress  of  Colds  Jake 

Alka-Seltzer 


{Continued  from  page  56) 
Parker.  She  tells  him  that  she's  al- 
ready married,  and  the  heartbroken 
Hardy  decides  to  end  it  all  in  the  Seine 
river.  He's  stopped  by  an  officer  of  the 
Foreign  Legion  who  assures  him  that 
joining  the  Legion  is  the  best  known 
way  to  forget  a  lost  love.  The  officer  is 
Reginald  Gardiner  who  turns  ouf  to  be 
Miss  Parker's  husband  as  the  new  re- 
cruits discover  upon  their  arrival  in 
Morocco.  Complications  provide  some 
very  funny  comedy  scenes  that  lift  the 
picture  from  any  suspicion  of  dullness. 
Directed  by  Edward  Sutherland. — RKO . 

itit  Jamaica  Inn 

If  you're  shopping  for  some  blood-and- 
thunder  melodrama,  here's  a  bargain — 
if  you  can  take  it!  Charles  Laughton  is 
starred  in  as  gruesome  and  eerie  a  tale 
as  has  reached  the  screen  in  many  a 
moon.  It  is  the  story  of  the  bloodcurdling 
events  that  transpire  in  an  old  inn  on 
the  wild  Cornish  coast.  A  band  of 
thieves  and  degenerates  hide  there,  ready 
to  carry  out  the  foulest  orders  from  their 
big  boss — -a  wealthy  squire  in  the  county. 
Charles  Laughton  makes  the  role  of  the 
squire  as  repulsive  a  character  as  can 
be  imagined.  With  a  passion  for  beauty 
in  his  surroundings,  he  yet  delights  in 
dreaming  up  the  ugliest  of  crimes  for  his 
band  of  desperadoes.  Foremost  among 
them  is  the  wrecking  of  ships,  carrying 
valuable  cargo.  The  ships  are  given 
false  directions  when  they  near  the 
rocky,  dangerous  Cornish  coastline  and 
after  the  inevitable  wreck,  all  survivors 
are  killed  off  and  the  loot  brought  back 
to  the  squire. 

Into  this  charming  group  comes  a 
lovely  Irish  lass.  On  a  visit  to  her  aunt, 
the  wife  of  the  chief  cutthroat  at 
Jamaica  Inn,  she  falls  into  the  clutches 
of  the  maniacal  squire  and  his  chums. 
Needless  to  say,  there's  not  a  dull  mo- 
ment until  the  fair  heroine  is  rescued 
by  the  handsome  hero.  Maureen  O'Hara, 
in  her  screen  debut  as  the  Irish  girl, 
makes  a  distinctly  favorable  impression. 
Others  in  the  cast  who  give  commendable 
performances  are  Leslie  Banks,  Robert 
Newton  and  Marie  Ney.  But  it's  Mr. 
Laughton's  picture,  as  usual,  and  he  does 
a  thoroughly  convincing  job  of  the 
despicable  and  loathsome  squire.  Not 
for  the  kiddies,  we  might  add.  Directed 
by  Alfred  Hitchcock. — Paramount. 

itjc  Disputed  Passage 

"Disputed  Passage"  starts  out  to  be  an 
excellent  adaptation  of  the  Lloyd  C. 
Douglas  novel  depicting  the  intense 
struggle  always  involved  between  hu- 


Pi6  Cjfiexvt  /fo* 
COLD  SYMPTOMS 


MILLIONS  of  people  like  the 
pleasant,  quick  relief  that  Alka- 
Seltzer  offers  for  cold  symptoms. 

Alka-Seltzer  is  so  pleasant  to 
take  —  it  acts  quickly  because  it 
enters  the  stomach  in  complete 
solution;  effective,  because  its  an- 
algesic properties  are  protected  and 
speeded  up  by  alkaline  buffers.  It 
provides  symptom  relief  in  a  sur- 
prisingly short  time. 

At  the  very  first  suggestion  of  a 
cold,  try  a  sparkling  glass  of  Alka- 
Seltzer. 

Ask  Your  Druggist  for 
Alka-Seltzer 


man  emotion  and  the  cold  world  of 
science.  The  picture  has  the  warmth 
of  the  novel  until  the  closing  scenes 
transport  the  story  to  China,  and  then 
the  original  story  is  completely  lost. 

However,  the  picture  is  worth  seeing 
just  to  applaud  the  good  work  of  both 
Akim  Tamiroff  and  John  Howard.  Both 
actors  turn  in  outstanding  performances, 
giving  their  "doctor"  characterizations 
the  dignity  of  the  profession  and  the 
qualities  of  human  beings.  Tamiroff  is 
the  older  doctor  who  lost  his  bride-to- 
be  when  very  young.  He's  grim  and  em- 
bittered, and  bent  on  training  young 
Howard  to  be  the  great  scientist  who 
will  solve  the  problems  which  have  been 
baffling  modern-time  medical  men.  He 
even  goes  so  far  as  to  break  up  Howard's 
romance  when  the  young  doctor  falls  in 
love  with  Dorothy  Lamour,  but  learns 
that  human  emotions  are  too  powerful — 
even  for  a  cold  man  of  science. 

Dorothy  Lamour  is  rather  colorful  as 
the  Chinese-reared  American  girl  who 
captures  the  young  doctor's  heart,  but 
she's  very  inadequate  in  the  dramatic 
scenes.  Judith  Barrett,  William  Collier, 
Sr.,  Victor  Varconi  and  Keye  Luke  turn 
in  good  work  in  supporting  roles.  Di- 
rected by  Frank  Borzage. — Paramount. 

"A-*  Dancing  Co-ed 

The  old  folks  probably  wouldn't  even 
apply  the  term  "entertainment"  to  this 
one,  but  the  college  crowd  will  undoubt- 
edly think  a  line-up  of  Artie  Shaw,  Lana 
Turner,  Ann  Rutherford,  Richard  Carl- 
son and  a  gang  of  college  cuties  is 
guarantee  enough  for  a  good  time. 

Lana  Turner  is  planted  on  a  college 
campus,  as  the  result  of  a  Roscoe  Karns 
brain-storm.  Roscoe's  one  of  those  fast- 
talking  publicity  guys  who  gets  a  swell 
idea  and  lets  someone  else  work  it  out. 
And  it  looks  like  Lana  is  really  in  for 
a  beating  on  this  one.  Never  having  set 
foot  on  a  campus  in  her  life,  she  is  in- 
stalled in  the  school  by  faking  exams, 
for  the  purpose  of  winning  a  nation-wide 
dance  contest  for  co-eds.  Dick  Carlson, 
editor  of  the  school  paper,  suspects  the 
contest  is  slightly  crooked,  and  things 
look  black  for  the  little  Turner  since 
she's  fallen,  but  hard,  for  ye  editor.  Of 
course,  it  all  works  out  beautifully.  Lana 
gets  her  man  and  her  pal,  Ann  Ruther- 
ford, wins  the  contest. 

Artie  Shaw  and  his  boys  are  in  there 
swinging  it  and  Leon  Errol,  as  Lana's 
father,  is  the  highlight  of  the  picture  in 
a  limited  role.  Dick  Carlson  is  okay  in 
his  role  while  Ann  Rutherford  looks  cute 
as  ever.  Lana  Turner  shows  that  old 
oomph  and  is  adequate  on  the  histrionics. 
The  picture  was  directed  by  S.  Sylvan 
Simon. — Metro-Goldwyn-Mayer. 

61 


►   MODERN  SCREEN'S  REVIEW  OF  1939  { 


BEST-DRESSED  MALE  STAR 


BEST-DRESSED  WOMAN  STAR 


< 


A  rl  r>  I  n  h  p.  Menjou, 
^™  despite  o  few  char- 
acter roles  of  late,  is 
still  the  symbol  of  the 
suave,  sophisticated 
man-about-town.  His 
title  for  sartorial  ele- 
gance is  uncontested. 


Constance  Bennett 
is  the  epitome  of 
perfect  grooming.  Her 
clothes  are  always  the 
latest  in  fashion  and 
worn  with  a  natural 
poise  that  has  won  her 
this  reputation  for  chic. 


BEST  CHARACTER  PERFORMANCES 


THE  YEAR'S  DISAPPOINTMENTS 


Marie  Ouspenskaya 

This  distinguished  little 
character  lady  has  long 
been  a  great  stage  ac- 
tress and  recently  has 
given  movie-goers  the 
treat  of  seeing  her  superb 
performances.  The  most 
memorable  of  them  all  is 
her  charming  portrayal 
of  the  Maharani  in  "The 
Rains  Came." 

62 


Sam  Jaffee 

Another  gem  of  character 
work  was  Sam  Jaffee's 
native  water-carrier  in  the 
screen  version  of  Kipling's 
famous  poem,  "Gunga 
Din."  He  brought  a 
simple,  heart-felt  sincerity 
to  the  role  that  made  the 
British  soldiers'  feeling 
and  respect  for  him 
credible    in    every  way. 


Hedy  Lamarr 

After  "Algiers,"  the  fans 
waited  breathless  for 
more  of  Hedy  Lamarr. 
Her  first  starring  film,  "I 
Take  This  Woman"  was 
shelved.  Finally  came 
"Lady  of  the  Tropics"and, 
though  her  glamorous 
beauty  was  acknowledged, 
most  of  the  fans  found 
her    wanting    in  talent. 


Arleen  Whelan 

A  big  build-up  was  given 
Arleen  Whelan  when  she 
was  whisked  from  a  mani- 
curist's job  to  starring 
roles.  The  fans  didn't 
blame  her  when  she  didn't 
fulfill  their  expectations 
immediately.  But  now 
they  feel  that  she  has  had 
the  time  to  improve  and 
hasn't  come  through. 


MODERN  SCREEN 


DO  THEY  DISLIKE  EACH  OTHER? 

(Continued  from  page  37) 


so  has  Brenda  Joyce.  But  not  one  has  ever 
said,  "Ann  Sheridan  is  too  marvelous"  or 
"Nancy  Kelly  is  too  marvelous."  Bette, 
you  see,  being  in  a  class  by  herself,  can't 
put  their  little  noses  out  of  joint.  But 
apart  from  such  straws  tilting  at  wind- 
mills as  this,  they  are  friendly.  They  all 
behave  mannerly,  but  never  'do  they  get 
together,  let  down  their  hair,  indulge  in 
any  of  the  "an'  I  sez  to  him  an'  he  sez  to 
me"  talk  which  joins  their  sisters  in  a 
warm  and  bosomy  bond. 

Sigrid  Gurie  said  not  long  ago,  "It's 
strange,  I  always  had  close  girl  friends 
in  Oslo,  where  I  grew  up,  in  Paris,  Brus- 
sels, London,  where  I  went  to  school. 
But  I  have  no  girl  friends  at  all  here. 
I  don't  seem  to  click  with  the  Hollywood 
girls.  They  don't  seem  to  want  to  be 
friends  with  me." 

ANOTHER  possible  answer  to  the 
•  question  occurs  to  me.  Paulette  God- 
dard,  wiser  than  twice  her  years,  is  said 
to  have  observed  that  Hollywood  girls 
don't  have  girl  friends  because  girl 
friends  talk  too  ■  much.  And  why,  was 
Paulette's  idea,  employ  publicists  to  pro- 
tect you,  only  to  spill  your  heart  out  to 
some  "bosom  friend"  who — well,  who 
isn't  exactly  employed  to  protect  you. 
They  daren't  make  too  many  confidences, 
most  of  these  young  women  of  the  lime- 
light. Not  because  they  have  anything 
shameful  to  conceal,  but  merely  because 
every  word  they  say  is  liable  to  be 
magnified,  or  misquoted.  And  so,  log- 
ically, if  they  can't  make  girlish  confi- 
dences, why  have  girlish  friends?  Maybe 
we've  got  something  there! 

Answers  to  the  question  aside,  the  fact 
remains  that  such  friends  as  the  gelatin 
goddesses  recruit  are,  almost  without 
exception,  from  other  walks  of  life.  Did 
you  ever  think  of  that?  Well,  look. 
Barbara  Stanwyck's  best  friend  is  her 
hairdresser.  It  was  her  hairdresser  who 
was  Barbara's  only  close  confidante 
when  she  and  Bob  were  a- courting. 
Myrna  Loy's  b.f.  is  her  stand-in,  Shirley. 
Shirley  it  was,  and  not  Roz  Russell  or 
Norm'  Shearer  or  any  of  Myrna's  fellow 
stars,  who  stood  up  with  Myrna  when 
she  was  married.  Garbo's  pal  is  Salka 
Viertel,  the  scenarist.  Olivia  de  Havil- 
land's  boon  companion  is  a  young  woman 
in  the  publicity  department  at  her  studio. 

One  famous  star  once  said  to  me,  "I 
always  hire  a  cook  for  her  intelligence 
rather  than  for  her  culinary  skill  because 
I  have  to  have  some  woman  in  Holly- 
wood to  whom  I  can  talk."  They  seem 
never  to  be  best  friends  with  anyone  who 
can  offer  them  competition.  Can  this  be 
the  answer?   Or  one  of  them? 

Well,  it  might  be,  in  some  instances. 
I  know  for  a  fact  that  Olivia  de  Havil- 
land  and  Anita  Louise  would  have  been 
hard  put  to  it  to  be  friends  when  they 
first  joined  the  Warner  roster.  For,  never 
did  a  rich  young  part  rear  its  head  on 
that  lot,  but  what  both  girls  were  "up" 
for  it.  The  instinct  of  self-preservation 
alone  would  have  prevented  these  dam- 
sels from  making  fudge  together. 

I  should  imagine  that  it  would  be  such 
overcoming  as  angels  are  made  of  for 
Roz  Russell  and  Myrna  Loy  to  be  bud- 
dies, what  with  everyone  saying,  when 
Roz  first  went  on  the  lot,  that  she  would 
"take  Myrna's  place"  and  what  with  the 
way  Roz,  being  human,  must  often  feel 
when  Myrna  still  gets  most  of  the  juic- 
iest picture  plums.  Undoubtedly,  Greer 
Garson  would  have  been  invited  around 


more  if  she  did  not  constitute  so  dire  a 
dramatic  threat  to  Norma  Shearer,  Vir- 
ginia Bruce  and  Margaret  Sullavan. 

I've  realized  some  of  this,  vaguely,  for 
some  time.  But  not  until  Brenda  put  it 
into  words  did  I  get  down  to  actually 
pondering  the  imponderable.  And  then 
remembered  facts  came  back  to  bless 
and  burn  some  of  which  I  have  already 
mentioned.  For  instance,  Claudette 
Colbert  and  Irene  Dunne  are  next  door 
neighbors,  Irene's  rose  garden  abutting 
on  Claudette's  iris  beds,  their  husbands 
are  doctors,  they  are  near  enough  of  an 
age  to  be  chummy,  they  are  certainly  in 
the  same  profession,  meeting  the  same 
problems.  Yet  they're  not  chummy.  Why? 

Well,  Norma  Shearer  once  said  that  the 
reasons  stars  do  not  get  together  more 
often  is  because  the  competition  while 
they  are  working  is  so  intense  that  when 
they  leave  the  studio  they  want  to  relax, 
don't  want  competition  of  any  kind. 
Which  may  explain  the  hyphen  pre- 
served by  Claudette  and  Irene. 

Roz  Russell  has  frequently  laughed 
about  the  "Nunnery"  which  is  what  the 
girls  themselves  call  the  women  stars' 
dressing-room  building  on  the  Metro 
lot.  I  recall  going  there  to  lunch  with  Roz 
one  day.  A  warm  day,  all  of  the  doors 
were  open  and  as  I  went  up  the  stairs  I 
was  fascinated  by  the  glimpses  I  caught 
of  the  stars — Hedy  Lamarr,  Margaret 
Sullavan,  Norma  Shearer  and  the  others, 
each  in  her  own  cubicle,  each  eating  from 
a  tray,  solitary  and  alone,  like  so  many 
nuns  of  a  strict  religious  order  which 
keeps  each  individual  incommunicado. 

Roz  told  me  that  not  once,  to  her 
knowledge,  have  any  two  of  the  girls 
ever  got  together  for  a  cup  of  tea.  Vir- 
ginia Bruce  told  me  that  she  thinks 
Hedy  Lamarr  and  Roz  Russell  must  be 
simply  swell,  but  she  wouldn't  be  really 
knowing  because  they  might  as  well  in- 
habit separate  planets  as  the  adjoining 
dressing-room  suites  which  they  do 
inhabit.  Virginia  also  told  me  that  never 
once  has  she  been  in  the  home  of  any 
(Continued  on  page  69) 


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Name      

Address      


HORROR  MEN 

They  should  know— these  men  who  have 

SHALL  I  brew  you  a  broth  of  horror?  Shall  I  put  into 
the  caldron  tremors  and  trepidations,  palpitations  and 
panic,  to  make  you  quake  and  quiver,  shrink  and  shudder? 
Shall  I  make  your  flesh  creep,  your  breath  stop,  your 
teeth  chatter  and  your  hair  stand  on  end? 

Then  how  can  I  better  achieve  this  eerie,  enjoyable  end 
than  by  talking  with  the  heart-quakes  of  Hollywood — than 
by  asking  the  men  who  have  "supped  full  with  horrors," 
Boris  Karloff,  Bela  Lugosi,  Basil  Rathbone,  Lionel  Atwill, 
to  define  horror  for  us,  to  tell  us  what  horror  means  to 
them.  They  should  know — these  men  who  have  given 
us  "Dracula,"  "Frankenstein"  and  "The  Son  of  Franken- 
stein," "The  Hound  of  the  Baskervilles,"  "Doctor  X," 
"The  Wax  Museum"  and  "Murders  in  the  Zoo."  They've 
played  characters  sinister  and  perverse,  macabre  and 
ghostly,  drenched  in  horror  and  the  clamminess  thereof. 

So  I  began  with  Basil  Rathbone.  I  said,  "What  con- 
stitutes real  horror  to  you?" 

"War!"  screamed  Rathbone,  instantly.  And  I  mean  he 
screamed  the  word  at  me,  horribly,  so  that  its  echoes  hung 
around  the  room  we  sat  in.  "Going  into  an  attack, 
paralyzed  with  fear,  knowing  that  if  we  had  our  own  free 
will,  not  a  living  man  of  us  would  go!    Every  living  man 


BY 
MARTHA 
KERR 


Urn 


64 


Have  you  ever  wondered  why  people 
enjoy  books  and  pictures  that  make 
their  flesh  creep  and  their  blood  run 
cold?  Lionel  Atwill  explains  it  for  you. 


TALK  ABOUT  HORROR 

given  us  Dracula,  Frankenstein  and  the  rest  of  the  sinister,  hair-raising  clan 


of  us  would  funk  it.  We  go  because  we  cease  to  be  indi- 
viduals. We  become  a  mass  machine.  We  are  dominated 
by  mass  psychology.  We  become  a  composite  Thing  of 
arms,  legs,  heads  and  wills.  We  move  into  the  attack 
only  because  it  is  the  only  way  out.  If  we  do  not  go  into 
the  attack,  if  we  turn  back  one  quivering  inch,  we  are 
shot  down  like  dogs — -deserters.  So  we  are  forced  to  go 
forward,  not  because  we  are  brave  and  gallant  gentlemen, 
but  because  we  are  in  a  trap. 

"War  is  a  trap,  a  monstrous,  gigantic,  inconceivably 
barbarous  trap.  And  there  you  have  it.  A  trap  is  the 
most  horrible  thing  in  the  world.  Any  kind  of  a  trap. 
Because  in  a  trap  you  are  alone,  crouched  there  with 
fear.  There  is  Death  screaming  at  you  in  front.  There 
is  Death  sticking  his  tongue  out  at  you  from  behind. 
You  go  over  the  top  because  it  is  the  only  way  to  get 
out.  If  there  were  any  other  way,  a  million  voices  would 
chorus,  'I  can't  face  it!  I  can't  face  walking  over  the 
broken  bodies  of  my  comrades,  over  their  spilled  hearts 
and  hopes  and  dreams.    I  can't  and  I  won't.' 

"I  never  stuck  a  bayonet  into  a  man  in  my  life.  If  I 
had,  I  would  have  known  such  horror  that  I  would  have 
screamed  aloud  and  the  scream  would  have  wakened  me 


out  of  the  mass  murder  psychosis  which  alone  preserved 
my  reason.  I  v/ould  then  have  become  an  individual  and 
would  have  lost  my  mind.  I  would  have  spent  the  rest 
of  my  life  cutting  out  paper  soldiers,  tearing  them  apart, 
like  that  poor  chap  glimpsed  in  "The  Little  Princess." 
How  many  of  him  I  have  seen — not  in  pictures  for  the 
kiddies! 

"War,  I  say,  that's  horror!  It  is  a  trap.  In  the  trap  a 
man,  no  longer  a  man,  lives  with  Death.  There  is  no 
horror  like  it!" 

Boris  Karloff  faced  me  across  the  narrow  confines  of 
his  portable  dressing-room  on  the  set  of  "Enemy  Agent." 
His  face  was  seamed  from  eye  to  chin.  When  he  walked, 
he  walked  with  a  limp.  Out  of  his  maimed  face  his  heart 
and  spirit  looked  out,  seeming  to  be  maimed  also. 

Perhaps,  I  thought,  when  one  walks  with  horror  most 
of  one's  working,  waking  hours,  one  becomes  twin  to 
horror.  One  speaks  with  horror's  twisted  tongue,  reaches 
out  with  horror's  gruesome  gestures,  limps  as  horror 
limps,  maimed  and  mutilated. 

Mr.  Karloff  does  not  think  so.  Mr.  Karloff  says,  "No, 
living  with  the  macabre,  as  I  do— I  prefer  to  call  it  the 
macabre,  not  'horror' — does  not  {Continued  on  page  68) 


What  does  it  do  to  a  man  to  spend 
most  of  his  working  hours  scarred, 
seamed,  crippled  or  misshapen?  Boris 
Karloff,  who  has  done  it,  tells  you. 


Basil  Rathbone's  ideas  on  the  subject 
are  based  on  the  most  terrifying  ex- 
perience he  has  lived  through.  Pre- 
pare to  have  your  hair  stand  on  end! 


Bela  Lugosi  has  caused  more  shudders 
and  chills  than  any  man  on  the  stage 
or  screen  and  yet  there's  nothing  super- 
natural in  what  he  knows  as  real  horror. 


65 


Gene  Autry,  first  and  foremost,  is  Public 
Cowboy  No.  I . 


BY  ROBERT 
MCI  L  W  A  I  NE 


Believe  it  or  not,  Roy 
Rogers  at  one  time 
wanted  to  be  a  dentist. 


WHEN  THE  box  office  scores  were  tabulated  last  season, 
it  was  discovered  that,  as  a  group,  the  cowboys  and  their 
hoss  operas  were  "way  up  thar"  as  a  group.  You,  the 
paying  public,  saw  to  that  and  good  judgment  it  showed, 
too.  For,  there's  no  one  more  colorful  than  a  cow  gent, 
with  his  broad  sombrero,  bright  neckerchief  and  stout 
boots.  He  spells  thrills  and  adventure  and  the  camera 
cowboy  adds  romance  and  glamor  to  an  already  daring, 
reckless  character. 

Take  Gene  Autry,  Public  Cowboy  No.  1,  for  instance. 
Everybody  from  six  to  sixty  shows  up  when  Mr.  Autry 
rides  the  picture  plains  for,  besides  galloping  along  the 
celluloid  like  a  movie  madman,  Gene  can  sing.  In  fact, 
he  sang  his  way  into  the  movies.  Way  back  "when," 
the  lad  warbled  to  the  cattle  on  his  Pa's  ranch  in  Okla- 
homa. Thankless  job — singin'  to  cows,  but  later  on  when 
he  joined  a  medicine  show,  he  was  in  tune  while  he  dis- 
pensed cure-alls  and  patent  medicines  to  the  gullible. 

It  was  not  until  1930  that  Gene  became  a  professional 
singer.  He  landed  a  job  on  the  radio  out  in  Tulsa  and 
was  billed  as  "Oklahoma's  Yodeling  Cowboy"  and  four 
years  later  he  was  brought  to  the  camera  coast  and 
starred  in  a  serial  called,  "The  Phantom  Empire."  Need- 
less to  say,  the  picture  clicked  and  Mr.  A.  was  all  set 
for  film  fame.  Champion,  his  world-famous  horse,  is  al- 
most equally  famous.  In  fact,  little  Princess  Elizabeth 
said  that  the  thrill  of  her  young  life  would  arrive  the 
day  she  was  permitted  to  have  a  ride  on  Champion. 


Yippee!  There's  no  one  more  colorful  and 


Tex  Ritter,  Monogram's  cowboy  star,  deserted  the  legal 
profession  to  become  an  actor  of  outdoor  drammers.  Tex 
hails  from  Panola  City,  Texas,  and  learned  to  ride  almost 
!  as  soon  as  he  learned  to  walk.    As  a  kid,  he  rode  the 
]  range  with  the  best  of  'em.    He  also  learned  the  songs 
'  of  the  west. 

Like  his  camera  contemporary,  Gene  Autry,  radio 
discovered  this  handsome  six-footer  who  could  toss 
off  a  mean  ballad.  Later  he  had  a  fling  at  Broadway 
and  in  1936,  our  Mr.  Ritter  crashed  the  movies  in  a  thriller 
named  "Song  of  the  Gringo."  Tex  is  a  modest  lad.  He 
simply  doesn't  react  to  praise  and  the  day  that  will  be 
his  biggest  will  be  the  one  on  which  he  becomes  owner  of 
a  cattle  ranch.  Meanwhile,  his  tangible  pet  idea  is  White 
Flash,  his  horse. 

Believe  it  or  not,  Roy  Rogers  at  one  time  wanted  to 
be  a  dentist!   And,  it  was  only  because  his  family  met 
reverses  that  he  isn't  filling  and  yanking  molars  today. 
In  1928  he  simply  had  to  get  out  of  school  and  earn  a 
living  at  anything  that  would  give  him  a  weekly  salary. 
It  happened  to  be  carving  out  soles  in  a  shoe  shop. 
Roy,  like  the  other  camera  cowhands,  had  a  voice  and 
so  he  sang  as  he  worked.     In  came  a  customer,  out 
I  went  Roy.   The  man  had  heard  the  lad  sing  and  sent  him 
I  off  packing  to — again- — the  radio.    He  warbled  on  a  pro- 
!  gram  called  "Sons  of  the  Pioneers."     The  group  later 
made  a  personal  appearance  tour  and  it  was  while  he  ap- 
peared in  the  cinema  capital  that  Roy  was  signed  to 
play  in  a  short  subject,  "Radio  Scout." 

However,  it  was  not  until  two  years  ago  that  Rogers' 
first  real  movie  chance  came.    He  was  put  into  a  picture 
with  Gene  Autry  and  later  signed  to  a  long-term  con- 
tract.   You  know  the  rest.    Roy  goes  in  heavily  for  out- 
door sports.     Golf,  baseball  and  hunting  come  first  and 
then  there  are  occasional  fishing  trips. 
I  -Let's  consider  Cowboy  William  Boyd.    Bill's  western 
!  trail  was  a  long  and  hard  one.  But  he  tramped  it  and  to 
I  fame.    He  was  attending  school  in  Tulsa  when  both  his 
parents  died  and  he  was  left  to  face  the  world  alone.  He 
I  set  out  for  the  Pacific  coast  but  only  got  as  far  as  Arizona 
I  when  he  found  himself  flat  broke.    And  so,  he  took  a 

j  thrilling  tfoam  the  camera  cowboy  and 


job  in  a  sawmill.  Little  by  little  he  saved  enough  to  get 
to  California  and,  when  he  arrived,  became  a  movie  extra. 
After  several  years  of  "bit"  parts,  Cecil  B.  DeMille  gave 
him  a  real  break,  after  which  Bill  became  in  demand  at  all 
the  big  studios. 

Finally  he  was  chosen  for  the  role  of  Hoppy,  in  the 
"Hopalong  Cassidy"  series  and  now  he's  on  easy  street 
and  very  happy  about  it  all.  He's  max-ried  to  a  pretty  girl 
named  Grace  Bradley  and  they  live  on  a  ranch  in  San 
Fernando  Valley  far  from  the  "tinsel  town." 

ANOTHER  WHO'S  tops  with  his  fans  is  Cowboy  Bob 
Steele  who,  from  the  time  he  was  able  to  walk  and  recite, 
demonstrated  his  theatrical  ability.  Things  started  popping 
in  Bob's  life  a  scant  two  years  after  his  birth  in  Portland, 
Oregon,  on  January  23rd,  1906.  The  little  tot,  scarcely  old 
enough  to  play  with  his  toes,  made  his  stage  debut  at  the 
age  of  two  with  his  father  and  earned  quite  a  reputation 
for  himself.  He  then  toured  for  Fanchon  and  Marco  in  a 
comedy  sketch,  and  was  billed  with  his  father  as  the 
Murdock  Brothers. 

When  he  was  fourteen  years  old,  he  began  his  screen 
career  under  the  Pathe  banner  making  "The  Adventures 
of  Bill  and  Bob"  with  his  twin  brother,  and  emerged  with 
laurels  equal  to  those  bestowed  upon  stars.  Some  time 
later,  he  signed  with  the  Film  Booking  offices  and  made 
numerous  western  pictures,  establishing  himself  as  a  well- 
known  "he-man"  of  the  wide,  open  spaces.  Since  that 
time,  Bob  has  been  cast  in  about  sixty  productions  for 
some  of  the  big  studios. 

As  might  be  expected  when  you  look  at  Bob,  he  has 
starred  in  all  forms  of  athletic  prowess.  He  is  mad  about 
horses  and  is  a  good  polo  player,  too.  He  likes  to  watch 
a  polo  match  if  he  can't  play  in  it,  or  a  championship  tennis 
match.  Bob  will  tell  you  that  he  heartily  dislikes  strict 
formalities  of  any  kind;  cannot  abide  off-stage  acting,  and 
doesn't  care  for  people  who  use  four-syllable  words  when 
unnecessary. 

And  now  you  know  a  little  better  the  men  who  ride  the 
picture  plains.  A  hard-working,  unassuming,  outdoor- 
loving  lot- — or,  are  we  wrong? 

here  am  your  five  foremost  favorites 

67 


MODERN  SCREEN 


HORROR  MEN  TALK  ABOOT  HORROR 


(Continued  from  page  65) 


induce  in  me  the  morbidities  you  may 
suppose.  Much  of  the  "credit"  for  horror 
should  go  to  the  make-up  men  of  pic- 
tures, the  unsung  heroes  of  much  of  our 
"beauty"  as  well  as  much  of  our  disfigure- 
ment. Gordon  Barr,  my  make-up  man, 
who  wrestles  with  the  Monster  as  neither 
Frankenstein  nor  his  son  have  ever  had 
to  do,  is  largely  responsible  for  the  chills 
and  fever  I  have  given  the  world. 

"To  play  a  murderer,  one  does  not 
have  to  be  a  murderer.  Playing  the 
macabre,  living  much  of  my  life,  as  I 
certainly  do,  scarred,  seamed,  crippled 
or  misshapen,  as  the  case  may  be,  does, 
if  it  does  anything,  arouse  my  imagina- 
tion to  an  abnormal  pitch.  You  cannot 
play  abnormalities,  disfigurements,  dis- 
tortions and  mutilations  of  the  flesh  and 
brain,  and  just  pull  them  out  of  the  air. 
If  you  play  a  man  with  a  third  ear  grow- 
ing out  of  his  forehead,  you've  got  to 
think  him  out.  You've  got  to  invent 
his  background.  You've  got  to  figure 
out  his  reactions  to  a  world  not  com- 
posed of  men  with  third  ears. 

SO  that  playing  the  characters  I  play 
does  make  me,  possibly,  more  im- 
aginative, more  thoughtful  than  I  would 
be  if  I  played  perfectly  normal  men.  It  is 
like  the  difference  between  travelling  a 
main  highway,  paved,  lighted,  policed, 
and  travelling  a  dark  and  jungle  trail, 
where  morasses,  leprous  trees,  hidden 
ravines  may  trip  or  trap  the  path-finder. 

"And  so,  I  have  thought  on  horror.  I 
have  given  thought  to  what  horror  would 
most  chillingly  harrow  up  my  soul,  make 
my  flesh  creep  and  my  hair  stand  on 
end.  I  say  that  horror  is  most  horrible 
when  it  occurs  in  absolutely  normal  cir- 
cumstances. If,  for  instance,  you  found 
someone's  head  under  the  sink  in  the 
kitchen  where,  ordinarily,  you'd  find  a 
turnip — that  is  horror! 

"To  be  physically  repulsive  and  re- 
volting to  your  fellow  men,  to  walk,  a 
pariah,  among  all  peoples  through  no 
fault  of  your  own,  must  be  a  bitter 
horror.  Such  a  seam  as  I  wear  now, 
across  my  face,  so  that  looking  at  me  this 
way  you  do  not  see  it,  but  turning  my 
face  suddenly,  at  this  angle,  you  do  see 
it  and  are  smitten  with  a  kind  of  terror 
like  sickness.  The  cruel  hideousness  of 
Frankenstein's  monster  stalking  a  world 
of  normal  people.  Anything  that  does 
not  evoke  the  beneficent  balm  of  pity 
is  horror.  We  do  not  pity  horror  which 
is  what  makes  it  horror. 

"Another  horror  is  stone  deafness.  1 
really  consider  stone  deafness  the  most 
horrible  thing  that  could  happen  to  me. 
I  have  listened  to  many  people  say  that 
to  them  total  blindness  would  be  the 
Ultima  Thule  of  horror.  But  stone  deaf- 
ness harks  back  to  what  I  meant  when 
I  said  that  sheer  horror  is  that  which 
brings  ho  pity.  Blindness  manifests  it- 
self and  automatically  demands  and  gets 
attention  and  sympathy.  Stone  deafness 
does  not  manifest  itself  and  induces  im- 
patience and  annoyance. 

"I  have  heard  a  man,  suddenly  struck 
stone  deaf,  describe  his  experience.  First, 
he  senses  fiery  wheels  going  round  and 
round  in  his  bursting  head — the  whole 
world  turning  upside  down.  Then  the 
curtain  of  absolute  silence.  He  finds 
himself  living  in  a  world  of  puppets, 
making  senseless,  witless  gesturings  in 
his  stony  silence.  Have  you  ever  no- 
ticed the  difference  in  disposition  between 
one  who  is  totally  blind  and  one  who  is 


stone  deaf?  The  blind  are  habitually 
sunny  and  gay  and  high  of  spirit  and 
ready  of  laughter.  Their  pain  is  mani- 
fest and  so  is  leavened  and  sweetened 
with  constant  attention,  sweet  sympathy 
and  understanding.  The  deaf  are  liable 
to  be  petulant,  morose,  low  of  spirit,  be- 
cause their  trouble  is  not  sweetened  with 
sympathy. 

Mr.  Karloff  laughed  a  little.  He  was 
called  to  the  set.  He  turned  his  seamed 
face  toward  me  and  we  said  goodbye. 
He  said,  "So  you  can  say  for  me  that 
horror  in  normal  surroundings,  and  pain 
without  pity  is  the  real  horror." 

Bela  Lugosi,  famed  Dracula  of  stage 
and  screen,  purveyor  of  more  shudders, 
creeps  and  chills  than  any  man  on  stage 
or  screen,  gave  me  his  idea  of  horror. 
A  more  practical,  everyday,  utilitarian 
brand  of  horror  than  that  expressed  by 
Mr.  Rathbone  or  Mr.  Karloff. 

Bela  Lugosi  said,  "I  have  just  emerged 
out  of  a  period  in  my  life,  a  period  of 
such  horror  as  neither  rattling  bones, 
ghosts  that  walk,  vampires  that  arise  out 
of  their  graves,  Dracula  himself,  nor 
Frankenstein's  monster  could  possibly 
give  me.  I  have  felt  my  spine  melt 
to  jelly  as  I  read  "The  Beetle,"  "Singers 
of  Fear,"  "The  Turn  Of  The  Screw," 
famed  among  horror  stories,  but  I  could 
read  them  on  my  death-bed  now  and 
laugh  as  I  read,  by  comparison  with  the 
horror  I  have  known. 

"Horror,  to  me,  comes  not  from  the 
other  world  but  from  this  one.  I  did 
not  work  for  two  years,"  said  Mr.  Lugosi 
with  such  stark  simplicity  that  the  very 
skeleton  of  Fear  rattled  its  lean,  bared 
bones.  "During  that  time  I  had  a  son. 
My  first  child.  Horror,  to  me,  is  what  I 
lived  through  during  those  two  years. 
Horror,  to  me,  is  sitting,  as  I  sat,  night 
and  day,  day  and  night,  by  the  tele- 
phone, thinking,  'Now  comes  the  call 
.  .  .  now  .  .  .  now  .  .  .  nowV  Horror,  to  me, 
is  knowing  that  if  the  call  did  not  come, 
there  would  not  be  food  in  the  ice-box, 
nor  light  nor  heat  nor  a  place  for  my 
unborn  baby  to  lay  his  head,  nor  a 
roof  over  the  head  of  his  mother.  There 
is  no  agony  like  it. 

"Horror,  to  me,  is  losing  our  home  as 
we  did.  Our  home  into  which  I  had  put 
all  of  my  savings.  Horror,  to  me,  is 
learning  that  you  cannot  influence  your 
Destiny.  Horror,  to  me,  is  the  reptilian 
sting  of  the  knowledge  of  my  own  stu- 
pidity, my  own  lack  of  foresight,  my  be- 


The  "My  Heart  Belongs  to  Daddy" 
gal,  Mary  Martin,  makes  her  screen 
debut  in  "The  Great  Victor  Herbert." 


lief  that  because  I  had  always  worked, 
I  would  always  work. 

"I  sat  by  the  phone  until  I  grew  to 
the  chair.  I  haunted,  as  Dracula  him- 
self could  not  have  haunted,  agents, 
studios,  casting  offices,  places  where 
Lugosi  might  profitably  be  seen,  be  re- 
membered. Horror,  to  me,  is  the  moving 
picture  of  myself,  an  actor,  struggling 
for  another  chance,  a  contract,  a  week's 
work,  a  day's  work,  a  bit,  an  extra  job. 
And  knowing  that  the  more  I  struggled, 
the  more  frantic  and  therefore  the  more 
obvious  my  squirmings  and  gaspings, 
the  more  I  was  defeating  my  own  ends. 
For  horror  is  knowing  that  you  won't 
find  anybody  to  give  you  a  hand  when 
you  are  down.  A  down-and-out  actor 
is  already  a  ghost  haunting  the  corridors 
where  once  he  walked  a  star. 

"At  long  last,  you  come  home  one  day, 
as  I  came  home,  and  your  wife  tells  you 
that  the  call  has  come  and  the  gates 
are  opened  again! 

"No,  I  am  not  afraid  of  the  super- 
natural. I  am  afraid  only  of  the  horror 
I  have  just  described.  Now  horror,  to 
me,  concerns  my  baby.  Horror  that  an 
automobile  may  pass  over  him  when  he 
is  old  enough  to  run  about  at  play.  Hor- 
ror that  a  hand  may  snatch  him  from 
where  he  sleeps.  Fear,  of  course,  fear 
is  what  I  am  trying  to  say.  Fear  is 
horror.  Not  fear  for  one's  self — fear 
for  those  you  love  better  than  yourself. 
Fear  lest  through  your  failure  they  may 
go  hungry,  go  cold,  go  homeless  or  be 
hurt.  Fear  for  those  I  love^-that  is  what 
horror  means  to  me." 

WHAT  did  Lionel  Atwill  have  to  say 
of  Horror?  Mr.  Atwill,  whose  pic- 
tured eyes  can  be  so  cold,  whose  mouth 
can  twist  with  a  thin,  sardonic  smile 
which  does  indeed  forebode  the  worst, 
said,  "Paralysis  would  be  the  real  hor- 
ror to  me.  It  would  be  pretty  horrible 
to  have  an  arm  or  a  leg  torn  off.  But 
you  cannot  feel  horror  without  imagina- 
tion and  at  the  time  of  such  a  fatality 
the  imagination  is  paralyzed,  ceases  to 
function.  Pain  stultifies  conscious 
thought.  Horror  is  more  mental  than 
physical.  Therefore,  when  the  mental 
processes  are  frozen  by  pain,  horror  is 
held  at  bay." 

"But  paralysis,  the  body  inactive,  the 
brain  over-active — paralysis  where  there 
is  no  pain,  where  the  body  reduced  to 
futility,  the  brain  must  grow  preternat- 
urally  voracious  and  strong  and  fat  on 
the  inutile  body.  This,  to  me,  con- 
stitutes horror. 

"Fear  of  the  unknown  is  the  strongest 
of  the  human  emotions.  We  do  not  fear 
what  we  know,  but  only  what  we  do  not 
know.  And,  perversely,  we  all  love  Fear. 
As  all  men  love  Death,  denying  it.  The 
love  of  fear  is  why  horror  pictures  are 
so  overwhelmingly  popular,  why  men 
and  women  devour  murder  mysteries. 
Any  librarian  will  tell  you  that  she  can- 
not feed  her  customers  horrors  and  mur- 
ders fast  enough.  We  all  enjoy  what 
I  call  the  "safe  goose  pimples"  that  see- 
ing horror  pictures  and  reading  murder 
mysteries  give  us.  For  at  such  times 
we  can  pull  ourselves  together  with  a 
snap  and  say  'I  am  really  safe  in  the 
theatre,'  or  'I  am  really  snug  in  bed 
with  the  night  light  going.' 

"But  paralysis,"  said  Mr.  Atwill,  with 
a  rare  Atwillian  shudder,  "is  my  real 
symbol  of  horror." 

Now,  I  have  brewed  you  a  broth  of 
real  horror.  Can  you  take  it? 


MODERN  SCREEN 


DO  THEY  DISLIKE 
EACH  OTHER? 

(Continued  from  page  63) 


one  of  her  many  fellow  feminine  players. 

Virginia's  answer  to  the  question  is  a 
kindly  one,  fair  enough,  too,  as  far  as  it 
goes.  She  says  that  the  girls  are  not 
friends  because  they  haven't  time  to  be 
or  rather  their  times-to-be  don't  coin- 
cide. In  other  words,  when  Hedy  Lamarr 
is  working,  Virginia  is  not  working; 
when  Virginia  is  working,  Hedy  isn't 
and  so  on.  Fair  enough  as  far  as  it  goes, 
but  there  was  the  day  when  I  beheld 
each  little  star  seated  in  her  own  little 
orbit.  And  there  are  those  lone  lunch 
hours  "enjoyed"  by  Brenda  Joyce  and 
Linda,  Brenda  Marshall  and  Jane.  No, 
Virginia,  it  isn't  good  enough. 

So  now  you  have  it.  Now  you  know 
as  much  as  I  do  about  whether  Holly- 
wood actresses  hate  each  other  or  not. 
Under  cross  examination  I  would  say 
that  I  don't  think  they  hate  each  other. 
They  are  not  enemies.  They  have  few, 
if  any,  personal  vendettas.  They  seldom, 
if  ever,  clash  over  the  same  man,  because 
they  seldom,  if  ever,  come  into  close 
enough  contact  for  such  sparks  to  fly. 

But  on  the  other  hand,  I'd  say  that 
they  don't  love  each  other,  either.  I 
would  say  that  they  live,  and  let  live,  in 
a  state  of  armed  neutrality. 

Brenda  may  have  the  answer  to  the 
question  when  she  says  it  is  all  too  big 
and  they  are  afraid.  Paulette  may  have 
the  solution  when  she  says  that  women 
talk  too  much  and  so  they  do  not  talk 
at  all  to  each  other.  Intensive  rivalry  in 
a  furiously  competitive  field  may  tell  the 
story.  But  I  am  inclined  to  believe  that 
a  famed  and  brilliant  male  star  found 
the  answer  when  he  said,  "Women  stars 
are  never  friends  with  other  women  stars 
because  two  highly  charged  bodies  can- 
not occupy  the  same  space  at  the  same 
time  and  survive!" 

I- vote  for  that  solution.  Imagine  trying 
to  keep  up  with  a  Loy,  a  Davis,  a  Garbo. 
Then  imagine  a  Davis,  a  Loy,  a  Lombard 
keeping  up  with  each  other! 


PLEASE 

DON'T  MAKE 
ME  TAKE 
NASTY 

MEDICINE 
FOR  MY  COLD! 


MOTHER!  Constant  Dosing  is  Liable  to  Upset 
a  Delicate  Stomach,  Lower  Resistance! 


EXPERIENCED  mothers  know  how  often 
constant  dosing  upsets  delicate  little 
stomachs,  thus  reducing  resistance  when 
it  is  most  needed. 

Benefit  by  their  experience.  If  your 
child  has  a  miserable  cold,  head  stuffed 
up,  breathing  passages  irritated,  and  there 
is  coughing,  muscular  soreness  or  tight- 
ness— do  what  3  out  of  5  American  moth- 
ers do.  Use  the  external  poultice-and- 
vapor  treatment — the  home- 
approved  treatment — specially 
developed  for  children — Vicks 
VapoRub. 

Massage  the  throat,  chest 
and  back  with  Vicks  VapoRub. 


Notice  how  it  starts  to  relieve  distress. 

ACTS  2  WAYS  AT  ONCE.  VapoRub  stim- 
ulates like  an  old-fashioned  warming 
poultice.  At  the  same  time  its  pleasing 
medicinal  vapors  are  breathed  direct  into 
the  cold-irritated  air  passages. 

For  hours,  this  double  poultice-and- 
vapor  action  continues.  It  invites  re- 
freshing sleep.  Often,  in  the  morn- 
ing, most  of  the  misery  of 
the  cold  is  gone.  No  won- 
der Vicks  VapoRub  is  the 
approved  treatment  in  3  out 
of  5  homes  all  over  America. 
So  Why  Experiment? 


Ideal  for  Children  .  .  . 


WICKS 

w  VapoRub 


Just  as  Good  for  Adults 


Torch-singer  Ethel  Merman  will  desert 
Hollywood  for  a  while  to  appear  in  a 
riding    Broadway    musical,  "Du 
Barry  Was  a -Lady." 


spa 


Phil   Regan  is  another  movie  name 
that  will  be  in  the  show.    It's  a  Cole 
Porter  number  so  we  know  it'll  be 
first-class  stuff. 


Not  satisfied  with  the  parts  the  movie 
moguls  hand  her,  Betty  Grable,  too, 
is  going  to  try  her  luck  with  the  "Du 
Barry"  gang. 

69 


MODERN  SCREEN 


THEY  MADE  HER  WHAT  SHE  IS  TODAY 


(Continued  from  page  29) 


r 


Class  B  pictures  for  Miss  Sheridan  com- 
placently giving  credit  to  any  such 
commodity  as  oomph. 

"Paramount  thought  I  was  so  good," 
Miss  Sheridan  remarked  ironically,  "they 
let  me  work  out  my  contract  in  bit 
parts.  And  when  I  was  free  as  the  air 
of  any  contractual  entanglements  on  that 
lot,  it's  strange  how  all  the  dozens  of 
screen  tests  I  took  in  every  studio  didn't 
impress  executives.  It  looked  for  a  long 
time  as  though  I  just  wasn't  movie  ma- 
terial. Then  I  was  signed  by  Warners 
.  and  I  had  more  months  to  renew  asso- 
ciations among  bit  players  and  Class  B 
actresses. 

"But  they  came  through  just  in  time," 
Ann  said,  and  in  her  voice  was  all  the 
remembering  of  how  long  she'd  been 
discouraged  and  how  often  it  looked  like 
she'd  never  get  up  into  the  featured 
ranks  in  such  productions  as  have 
premieres. 

"I  sure  waited  long  enough,  honey," 
was  the  way  she  added  up  her  term  of 
obscure  apprenticeship. 

It  was  "Angels  With  Dirty  Faces,"  in 
the  lead  opposite  Jimmy  Cagney,  that 
really  altered  Annie's  Hollywood  record. 
Her  strangely  attractive  eyes  that  change 
color  light  up  enthusiastically  when  she 
mentions  Mr*  Cagney. 

"He  was  grand  to  me  while  we  made 
that  one,"  she  said.  "I  was  so  nervous 
about  everything,  especially  when  bus- 
loads of  tourists  peeped  in  through  the 
door  as  we  rehearsed.  There  was  one 
scene  where  I  had  to  slap  Jimmy  pretty 
hard  and  I  think  we  went  over  that  part 
dozens  of  times  before  they  finally  shot 
the  scene.  Anyhow,  I  spent  all  day  slap- 
ping him  and  he  had  a  headache  by  the 
time  they  thought  I'd  gotten  it  right." 

"I  don't  mind  your  hitting  me  so  much 
as  long  as  we  get  the  scene  right,"  Jimmy 
would  tell  her. 

And  as  Miss  Sheridan  added,  "All 
through  the  picture  he'd  take  me  off  to 
the  side  and  help  me  rehearse  my  part 
until  he  felt  I  was  doing  as  well  as  I 
was  able  to." 

ANNIE  doesn't  live  in  Denton,  Texas, 
any  more.  But  her  three  sisters  and 
her  mother  do.  And  are  they  proud  of 
her!  Especially  the  older  sister  who  sent 
her  picture  into  the  Paramount  "Search 
for  Beauty"  Contest  seven  years  ago,  a 
contest  which  Miss  Sheridan  won  and 
which  took  her  to  Hollywood.  Only  she 
was  Clara  Lou  Sheridan  until  she  ap- 
peared in  the  picture. 

As  Clara  Lou,  Annie  was  one  of  the 
belles  at  Texas  North  State  Teachers' 
College  for  the  two  years  she  attended, 
gleaning  educational  credits  that  would 
get  her  a  teacher's  job  in  Dallas. 

One  day,  the  school's  most  beautiful 
redhead  was  up  in  a  dance  studio  where 
she  and  other  students  took  lessons. 
Waiting  her  turn,  she  hummed  a  few 
bars  of  "Mood  Indigo." 

"Sing  that  through  for  me!"  a  stranger 
standing  nearby  ordered  the  self-con- 
scious college  girl.  Obediently  she  went 
through  the  whole  thing  in  her  husky, 
engaging  voice. 

"You  get  the  job!"  the  stranger  an- 
nounced portentously.  "The  job"  proved 
to  be  soloist  with  a  little  orchestra  that 
played  all  the  college  dances  around 
Texas.  Miss  Sheridan  held  it  until  Para- 
mount paid  her  fare  to  California. 

It's  nice  to  have  a  sister  who  thinks 
you're  beautiful  enough  to  enter  a  con- 
test and  who  obligingly  sends  your  por- 

70 


trait  in,  especially  as  you  wouldn't  think 
of  doing  it  yourself.  Most  winners  seem 
to  have  one.  Anyhow,  Miss  Sheridan 
did.  While  Annie  was  busy  crooning 
choruses  with  the  college  band,  her  older 
sister  entered  her  in  the  Paramount 
beauty  race  and  Miss  Sheridan  was 
chosen  from  the  Texas  entrants. 

"There  were  thirty  of  us — all  beauty 
contest  winners  from  all  over  the  world, 
brought  to  Hollywood  for  the  'Search  for 
Beauty'  picture,"  Ann  recalls.  "We  were 
put  up  at  the  Roosevelt  Hotel  and  every- 
one of  us  believed  we'd  be  stars  in  a  few 
months.  Only  four  of  us  were  kept  on 
after  the  film  was  completed.  But  the 
bits  I  was  given  for  three  years  seemed 
to  indicate  they'd  regretted  their  bargain 
in  signing  me.  The  roles  were  that  bad. 


Meet  Ingrid  Bergman,  the  excel- 
lent Swedish  actress  who  made 
her  debut  in  "Intermezzo!"  She's 
in  Sweden  now,  but  we  hope 
she  returns  to  Hollywood  soon. 

"I  was  still  so  hopeful  that  when  I 
finished  at  Paramount  I  thought  it  was 
merely  a  matter  of  testing  at  another 
studio  to  be  signed  up  again." 

Alas,  Miss  Sheridan  had  to  learn  the 
hard  way.  A  year  of  what  is  called  free- 
lancing, which  may  also  break  down 
into  huge  slices  of  payless  vacations, 
followed  for  her. 

"If  you  ask  me  what's  the  worst  thing 
happened  to  me  in  Hollywood — that's  it!" 
Annie  admitted  when  alluding  to  the 
free-lancing  era  of  her  young  movie  life. 

Then  came  the  contract  with  Warners 
bringing  more  unimportant  parts  until 
somebody  decided  that  not  only  was  Ann 
Sheridan  beautiful  but  she  could  act. 
So  they  teamed  her  with  Cagney,  which 


was  a  break  any  girl  would  send  up 
thanks  for.  Afterwards  the  glamorous 
Ann  was  loaned  out  for  "Winter  Car- 
nival," a  subject  about  which  she  is  quite 
reticent — though  privately  opinionated. 
She  just  mentions  in  passing  that  it 
didn't  turn  out  as  she  planned. 

"Angels  Wash  Their  Faces"  was  made 
after  that,  before  the  oomph  girl  title 
was  bestowed  on  Annie.  And  the  coro- 
nation made  her  what  she  is  today.  She 
hopes  everybody's  satisfied.  Her  fans 
are.  It  took  several  policemen  to  hold 
the  hundreds  of  gaping  admirers  in 
check  every  time  she  emerged  from  the 
stage  door  around  a  Broadway  corner. 

Watching  her  move  along  gracefully, 
with  a  veil  thrown  carelessly  over  her 
curly  red  hair;  her  creamy  skin  as 
smooth  as  gardenia  petals,  her  eyes  spar- 
kling and  her  voluptuous  lips  parted  in 
a  smile,  it  is  easy  to  see  why  her  bosses 
thought  they  had  darn  good  material  for 
•an  oomph  girl.  There's  a  vitalic  essence 
of  youth  about  her,  in  spite  of  her  off- 
hand breeziness,  which  some  of  the  older 
movie  stars  would  give  a  lot  to  have. 
She's  the  sort  of  a  girl  who  can  look 
beautiful  and  wholesomely  healthy  even 
with  a  bad  cold. 

"Have  you  met  little  Gwennie?"  is 
usually  one  of  the  questions  Ann  Sher- 
idan asks  during  any  prolonged  conver- 
sation. There's  an  un-cinemalike  friend- 
liness in  her  voice  when  she  says  it. 

BACK  in  the  girlhood  days  in  Denton, 
Texas,  Ann  Sheridan  had  a  chum. 
They  played  games  together,  told  each 
other  secrets,  did  their  homework  at  one 
of  the  two  houses.  And  later  went  to 
dances  in  their  own  group  from  the 
small  town  near  Dallas.  The  other  girl's 
name  was  Gwendolyn  Woodford  and  her 
present  address  is  Ann's  English  house  in 
the  Valley,  miles  beyond  Hollywood. 

Gwennie's  official  title  is  Secretary  to 
Miss  Sheridan  but  they're  still  insep- 
arable friends,  after  sixteen  years.  Where 
Annie  goes,  Gwennie  goes,  also.  She 
made  the  trip  east  with  her  famous 
chum,  and  fortunately  likes  the  same 
things  Ann  does — dancing,  especially  the 
rhumba;  swimming  and,  since  the  Sher- 
idan pay  checks  became  larger,  shopping 
for  new  clothes.  They're  both  dreaming 
about  a  vacation  in  Mexico  City  and 
they  both  have  lots  of  beaux. 

They  used  to  live  in  a  Monterey  house 
but  just  before  Ann  started  her  per- 
sonal appearance  trip,  they  were  moved 
into  the  English  home  on  a  hillside,  a 
charming  place  that  is  built  on  the  up- 
grade, like  its  owner's  1940  fortunes. 

Annie  goes  in  for  simple  tailored  day- 
time clothes  but  splurges  on  her  evening 
gowns  which  are  eye-compelling  crea- 
tions along  strictly  glamorous  lines. 

When  Miss  Sheridan  was  reminded 
that  the  New  York  columnists  had  de- 
veloped a  ten-day  habit  of  coupling  her 
name  romantically  with  Anatole  Litvak, 
Annie  laughed  heartily. 

"If  it  weren't  Mr.  Litvak,  it  would  be 
somebody  else,"  was  all  she  would 
answer.  Though  a  lot  of  bon  vivants 
around  Manhattan  were  loudly  envious 
of  the  movie  director  who  was,  until  not 
so  long  ago,  married  to  Miriam  Hopkins. 

Annie  can't  remember  her  first  beau, 
nor  her  first  party.  But,  then,  there  were 
a  lot  of  both  in  the  Texas  college  years. 
And,  if  she  hasn't  been  escorted  nightly 
by  dozens  of  Hollywood's  famous  men, 
it's  been  those  occasions  when  Annie 
preferred  to  curl  up  with  a  good  book. 


:a,  B 

[a  n 
>w: 
Bir 
her 
hoi 
tr  a 


a  wide: 


is 


\i  iith! 
\  lea 
k  a 
h  aeage 

:lien 


Mil 
Li 


■ 


MODERN  SCREEN 


MADELEINE  CARROLL 
WANTS  CHILDREN 

(Continued  from  page  57) 


While  she's  working  on  a  picture,  the 
English  star  .lives  in  her  beach  house  at 
Santa  Monica.  She  was  born  near  the 
sea,  not  far  from  Birmingham,  England. 
Her  real  name  is  O'Carroll  and  as  such 
she  was  known  when  she  was  a  student 
in  Birmingham  University.  Even  there, 
in  her  first  years  she  fought  for  scholas- 
tic honors  only  because  they  would  give 
her  a  better  chance  to  make  money. 
Teaching — or  whatever  job  she  could  get 
—was  to  be  her  tool  for  financial  inde- 
pendence. She  won  her  bachelor  of  arts 
degree  and  obtained  a  teaching  position 
in  Brighton.  But  the  director  of  a  Bir- 
mingham Stock  company  offered  her  a 
place  with  his  troupe  and,  while  her 
I  father  protested  vehemently,  she  de- 
serted the  schoolmarm  ranks. 

When  Madeleine  finally  determined  on 
a  theatrical  career,  she  invaded  London 
with  less  than  ten  dollars  in  her  purse. 
She  ate  only  when  she  was  so  hungry  it 
was  an  absolute  necessity  and  made  her 
meager  funds  last  until  she  got  a  job. 
She  was  on  top  of  the  world,  she  thought, 
when  she  made  fifteen  dollars  a  week  in 
a  small  role  touring  the  provinces  with 
a  company  of  "The  Lash." 

LATER,  before  success  came,  she  got 
odd  jobs  modeling.  She  still  re- 
members what  it  was  like  to  walk  miles 
of  London  streets  because  she  didn't 
have  tram  fare.  Her  first  film  break 
came  when  she  was  given  a  part  in  a 
film  drama  called  "Guns  of  Loos,"  and 
after  that  came  almost  a  half  year  of 
idling  and  job-hunting  again.  The  pic- 
ture when  released,  did  not  cause  a  stir, 
nor  did  Miss  Carroll  wake  up  after  its 
premiere  to  find  herself  famous.  Even- 
tually she  did  play  in  the  "The  First  Born" 
which  Myles  Mander  directed  and  which 
evoked  her  first  fan  mail.  From  then  on, 
her  workless  months  were  ended.  One 
season  she  had  four  of  her  pictures  pre- 
sented in  London  simultaneously. 

It  was  while  Miss  Carroll  was  a  rising 
star  in  London  that  she  met  the  impor- 
tant Philip  Astley  who,  like  many  another 
man  in  the  British  capital,  fell  head  over 
heels  in  love  with  the  new  favorite.  They 
were  married  in  an  Italian  village  with 
only  the  townspeople  as  witnesses  and 
it  looked  auspiciously  as  though  the 
marriage  would  be  a  lifetime  thing.  Only 
Miss  Carroll  came  to  Hollywood,  Cap- 
tain Philip  Astley  stayed  in  London  and 
soon  came  the  rumors  that  the  separa- 
tion was  to  be  made  permanent. 

When,  or  if,  an  annulment  comes,  per- 
haps Miss  Carroll  may  then  have  decided 
with  whom  she'll  have  a  second  try  at 
marriage.  But  by  then,  she  hopes  she'll 
be  through  with  acting  and  financially 
equipped  to  meet  retirement  and  the 
future  with  no  fear  that  ever  again  will 
she  know  what  it  is  to  go  hungry. 


INFORMATION  DESK, 

MODERN  SCREEN, 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  your  up-to-date  chart 
listing  the  heights,  ages,  birthdays  and 
marriages  of  all  the  important  stars.  I 
enclose  5c  (stamps  or  coin)  to  cover  cost 
of  mailing. 

Name  

Street  

City  State  


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DRIES    QUICKLY  — 
TICKY    OR  GUMMY 


A  few  drops  of  Chamberlain's  Lotion 
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"DRIP  TEST"  PROVES  THE  DIFFERENCE 


No.  2         No.  3  No.  4 


Laboratory  tests  show  this  clear,  golden 
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CHAMBERLAIN  LABORATORIES  •  Des  Moines,  Iowa,  U.  S.  A. 


Picture  of  a  gla- 
mor girl  in  an  off- 
guard  moment. 
Marlene  Dietrich 
is  making  her  re- 
turn to  the  screen 
in  "Destry  Rides 
Again,"  a  west- 
ern of  all  things. 
It  looks  as  if  the 
wide  open  spaces 
are  a  bit  hard  on 
the  tootsies! 


MODERN  SCREEN 


THE  NEW  JOAN  CRAWFORD 

(Continued  jrom  page  41) 


dressing  table,  applying  false  eyelashes 
with  the  dexterity  of  long  years  of  prac- 
tice. "Look  at  these,"  she  snorted. 
"Glamor!  7  could  have  given  them  a 
title  for  their  articles.  'Joan  Crawford  Is 
Through  Being  a  Glamor  Girl.'  I'm  so 
fed  up  with  glamor  that  some  day  I'm 
going  to  walk  down  Hollywood  Boule- 
vard to  a  preview  with  my  hair  in  kid 
curlers  and  no  make-up  on,  and  scare 
the  daylights  out  of  everybody." 

It  seems  that  she  and  the  executive 
powers  differed  as  to  the  kind  of  parts 
she  ought  to  play.  "Glamor  girls,"  said 
the  Powers.  "No  glamor  girls,"  said  Joan. 

She  puts  her  case  this  way,  "I'm  not 
ungrateful  for  what  the  studio  has  done 
for  me.  They  taught  me  everything  I 
know.  They've  done  miracles  with  me. 
But  I  came  here  when  I  was  a  baby. 
They  put  me  in  rompers,  which  was  all 
right  then.  Now  I'm  ready  for  a  party 
dress.  I  want  to  be  allowed  to  outgrow 
rags-to-riches  pictures.  I'm  sick  of  fairy 
tales,  and  so  are  the  people  who  go  to 
see  me.  I  wanted  stories  like  'Ethan 
Frome'  and  'Dark  Victory.'  People  have 
grown  past  the  stage  where  they're  satis- 
fied to  be  fed  on  milk  and  water.  Life's 
too  full  of  heartbreak,  especially  now. 
We  can't  close  our  eyes  to  it  any  longer. 
Put  it  on  the  screen,  and  it  not  only 
helps  you  to  solve  your  own  problems, 
but  it  gives  you  courage  to  face  your 
own  tragedies.  And  from  the  purely 
selfish  point  of  view,"  she  added  grimly, 
"it  would  give  me  a  chance  to  answer 
the  who  -  says  -  Joan  -  Crawford  -  can  -  act 
school." 

But  the  first  part  she  fought  for  was 
in  a  comedy  called,  "The  Women."  The 
studio  thought  she  was  crazy. 

"Crystal's  too  small  for  you,  Joan." 

"It  may  be  small,  but  it  can  be  made 
outstanding." 

"It's  unsympathetic  from  start  to  fin- 
ish. Not  a  redeeming  feature  in  the  gal." 

"Look,"  said  Joan.  "I  want  a  good 
picture,  that's  what  I  want,  and  I  want 
it  more  than  anything  else.  I  can't  seem 
to  get  a  prestige  picture  on  my  own.  All 
right  then,  I'll  sneak  in  on  somebody 
else's.  May  I  go  out  to  see  Mr.  Strom- 
berg  and  ask  for  the  part?" 

They  shrugged.   "Sure.  Go  ahead." 

They  didn't  take  her  seriously.  She 


was  a  star.  Though  every  scene  of 
Crystal's  was  unforgettably  etched  in 
acid,  the  role  wasn't  Crawford-size.  True, 
they  had  used  her  once  before  with  such 
names  as  Garbo  and  Barrymore.  But 
that  had  been  "Grand  Hotel,"  an  all- 
star  picture.  This  was  supposed  to  be 
a  vehicle  for  Norma  Shearer. 

Suddenly,  as  news  of  "The  Women" 
spread  abroad — its  novel  theme,  its  bril- 
liant lines,  its  fat  roles — others  began  to 
clamor  to  get  in  on  it.  The  studio  soon 
began  to  wonder  if  they  didn't  have  an- 
other all-star  production  on  their  hands. 
Or  at  any  rate,  triple-star.  Maybe  Joan 
was  right. 

Meantime,  Joan  was  planted  on  the 
doorstep  of  the  producer.  She  couldn't 
help  a  wry  smile  as  she  thought,  "I  feel 
as  if  I  were  on  my  first  job.  This  is  how 
I  got  my  first  job — by  haunting  pro- 
ducers' offices." 

JOAN  was  cast  as  Crystal.  Her  exit  line 
in  the  movie  runs  something  like  this: 
"There's  a  name  for  you  ladies,  but  it 
isn't  used  in  polite  society — outside  of  a 
kennel."  The  name  was  appropriate  to 
Crystal.  Joan  played  her  that  way,  hard 
as  nails.  She  asked  no  sympathy  for 
the  character,  and  got  none.  "She  has 
courage,"  said  people  who  have  never 
been  Crawford  enthusiasts,  "even  if  it's 
the  courage  of  desperation." 

Whether  the  performance  has  helped 
her  to  regain  lost  ground,  it's  too  soon  to 
tell.  The  studio  may  have  been  right  in 
its  first  reluctance  to  have  her  play  it. 
The  fans  may  not  relish  the  sight  of  their 
Joan  as  a  vulgar  husband-thief.  On  the 
other  hand,  Bette  Davis  was  launched 
into  triumph  by  a  Mildred  as  disagree- 
able as  Joan's  Crystal. 

"I'm  not  afraid  to  start  all  over  again 
from  scratch,"  Joan  said.  "I'm  not  afraid 
of  any  parts  but  the  sappy  ones.  So 
long  as  the  bone  has  a  scrap  of  meat 
attached,  I'll  grab  it. 

"I've  never  considered  myself  the  great 
mogul.  If  you  do,  and  then  take  a  tum- 
ble, it's  hard  on  you.  I've  had  my  eyes 
open  to  the  danger  of  falling  ever  since 
I  hit  a  spot  high  enough  to  fall  from. 

"I've  tried  not  to  take  flattery  seriously. 
There's  plenty  of  it,  as  I  don't  have  to 
tell  you,  on  the  way  up — a  little  less  on 


the  way  down.  I'm  human.  I'm  pleased 
when  people  say  nice  things  about  me. 
But  I  don't  swallow  sugar  wholesale.  I 
eat  what's  good  for  me,  discard  the  rest. 

"So  I  have  no  delusions  of  grandeur 
about  myself.  I  can  still  sweep  and  clean 
house.  I  can  still  wash  my  own  clothes 
and  stick  them  on  the  windowpane  to 
dry,  if  I  have  to."  The  hand  that  held 
the  lipstick  dropped,  and  her  lips  tight- 
ened as  she  added,  "But  I  won't  have  to. 

"I'll  fight  like  fury.  I'll  be  in  every^ 
body's  hair.  Every  time  I  hear  someone 
has  a  good  picture,  I'll  be  in  there  ask- 
ing for  a  part  and  yelling  till  I  get  it. 
One  actress  on  this  lot  turned  down 
'Susan  and  God,'  because  she  didn't  want 
to  play  a  mother.  I'll  play  Wally  Beery's 
grandmother  if  the  old  lady  has  fire. 

"And  whatever  I  play,  it'll  be  with  my 
whole  heart,  if  it's  just  one  line.  The 
point  isn't  merely  to  pick  up  my  pay 
check  on  Saturday.  I'm  not  saying  the 
money  isn't  important.  I'm  saying  the 
work  is  more  important.  I  can't  live 
without  work.  I'm  not  a  movie  star.  I'm 
a  woman  with  a  job,  and  I've  got  to 
make  good  at  that  job,  or  else." 

Since  then,  Joan  has  been  assigned  to 
the  feminine  lead  opposite  Clark  Gable 
in  "Not  T«o  Narrow,  Not  Too  Deep." 
She's  not  playing  Wally  Beery's  grand- 
mother nor  a  part  overshadowed  by 
others,  but  a  starring  role  with  the  in- 
dustry's No.  2  box  office  draw. 

Whether  she  yelled  till  she  got  it,  we 
wouldn't  be  knowing.  Most  front  offices 
are  proof  against  yelling.  Even  the  con- 
tract, which  still  has  five  years  to  run, 
wouldn't  wholly  account  for  this  last 
move.  There  are  ways  of  getting  round 
contracts.  Warners  tried  to  starve  Kay 
Francis  out  by  putting  her  into  B  pic- 
tures. The  fact  that  Joan  has  been  cast 
in  a  major  production  with  Hollywood's 
top  male  star  would  indicate  that  the 
studio's  faith  has  been  strengthened  by 
her  performance  in  "The  Women." 

Will  their  faith  be  vindicated? 

Joe  Pasternak,  that  astute  producer, 
once  said:  "No  studio,  no  executive,  no 
director  ever  made  a  star.  It's  Susie 
Doakes,  paying  her  quarter  at  the  win- 
dow, who  makes  or  breaks  a  movie  star." 

Which  puts  it  squarely  up  to  you, 
Susie  Doakes.  To  you  and  Joan. 


These  are  some  of  the  six-inch  people  They  manage  to  make  a  captive  of  Gulliver  has  his  hands  full  helping  the 

of  Lilliput  in  the  Max  Fleischer  full-  their  ship-wrecked  giant  visitor,  but  little   people  and   bringing   the  ro- 

length  color  cartoon  of  Swift's  famous  when  he  frightens  away  an  invading  mance  of  Princess  Glory  and  Prince 
"Gulliver's  Travels."                              fleet,  they  knight  him.  David  to  a  happy  ending. 


NO  RED,  ROUGH  HANDS 

when  you  use  this  amazing 

HAND  CREAM 


Harsh  weather,  frequent  washings 
and  household  tasks  rob  the  hands 
of  vital  skin  oils  —  leave  them 
rough,  raw,  dry  and  chapped. 
Mystic  Cream  overcomes  the  dam- 
age— makes  rough  red  hands  soft, 
smooth  and  white. 


Mystic  is  a  pure  white  cream, 
acts  quickly,  vanishes  at  once,  and 
is  not  the  least  bit  sticky  or  greasy. 
Sold  at  drug,  department  and  ten 
cent  stores  every- 
where .  .  .  10^,  25^, 
50p  sizes. 


MYSTI 


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Convince  yourself.'  Send  for  FREE  trial  size  to  Mystic,  Jersey  City,  N.  J. 


THE  RETURN  OF  ROZ 

(Continued  from  page  52) 


only  give  me  some  scrambled  eggs  and 
shut  up,"  she  shrieks.  But  somehow  they 
seldom  think  of  that. 

Miss  R.  has,  as  she  puts  it,  a  bunch  of 
sisters  and  brothers.  She  is  inordinately 
'  proud  of  them.  She  plays  herself  down 
j  and  them  up.  To  hear  her  tell  it,  they're  the 
I  most  accomplished  human  beings  extant. 
!  And  probably  she  has  something  there. 

She'd  like  to  direct  and  our  bet  is  that 
!  some  day,  some  how,  she  will.  She  knows 
story  values  and  ability  at  a  long  range. 
In  fact,  very  little  escapes  her.  She  ad- 
mires Bette  Davis'  acting  and  likes  her 
tremendously  personally.  Spencer  Tracy 
is  her  favorite  actor  and  the  attractive, 
unattached  male  in  general  serves  as 
her  escort.  She  claims  that  she  makes 
more  of  a  hit  with  eastern  men  "because 
they  don't  mind  a  dame  evincing  a  few 
brains"  than  the  western  variety,  where 
a  gal  is  supposed  to  be  ultra  feminine 
and  do  a  lot  of  languishing. 

You  might  not  like  Roz — but  we  can't 
imagine  that — yet  you'd  never  be  bored. 
For  she  has  so  much  vitality  and  is  so 
spontaneous  that  she's  a  surprise  a  min- 
ute. And  now,  Roz  returns,  and  in  a  good 
picture,  with  even  better  ones  to  come. 


SHE'S  A  REBEL 

(Continued  from  page  33) 


on  how  to  run  up  a  romance!  In  the 
first  place,  I've  learned  there's  little  to 
be  gained  by  asking  friends  what  they'd 
do.  Discussing  your  problems,  except 
most  casually,  makes  for  insincerity.  To 
keep  up  her  side  of  the  friendship  your 
confidante  will  attempt  to  soothe  you.  I 
make  up  my  own  mind  and  if  I  choose 
unwisely  I'll  know  better  next  time. 
Besides,  no  one's  going  to  be  on  tap  all 
of  the  time  to  help  you. 

"Women  chit-chat  so  much  about  a 
'line.'  I  have  no  particular  line  with  men. 
You  don't  need  one.  I  never  bother  to 
scheme  out  a  conversation  ahead,  for  it'd 
be  dreadful  rather  than  glamorous  when 
the  pauses  came.  No,  if  a  man  doesn't 
like  you  as  you  actually  are,  he'll  walk 
out  when  he  discovers  you  had  to  pose 
to  be  good  company. 

"Women  can  get  a  woman  into  such 
messes,  if  you  let  them  lead  you  around. 
Women  have  said  to  me  at  parties,  'Lo- 
retta,  why  don't  you  take  that  handsome 
man  away  from  So-and-So?  You  could, 
you  know,  dear!'  I  am  not  flattered.  Any 
female  can  be  that  sort. 

I DON'T  believe  in  the  legend  of  love 
at  first  glance,  often  as  it's  told  me.  It 
isn't  for  me,  at  any  rate.  Because  I  have 
been  in  love,  and  it's  not  been  a  sudden 
miracle.  I've  grown  into  love.  That  is 
my  way. 

"And  indifference  will  never  seem 
clever  to  me.  It  doesn't  make  a  man 
fascinating  to  me.  If  a  man  isn't  friendly 
the  first  time  we're  introduced  I'll  never 
see  him  again  long  enough  to  stumble 
onto  his  hidden  qualities. 

"I  still  regret  the  one  big  lie  I  was 
argued  into  telling  a  man.  A  woman 
friend  of  mine  was  positive  I  couldn't 
be  perfectly  sincere  with  a  man  with 
whom  I  wanted  to  break  up.  He  wouldn't 
forgive  me  if  I  were  honest,  she  claimed. 
I  was  silly  enough  to  believe  that.  So  I 
told  him  I  couldn't  see  him  any  more 
because  I  was  in  love  with  someone  else. 


A  line  certainly  failed  then.  For  two 
months  later,  when  he'd  had  time  to 
find  out  I  wasn't  even  going  out  with  an- 
other man,  he  called  me  up  and  asked 
why  I'd  lied  to  him.  I  tried  to  explain. 
You  evidently  hadn't  much  confidence  in 
me,'  he  said.  'I  didn't  deserve  a  lie,  did 
I?'  He  was  still  hurt,  after  all  my  fum- 
bling to  explain.  I  see  him  occasionally 
and,  believe  me,  I  am  still  ashamed. 

"I  think  it's  foolish  to  proclaim,  'I'm 
frank  and  honest  at  any  cost!'  For  the 
girl  who's  so  proud  of  being  frank  is 
very  liable  to  lose  her  delicacy,  her 
femininity.  That  attitude  makes  her  cold. 
And  the  one  thing  I  don't  rebel  against 
is  being  a  woman.  It's  not  brilliant  to 
forget  that  we  were,  after  all,_  designed 
to  be  men's  mates.  I  remember  inform- 
ing a  man  that  I  had  faults.  I  must  have 
been  on  a  soap-box.  'Why,  I'm  losing 
faith  in  you!'  he  declared.  'Be  truthful 
but  diplomatic'  has  been  my  motto  since. 

"I  make  it  plain  that  I  expect  a  last- 
ing, and  certainly  a  mutually  loyal,  mar- 
riage. I  don't  want  a  fair-weather  hus- 
band. I  object  to  dictation  from  any  man, 
meanwhile.  I  am  a  free  agent  until  I'm 
engaged  or  married.  I'll  fall  in  love  with 
a  man  for  his  faults,  even  though  it's 
traditional  to  think  only  of  his  virtues. 
I  do  count  on  marrying,  for  a  home  and 
children  are  normal  for  any  woman,  re- 
gardless of  whether  or  not  she's  wanted 
any  kind  of  a  career.  But,  contrary  to 
all  speculation,  I'm  not  wasting  away  be- 
cause I  haven't  a  husband  today! 

"The  reason-  I've  been  rumored  en- 
gaged year  after  year  is  because  report- 
ers assume  we're  engaged  here  in  Holly- 
wood after  two  dates  in  a  row. 

"I  won't  continue  to  go  with  any  man 
if  I  realize  that  we're  becoming  too  in- 
trigued and  that  marriage  is  out  of  the 
question  for  us.  The  sophisticates  decree 
that  the  woman  should  go  on  being  'just 


friends'  after  an  emotional  breaking-off. 
Whoever  figured  that  one  out  is  a  bit 
super-human.  I  know  that  a  clean,  com- 
plete break  is  the  only  climax  if  you 
can't  go  on  to  marriage. 

CERTAINLY  I  dallied  with  the  roman- 
tic idea  of  being  a  martyr.  But  the 
only  real  satisfaction  I've  known  has 
come  from  doing  my  best.  So  long  as  I 
know  I'm  sincere,  my  life  can't  be  ruined. 
Some  women  prefer  everything  smooth 
on  top  and  make  their  lives  seem  so  by 
lying.  I'm  not  proud  of  my  errors,  but 
when  I  get  up  in  the  morning  I  don't 
have  to  put  on  a  mask  for  the  world. 

"I  don't  agree  with  that  proverb,  'Live 
today  without  thought  of  tomorrow,  for 
it  will  take  care  of  itself.'  That's  stupid 
to  me,  for  it  won't.  Anyway,  I  have  to 
have  goals. 

"I'm  free-lancing  now.  I  refused  to 
sign  another  long-term  contract  because 
I  know  what  being  on  continual  studio 
call  is  like.  My  whole  life  was  geared 
up  like  a  streamline  train.  It  was  rush, 
rush,  rush,  and  I'd  have  burned  myself 
out  if  I'd  kept  it  up.  I  lost  friends  as 
fast  as  I  got  acquainted  because  there 
was  too  little  time  between  pictures.  I 
had  only  two  real  trips  in  thirteen  years, 
and  then  I  had  to  absolutely  quit  and 
walk  out  in  spite  of  legal  warnings." 

Loretta  hopes  to  do  three  extra-good 
films  a  year  henceforth,  instead  of  twice 
that  many  on  a  steady  grind.  "I'm  an 
awful  rebel  in  their  eyes  for  deciding  not 
to  work  so  strenuously,  but  dumb  as  it 
may  seem  I  want  to  have  more  time  to 
enjoy  living! 

"But  why  should  I  give  advice?  I 
don't  think  any  girl  will  pay  any  atten- 
tion to  me,  nor  that  she  can  profit  by 
any  experiences  but  her  own.  No,  I'm 
not  cynical.  I'm  simply  more  emotional 
than  logical  myself!    She  may  be,  too." 


73 


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74 


No.  2836 — You  can  knit  this  smart 
cardigan  in  a  very  few  days. 


/^ET  OUT  those  knitting  needles  and 
let's  go,  gals,  for  here  are  two  new 
patterns  to  tempt  the  best  of  you!  If  life 
isn't  worth  living  with  you  unless  results 
come  fast,  try  the  streamlined  cardigan 
above.  Made  of  a  soft,  light-weight  yarn 
on  large  needles,  it  grows  faster  than 
weeds.  And  that  vertical  accent  in  its  pat- 
tern pares  you  down  like  magic!  Wear  it 
over  dresses  or  with  any  of  your  suit 
skirts.  We'll  bet  you'll  make  six  of  'em 
each  in  a  different  shade. 

If  you  have  a  little  more  patience,  try 
the  blouse  at  the  left.  The  body  and 
sleeves  are  knitted  in  one  color  angora 
wool,  while  the  yoke  and  borders  are  cro- 
cheted in  a  contrasting  shade  of  the  same 
yarn.  It's  trim  and  yet  very  feminine  in 
its  soft  detail. 

*         *  * 

Now  to  get  started.  Just  fill  in  and  send 
us  the  coupon  below  and  we  will  send  you 
post-haste,  free  directions  for  either  or 
both  of  these  loves. 


No.  1535 — Combining  colors  and 
stitches  makes  this  blouse  different. 


ANN  WILLS,  Modern  Screen 

149  Madison  Avenue,  New  York,  N.  Y. 

Kindly  send,  at  no  cost  to  me: 
Knitting  directions  for  No.  2836 
Knitting  directions  for  No.  1535 

I  enclose  a  stamped,  self-addressed  (large) 
envelope. 

Name  ;  

Address  

City   State  

Check  one  or  both  designs  and  please  print 
name  and  address  plainly. 


HEAVENLY  HARD  GUY 

(Continued  from  page  27) 


Community  Playhouse.  He  got  up  in  the 
middle  of  the  night  to  haul  vegetables 
around  the  big  city  markets.  In  the 
afternoon,  during  the  racing  season,  he 
gunned  the  expensive  cars  of  the  movie 
stars  around  the  vast  parking  lot  at 
Santa  Anita.  When  Bob  first  met  Gary 
Cooper  on  the  "Beau  Geste"  set,  he  said 
he  felt  like  piping  "Check,  please."  The 
last  time  they  had  bumped  into  each 
other  was  at  the  Santa  Anita  auto  park. 

At  any  rate,  to  tuck  up  a  long  story, 
Gilmor  Brown,  the  Community  Play- 
house mentor,  tutored  him  into  a  fair 
country  actor,  though  oddly  enough,  he 
always  seemed  to  end  up  wearing  a  muff 
or  playing  an  old,  old  man.  Under  age 
in  real  life,  but  one  foot  in  the  grave 
on  the  stage — that  was  Bob.  He  might 
be  there  still,  hiding  his  light  under  a 
bushel  of  spinach,  acting  by  night  and 
fertilizing  by  day,  if  the  new  masses 
hadn't  got  around  to  him,  in  the  form 
of  the  Screen  Actors  Guild. 

They  suddenly  put  a  ban  on  profes- 
sional actors  playing  in  amateur  pro- 
ductions for  no  pay  and  Bob  found  him- 
self plunked  at  the  last  minute,  like 
Frank  Merriwell,  into  the  star's  part  of 
"Idiot's  Delight."  There's  always  a 
Hollywood  talent  scout  in  the  Pasadena 
Playhouse  audience,  and  while  Bob  was 
no  Alfred  Lunt  or  even  Clark  Gable  do- 
ing his  off-to-Buffalo,  the  Paramount 
talent  hawk  didn't  exactly  fall  asleep  in 
his  chair.  On  the  contrary,  after  the 
show  he  hotfooted  it  backstage  and  lured 
Bob  with  fancy  talk  about  Paramount, 
Hollywood  and  a  career  in  the  movies. 
Bob  was  nineteen  at  the  time. 

THERE  have  been  some  high  hurdles 
for  Bob  Preston  to  take  between 
then  and  now.  The  first  was  the  "truck 
driver"  episode,  when  he  almost  poked 
away  his  chances  with  an  angry  fist. 
Then,  when  he  had  tamed  his  temper 
and  Paramount  had  changed  its  mind, 
he  had  to  take  a  Marathon  test  with 
enough  film  footage  for  a  feature  pic- 
ture before  they  decided  to  give  him  a 
contract.  And  just  as  that  decision  ar- 
rived, he  actually  got  a  chance  to  go  to 
Broadway  and  open  in  a  new  play.  It 
took  a  lot  of  nerve  to  turn  that  down, 
but  Bob  did,  and  he  thanks  his  lucky 
stars  the  crystal  ball  came  out  right.  Be- 
cause the  play  lasted  about  as  long  as  a 
pork  chop  in  Harlem,  while  Paramount 
is  still  open  for  business,  and  Robert 
Preston  is  Paramount's  favorite  son. 

Cecil  B.  DeMille  tags  Bob  as  the  best 
male  star  prospect  the  movies  have  had 
for  many  a  semester.  In  his  own  opinion, 
Bob  will  take  his  job  in  "Union  Pacific" 
as  the  best  thing  he's  done  to  date, 
though  he's  since  Beau  Gested  with 
Gary  Cooper  and  Typhooned  with 
Dorothy  Lamour. 

He's  kept  extensive  notes  in  his  little 
black  book  about  them  both,  too — just 
to  convince  his  old  Lincoln  Heights  side- 
kicks that  he's  handling  e  man's  job. 
For,  as  I  said,  the  public  opinion  of 
Lincoln  Heights  still  comes  first. 

He  can  tell  'em,  if  they  get  nosey, 
about  the  110  degree  days  on  the  burn- 
ing Arizona  desert  sands  when  he  lugged 
Gary  Cooper,  Brian  Donlevy  and  Ray 
Milland,  no  lightweights,  around  on  his 
neck;  about  the  sandstorm,  the  scorpipns, 
the  rattlesnakes,  the  saddle  sores  and  all 
the  Spartan  location  details  of  making 
"Beau  Geste."  Or  he  can  go  very  thor- 
oughly into  the  thirteen  foot  sharks  fish- 


ermen were  pulling  out  of  the  Catalina 
bay,  right  next  to  where  he  was  doing 
his  swimming  for  "Typhoon."  Or  the 
scrambling  around  he  had  to  do  in  a 
tree-top  forty  feet  or  so  above  terra 
firma  or,  worst  of  all,  his  encounters 
with  a  belligerent  chimpanzee,  one 
"Skippy,"  who  starred  in  the  picture 
quite  as  much  as  Bob  or  Dorothy. 

CKIPPY  is  the  monk  who  effected  a 
^  combination  body-slam  and  haymaker 
on  Dorothy  Lamour  from  which  she's 
still  limping  around.  But  he  was  just 
playing  then.  He  really  worked  out  on 
Bob,  up  in  the  tree  house  where  Skippy 
knew  his  way  around.  Once,  he  waited 
until  Bob  was  helpless  sliding  down  on 
a  jungle  elevator  they'd  rigged  up  with 
vine  cables.  Then  Skippy  opened  with 
Bob's  face  as  a  punching  bag.  Another 
time  the  chimp  nipped  Bob  on  the  hand. 
"Just  relax,"  his  trainer  counseled  Bob 
sweetly.  "He  wants  to  be  friends.  Put 
your  hand  out  again  and  he'll  kiss  it  and 
make  it  well."  Bob's  heart  moved  with- 
in him  and  he  stuck  out  his  paw.  The 
next  minute  he  was  yelling  "Yeeeooow!" 
Skippy  made  sure  that  the  second  chaw 
went  down  to  the  bone. 

On  the  high  life  side,  the  circus  is 
about  as  strenuous  a  social  program  as 
Robert  Preston  cares  to  undertake  in 
Hollywood  as  yet.  The  gay  whirl  of 
Movieland  is  still  all  very  new  to  him 
and  a  little  frightening.  He  did  get  to 
the  Trocadero  a  night  or  two,  as  he 
grins,^  "Just  to  see  how  the  other  half 
lives."  His  comment  afterwards  was  to 
the  point:  "It  costs  too  much,"  said  Bob. 

Bob  hasn't  any  too  much  money  yet 
to  toss  around  in  the  fleshpots,  even  if 
he  cared  to.  He  never  sees  his  check. 
His  mother  takes  it,  gives  him  what  he 
needs  and  plants  the  rest  in  annuities 
for  him.  He  still  lives  with  the  folks,  in 
a  modest  apartment.  He  drives  the  same 
car  he  always  did  and  he  hasn't  half  the 
clothes  that  his  stand-in  has. 

But  it  isn't  the  money  that  stops  him 
there.  It's  just  the  fact  that  Robert 
Preston  looks  and  feels  a  whole  lot  bet- 
ter in  a  sport  shirt  and  slacks  than  he 
does  in  a  dinner  jacket.  He's  not  cut 
out  for  the  fancy  life.  He's  a  meat  and 
potato  boy.  He  has  one  real  girl,  a 
Los  Angeles  school  teacher,  who  is  his 
sweetheart  of  long  standing,  and  Bob 
isn't  planning  any  changes  in  the  ro- 
mance department.  His  several  dates 
with  Dorothy  Lamour  were  practically 
inevitable  after  the  tragi-comic  location 
ordeal  of  "Typhoon,"  but  it's  strictly  a 
pals  proposition. 

Bob  is  a  rabid  football  fan,  he  haunts 
the  midget  auto  races  and  the  baseball 
park,  and  of  course,  has  a  permanent 
ringside  seat  for  the  Friday  night  Holly- 
wood fight  cards. 

The  other  night  Bob  sat  there  and 
watched  two  leather  pushers  slug  it  out 
on  the  canvas  above  him.  One  was  a 
curly-headed  kid,  young  in  years  but 
bearing  the  familiar  scars  of  a  long  ring 
career.  A  slight  shudder  went  through 
Bob  Preston's  big  frame  as  he  rose  and 
trailed  out  of  the  stadium.  He  was 
thinking  that,  all  in  all,  he  was  a  mighty 
lucky  Lincoln  Heights  guy,  that  the 
movies  weren't  so  bad  after  all. 

The  curly-headed  has-been  prizefighter 
looked  too  much  like  what  Bob  Meservy 
might  have  been  for  comfort.  "There, 
but  for  the  grace  of  Hollywood  .  .  ."  mut- 
tered Bob  Preston.  And  he  meant  it. 


MR.  A.:  Whew!  I  hate  the  very  thought 
of  having  to  take  a  cathartic. 

MR.  B.:You  wouldn't,  ifyou'd  try  Ex-Lax. 
It  tastes  swell — just  like  chocolate. 


la  ^  f 

V  a 

MR.  A.:  Ex-Lax?  That's  what  we  give  the 
youngsters.  What  I  need  is  dynamite  I 

MR.B.:Don't  kid  yourself!  Ex-Lax  is 
plenty  effective,  if  that's  what's  worry- 

ing you!  . 

MR.  A.:  Boy,  I  feel  like  a  million  this  morn- 
ing! That  Ex-Lax  sure  is  great  stuff! 

MR.  B.:  You  said  it,  pal!  We've  been  using 
Ex-Lax  in  our  family  for  more  than 
thirty  years! 


The  action  of  Ex-Lax  is  thorough, 
yet  gentle!  No  shock.  No  strain.  No 
weakening  after-effects.  Just  an  easy, 
comfortable  bowel  movement  that 
brings  blessed  relief.  Try  Ex-Lax  next 
time  you  need  a  laxative.  It's  good 
for  every  member  of  the  family. 

10<  and  25* 


^ — ^  u.  s.  ^ —  ^ 

Government 

+     JOBS'  * 


START  $  1  26 0  JO _$^]00_YEAR 

Many  /    FRANKLIN  INSTITUTE 

.         .   .  .  '  Dept.   T256,   Rochester,   N.  Y. 

Appointments  ^  Sirs:  Rush  without  charge,  (1)  32- 
c_.l  Yonr  «  page  book  with  list  of  U.  S.  Govern- 
cacn  lear  ^  ment  Jobs:  (2)  TeU  me,  how  to  qualify 
Men— Women      O  for  one. 

Mail  coupon  °  Name  ,  

Today  Sure  /   Address   .... 


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The  most  famous  aviation  watches,  the 
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The  same  meticulous  craftsmanship  is 
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See  them  at  Longines-Wittnauer  jeweler 
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$75.00 


FORMATION 


You  ask  the  questions  about  your  favorites— 


GRETA  GARBO:    It  was 

Greta  Gustafson's  model- 
ing a  hat  for  a  Stockholm, 
Sweden  department  store 
that  really  started  things 
happening.  When  their 
father's  death  left  them 
penniless,  the  Gustafson 
family  had  to  get  busy. 
Though  Greta  was  only  fourteen  years  old, 
she  got  a  job  in  a  millinery  department — 
but  not  for  long.  One  day  her  picture  ap- 
peared in  an  ad  and  she  was  immediately 
signed  to  appear  in  a  trade  film  on  hats.  A 
Swedish  comedy  director  looking  for  new 
talent,  saw  the  film,  liked  this  slim,  young 
girl  and  cast  her  in  a  movie  called  "Erick, 
the  Tramp."  During  this  time  she  was 
studying  and  doing  some  acting  with  the 
Dramatic  School  of  the  Royal  Theatre  in 
Stockholm  and  had  decided  she  wanted  to 
be  a  great  actress.  Circumstances  kept 
rushing  her  toward  her  goal.  Mauritz 
Stiller,  Sweden's  best  director,  snapped 
her  up  at  this  point,  changed  her  name 

EDWARD  ARNOLD  wanted 
to  be  an  actor  ever  since 
he  was  a  kid.  His  real 
name  is  Guenther  Schnei- 
der and  he  was  born  in 
New  York  City  on  Feb. 
18th,  1890  of  German  par- 
ents. Unfortunately,  his 
father  died  before  he  was 
fifteen  and  he  was  forced  to  leave  school 
and  work  for  a  living.  He  accepted  odd 
jobs,  such  as  in  a  jeweler's  shop,  sold 
newspapers,  acted  as  bell-hop  and  finally 
as  an  oiler  in  the  engine  room  at  Columbia 
University.  By  this  time,  Edward  had 
finally  made  up  his  mind  that  he  wanted 
a  career  in  the  motion  picture  industry, 
preferably  behind  a  camera  or  in  some 
branch  of  the  production  end,  and  he 
bent  all  his  energies  toward  this  end. 
First,  he  became  a  member  of  the  famous 
Ben  Greet  Players,  graduating  to  plays 
with  Maxine  Elliott  and  Ethel  Barrymore. 
Later  he  joined  stock  companies  and, 
after  eleven  years  of  experience  on  the 

OLIVIA    DE  HAVILLAND 

owes  her  phenomenal 
knowledge  of  the  tech- 
nique of  acting  to  the  fact 
that  her  mother,,  famous 
in  London  as  a  dramatic 
coach,  took  her  in  hand  at 
an  early  age  and  began  to 
train  her  for  the  stage  and 
screen.  She  was  born  in  Tokio,  Japan,  on 
July  1st,  1916.  of  English  parentage,  and 
at  the  age  of  three  years  came  to  San 
Francisco,  Cal.,  with  her  parents  and  sis- 
ter who  now  calls  herself  Joan  Fontaine. 
After  completing  her  education  at  the 
Los  Gatos  Union  High  School  and  Notre 
Dame  Convent,  Olivia  turned  to  acting 
as  a  career.  While  playing  the  part  of 
Puck  in  a  school  production  of  "A  Mid- 
summer Night's  Dream,"  she  got  the  job 
of  understudy  in  Max  Reinhardt's  open- 
air  production  of  "A  Midsummer  Night's 
Dream"  in  the  Hollywood  Bowl.  Gloria 
Stuart,  who  was  to  play  the  role  of 
Hermia,  became  ill  and  had  to  be  recalled. 


to  Garbo  and  starred  her  in  "The  Atone- 
ment of  Gosta  Berling."  Her  European 
reputation  was  made!  Then  Hollywood 
stepped  in.  M-G-M  scouts  discovered  her 
and  she  was  immediately  imported.  These 
were  the  silent  days  so  the  fact  that  she 
could  not  speak  English  was  no  drawback. 
Her  first  American  picture  was  "The  Tor- 
rent" and  then  followed  the  pictures  with 
John  Gilbert  that  made  her  the  symbol 
of  exotic  romance.  The  talkies  arrived  and 
everyone  thought  Garbo  was  through.  But 
she  had  learned  to  speak  English  fluently 
in  six  months,  and  remember  the  excite- 
ment when  "Garbo  spoke"  for  the  first 
time  in  "Anna  Christie?"  Now,  after  a 
long  European  vacation,  she  is  making  her 
debut  as  a  comedienne  in  "Ninotchka." 
Naturally  shy  and  timid,  Garbo  makes 
very  few  social  appearances.  When  she 
does  sally  forth,  she  is  seldom  recognized 
in  her  shapeless  felt  hats  and  rough- 
tweeds.  A  born  athlete,  she  is  fond  of  sun- 
baths,  swimming  and  yachting.  See  the 
review  of  "Ninotchka"  on  page  10. 

road  and  a  small  part  in  a  silent  picture 
in  1916,  made  his  debut  on  Broadway  in 
1919  in  "The  Storm."  While  playing  a 
roadhouse  presentation  of  "Whistling  In 
The  Dark,"  he  was  noticed  by  a  movie 
scout,  who  signed  him  to  a  movie  contract. 
Edward  studies  his  roles  at  home  and 
everywhere  else,  often  repeating  his  lines 
to  himself  right  in  the  middle  of  someone's 
perfectly  good  conversation.  He  likes 
current  novels  and  spends  most  of  his 
spare  time  reading.  He  has  traveled  ex- 
tensively and  would  like  to  live  in  South- 
ern France.  To  keep  fit  he  does  nothing 
unusual  but  indulges  in  his  favorite  sports, 
tennis  and  lots  of  horseback  riding.  His 
performance  in  "Mr.  Smith  Goes  To  Wash- 
ington" is  first-rate  and  something  you 
shouldn't  miss.  Arnold  is  five  feet,  eleven 
inches  from  head  to  toe,  and  weighs  two 
hundred  pounds.  He  is  married,  to  Olive 
Emerson,  concert  soprano,  and  has  three 
children  from  a  previous  marriage.  You'll 
find  a  review  of  "Mr.  Smith  Goes  To 
Washington"  on  page  10. 

That  gave  Olivia  the  opportunity  to  step 
into  the  role.  She  scored  a  success,  toured 
the  nation  with  the  Reinhardt  troupe  and 
was  soon  screen  tested  by  Warner  Bros, 
for  the  movie  version.  The  next  thing 
Olivia  knew,  she  had  signed  a  contract. 
Her  favorite  screen  roles  are  Hermia  in 
"A  Midsummer  Night's  Dream,"  Marcia 
in  "It's  Love  I'm  After"  and  Melanie  in 
"Gone  With  The  Wind."  Outside  of  act- 
ing, she  is  most  interested  in  sketching, 
sculpting  and  writing.  When  it  comes 
to  pet  aversions,  she  despises  parsnips, 
cigarette  smoke,  snakes  and  cooking.  She 
has  a  suppressed  desire  to  be  an  author, 
and  her  favorite  extravagances  are  spend- 
ing money  on  shoes  and  stockings.  Olivia 
is  five  feet,  four  inches  in  height,  weighs 
one  hundred  seven  pounds,  has  reddish 
brown  hair  and  brown  eyes.  Her  last  pic- 
tures are  "Gone  With  The  Wind"  and 
"The  Private  Lives  of  Elizabeth  and  Es- 
sex." You  can  write  her  in  care  of  War- 
ner Bros.  Studio,  Burbank,  Calif.  Review 
of  "Elizabeth  and  Essex"  on  page  10. 


MODERN  SCREEN 


DESK 


we 


answer 


them 


Virginia  Hale.  Seattle,  Wn.  Hedy  Lamarr 
and  Spencer  Tracy  did  make  a  picture  to- 
gether called  "I  Take  This  Woman,"  but 
the  reason  you  never  saw  it  is  because  it 
was  shelved. 


Harry  Greenberg,  Brooklyn,  N.  Y.  Deanna 
Durbin's  real  name  is  Edna  Mae  Durbin, 
and  she  was  born  in  Winnipeg,  Canada,  on 
December  4th,  1922.  She  received  her  edu- 
cation at  the  Manchester  Avenue  school 
and  the  Bret  Harte  School  in  Los  Angeles. 
Deanna's  five  feet,  four  inches  tall,  weighs 
one  hundred  twelve  pounds,  has  blue  eyes 
and  brown  hair.  "First  Love"  is  her  next 
picture. 

Lois  Denny,  Creme,  Va.  We  would  suggest 
that  you  write  Jane  Withers,  Sonja  Henie 
and  Richard  Greene  in  care  of  20th  Cen- 
tury-Fox Studios,  Beverly  Hills,  Cal.,  and 
mark  your  letter  "personal." 

Ruth  Simpson,  Kingston,  Pa.  Walter  Pid- 
geon  was  born  in  East  St.  John,  New 
Brunswick,  Canada,  on  September  23rd, 
1898.  He  is  six  feet,  two  inches  tall,  weighs 
one  hundred  and  ninety  pounds,  has  black 
hair  and  grey  eyes.  His  last  picture  was 
"Stronger  Than  Desire."  His  next  will  be 
"Nick  Carter,  Master  Detective."  You  can 
write  him  at  Metro  -  Gold  wyn- Mayer 
Studios,  Culver  City,  Cal. 

H.  Hawthorne,  Roxborough,  Pa.  Both  Ben 
Alexander  and  Hale  Hamilton  are  movie 
personalities,  and  they  have  appeared  in 
pictures  since  1930. 

Madeleine  Carr,  Garfield,  N.  J.  Ronald  Col- 
man  was  born  in  Richmond,  Surrey,  En- 
gland, on  Feb.  9th,  1891.  He  is  five  feet, 
eleven  inches  tall,  weighs  one  hundred 
fifty-eight  pounds,  has  dark  brown  hair 
and  eyes.  Colman  married  Benita  Hume, 
actress,  in  October,  1938.  He  will  soon  be 
seen  in  one  of  Rudyard  Kipling's  greatest 
stories,  "The  Light  That  Failed,"  with  Ida 
Lupino. 

Frances  Rogers,  New  York,  N.  Y.  Ilona 
Massey  was  born  Ilona  Haj  massy,  the 
daughter  of  poor  Hungarian  peasants.  At 
fourteen  she  became  a  seamstress,  but  she 
studied  music  secretly  and  a  year  later  got 
a  position  in  the  chorus  of  a  Budapest 
opera  house,  where  she  sang  and  danced 
for  two  years  before  singing  a  leading  role. 
When  the  opportunity  came  her  success 
was  instantaneous.  The  very  night  she 
made  her  debut  a  Hollywood  executive 
happened  to  be  in  the  audience.  He  signed 
her  to  a  movie  contract  and  she  came  to 
America. 

Helen  Sharon,  Springfield,  111.  Anita  Louise 
is  her  real  name  and  she  was  born  in  New 
York  City,  on  January  9th,  1917.  She  at- 
tended Professional  Children's  School  and 
the  Greenwood  School  for  Girls  in  Holly- 
wood. She  began  her  theatrical  career  at 
the  age  of  seven  and  appeared  in  numer- 
ous New  York  stage  plays  including  "Peter 
Ibbetson,"  "Gloss  of  Youth"  and  "The 


Dear  Readers: 

You've  been  swamping  us  with 
requests  for  iniormation  of  the  lead- 
ing stars  appearing  in  ^Vk"^  and 
"k^cifk  pictures  currently  playing 
in  your  neighborhood  theatres. 
Therefore,  we  have  decided  to 
change  our  policy  and  print  their 
biographies  each  month.  Remem- 
ber that  questions  of  general  inter- 
est will  be  answered  here  as  usual. 
If  you  desire  a  personal  reply,  send 
a  stamped,  self-addressed  envelope 
to  Information  Desk,  Modern 
Screen,  149  Madison  Ave.,  New 
York,  N.  Y. 


Marquise."  Eventually,  one  of  those  ever- 
peering  talent  scouts  saw  her  and  she 
was  given  her  first  role  in  "Madame  Du 
Barry."  Her  hobbies  are  tennis,  fencing 
and  horseback  riding.  She  is  five  feet, 
four  inches  tall,  weighs  one  hundred  six 
pounds,  has  blonde  hair  and  blue  eyes. 
Her  last  picture  is  "Reno." 

Julia  Breitman,  Salt  Lake  City,  Utah. 
Olympe  Bradna  is  five  feet,  three  inches 
tall,  weighs  one  hundred  fifteen  pounds, 
has  brown  eyes  and  black  hair.  Up-to- 
date,  she  has  appeared  in  the  following 
pictures:  "Three  Cheers  For  Love,"  "Col- 
lege Holiday,"  "Last  Train  From  Madrid," 
"Souls  At  Sea,"  "Stolen  Heaven,"  "Say 
It  In  French."  She  will  soon  be  seen  in 
"Heaven  On  A  Shoestring"  and  "Happy 
Ending,"  stills  of  which  may  be  obtained 
by  writing  to  Paramount  Pictures,  New 
York,  N.  Y.,  and  enclosing  ten  cents  for 
each. 

Eleanor  Ross.  Saugerties,  N.  Y.  You're 
right  about  Mickey  Rooney's  song-writing 
career.  Up  to  date,  he  has  written  eight 
songs,  one  has  been  published,  another  is 
about  to  be  and  two  more  have  publishers 
interested.  Which  isn't  bad  at  all  for  a  boy 
of  17,  who  can't  read  a  note  of  music. 

Hilda  Ellenzweig,  New  York,  N.  Y.  Basil 
Rathbone  was  born  in  South  Africa,  June 
13th,  1892.  He  was  sent  to  school  in  Eng- 
land and  began  his  stage  career  there  at 
the  age  of  eleven,  playing  in  Shakespearean 
roles.  He  came  to  America  in  1912,  became 
one  of  the  foremost  figures  on  the  Broad- 
way stage,  and  married  Ouida  Bergere,  sce- 
narist and  playwright.  They  have  one  son. 
He  is  six  feet,  one  and  one-half  inches  tall, 
has  black  hair  and  hazel  eyes.  His  last 
two  pictures  were  "Sun  Never  Sets"  and 
"Rio."  His  next  will  be  "Tower  of  Lon- 
don." You  can  write  him  in  care  of  Uni- 
versal Pictures,  Universal  City,  Cal. 

Bessie  Learos,  Salt  Lake  City,  Utah.  Lynne 
Overman  was  born  in  Maryville,  Mo.,  Sept. 
19,  1887.  He  is  five  feet,  eleven  inches, 
has  blonde  hair  and  blue  eyes  and  weighs 
one  hundred  and  forty-two  pounds. 

Lois  Silvers.  Dayton,  Ohio.  The  actresses 
who  have  won  awards  from  the  Academy 
of  Motion  Picture  Arts  and  Sciences  since 
1928  are  as  follows:  Janet  Gaynor,  1928: 
Mary  Pickford,  1929;  Norma  Shearer,  1930; 
Marie  Dressier,  1931;  Helen  Hayes,  1932; 
Katharine  Hepburn,  1933;  Claudette  Col- 
bert, 1934;  Bette  Davis,  1935;  Luise  Rainer, 
1936;  Luise  Rainer,  1937;  Bette  Davis,  1938. 

John  Powers.  Syracuse,  N.  Y.  John  Wayne 
was  born  Marion  Michael  Morrison  inWin- 
terset,  Iowa,  on  May  26th,  of  Scotch-Irish 
descent.  He  was  raised  on  a  ranch  in  Lan- 
caster, Calif.,  and  attended  the  Glendale, 
California,  High  School  and  the  University 
of  Southern  Calif.  He  earned  his  first 
dollar  as  a  "prop"  man.  He  got  his  break 
in  pictures  when  Raoul  Walsh  saw  him 
carrying  a  table  onto  the  set,  liked  his 
looks,  and  told  him  to  let  his  hair  grow. 
Mr.  Walsh  followed  through  with  the  offer 
of  a  role  in  "Big  Trail."  He  is  six  feet,  four 
inches  tall,  weighs  two  hundred  pounds 
has  brown  hair  and  blue  eyes. 


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Puzzle  Solution  on  Page  81 


ACROSS 

1.  &  4.  First  and  last  name 

of  our  star 
8.  Attractive 

11.  "  Friend" 

12.  "Charlie  in  Reno" 

14.  French  director,  Renee 

C  

16.  "Forged  port" 

18.  He  tried  a  come-back  in 

"The  Sheik  Steps 
Out"  :  in. 

19.  Scotch  family 

21.  "Gentlemen  of  the 
 s"  ' 

23.  Male  lead  in  "Mutiny  on 

the  Blackhawk"  :  in. 

24.  Cape  Dutch 

25.  Explosive 

27.  Impresses  with  reveren- 
tial fear 

29.  A  two  reel  picture 

31.  Star  of  "Goodbye  Mr. 
Chips" 

33.  Type  of  preview. 

35.  ""Riders  of  the  Fr  -  -  - 

ier" 

36.  Star  of  "Honolulu" 

38.  "Jamaica  " 

39.  Loses  blood 

41.  Away  from  the  sea 

44.  Prisci  -  -  a  Lane 

45.  ardo  Cortez 

46.  Famous  adventure 

writer  and  scenarist 

47.  Gale  Sonderg  -  -  rd 

48.  Myrna  L  -  - 

49.  Band   leader   in  "Man 

About  Town"  :  in. 

50.  Bette  Davis'  ex  :  in. 

51.  A  player  in  westerns: 

in. 

52.  English  character  actor, 

Reginald  -  -  en 

53.  "I  St  -  -  -  a  Million" 
.  54.  Highest  card 

S\  A  famous  book  being 
filmed  :  "Reb  -  -  ca" 

57.  "When  To  

Comes" 


59.  Sold  a  second  time 

61.  "CI  s  over  Europe" 

62.  Way  a  movie  beginner 

usually  acts 

68.  "Li  -  -  -  e  Old  New 

York" 

69.  Goodbye  in  French 

71.  Bobby  ,  youthful 

singing  star 

72.  To  tap  again 

74.  Anna  Sten  was  in 

76.  Western  star,  May- 

nard 

77.  At  that  time 

78.  Star  of  35  across  :  in. 
80.  Damita 

82.  Rhymed  lines 

83.  English  star  in  "Here  I 

Am  A  Stranger" :  in. 

84.  Hunter 

86.  Minute 

88.  A  small  depression 

89.  -  -  -  West 

90.  The  "Ecstasy"  girl 

91.  Roland  

92.  Martin 

DOWN 

1.  Hall  of  "Hurricane" 

2.  Lew  -  -  res 

3.  Spirit  in  French 

4.  What  the  censors  do 

5.  "A  Child  Is  Bo  -  -" 

6.  -  -  an  Mowbray 

7.  Short  sleep 

8.  Laura  Hope  

9.  Annabella's  husband : 

in. 

10.  "House  of  F  -  -  -" 

11.  The  Marx  :  abbr. 

13.  Wallis,  a  producer 

15.  Late  G.  Gershwin's  lyri- 
cist brother 

17.  Bag 

19.  "Nick  " 

20.  Neagle  in  "Nurse 

Edith  Cavell" 

22.  Characteristic  of  old  age 
24.  Franchot  


25.  Part  of  the  foot 

26.  Sun-baked  complexion 
28.  In  "Mr.  Smith  Goes  To 

Washington,"  Jimmy 
Stewart  plavs  a 
 tor 

30.  Where  movies  are  made 

31.  The  sarong  girl:  in. 

32.  "No  Place --Go" 

34.  Star  of  "Bridal  Suite" 

36.  Shuns 

37.  Barthelmess 

39.  Bing   Crosby's  famous 

song,  "Love  in  " 

40.  macy  means  tact 

42.  "For  the  ",  means 

"for  the  moment" 

43.  What  no  one  can  do  like 

Fred  Astaire 
53.  Harrowing  experience 
55.  Regard 

58.  What  scandal  can  do  to 
a  star 

60.  To  the  personal  consid- 
eration of  :  abbr. 

63.  Lung  disease  :  abbr. 

64.  Irritate 

65.  What  the  old  time  two 

reeler  villain  used  to 
do 

66.  The  top  box  office  play- 

ers are  called  "The  Big 

67.  "Espionage  Ag  -  -  t" 

69.  Against 

70.  Agreement 

72.  Gable  in  "G.W.T.W." 

73.  Gale  in  "Daugh- 

ters Courageous" 

75.  "Honeymoon  in  B  " 

77.  Fred    S---e    in  "No 

Place  To  Go" 
79.  College  yell 

81.  "Dust  Be  My  Dest  -  -  -" 

82.  Sow 

83.  -  --Milland 

85.  Point  of  compass 

87.  Loretta  -  -  ung 

88.  Male  star  of  "Eternally 

Yours"  :  in. 

89.  Feminine  star  of  silent 

days :  in. 


MODERN  SCREEN 


THIS  STAR  STUFF 

(Continued  from  page  35) 


it  is  a  necessary  part  of  the  business  of 
every  star  to  try  to  see  himself  as  others 
want  to  see  him.  I  believe  that  I  have, 
if  I  may  immodestly  say  so,  a  fairly  good 
idea  of  what  I  can  do  and  what  I  can- 
not do.  Stars  are  only  business  men, 
after  all,  selling  the  characters  they 
manufacture.  And  it  behooves  the  star 
to  see  to  it  that  his  'goods'  is  protected 
in  every  way  possible.  When  a  picture 
in  which  I  am  appearing  starts,  I  do 
whatever  I  can  to  help  make  the  story 
as  airtight,  as  good  entertainment  as  it's 
possible  to  make  it. 

"Now,  some  players  under  contract  to 
studios  suffer  occasionally  because  of 
mass  production  pressure.  Some  players 
must  accept  stories  and  parts  unsuited 
to  them  that  the  quota  of  pictures  prom- 
ised the  exhibitor  may  be  fulfilled.  But 
if  you're  going  to  have  the  benefit  of  a 
powerful  organization  behind  you,  you 
must  be  willing  to  share  the  studios' 
liabilities  as  well  as  its  assets. 

ALL  of  which  leads  to  the  problem 
A  'to  free-lance  or  work  under  con- 
tract.' If  you  free-lance,  you  pick  your 
own  plums  when  and  as  offered,  when 
and  as  you  see  fit.  The  chances  are  that 
you  will  earn  a  bigger  net  profit  making 
one  free-lance  picture  a  year  than  you 
could  make  doing  six  contract  pictures  a 
year.  Under  contract,  too,  you  may  find 
a  quince  in  your  lap  among  the  plums. 
And  there  is  nothing  you  can  do  about 
a  quince  but  eat  it.  On  the  other  hand, 
you  may  be  mistaken  in  the  nature  of 
the  fruit.  I  would  not  have  chosen  to 
make  'The  Last  of  Mrs.  Cheney,'  for 
instance,  nor  would  I  have  chosen  to 
make  'Double  Wedding.'  Yet  both  pic- 
tures, I  am  told,  made  money.  Unless 
the  star  can  depend  absolutely  upon  his 
own  judgment,  therefore,  the  studio  con- 
tract offers  safer  harborage  than  the 
free-lance  field. 

"Any  person  in  this  business  is  wise 
to  seek  the  best  help  he  can  get.  By 
which  I  mean,  the  best  executive  at  the 
best  studio,  the  best  agent,  the  best  di- 
rector, cameraman,  the  best  man  and 
woman  power  available.  A  star's  per- 
sonal performance  is  always  secondary 
to  the  picture  as  a  whole.  It  is  there- 
fore good  business  on  the  part  of  the 
star  to  raise  no  objections  if  the  picture 
requires  seven  other  stars  in  the  cast 
with  him.  For  if  the  picture  is  a  box 
office  smash  and  the  star's  name  is  con- 
nected with  it,  that's  enough.  You  rather 
stick  your  chin  out  if  you  set  yourself 
up  as  a  Maharajah  with  nothing  but 
clucks  about  you. 

"For  the  rest,"  said  Bill,  "there  is  the 
tradition  still  in  good  standing  that  it's 
part  of  the  star's  business  to  be  'in'  with 
the  'right  people.'  There  is  the  romantic 
fiction  which  says  that  a  star  'owes  it 
to  his  studio'  to  dwell  in  marble  halls, 
staffed  with  enough  help  to  run  Buck- 
ingham Palace  efficiently.  I  should  like 
to  burst  that  bubble  because  it  is  a 
bubble,  publicity-made.  Many  of  the 
greatest  stars  live  simply,  on  ranches  in 
the  Valley,  driving  small  cars,  getting 
along  with  a  couple  to  'do'  for  them. 
And  I  have  not  noticed  that  this  mod- 
erate way  of  living  in  any  way  affects 
their  status  with  their  studios  or  their 
popularity  with  their  public. 

"Stars  who  live  extravagantly  do  so 
because  they  want  to,  not  because  their 
studios  require  them  to  'nut  up  a  front.' 

"I  have,  at  present,  a  fclrly  l„-.r'ga  house 


here  in  Bel  Air.  I  have  it  because  my 
parents  live  with  me  and  because,  at 
the  time  I  leased  it,  I  thought  I  wanted 
a  large  house.  But  I  am  planning  now 
to  build  a  house  and,  if  and  when  I  do, 
it  will  be  a  small  one. 

"Yes,  my  wardrobe  is,  certainly,  much 
in  excess  of  what  it  would  be  if  I  were 
the.  average,  well-dressed  business  man. 
I  have,  I  suppose,  some  fifty  suits,  a 
commensurate  number  of  top  coats, 
shoes,  hats,  jackets.  But  that  is  not  be- 
cause 'all  is  vanity'  with  me.  It  is  be- 
cause it  is  part  of  my  business  equip- 
ment as  saws  and  hammers  are  business 
equipment  to  a  carpenter.  I  seldom  know 
what  kind  of  clothes  I  will  be  called  upon 
to  wear  in  my  next  picture.  If  I  should 
be  called  upon  to  play  the  Khan  of 
Tartary,  the  studio  would,  then,  furnish 
the  costumes.  But  in  any  role  in  which 
I  wear  clothes  such  as  the  modern  man 
might  wear,  under  all  conceivable  cir- 
cumstances, I  must  draw  upon  my  own 
wardrobe.  We  all  furnish  our  own  trim- 
mings and  the  more  we  go  in  for  urban- 
ity the  more  replete  our  wardrobes  are. 

"I  cannot,"  said  Bill,  "squawk  about 
this  business  of  being  a  star.  We  who 
are  in  pictures  are  a  very  favored  group 
of  people.  I  have  a  feeling  that  we  must 
not  complain — there  is  a  great  good  for- 
tune involved  in  being  a  star,  and  darn 
few  sacrifices.  The  lack  of  any  private 
life,  so  frequently  and  feverishly  la- 
mented by  some  of  us,  is  not  partic- 
ularly blighting.  Such  laments  from  the 
Chosen  of  the  Cinema  always  remind 
me  of  the  spoiled  beauty  who  wailed,  'Oh, 
you're  so  good  to  me  and  I'm  so  tired 
of  it  all!'  It's  like  being  bitter  about  a 
dish  of  caviar. 

"Still  another  lament  in  good  standing 
is  that  the  stars  get  but  a  fraction  of 
what  they  are  reputed  and  reported  to 
earn.  That's  true.  But  we  are  still  hand- 
somely paid,  when  the  last  deduction  is 
made.  The  only  injustice  in  high  taxa- 
tion of  the  picture  actor  is  that  of  the 
relatively  brief  duration  of  his  active 
career  as  compared  with  other  occupa- 
tions and  professions.  But  even  this  wail 
is  open  to  question.  Because  it  is  my 
belief  that  there  hasn't  been  time  enough 
to  find  out  whether  the  careers  of  talk- 
ing stars  are  more  short-lived  than 
other  careers  have  proved  or  not.  All  of 
us,  in  all  walks  of  life,  must  ask,  'Where 
is  the  Future?'  but  while  we're  asking 
it,  we  who  are  stars,  are  comfortably 
housed,  well-fed,  equipped  with  most  of 
the  luxuries  of  life. 

"No,  no,  not  a  squawk  .  .  .  not  even 
when  I  say  the  time  has  come  when 
I  must  decide  whether  a  smaller  return 
for  many  pictures  a  year  is  of  more 
benefit  to  me  than  a  larger  return  for 
few  pictures  andr  the  incidental  preser- 
vation of  my  youth  and  beauty! 


STAR  ADDRESS  LIST 

Send  a  stamped,  self-addressed  envelope 
today  for  a  new  list  of  Hollywood  stars 
with  their  correct  studio  addresses.  It 
is  a  convenient  size  to  handle  or  keep 
in  a  scrap-book.  To  receive  a  list,  all 
you  have  to  do  is  write  to  us  and  ask 
for  it,  enclosing  a  large,  self-addressed 
and  stamped  envelope.  Don't  forget 
that  last  item,  as  no  request  can  be 
complied  with  otherwise.  Please  send 
requests  to  Information  Desk,  Modern 
Screen,  149  Madison  Ave.,  New  York,  N.Y. 


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MOVIE  SCOREBOARD 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.  4-^-  means  very  good;  3^,  good;  2-jAr,  fair;  poor. 
C  denotes  that  the  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Picture  GRXg 

Adventures  of  Sherlock  Holmes  (20th  Cent-Fox) . .    3  k 

Andy  Hardy  Gets  Spring  Fever  (M-G-M)  C  3-k 

Babes  In  Arms  (M-G-M)  C  3* 

Bachelor  Mother  (RKO)  C  3V2-k 

Back  Door  to  Heaven  (Paramount)  C  2V2k 

Bad  Lands  (RKO)   2* 

Beachcomber,  The  (Mayflower)  3Vz~k 

Beau  Geste  (Paramount)  C     3  + 

Big  Town  Czar  (Universal)   2  + 

Blackmail  (M-G-M)   2* 

Blind  Alley  (Columbia)  iVz* 

Blondie  Takes  a  Vacation  (Columbia)   2* 

Boy  Friend  (20th  Century-Fox)  C  2V2* 

Boys' Reformatory  (Monogram)   2 -At 

Bridal  Suite  (M-G-M)   2* 

Broadway  Serenade  (M-G-M)  C2Vi* 

Bulldog  Drummond's  Bride  (Paramount)   2* 

Bulldog  Drummond's  Secret  Police  (Paramount)  C  2Vi-k 

Calling  All  Marines  (Republic)   2* 

Calling  Dr.  Kildare  (M-G-M)   3  Ik- 
Captain  Fury  (United  Artists)  C  2V2* 

Career  (RKO)   2* 

Charlie  Chan  at  Treasure  Island  (20th  Century-Fox)  2* 

Charlie  Chan  in  Reno  (20th  Century-Fox)  C  2V2* 

Climbing  High  (Gaumont  British)  2V2  + 

Clouds  Over  Europe  (Columbia)  ZVzic 

Coast  Guard  (Columbia)   2 -At 

Confessions  of  a  Nazi  Spy  (Warners)   3  k 

*Dancing  Co-ed  (M-G-M)   2  ★ 

Dark  Victory  (Warners)   4k 

Daughters  Courageous  (Warners)   3-k 

Day  the  Bookies  Wept,  The  (RKO)   2  ★ 

Death  of  a  Champion  (Paramount)  2V2  Ik- 
Disputed  Passage  (Paramount)   3* 

Dodge  City  (Warners)   3* 

Dust  Be  My  Destiny  (Warners)  2V2* 

Each  Dawn  I  Die  (Warners)   3* 

East  Side  of  Heaven  (Universal)  C  3-k 

Eternally  Yours  (United  Artists)  2V2k 

"Elizabeth  and  Essex  (Warners)   4-k 

Espionage  Agent  (Warners)  2}4k 

Everything's  on  Ice  (RKO)   2* 

Ex-Champ  (Universal)   2* 

Fast  and  Furious  (M-G-M)   2* 

Fifth  Avenue  Girl  (RKO)   3* 

Five  Came  Back  (RKO)   2* 

Fixer  Dugan  (RKO)   2* 

Flight  at  Midnight  (Republic)   2  * 

*Flying  Deuces  (RKO)   2* 

Flying  Irishman,  The  (RKO)  C  2V2  Ik- 
Forgotten  Woman,  The  (Universal)   2  Ik 

Four  Feathers  (United  Artists)  3V2-k 

Frontier  Marshal  (20th  Century-Fox)  2i4k 

Full  Confession  (RKO)   2* 

Girl  and  the  Gambler,  The  (RKO)   2* 

Girl  from  Rio  (Monogram)   2* 

Golden  Boy  (Columbia)   3* 

Goodbye  Mr.  Chips  (M-G-M)  C  4-k 

Good  Girls  Go  To  Paris  (Columbia)  2V2* 

Gorilla,  The  (20th  Century-Fox)  2V2* 

Gracie  Allen  Murder  Case  (Paramount)  2V2k 

Grand  Jury  Secrets  (Paramount)  2V2-k 

Hardys  Ride  High,  The  (M-G-M)  C  3* 

Hawaiian  Nights  (Universal)   2* 

♦Heaven  With  a  Barbed  Wire  Fence  (20th  Cen.-Fox)  2  ★ 

Hell's  Kitchen   (Warners)  2V2* 

Here  I  Am  a  Stranger  (20th  Century-Fox)  2y2* 

Heritage  of  the  Desert  (Paramount)   2k 

Hollywood  Calvalcade  (20th  Century-Fox)   3-* 

Honeymoon  in  Bali  (Paramount)   3  k 

Hotel  For  Women  (20th  Century-Fox)  2V2k 

Hotel  Imperial  (Paramount)   2k 

House  of  Fear,  The  (Universal?.. IS:   2* 

"Housekeeper's  Daughter,  The  (United  Artists)..  2* 

I'm  From  Missouri  (Paramount)   3k 

Indianapolis  Speedway  (Warners)  2V2k 

In  Name  Only  (RKO)  3V2k 

Intermezzo,  A  Love  Story  (United  Artists)   3  it 

Invitation  to  Happiness  (Paramount)  C     3  * 

I  Stole  a  Million  (Universal)   3* 

It  Could  Happen  to  You  (20th  Century-Fox?   2* 

It's  a  Wonderful  World  (M-G-M)   3* 

Jamaica  Inn  (United  Artists)   3* 

Jones  Family  in  Hollywood  (20th  Century-Fox)  C  3* 

Juarez  (Warners)   3  + 

Kid  From  Kokomo,  The  (Warners)   2* 

Kid  From  Texas,  The  (M-G-M)   2* 

Lady  and  the  Mob,  The  (Columbia)  2V2* 

Lady  of  the  Tropics  (M-G-M)   2* 

Lady's  from  Kentucky,  The  (Paramount)  2V2-*k 

Love  Affair  (RKO)  3V2-* 

Lucky  Night  (M-G-M)  2V2* 

Magnificent   Fraud   (Paramount)   2k 

Maisie  (M-G-M)   3* 

Man  About  Town  (Paramount)   3* 

Man  in  the  Iron  Mask  (United  Artists)   3* 


Picture  General 

Rating 

Man  of  Conquest  (Republic)   3-*- 

*Marx  Bros,  at  the  Circus  (M-G-M)  C     1  * 

Mickey,  the  Kid  (Republic)   2* 

Midnight  (Paramount)   3k 

Mikado,  The  (Universal):  C  3 Ik- 
Million  Dollar  Legs  (Paramount)   2-k 

Miracles  For  Sale  (M-G-M)  2V2  Ik- 
Missing  Daughters  (Columbia)   2* 

Mr.  Moto  in  Danger  (20th  Century-Fox)  C  2-* 

Mr.  Moto  Takes  a  Vacation  (20th  Century-Fox)  C     2  -jlr 

Mr.  Smith  Goes  to  Washington  (Columbia)   4* 

Mr.  Wong  in  Chinatown  (Monogram)   2^k 

Mutiny  on  the  Blackhawk  (Universal)   2k 

Naughty  But  Nice  (Warners)   2* 

Never  Say  Die  (Paramount)   2^r 

News  is  Made  at  Night  (20th  Century-Fox)  2y2* 

*Ninotchka  (M-G-M)   4k 

North  of  Yukon  (Columbia)   2* 

Nurse  Edith  Cavell  (RKO)   4* 

Oklahoma  Kid,  The  (Warners)   3* 

Old  Maid,  The  (Warners)   4* 

On  Borrowed  Time  (M-G-M)   3* 

On  Dress  Parade  (Warners)   2* 

$1,000  a  Touchdown  (Paramount)   2* 

Only  Angels  Have  Wings  (Columbia)   3-k 

On  Trial  (Warners)  2V2* 

On  Your  Toes  (Warners)  21/2ik- 

Our  Leading  Citizen  (Paramount)  21/2^r 

Pack  Up  Your  Troubles  (20th  Century-Fox)  2y2* 

Panama  Lady  (RKO)   2* 

Parents  on  Trial  (Columbia)   2it 

Pride  of  the  Blue  Grass  (Warners)  2V2  Ik- 
Quick  Millions(20th  Century-Fox)  C  2* 

Rains  Came,  The  (20th  Century-Fox)   3* 

Range  War  (Paramount)   2k 

Real  Glory,  The  (United  Artists)   2* 

Return  of  the  Cisco  Kid,  The  (20th  Century-Fox). .  2* 

Rio  (Universal)  2V2* 

*Roaring  Twenties,  The  (Warners)   3  k 

Rose  of  Washington  Square  (20th  Century-Fox)  C  3^k 

*Rulers  of  the  Sea  (Paramount)   3k 

Second  Fiddle  (20th  Century-Fox)  C  3* 

She  Married  a  Cop  (Republic)   2  + 

6,000  Enemies  (M-G-M)  2V2* 

Some  Like  It  Hot  (Paramount)   2* 

Sorority  House  (RKO)  C  2* 

SOS— Tidal  Wave  (Republic)   2* 

Spellbinder,  The  (RKO)   2* 

Spirit  of  Culver,  The  (Universal)  C  2V2-k 

Stagecoach  (United  Artists)   4k 

Stanley  and  Livingstone  (20th  Century-Fox)  3V2^k 

Star  Maker,  The  (Paramount)  2V4* 

Stolen  Life  (Paramount)  2V2lk- 

Stop,  Look  and  Love  (20th  Century-Fox)   2* 

Story  of  Alexander  Bell  (20th  Century-Fox)  C  3V2-k 

Story  of  Vernon  and  Irene  Castle,  The  (RKO).  .C  3V2k 
Streets  of  New  York  (Monogram)   2  Ik- 
Stronger  Than  Desire  (M-G-M)  2V2* 

Sun  Never  Sets,  The  (Universal)   2  Ik 

Susannah  of  the  Mounties  (20th  Century-Fox).  C  3  Ik- 
Sweepstakes  Winner  (Warners)   2ir 

Tarzan  Finds  a  Son  (M-G-M)  2V2k 

Tell  No  Tales  (M-G-M)  2V2* 

These  Glamour  Girls  (M-G-M)..  2l/2* 

They  All  Come  Out  (M-G-M)  2V2-k 

They  Asked  For  It  (Universal)   2* 

They  Made  Her  a  Spy  (RKO)   2* 

They  Shall  Have  Music  (United  Artists)  C  3V2k 

Those  High  Grey  Walls  (Columbia)  2V2-k 

Three  Smart  Girls  Grow  Up  (Universal)  C  3-k 

Thunder  Afloat  (M-G-M)  2V2k 

Torchy  Plays  With  Dynamite  (Warners)  2V2-*r 

Torchy  Runs  for  Mayor  (Warners)  2V2-fr 

Tropic  Fury  (Universal)   2k 

20,000  Men  a  Year  (20th  Century-Fox)   3* 

Two  Bright  Boys  (Universal)   2k 

U-Boat  29  (Columbia)   3* 

Undercover   Agent  (Monogram)   2-*- 

Undercover  Doctor  (Paramount)  2V2-k 

Underpup,  The  (Universal)   3  Ik- 
Unexpected  Father  (Universal)   2^k 

Union  Pacific  (Paramount)  3V2k 

Waterfront  (Warners)   2  k 

What  a  Life  (Paramount)   3-k 

When  Tomorrow  Comes  (Universal)  2V2k 

Winner  Take  All  (20th  Century-Fox)   2* 

Winter  Carnival  (United  Artists)  2V2lk- 

Wizard  of  Oz,  The  (M-G-M)  C  4* 

Wolf  Call  (Monogram)   2* 

Woman  i;  the  Judge,  A  (Columbia)..   2-k 

Women,  The  (M-G-M)   3* 

Women  in  the  Wind  (Warners)   2* 

Wuthering  Heights  (United  Artists)   4* 

You  Can't  Get  Away  With  Murder  (Warners).  .2V2 Ik- 
young  Mr.  Lincoln  (20th  Century-Fox)  C  3l/2-k 

Zenobia  (United  Artists)  C  2* 


8f 


MODERN  SCREEN 


GOOD  NEWS 

(Continued  from  page  18) 


laid  down  that  must  be  obeyed.  It  is  that 
under  no  circumstances  must  the  studio 
call  him  before  ten  o'clock  in  the  morning. 
But  the  other  day  a  matter  came  up  which 
demanded  Cary's  immediate  appearance  at 
the  studio — and  it  was  not  yet  ten  o'clock. 
So  Columbia's  big  boss,  himself,  decided 
to  take  the  responsibility  for  the  call.  He 
managed  to  get  the  actor  on  the  wire  and 
hastened  to  say,  "Did  I  wake  you  up,  old 
boy?"  "Oh,  no,"  came  Grant's  honeyed 
voice.  "No,  you  didn't  wake  me  up.  I'm 
still  asleep." 

ANDREA'S  SPARKLER 

The  first  day  of  shooting  on  her  new  pic- 
ture,' Andrea  Leeds  was  the  center  of  at- 
traction. It  was  the  sparkler  on  her  left 
hand  which  caused  all  the  commotion.  After 
the  director,  the  players,  the  cameramen 
and  the  props  had  all  ohed  and  ahed  over 
the  ring,  Andrea  said,  "Gee,  I  didn't  know 
it  looked  that  good  myself.  That  must  be 
one  dollar  and  twenty-five  cents  worth  of 
extra  good  paste."  The  $25,000  engage- 
ment ring  of  Bob  Howard's  was  safe  in  a 
bank  vault,  Andrea  explained.  "I  thought 
I'd  never  want  to  take  it  off  my  finger 
after  Bob  put  it  there,"  she  said,  "but  a 
$25,000  investment  can  be  an  awful  strain 
on  the  sentiments." 

MARIE,  THE  CAMERA  FIEND 

For  some  time  Marie  Wilson  had  worried 
about  the  fact  that  she  didn't  have  a  hobby 
since,  according  to  all  the  magazine  articles, 
every  well-rounded  personality  has  a  hobby. 
Nick  Grinde  finally  took  pity  on  her  and 
bought  her  a  camera  and  our  Modern 
Screen  cameraman  took  pity  on  her  and 
spent  an  afternoon  showing  her  the  fine 
points  of  photography.  The  next  day  Marie 
left  for  Palm  Springs  and  at  midnight  her 
teacher,  Jules  Buck,  was  awakened  by  a 
long-distance  call  from  the  desert  resort. 
It  was  the  Wilson  gal.  "I  don't  like  to  bother 
you,"  she  said,  "but  what  exposure  do  you 
give  clouds  when  there  is  no  moonlight?" 

JUNE,  GARBO'S  RIVAL? 

Funniest  romance  mix-up  in  months  was 
when  little  June  Preisser  was  supposed  to 
have  snitched  Garbo's  boy  friend.  She 
was  reported  seeing  all  the  cafes  and  night 
clubs  with  Dr.  Gaylord  Hauser,  the  diet  fad- 
dist. This  would  have  been  very  good 
publicity  for  June,  but  she  was  too  an- 
noyed to  stop  to  think  of  any  such  thine., 
when  she  read  about  her  new  romance  i', - 
the  papers.  She  told  her  studio,  her 
friends  and  the  columnists  that  the  man 
with  whom  she  was  seen  is  Frey  Brown,  c 
man  who  looks  like  the  good  doctor.  But, 
according  to  the  indignant  June,  the  re- 
semblance stops  right  there  for  Frey  has. 
never  given  a  second  thought  to  his' 
stomach. 

REMEMBER,  "REMEMBER?" 

When  picture  titles  are  not  satisfactory, 
the  studios  send  memos  to  the  various 
offices  on  the  lot  asking  for  suggestions.  At 


Metro  recently,  the  employees  were  asked 
to  dream  up  a  new  title  for  the  Robert 
Taylor-Greer  Garson  picture,  "Remember." 
After  everyone  on  the  lot  had  sent  in  sev- 
eral suggestions,  a  memo  arrived  from  the 
front  office.  The  title  change  had  been 
made.  The  picture  "Remember"  would 
now  be  called  "Remember?"  No,  it  wasn't 
a  gag — that's  just  Hollywood! 

SHIRLEY  WILL  BROADCAST 

Shirley  Temple  will  make  her  first  radio 
coast-to-coast  appearance  for  charity  when 
she  appears  on  the  "Screen  Guild  Theatre" 
program  the  day  before  Christmas.  Having 
been  offered  as  high  as  $35,000  for  a  single 
air  appearance,  and  turned  down  all  offers 
to  now,  Shirley's  air  debut  is  considered 
one  of  greatest  import  here  in  Movietown. 
The  "Screen  Guild  Theatre,"  as  you  know, 
is  Hollywood's  own  radio  show  on  which 
movie  satellites  donate  their  talents  .  .  .  and 
the  sponsor  of  the  show  sets  .aside  $10,000 
a  week  for  the  building  of  a  home  for  old 
and  indigent  motion  picture  people. 

BROKEN  HEARTS  CLUB 

Franchot  Tone  has  just  received  an  invi- 
tation to  become  honorary  president  of  the 
P.  O.  W.  club — a  fraternity  started  by  a 
group  of  students  at  Arizona  State  College 
at  Tempe.  The  letter  stated  that  P.O.W. 
stands  for  "Phooey  on  Women"  and  mem- 
bership is  limited  to  "jilted  lovers  only." 
Meetings  are  closed  with  a  lusty  rendition 
of  the  club  theme  song,  "I  Get  Along  With- 
out You  Very  Well."  Tone  is  writing  the 
boys  at  Tempe  that  he'll  accept  the  honor 
if  they'll  also  bestow  the  same  title  upon 
his  pal,  Jackie  Coogan. 

SHORT  SHOTS 

Alice  Faye  lost  most  of  her  personal  ward- 
robe when  her  house  burned  down,  so  the 
studio  came  to  the  rescue  and  donated 
enough  finery  to  keep  her  in  ecstacies  for 
days  .  .  .  Don  Ameche's  two-month  vaca- 
tion away  from  radio  and  movie  work  is  be- 
cause his  boss,  Darryl  Zanuck,  was  afraid 
he  was  heading  for  a  nervous  breakdown 
.  .  .  Gene  Autry  is  still  the  country's  fa- 
vorite star.  He  received  50,103  letters  dur- 
ing the  month  of  September  which  tops  all 


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MODERN  SCREEN 


Anne  Shirley  and  Hubby  John  Payne  lunch  at  the  Brown  Derby,  the 
place  famous  for  the  caricatures  adorning  its  walls. 


previous  records  of  any  star  .  .  .  Bill 
Powell  gave  Alice  Marble  a  new  leather 
coat,  like  one  of  his  she  admired,  for  win- 
ning the  Wimbledon  tennis  championship, 
with  the  inscription  "For  being  a  good  girl" 
.  .  .  Otto  Kruger  gave  the  Mrs.  a  new  car  on 
their  20th  wedding  anniversary  recently  .  .  . 
Jimmy  Cagney's  sister,  Jean,  makes  her 
movie  bow  in  the  picture  Campus  Wives" 
.  .  .  Mickey  Rooney,  who  says  "Babes  In 
Arms"  is  his  260th  picture,  went  to  the  pre- 
view of  "Hollywood  Cavalcade"  all  alone 
and  early!  And  had  a  swell  time  "mug- 
ging" for  the  photographers  before  the 
glamor  boys  and  girls  showed  up  .  .  . 
Martha  O'Driscoll  is  the  newest  starlet  to 
join  the  build-up  parade  at  M-G-M.  And  she's 
going  the  usual  route — through  a  new 
Hardy  family  picture  .  .  .  Dolores  Del  Rio 
has  some  new  jewelry  painted  with  phos- 
phorus to  make  it  dazzle  her  companions 
under  night  lights  .  .  .  Tom  Mix  walked 
into  the  Beverly  Derby  the  other  night  for 
a  cuppa  coffee  and  had  both  the  tourists  and 
newspaper  reporters  giving  him  their  un- 
divided attention. 

ROMANCE  NOTES 

Maxie  Rosenbloom  announced  to  the  press 
as  soon  as  he  returned  from  his  Las  Vegas 
elopement  with  Muriel  Fader  that  he's  goinc*"" 
to  settle  down  and  be  a  family  man  frorr* 
now  on.    Of  course,  that  includes  what  W 
calls  his   "screen  career"   and  night  clul 
ownership,  and  Mrs.  Rosenbloom  adds  th( 
he's  going  to  learn  the  English  language 
There's  a  chance  since  she  used  to  be 
teacher  .  .  .  Judy  Garland  is  dating  Grac 
Hayes'  son,  Peter  ...  Jackie  Cooper  is  st 
taking  Pat  Stewart  to  night  clubs  and  prf 
views  .  .  .  Lew  Ayres  is  quite  smitten  wiu 
the  charms  of  Helen  Gilbert  .  .  .  Olivia  d 
Havilland    seems    to    be    concentrating  i 
Howard  Hughes  .  .  .  Mary  Healy  says  P 
dolph  Scott  is  a  wonderful  man,  and 
dolph  is  so  far  gone  that  he  can't  eveu  j 
about  Mary  .  .  .  Martha  Raye  and  V 

82  / 


Rose  celebrated  their  first  wedding  anni- 
versary at  the.  Victor  Hugo,  and  both  say  the 
marriage  is  going  to  last  forever  .  .  .  Ro- 
chelle  Hudson  and  her  bridegroom,  Hal 
Thompson,  hold  hands  wherever  they  go  .  .  . 
Walter  Wanger  is  still  the  leading  man  in 
Joan  Bennett's  life  .  .  .  And  there  are  those 
who  say  that  Anatole  Litvak  and  Ann  Sher- 
idan are  really  serious  about  their  romance 
.  .  .  The  Al  Jolson's  celebrated  their  11th 
wedding  anniversary  at  the  Cocoanut 
Grove   just   before   she   sued   for  divorce. 

ALONG  SUNSET  STRIP 

Stuart  Erwin  and  June  Collyer  getting  ad- 
miring glances  from  customers  and  curb 
hops  at  Simon's  drive-in  while  eating  a 
sandwich  luncheon  .  .  .  Richard  Dix  drop- 
ping in  at  the  redecorated  Tobey's  drug- 
store and  whistling  his  approval  at  all  the 
new  changes  .  .  .  Madeleine  Carroll  park- 
ing in  front  of  the  Villa  Nova  for  her  fre- 
quent orgy  of  real  Italian  spaghetti  .  .  . 
Edgar  Bergen  helping  to  move  his  office  fur- 
niture into  the  former  Kingston  agency  office. 
And  across  the  street  neighbor,  Eddie 
Cantor,  coming  over  to  lend  Bergen  a  hand 
.  .  .  Sonja  Henie,  running  out  of  agent  Vic 
Orsatti's  office,  and  never  looking  right  or 
left  as  she  climbs  into  her  small  coupe  and 


"QUIET,  GRACIE!" 

George  Burns  decided  the  other  day  that 
his  small  son  wasn't  as  courteous  as  he 
might  be.  In  particular,  in  the  manner  in 
which  he  took  leave  for  school  in  the  morn- 
ing. George  pointed  out  that  he  should 
be  a  little  gentleman  about  leave-takings, 
and  not  rush  off  without  a  word  of  fare- 
well. "For  instance,"  he  pointed  out, 
"what  does  Daddy  say  when  he  leaves 
Mother?"  "Quiet,  Gracie,"  replied  his  son. 

INGRID'S  A  MA! 

In  spite  of  her  success  in  "Intermezzo,"  her 
first  American  picture,  Ingrid  Bergman  is  in 
no  hurry  to  return  to  Hollywood.  When  she 
came  here  this  last  time,  the' Swedish  star 
left  her  two-months-old  daughter,  Pia,  at 
home  with  her  husband.  "At  that  age, 
babies  don't  miss  their  mothers  so  much," 
she  said,  "but  I  shall  never  again  spend 
more  than  a  few  days  away  from  her.  So 
if  I  come  back  it  will  have  to  be  when 
Pia's  old  enough  to  come  along." 


Paulette  Goddard  and  Charlie 
Chaplin   at  the   Cafe  Lamaze. 
Paulette's  right  up  to  the  minute 
.with  her  short-sleeved  wrap. 


The  Dick  Powells  in  a  serious  mo- 
ment of  conversation.    A  tricky 
hat  Joan  has  there  with  its  fur 
brim  and  striped  crown! 

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'zTlwreb  more 
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And,  since  her  friends  include  artists, 
musicians,  and  literary  figures,  her 
dinners  are  always  great  fun.  One 
of  her  thoughtful  table  touches  is 
the  serving  of  Camel  cigarettes . . . 

"My  guests  prefer  Camels,"  she 
points  out.  "They  appreciate  'the 
long-burning  cigarette'!  As  for  me," 
Mrs.  Borden  continues,"welI,  Camels 
have  been  my  favorite  for  many 
years.  They  have  the  most  delicate 
taste  I  could  want  in  a  cigarette. 
And  they're  so  much  milder." 


By  burning  25%  slower  than  the  aver- 
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them  —  CAMELS  give  a  smoking  plus 
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5  EXTRA 
SMOKES 
PER  PACKS 


A  few  of  the  many  distinguished  women 
who  prefer  Camel  cigarettes 

Mrs.  Nicholas  Biddle,  Philadelphia 
Mrs.  Alexander  Black.  Los  Angeles 
Mrs.  Powell  Cabot,  Boston 
Mrs.  Thomas  M.  Carnegie.  Jr.,  Philadelphia 
Mrs.  J.  Gardner  Coolidge  2nd,  Boston 
Mrs.  Anthony  J.  J>rexel  3rd,  Philadelphia 
Mrs.  Curtenius  Gillette,  Jr.,  New  York 
Mrs.  Chiswell  Dabney  Langhome,  Virginia 
Mrs.  Nicholas  Griffith  Penniman  III,  Baltimore 
Mrs.  Louis  Swift,  Jr.,  Chicago 
Mrs.  Kiliaeu  M.  Van  Rensselaer,  New  York 


i 


Copyright.  1939,  R,  J.  Reynolds 
Tob.  Co.,  Winston-Salem.  N.  C. 


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MODERN  SCREEN 


Her  "Teddy  Bear1'  Coat  caught  his  Eye- 
but  her  Lovely  Smile  captured  his  Heart! 


•  New  "two-faced"  coat- 
beige  Teddy  Bear  cloth  on 
one  side,  bright  Scotch 
plaid  on  the  other. 


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Your  smile  is  your  prize  possession — it's  yours  alone! 
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THE  RIGHT  KIND  of  sports  coat  will  do 
things  for  a  girl  —  but  where  are  her 
charms  if  her  smile  is  tragic,  if  her  coat  says 
"Stop"  but  her  smile  says  "Go!" 

For  even  the  allure  of  a  smart  swagger 
coat  is  shattered  if  her  teeth  are  dull  and  her 
gums  are  dingy.  How  pitiful  the  girl  who 
spends  time  and  thought  on  her  clothes,  and 
ignores  the  warning  of  "pink  tooth  brush." 

Avoid  this  tragic  error  yourself!  For  your 
smile  is  you— lose  it  and  one  of  your  most 
appealing  charms  is  gone. 

Never  Neglect  "Pink  Tooth  Brush" 

If  your  tooth  brush  "shows  pink"—  see  your 
dentist.  It  may  not  mean  anything  serious. 
Often  his  opinion  will  be  that  your  gums  are 


lazy— that  too  many  soft,  creamy  foods  have 
denied  them  the  vigorous  exercise  they  need. 
He  may  suggest,  as  so  many  dentists  do, 
"more  work  for  your  gums  — the  helpful 
stimulation  of  Ipana  with  massage." 

For  Ipana,  with  massage,  is  designed  to 
aid  gums  as  well  as  clean  teeth.  Massage  a 
little  Ipana  onto  your  gums  every  time  you 
brush  your  teeth.  The  pleasant,  exclusive 
tang  of  Ipana  and  massage  tells  you  circu- 
lation is  quickening  in  the  gums,  arousing 
stimulation,  helping  to  make  gums  stronger, 
firmer,  more  resistant  to  trouble. 

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Copyright,  1940,  by 

NOW  SHOWING 

RUMORS  CLOSE  IN  ON  EDDY! 

— James  Reid    26 

DESTINATION— HOLLYWOOD 

—Ruth  Hardy    28 

CONFESSIONS  OF  A  LADY-KILLER 

— Elisabeth  French    30 

THE  BUSIEST  LADY  IN  TOWN 

—Ida  Zeitlin    34 

THE  HUMAN  SIDE  OF  A  MENACE 

— Mary  March    39 

EVERYTHING  UNDER  CONTROL 

— Robert  Mcllwaine   ■.   42 

HANDS  TO  HOLD 

— Carol  Carter    44 

PRYIN"  INTO  BRYAN 

—Gladys  Hall    46 

GROOMED  FOR  OBLIVION 

— May  Mann    48 

MENJOU.  THE  MAGNIFICENT 

— John  Franchey    60 

FEATURES 

MOVIE  REVIEWS 

Our  Ratings  6 


if  SCltitN 

the  Dell  Publishinq  Co.,  Inc 

BREAKFAST  SPECIALS! 

Morning  Treats    10 

INFORMATION  DESK 

Questions  Answered    1 6 

PORTRAIT  GALLERY 

For  Your  Album   19 

MATRIMONIAL  SCOREBOARD 

Marriages  And    Divorces   32 

FASHIONS  AND  FIGURES 

Stars'  Clothes  Costs   36 

SHOPPING  FOR  MATES 

I940's  Eligibles   40 

CHARTING  THE  STARS 

Biographical  Data  On  350  Stars   49 

GOOD  NEWS 

Movie  Chatter    54 

OUR  PUZZLE  PAGE 

Movie  X-Word     68 

TRICKY  TOPPERS 

Make  Your  Own   72 

MOVIE  SCOREBOARD 

General  Ratings    78 

A  DOLLAR  FOR  YOUR  THOUGHTS 

Prize  Letters    86 


Vol.  20,  No.  3,  February,  1940.  Copyright,  1940,  by  the  Dell  Publishing  Co.,  Inc.,  149  Madison  Ave.,  New  York.  Published  monthly.  Office  of  publication  at  Washington  and 
South  Aves.,  Dunellen,  N.  J.  Single  copy  price  10c  in  U.  S.  and  Canada;  subscription  price  $1.20  a  year,  foreign  subscription  $2.20  a  year.  Entered  as  second-class  matter 
Sept.  18,  1930,  at  the  Postoffice,  Dunellen,  N.  J.,  under  Act  of  March  3,  1 879.  Additional  second  class  entries  at  Seattle,  Wash.;  San  Francisco,  Calif.;  Houston,  Texas,-  Savannah, 
Ga.,  and  New  Orleans,  La.  The  publishers  accept  no  responsibility  for  the  return  of  unsolicited  material.  Names  of  characters  used  in  stories  and  semi-fictional  matter  are 
fictitious.    If  the  name  of  any  living  person  is  used  it  is  purely  coincidence.    Trademark  No.  301773. 


&&0tf&Z, —  try  my 

Beauty  Soap,  Camay! 


SAYS  THIS  CHARMING  NEW  YORK  BRIDE 

It's  a  treat  to  use  Camay  for  my  beauty  bath  as 
well  as  for  my  complexion.  Its  thorough,  gentle  cleansing 
makes  it  a  grand  beauty  aid  for  back  and  shoulders. 
New  York,  N.  Y.  (Signed)  MARIAN  BROWN 

May  15,  1939  (Mrs.  Boyd  Paterno  Brown) 


NOWADAYS.it  isn't  enough 
to  have  a  lovely  com- 
plexion! Back  and  shoulders 
must  look  attractive,  too! 
"Why  not  help  them  to  stay 
lovely  by  bathing  with  your 
beauty  soap?"  asks  Mrs. 
Brown.  "I  always  use  Camay! " 

Camay  gives  you  a  price- 
less beauty  cleansing  combi- 
nation— thoroughness  with 
mildness.  We  have  proved  that 
mildness  with  repeated  tests 
against  a  number  of  other  fa- 
mous beauty  soaps.  Time  after 
time,  Camay  has  come  out 


definitely  milder.  You'll  find 
Camay  helps  keep  skin  lovely! 

So  try  Camay.  Notice  how 
refreshed  you  feel  after  your 
Camay  bath  — so  dainty  and 
fragrant  you  know  others  will 
find  you  attractive!  Get  three 
cakes  today.  It's  priced  so  low. 


Of  fl 
 5- 


"f<v  ft 


THE  SOAP  OF  BEAUTIFUL  WOMEN 


MODERN  SCREEN 


Nineteen- forty  brings 

DAVID  O.  SELZNICK'S  production  s/MARGARET  MITCHELL'S 
Story  of  the  Old  South 

GONE  WITH  THE  WIND 

in  TECHNICOLOR  starring 

CLARK  GABLE 

as  Rhett  Butler 

LESLIE  HOWARD 'OLIVIA  De  HAVILLAND 

and  presenting 

VIVIEN  LEIGH 

a s.Scarlett  O'Hara 


A  SELZNICK  INTERNATIONAL  PICTURE 
Directed  by  VICTOR  FLEMING 
Screen  Play  by  SIDNEY  HOWARD  •  Music  by  Max  Steiner 
A  Metro-Goldwyn-Mayer  Release 


MOVIE  REVIEWS 


ic^k^k  Drums  Along  the  Mohawk 

Ki  Yi!  The  Indians  are  on  the  warpath  along  the  Mohawk!  Aside 
from  the  fact  that  fiercer  redskins  never  bit  the  dust,  they're  the 
most  decorative  band  of  braves  to  date.  For  the  superb  Technicolor 
of  this  picture  makes  every  scene  a  photographic  delight,  with  the 
Indian  sequences  easily  the  outstanding  ones. 

Claudette  Colbert  and  Henry  Fonda,  starred  in  the  story,  are  sub- 
merged in  all  the  excitement  but  manage  to  give  convincing  por- 
trayals of  pioneers  intent  on  holding  their  own  against  the  wilder- 
ness. With  a  small  band  of  men,  women  and  children  they  clear 
the  land  and  build  log-cabins  on  the  colonial  frontier,  only  to  have 
crops  and  homes  burnt  and  pillaged  by  the  savages  in  one  attack 
after  another.  Claudette  Colbert's  characterization  is  sincere  and 
Henry  Fonda  has  a  few  excellent  scenes,  though  most  of  his  time  is 
devoted  to  getting  down  the  old  flint-lock  to  fight  the  Injuns. 

No  expense  has  been  spared  on  this  super-spectacular  production, 
and  as  a  picture  of  a  colorful  period  in  American  history,  "Drums 
Along  The  Mohawk"  is  worthwhile.  In  the  supporting  cast  Edna 
May  Oliver,  Eddie  Collins,  John  Carradine  and  Jessie  Ralph  give 
outstanding  accounts  of  themselves.  Directed  by  John  Ford. — 
20th  Century-Fox. 

(More  about  Claudette  Colbert  on  page  16) 


***  First  Love 

Only  Deanna  could  get  away  with  this  frank  steal  from  the  old, 
old  folk  story,  "Cinderella."  She  even  loses  a  glass  slipper  on  the 
staircase  as  she  flees  from  her  prince  charming  at  midnight.  But 
the  fanciful  background  is  a  wise  choice  for  her  transition  into  ma- 
turity.   And  she  has  grown  up! 

Miss  Durbin  gets  her  first  screen  kiss,  has  her  first  serious  screen 
romance  and  leaves  her  fans  with  the  very  definite  impression  that 
she  is  now  a  young  lady.  When  the  story  opens,  Deanna,  an 
orphan,  is  graduating  from  a  finishing  school  course  provided  by  a 
generous  uncle.  The  uncle's  home  is  one  of  the  zaniest  establish- 
ments ever  pictured.  Leatrice  Joy  (Deanna's  aunt)  has  become  deeply 
interested  in  astrology.  Helen  Parish  (Deanna's  cousin)  is  a  roto- 
gravure deb.  Eugene  Pallette  is  Cinderella's  uncle,  while  Lewis 
Howard  is  the  laziest  scion  of  wealth  to  appear  on  the  screen.  Leave 
it  to  Deanna  to  straighten  out  this  mess,  and  for  good  measure  she 
walks  off  with  Robert  Stack,  who  plants  the  celebrated  kiss. 

The  music  is  carefully  chosen  and  her  rendition  of  "One  Fine  Day" 
from  Puccini's  "Madame  Butterfly"  is  exceptionally  good.  Kathleen 
Howard,  June  Story,  Charles  Coleman,  Frank  Jenks,  Jack  Mulhall  com- 
plete the  cast.    Directed  by  Henry  Koster. — Universal. 

(Continued  on  page  8) 

(Additional  data  on  Robert  Stack  on  page  16) 


Another  Thin  Man 

Marking  the  return  of  Bill  Powell  to  the  screen  after  an  absence 
of  two  years,  "Another  Thin  Man"  will  have  considerable  interest 
for  his  many  fans.  And  the  suave  Powell  is  in  tip-top  form,  giving 
a  performance  that  is  better  than  any  he  has  given  in  former  "Thin 
Man"  stories.  But  the  picture  as  a  whole  will  disappoint  many  in 
the  audience,  due  largely  to  a  tangled  plot  which  even  the  dexterous 
touch  of  Woody  Van  Dyke  can't  straighten  out  satisfactorily.  There 
are  enough  murders  to  keep  the  blood-thirsty  intrigued  but  the  solu- 
tions to  all  the  goings-on  would  baffle  an  Einstein. 

However,  the  gayety  of  sleuth  Carter,  his  wife,  Myrna  Loy,  and 
their  new  baby — and  Asta,  of  course — help  considerably  in  putting 
over  the  picture  and  providing  enough  moments  of  entertainment  to 
compensate  for  the  dull  plot.  Myrna  Loy  is  as  attractive  and  com- 
petent in  her  role  as  ever.  The  little  the  baby  has  to  do  is  done 
with  obvious  relish  and  he  proves  himself  a  real  asset  to  the  charm- 
ing Carters.  Another  welcome  addition  to  the  cast  is  Otto  Kruger, 
who  has  an  outstanding  bit  as  a  detective  who  tries  to  outwit  the 
hero.  In  the  supporting  cast  Virginia  Grey,  too,  gives  a  commend- 
able performance  and  adds  considerably  to  the  picture's  scenic 
value.    Directed  by  W.  S.  Van  Dyke. — M  etro-Goldwyn-Mayer. 

(William  Powell's  biography  on  page  16) 


6 


PHISCILLA  LAME 
ROSEMARY  LANE 
LOLA  LANE 
GALE  PAGE 

The' Four  Daughters'  are  now  the 

FOUR 


WIVES 


(h  a  a  Four  Belle  Picture) 


CLAUDE  RAINS 


Jeffrey  Lynn  •  Eddie  Albert 

MAY  ROBSON  •  FRANK  McHUGH 
DICK  FORAN  •  HENRY  O'NEILL 

Screen  Play  by  Julius  J.  and  Pbilip  G.  Epstein  and  Maurice 
Hanline  •  Suggested  by  the  Boob, "Sister  Act,"  by  Fannie  Hurst 
Music  by  Max  Steiner*  A  Warner  Bros.- First  National  Picture 

Directed  by 

MICHAEL  CURTIZ 


The  Character  of 
'Mickey  Borden' 
as  He  Appeared  in 
'Four  Daughters,' 
is  Portrayed  hy 

JOHN 

GARFIELD 


si,  Vob- 


MODERN  SCREEN 


A  KALAMAZOO  direct  to  you 

Saves  you  h  to  h  at 


UP  TO  18  MONTHS  TO  PAY 

America's  most  beautiful  Ranges,  Heat- 
ers and  Furnaces — alive  with  new  fea- 
tures, new  ideas,  new  equipment.  Easiest 
terms — Up  to  18  months  to  pay.  Factory 
Prices.  30  Days  Trial.  24  hr.  shipments. 
Satisfaction  or  money  back.  More  bargains 
than  in  20  big  stores.  Over  1,500,000  sat- 


isfied customers.  Forty  years  in  business. 

170  styles  and  sizes  —  Sparkling  New 
Gas  Ranges  at  prices  $15  to  $30  below  others 
(for  bottled,  manufactured,  or  natural  gas) 
— Brilliant  New  Electric  Ranges  at  savings  of 
$30  to  $55.  New  Coal  and  Wood  Ranges. 
"Ovens  that  float  in  flame."  Tops  guaran- 
teed 5  years.  Dual  Oven  Combination  Coal- 


Mail  Coupon  for  NEW  FREE  Catalog 

Wood  and  Gas  Ranges  (which  can  be 
equipped  to  burn  oil)  at  $50  saving. 
New  Coal  and  Wood  Heaters.  New  Oil  Heat- 
ers. Oil  Ranges.  Furnaces  as  low  as  $79-60 
at  the  factory. 

Kalamazoo  Stove  &  Furnace  Company 
405  Rochester  Ave.,  Kalamazoo,  Michigan 


{Continued  from  page  6) 

***  We  Are  Not  Alone 

Paul  Muni  here  portrays  the  kindly 
doctor  in  a  small  English  village.  Ex- 
cept for  his  devotion  to  his  young  son, 
the  doctor  is  completely  wrapped  up  in 
his  work  and  satisfied  with  his  lot  in 
life — even  to  the  philosophical  acceptance 
of  his  shrewish  spouse,  Flora  Robson. 
Into  his  quiet,  hard-working  world  comes 
Jane  Bryan,  a  penniless  Austrian  girl, 
who  is  destined  to  bring  about  great 
changes  in  the  doctor's  household.  And 
Jane  Bryan  is  destined,  too,  to  surprise 
every  member  of  the  audience.  For  she 
gives  a  performance  that  is  superb  in 
every  particular  and  manages  to  steal 
the  honors  from  Paul  Muni  in  more  than 
one  scene.  In  fact,  Mr.  Muni's  tendency 
to  over-act  in  several  instances  leaves 
Jane  Bryan  with  most  of  the  laurels  in 
"We  Are  Not  Alone." 

Though  the  story  is  a  depressing  one, 
showing  the  sorrow  and  tragedy  result- 
ing from  human  beings  passing  judgment 
on  one  another,  it  is  engrossing  through- 
out. And  the  doctor's  plea  for  tolerance 
and  understanding  between  individuals 
and  nations  as  well,  is  a  plea  for  peace 
that  everyone  should  hear.  Beautiful 
performances  are  turned  in  by  Flora 
Robson,  as  the  neurotic  wife,  Raymond 
Severn,  as  the  son,  and  Una  O'Connor, 
as  the  maid.  Directed  by  Edmund 
Goulding — Warner  Bros. 

irirjr  The  Amazing  Mr.  Williams 

Melvyn  Douglas  and  Joan  Blondell  are 
together  again — but  this  time  in  a  picture 
that  really  does  this  capable  team  justice. 
Dialogue  as  well  as  action  is  fast  and 
furious,  with  enough  laughs  to  keep  the 
dourest  member  of  the  audience  chuck- 
ling on  his  way  home.  Douglas  is  a 
detective  in  this  one,  but  just  a  "cop"  to 
his  fiancee,  Miss  Blondell.  She  refuses  to 
dignify  his  calling  by  any  other  name 
since  it  is  this  very  job  that  keeps  the 
two  apart.  Once  a  date  is  arranged, 
nine  chances  out  of  ten  Douglas'  chief 
will  tell  him  to  investigate  a  brand  new 
murder,  instead.  And  the  one  time  in  ten 
the  hero  manages  to  call  for  his  girl- 
friend, the  wail  of  the  police-car  siren 
can  be  heard  coming  around  the  corner 
— to  pick  up  Sleuth  Douglas  for  another 
job.  Being  a  gal  of  action,  herself,  Joan 
manages  to  do  some  double-crossing, 
hoping  it  will  result  in  her  fiance  losing 
his  job.  It  only  makes  the  chief  more 
concerned  than  ever  about  holding  him 
— but  her  ruses  provide  the  audience 
with  a  pack  of  entertaining  episodes. 


Kalamazoo  Stove  &  Furnace  Co.,  Manufacturers 
405  Rochester  Ave.,  Kalamazoo,  Michigan 
Dear  Sirs:  Send  FREE  FACTORY  CATALOG. 
Check  articles  in  which  you  are  interested: 

□  Combination  Gas,  Coal  and  Wood  Ranges 

□  Coal  and  Wood  Ranges  □  Gas  Ranges 

□  Electric  Ranges        □  Coal  and  Wood  Heaters 

□  Oil  Heaters        □  Oil  Ranges        □  Furnaces 


Name . 


(Print  name  plainly ) 


Address , 


City 


.State. 


"A  Kalamazoo, 

4KB  Direct  to  You' 


Donald  MacBride's  caricature  of  a 
dumb  copper  can  only  be  described  as 
"tops."  Eddie  Brophy  is  outstanding  in 
a  grand  bit  as  a  convict  en  route  to  the 
hoose-gow,  while  Ruth  Connelly  and 
Clarence  Kolb  contribute  many  a  laugh. 
Directed  by  Alexander  Hall — Columbia. 

it^kik  That's  Right,  You're 
Wrong 

Kay  Kyser's  great  radio  audience  will 
applaud  this  picture  because  Kay  and 
members  of  his  band  are  brought  to  the 
screen  with  all  the  naturalness  that  pre- 
vails during  a  broadcast.  Kyser  proves 
also  that  he's  definite  material  for  future 
movie  work,  and  draws  good  support 
from  Ginny  Simms,  Harry  Babbitt,  Sully 
Mason  and  Ish  Kafaibble. 

Moroni  Olsen,  manager  of  a  top  Holly- 
wood studio,  tells  his  producers  that  he 
wants  to  hire  Kay  Kyser  and  his  band 
for  an  entirely  new  type  of  motion  pic- 
ture. Adolph  Menjou  is  the  producer 
assigned  to  make  this  production  the 
money-maker  Olsen  expects,  and  the 
story  goes  into  a  side-splitting  travesty 
on  the  inner-workings  of  the  movie  in- 
dustry. Edward  Everett  Horton  and 
Hobart  Cavanaugh  are  typical  collabo- 
rating writers  trying  to  concoct  a  suitable 
yarn  for  Kyser.  Lucille  Ball  is  a  glamour 
girl;  May  Robson  is  Kyser's  grand- 
mother, and  Dennis  O'Keefe  is  the 
familiar  fast-talking  business  manager. 

Kay  Kyser's  screen  test,  within  the 
picture,  is  one  of  the  funniest  sequences 
ever  filmed,  and  had  the  preview  audi- 
ence howling.  But,  as  on  the  radio,  the 
greatest  attraction  is  still  the  music 
which  this  top  band  does  in  number  one 
style.  Produced  and  directed  by  David 
Butler — RKO. 

Geronimo 

Here's  an  exceptionally  interesting  his- 
torical picture.  If  you  like  adventure 
and  Indians,  this  will  be  a  natural,  but 
even  if  you  don't,  it  will  be  a  surprise, 
for  the  story  of  the  Apache  chieftain, 
Geronimo,  is  one  that  will  hold  your 
interest  from  the  first  reel  to  the  last. 
Geronimo,  if  you  remember  the  sixth 
grade  history  books,  was  determined  to 
scalp  every  white  man  in  the  southwest, 
and  Chief  Thundercloud,  in  the  role, 
makes  the  fierce  Apache  thoroughly  be- 
lievable and  colorful.  Sets  are  magnifi- 
cent in  every  instance,  lending  an  im- 
pressive background  to  the  thrilling 
events — in  particular  some  Indian  fights 
(Continued  on  page  14) 


MODERN  SCREEN 


You  cant  expect  to  win 


if  you  wear  an  Old  Shade  of  Powder!" 


Is  the  powder  shade  that  flattered 
you  once  .  .  .  spoiling  your  charm 
today?  Find  the  one  shade  of  my 
powder  that's  lucky  for  you  now! 

How  MANY  MONTHS  have  passed  since 
you  checked  up  on  your  face  powder? 
Can  you  be  sure  that  right  now  you're  not 
wearing  a  shade  of  face  powder  that  is 
robbing  you  of  your  charm,  perhaps 


ruining  your  chance  for  popularity? 

The  shade  you  wore  as  little  as  four 
months  ago  can  be  all  wrong  for  your  skin 
as  it  is  today.  For  your  skin  tones  change 
with  the  seasons— and  the  one  right  shade 
will  flatter  you,  but  the  wrong  shade  can 
make  you  look  older— yean  older. 

That's  why  I  make  my  powder  in  ten 
lovely  and  lucky  shades.  This  year  my 
new  Rachels  are  particularly  flattering. 


It's  really  important  to  find  your  lucky,  most 
flattering  face  powder  shade! 

And  in  every  one  of  my  10  shades  you 
will  see  not  the  dead  grey  of  a  coarse,  dull 
powder. . .  but  only  the  opalescent  film 
that  lets  your  own  true  beauty  come 
shining  through. 

Find  your  lucky  shade. 

Send  for  all 

ten  of  my  shades  which  I  am  glad  to  send 
you  free.  Perhaps  my  new  Champagne 
Rachel  will  be  your  lucky  one— perhaps 
Brunette— or  Natural.  Compare  all  ten— 
don't  skip  even  one.  For  the  shade  you 
never  thought  you  could  wear  may  be 
the  one  right  shade  for  you. 

Mofee  the  "Bite  Test".  When  you  re- 
ceive my  ten  shades,  make  the  "Bite 
Test,"  too.  Put  a  pinch  of  the  face  powder 
you  are  now  using  between  your  teeth 
and  grind  your  teeth  slowly  upon  it.  If 
there's  the  slightest  particle  of  grit  in  the 
powder,  this  test  will  reveal  it. 

Next,  make  exactly  the  same  test  with 
Lady  Esther  Face  Powder.  And  you  will 
find  not  the  tiniest  trace  of  grit.  Now  you'll 
understand  why  Lady  Esther  Face  Pow- 
der never  gives  you  that  flaky,  "pow- 
dered" look  and  why  it  clings  so  perfectly 
for  four  full  hours. 

So  write  today  for  my  glorious  new 
powder  shades.  Find  the  one  that  trans- 
forms you  into  a  lovelier,  luckier  you! 


Men's  eyes  will  tell  you 
when  you've  found  your 
Lucky  shade  of  Lady 
Esther  Face  Powder! 


(You  can  paste  this  on  a 

Lady  Esther,  penny  postcard) 

7110  West  65th  Street,  Chicago,  111.  (52) 
C  O  n  C  |  Please  send  me  FREE  AND  POSTPAID 
*  I  »  I—  I—  ♦  your  10  new  shades  of  face  powder, 
also  a  tube  of  your  Four  Purpose  Face  Cream. 


Name, 


Address. 


City_ 


_State_ 


(If  you  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont.) 


Lady  Esther  Powder 


9 


BY  MAR  J  OR  IE  VEEN 


English  muffins  have  long  been 
a  favorite  among  morning 
hot  breads.  Toasted  and 
served  with  orange  marma- 
lade, they  are  delicious! 


Start  the  day  right  with 
these  tempting  treats 
to  make  you  wide-awake 


THERE  IS  a  campaign  on  for  bigger  and 
better  breakfasts.  According  to  the  latest 
scientific  findings,  the  body  needs  fuel 
to  develop  pep  and  energy  for  the  morn- 
ing's tasks  and  that  fuel  is  sadly  lacking 
unless  you  sit  down  to  some  appetizing, 
filling  fare  soon  after  arising. 

Of  course,  you  should  not  bolt  your 
food,  either,  because  then  it  is  harmful 
rather  than  helpful.  Everyone  in  the 
family  will  have  to  get  up  a  bit  earlier  to 
carry  out  this  plan  successfully,  but  it 
will  be  well  worth  doing.  Old  and  young 
alike  will  feel  the  better  for  having  a 
breakfast  that  is  no  longer  of  the  sketchy, 
taken-on-the-run  variety. 

Six  days  of  the  week  most  housewives 
will  wish  to  carry  on  this  campaign  with 
the  help  of  the  simplest  sort  of  menus. 
At  this  time  of  year  these  would  feature 
such  things  as  pineapple  juice,  citrus 
fruits  and  stewed  dried  fruits,  bowls  of 
steaming  hot  cereal,  eggs  in  various 
styles  and  with  different  accompani- 
ments, toasts  and  the  more  easily  made 
varieties  of  biscuits  and  muffins.  But  on 
Sunday,  with  more  time  both  for  prep- 
aration and  enjoyment,  there  is  a  gold- 
en opportunity  to  add  something  de- 
lightfully different  to  the  meal. 

Chances  are  this  would  be  one  of  the 
special  homemade  hot  breads,  for  noth- 
ing can  equal  these  in  popularity.  For 
example,  you  might  try  your  hand  at 

10 


making  English  Muffins,  which  are  fast 
becoming  an  American  favorite.  Toasted, 
they  are  tops,  especially  when  accom- 
panied by  orange  marmalade.  The  dough 
for  these  muffins  is  made  like  any  yeast 
dough,  but  they  are  unusual  in  that  they 
are  not  baked  but  are  cooked  on  a  grid- 
dle on  top  of  the  stove. 

Two  other  griddle  favorites,  waffles 
and  hot  cakes,  also  rank  high  among 
breakfast  specials.  Made  with  butter- 
milk, the  latter  are  particularly  light 
and  tempting.  A  trial  will  convince  you 
that  the  rather  novel  way  of  combining 
ingredients  in  our  waffle  recipe  turns  out 
a  very  superior  product.  You  will  note 
two  ideas  for  varying  the  waffles,  too. 
But  at  breakfast  there  can  be  no  change 
from  the  rule  that  hot  cakes  and  waffles 
alike  must  be  accompanied  by  plenty  of 
butter  (melted  if  you  choose)  and  syrup. 

Don't  forget,  too,  that  week-day  or 
Sunday,  the  fragrance  of  coffee  from  the 
kitchen  will  ever  be  the  most  popular 
alarm  clock  in  the  nation.  But  it  must 
be  fresh  coffee,  freshly  made  coffee, 
strong,  clear,  perfect  coffee  to  be  a 
worthy  beverage  for  the  better  break- 
fasts you're  going  to  serve. 

ENGLISH  MUFFINS 

1  cup  milk,  scalded 

3  tablespoons  shortening 
lYz  teaspoons  salt 

2  tablespoons  sugar 

1  cake  compressed  yeast 

Yi  cup  lukewarm  water 

1  egg 

4  cups  sifted  flour 

Scald  milk,  pour  it  over  butter,  salt 
and  sugar.  Stir  until  butter  has  melted 
then  cool  to  lukewarm.  Soften  yeast  in 
water;  stir  into  cooled  milk  mixture. 
Add  egg  and  2  cups  of  the  flour.  Stir 
until  thoroughly  blended  then  add  re- 
maining   flour    and    knead    on  lightly 


floured  board  until  smooth  and  elastic. 
Cover  on  board  and  let  rise  until  double 
in  bulk  (about  1%  hours.)  Punch  down 
the  dough,  knead  lightly  and  roll  out  to 
Yi  inch  in  thickness.  Cut  in  rounds  with 
large,  floured  cookie  cutter.  Cover  and 
let  rise  again,  as  before,  until  light  and 
double  in  bulk — approximately  %  hour. 
Bake  slowly  on  hot,  ungreased  griddle 
or  frying  pan.  Have  griddle  hot  when 
muffins  are  first  placed  on  it  then  reduce 
heat  so  that  muffins  will  brown  slowly — 
turning  muffins  when  browned  on  under 
side.  Allow  7-8  minutes  baking  time  for 
each  side.  If  allowed  to  brown  in  less 
time  than  this,  the  inside  of  the  muffins 
will  not  be  sufficiently  well  cooked. 

BUTTERMILK  GRIDDLE  CAKES 

1  cup  flour 

Vz  teaspoon  soda 

1  teaspoon  salt 

1  tablespoon  sugar 

1  egg 

IVi  cups  buttermilk,  approximately 

2  tablespoons  melted  butter 

Sift  flour,  measure.  Add  soda,  salt  and 
sugar  and  sift  again.  Beat  the  egg,  com- 
bine with  half  the  buttermilk,  add  to 
flour  mixture.  Beat  vigorously.  When 
smooth,  slowly  add  remaining  butter- 
milk (more  or  less)  to  make  a  thin 
batter,  stirring  constantly  while  adding, 
to  avoid  lumps.  Stir  in  melted  butter. 
Bake  on  hot  griddle. 


GOLDEN  WAFFLES 


2  cups  sifted  flour* 

3  teaspoons  baking  powder 
3     eggs,  separated 

1     tablespoon  sugar 
Ya  teaspoon  salt 
Yi  cup  butter,  melted 

IY2  cups  milk 


MODERN  SCREEN 


SEEIN'  DOUBLE 


•7  LICK 
TATTLE-TALE 
MAY'' 


Millions  of  women  know  that  tattle- 
tale  gray  hasn't  a  chance — when  the 
golden  Fels-Naptha  bar  tackles  the 
wash.  They  know  it's  the  liveliest,  busi- 
est dirt-chaser  that  ever  swished  in  a 
tub.  But  did  you  know  this  . . .  ? 


*ME  TOO' 


You  can  now  get  Fels-Naptha  in  chip 
form,  too !  Huskier  chips  that  work  won- 
ders just  like  the  grand  golden  bar! 
Chips  specially  made  to  whisk  all  the 
dirt  out  of  clothes  —  to  banish  tattle- 
tale  gray !  Now  at  last . . . 


V'M  RICHER 
GOLDEN  SOAP 


ME  TOO" 


AND  NAPTHA"  fettttrrrr 


Sift  flour,  measure.  Add  baking  pow- 
der and  sift  again.  Separate  eggs.  Place 
whites  and  yolks  in  separate  bowls.  Add 
sugar,  salt  and  cooled,  melted  butter  to 
the  yolks.  With  rotary  beater  whip 
whites  to  a  stiff  froth.  Using  the  same 
beater  whip  yolk  mixture  thoroughly. 
Add  flour  mixture  to  yolk  mixture  al- 
ternately with  the  milk,  beating  well 
after  each  addition.  Fold  in  egg  whites. 
Bake  in  pre-heated  waffle  iron  to  a  gold- 
en brown. 

HAM  WAFFLES:  Add  %  cup  ground, 
boiled  ham  to  the  batter  just  before  fold- 
ing in  the  egg  whites. 

BACON  WAFFLES:  Omit  salt.  Cook  8 
slices  of  bacon  until  crisp.  Chop  fine. 
Add  bacon  to  batter  just  before  folding 
in  egg  whites.  Substitute  bacon  drip- 
pings for  half  of  the  shortening. 

*Cake  flour  recommended  for  a  more 
delicate  texture. 

Sunday  breakfast  will  seem  a  special 
feast  indeed  when  a  rich  coffee  cake — 
such  as  the  following  one — appears  on 
the  table.  Here  you  have  a  yeast-raised 
dough  combined  with  a  delightful  filling 
for  results  that  are  richly  satisfying.  The 
texture  and,  for  that  matter,  the  mixing 
methods  are  somewhat  on  the  "different" 
side — certain  therefore  to  intrigue  the 
more  ambitious  cooks  among  you! 

HUNGARIAN  COFFEE  CAKE 

Dough: 

2V2  cups  sifted  flour 

%  cup  butter 

2  whole  eggs,  beaten 
1  egg  yolk,  beaten 

3  tablespoons  sugar 
1  teaspoon  salt 

1  yeast  cake 

2  tablespoons  lukewarm  milk 
Filling: 

%  pound  nut  meats,  ground* 

4  tablespoons  milk 

4     tablespoons  butter 
x/z  cup  sugar 

grated  rind  of  1  lemon 
cup  seedless  raisins 
Vi  teaspoon  cinnamon 
V2  teaspoon  vanilla** 

Dough: 

Sift  the  flour,  measure.  Add  the  butter 
and  cut  it  into  the  flour,  with  pastry 
blender  or  two  knives,  until  evenly  dis- 
tributed. Add  the  egg  yolk  to  the  2 
whole  eggs — reserving  the  white  of  the 
1  egg  for  later  use.  Beat  eggs  thoroughly, 
add  sugar  and  salt.  Add  yeast  cake 
which  has  been  dissolved  in  the  luke- 
warm milk.  Add  this  mixture  to  the 
flour.  Knead  until  smooth  and  elastic  on 
lightly  floured  board.  Cover  and  allow 
to  stand  on  board  in  warm  room  until 
double  in  bulk — approximately  3  hours. 
Punch  down  dough,  knead  lightly  and 
roll  out  into  a  rectangular  sheet  the 
thickness  of  a  knife  blade.  Spread  with 
the  filling  (made  as  described  below), 
roll  up  as  for  jelly  roll.  Place  in  lightly 
greased  baking  pan,  cover  and  let  rise 
again  for  an  hour.  Brush  surface  with 
egg  white,  sprinkle  with  a  little  gran- 
ulated sugar  and  bake  in  moderate  oven 
(375°  F.)  45  minutes. 

Filling: 

Grind  the  nut  meats.  Warm  the  milk, 
melt  the  butter  in  it.  Add  sugar  and 
grated  rind.  Rinse  raisins  in  boiling 
water,  drain  and  chop.  Combine  raisins 
with  ground  nuts,  add  milk  mixture,  the 
cinnamon  and  vanilla.**  Stir  until  blend- 
ed. Use  as  filling. 

*Brazil  nuts  or  almonds  recommended. 
**The  substitution  of  one  tablespoon  of 
rum  for  the  vanilla  in  the  filling  is  rec- 
ommended for  a  delightful  flavor. 


You  can  get  Fels-Naptha's  extra 

help  any  and  every  way  you  wash! 
For  in  the  chips  as  well  as  in  the  bar, 
you  get  richer,  golden  soap  combined 
with  that  wonderful  dirt-loosener,  nap- 
thai  Use  the  bar  for  bar-soap  jobs.  See 
how  quickly  it  hustles  out  dirt — without 
hard  rubbing !  See  how  gorgeously  white 
and  sweet  it  gets  your  clothes.  And  ... 


Wherever  you've  been  using  box-soap, 
put  the  new  Fels-Naptha  Soap  Chips  to 
work.  They  speed  washing  machines  be- 
cause they're  HUSKIER  —  not  puffed- 
up  with  air  like  flimsy,  sneezy  powders. 
And  they  give  oodles  of  rich  suds  be- 
cause they  now  hold  a  marvelous  new 
suds  -  builder,  So  try  Golden  Chips  or 
Golden  Bar — and  banish  tattle-tale  gray. 


They'll  be  thieves  and  killers 
on  the  screen,  but  the  cast  of 
M.  G.  M/s  new  penal  colony  drama 
are  nice  folks  when  they  relax 


Shooting  has  taken 
the  company  to 
Pismo  Beach,  two 
hundred  miles  north 
of  Hollywood.  Left, 
Clark  Gable  tears  into 
his  "ham  on  white." 


They  raise  their  des- 
peradoes on  milk  out 
California  way.  Right, 
Clark  winds  up  his 
two-course  meal  with 
a  few  swigs  straight 
from    the  bottle. 


Villagers  turned 
out  en  masse  to 
greet  their  fa- 
mous guests. 
Here  a  youthful 
native  ignores 
Joan  Crawford 
and  tells  Clark 
a  thing  or  two. 


Joan's  costume 
is  the  cheapest 
she  has  ever 
worn  in  a  pic- 
ture. From  top 
to  toe  and  from 
skin  out,  her 
entire  wardrobe 
cost  $13.89. 


Paul  Lukas 
warms -up  for 
his  part  as  a 
wife-slayer 
while  Clark 
peacefully 
clozes. 


Bristly-chinned 
and  shaggy- 
haired,  Mr.  G. 
squints  at  the 
sun  and  awaits 
Director  Bor- 
zage's  call. 


As  a  convict 
runaway,  Gable 
wears  shredded 
pants  and  a 
mocking  smile. 
He  is  so  unlove- 
I  y,  even  his 
companion 
looks  away. 


A  muddy  tractor 
provides  Clark 
with  some  fun. 
It  was  stamped 
"General  Pur- 
pose" but  was 
never  meant  to 
be  a  he-man's 
plaything. 


MODERN  SCREEN 


MOVIE  REVIEWS 

(Continued  from  page  8) 


that  battle  experts  call  magnificent. 

Andy  Devine  has  a  role  that  suits  him 
to  a  T — that  of  a  scout  whose  friendli- 
ness and  cheerfulness  keeps  William 
Henry's  heart  from  breaking.  Henry  has 
been  sent  to  serve  with  his  father's  regi- 
ment which  is  gunning  for  Geronimo. 
The  father,  Ralph  Morgan,  professes  no 
interest  in  son  Henry,  but  what  he  lacks 
in  filial  affection  is  made  up  by  Devine 
and  Preston  Foster,  a  hard-boiled  cap- 
tain. All  the  men  are  excellent  in  their 
roles,  and  another  particularly  commend- 
able performance  is  that  of  Gene  Lock- 
hart.  Ellen  Drew  and  Marjorie  Gateson 
look  effective  but  add  very  little  of 
importance  to  the  story.  Directed  by 
Paul  Sloan — Paramount. 

***  Daytime  Wife 

In  "Daytime  Wife",  Tyrone  Power  is 
the  young  husband  who  forgets  his  wed- 
ding anniversary,  his  wife's  birthday  and 
every  other  day  of  importance.  His  wife, 
Linda  Darnell,  decides  to  find  out  who 
or  what  is  making  her  hubby  so  thought- 
less, and  the  resulting  events  turn  the 
picture  into  sparkling  entertainment. 

Linda  goes  into  a  huddle  with  Binnie 
Barnes,  a  divorcee  with  a  sense  of  humor, 
and  together  they  hit  upon  the  idea  that 
Tyrone's  secretary  is  the  reason  for  all 
the  trouble.  Linda  gets  herself  a  job  as 
secretary  in  the  office  of  a  man  who 
happens  to  do  business  with  her  hus- 
band, and  soon  finds  out  what  goes  on 
between  a  boss  and  his  secretary.  She 


saves  her  marriage  from  the  rocks,  but 
not  until  poor  Tyrone  has  paid  and  paid 
for  all  his  mistakes. 

The  cast  is  exceptionally  Well  chosen 
with  names  like  Warren  William,  Wendy 
Barrie,  Joan  Davis,  Joan  Valerie,  Mildred 
Gover  and  Leonid  Kinskey  giving  very 
good  support  to  the  top  players.  Linda 
Darnell  and  Tyrone  Power  handle  their 
comedy  lines  with  ease,  and  provide 
many  refreshing  scenes  that  spell  good 
entertainment  for  any  fan.  Directed  by 
Gregory  Ratoff — 20th  Century-Fox. 

***  Too  Busy  to  Work 

Another  in  the  Jones  family  series — 
but  what  a  wallop  this  one  packs!  Even 
those  who  have  been  wont  to  scorn  the 
antics  of  the  Joneses  will  find  this  pic- 
turization  of  their  activities  thoroughly 
entertaining.  For  one  thing,  the  studio 
got  wise  to  itself  and  gave  the  family  a 
real  story.  And  for  another,  they  added 
Joan  Davis  to  the  cast.  Davis  is  at  her 
best — and  need  we  say  more? 

The  plot  concerns  Papa  Prouty  Jones' 
awakening  to  the  fact  that  a  family  man 
ought  to  give  some  time  to  the  family. 
If  you'll  remember,  the  pater  was  elected 
mayor  of  Maryville,  and  when  this  pic- 
ture opens  he's  devoting  all  his  time  to 
civic  duties  and  letting  his  drug  business 
and  home-life  go  to  pot.  Mother  Bying- 
ton  Jones  shows  him  a  thing  or  two  by 
taking  up  extra-curricular  activities  her- 
self and  letting  home,  sweet  home  take 
care  of  itself.    The  children  are  left  to 


their  own  devices  and  into  this  situation 
comes  country  cousin  Joan  Davis  to 
make  things  even  more  hectic.  Jed 
Prouty  and  Spring  Byington  give  their 
best  performances  and  the  various  young 
Joneses  do  themselves  proud.  And  to 
repeat — there's  Joan  Davis!  Directed  by 
Otto  Brower — 20th  Century-Fox. 

Blondie  Brings  Up  Baby 

This  is  Baby  Dumpling's  picture  with 
Daisy,  the  pooch,  stealing  quite  a  few 
scenes,  too.  And  Baby's  dead-pan  friend, 
little  Alvin,  donates  his  share  of  the 
laughs.  The  story  is  pleasing,  and  fol- 
lowers of  the  daily  comic  strip  will 
applaud  the  picture  as  one  of  the  best  in 
the  "Blondie"  series. 

Blondie  is  the  victim  of  a  book  sales- 
man who  assures  her  that  Baby  Dump- 
ling is  a  child  genius,  according  to  the 
computation  of  his  set  of  educational 
books.  So  Blondie  hustles  Baby  off  to 
school  to  develop  the  genius'  mind.  The 
first  afternoon,  Baby  Dumpling  comes 
home  from  school  with  a  blackeye,  which 
just  about  breaks  up  the  Bumpstead 
household.  Then  Daisy  gets  picked  up 
by  the  city  dog  pound.  When  Dagwood 
gets  into  one  of  his  wild  scraps  with  his 
boss,  the  Bumpsteads'  happy  home  looks 
pretty  dismal,  but  all  turns  out  well  and 
the  result  is  a  rib-tickling  show. 

Penny  Singleton  and  Arthur  Lake  as 
Blondie  and  Dagwood  continue  their 
former  good  work,  but  it  is  the  children 
and  the  dog  who  deserve  top  mention 


YOU 


^UMM...THIS  HINDS  FEELS  5 
NICE,  MISS  HON  EM  I'D  LIKE  j  ' 

>  SOME  ON  MY  FACE  TOO  f.i  | 


SOFT,  ROMANTIC  HANDS  FOR 

HARD-WORKING  hands  need  a  fine,  extra-creamy  lotion. 
And  Hinds  is  just  that— extra-creamy,  extra-softening!  It 
coaxes  back  the  soft,  thrilling  look  that  dish  water,  harsh  clean- 
ers, snow,  and  wind  take  away.  Quick  comfort  for  chapping  and 
chafing— quick  loveliness  for  your  work-abused  hands!  Hinds 
Honey  and  Almond  Cream  contains  vitamins  A  and  D.  $1,  5(K, 
25tf,  10^.  At  toilet  goods  counters  .  .  .  NEW!  Hinds  Hand  Cream 
—fragrant,  non-sticky,  quick-softening!  In  jars,  lOi  and  39c . 


Wednesday  Night's  Fun  Night  with 

BURNS  AND  ALLEN 

Columbia  Network— Coast  to  Coast 
7:30-8:00  E.S.T.  See  newspaper  radio  col- 
umns for  exact  time  on  your  local  station. 


Chapping  •  Dryness 
Rough  skin,  elbows,  arms 

Weathered  skin 
Hangnails  •  Calloused  heels 
Powder  base  •  Body-rub 
After-shaving  lotion 

Copyright,  1940 
by  Lehn  &  Fink  Products 
Corp.,  Blootnneld,  N.  J. 


■hinds 

v 

J 


FOR 


MODERN  SCREEN 


this  time.  Jonathan  Hale  as  Mr.  Dithers, 
Roy  Gordon,  Peggy  Ann  Garner  and 
Robert  Middlemass  contribute  good  sup- 
port. Directed  by  Frank  Strayer — 
Columbia. 

Reno 

This  story  of  the  building  of  the  "big- 
gest little  city"  is  good  dramatic  enter- 
tainment, particularly  for  the  fans  of 
Richard  Dix.  Historic  events  are  care- 
fully worked  into  the  life  of  a  man 
important  in  the  growth  of  Reno.  The 
supporting  cast,  which  includes  Gail 
Patrick,  Anita  Louise,  Laura  Hope  Crews, 
Paul  Cavanagh  and  Hobart  Cavanaugh, 
contributes  much  to  the  general  interest 
in  the  development  of  this  very  famous 
western  town. 

Richard  Dix  comes  to  Reno  as  a 
struggling  young  lawyer,  bent  on  making 
a  name  for  himself  in  fighting  the  battles 
of  the  huge  mining  interests  then  boom- 
ing in  Nevada.  When  the  mines  run  out, 
Reno  is  left  deserted  and  it  is  Lawyer 
Dix  who  turns  the  place  into  a  thriving 
community  again  when  he  discovers  a 
law  which  allows  a  quick  divorce.  Gail 
Patrick,  his  wife,  is  also  ambitious. 
Her  dreams  are  centered  on  society, 
however,  and  the  divorce  law  is  a  boom- 
erang that  splits  the  home  of  the  man 
who  had  severed  so  many  other  homes. 

The  story  of  "Reno"  is  told  simply, 
with  the  plot  never  swerving  from  the 
quiet  mood  created  in  the  first  scenes. 
Directed  by  John  Farrow — RKO. 

Tower  of  London 

Here's  a  grim  and  grisly  picture,  if  ever 
there  was  one.  Some  of  the  chillers  of 
the  Lugosi-Karloff  school  may  be  more 
lurid,  but  "Tower  of  London"  will  make 
your  hair  stand  on  end  and  the  cold 
sweat  break  out  just  as  surely — for  you'll 
suddenly  realize  that  all  the  gruesome 
goings-on  which  are  unwinding  there  on 
the  screen,  actually  happened! 

It's  the  story  of  Richard  III  of  England, 
known  as  "Crookback"  Richard  to  his 
pals.  Torture  and  murder  were  to  him 
what  oatmeal  was  to  his  people — just  an 
everyday  occurrence.  The  King  rode 
rough-shod  over  everything  and  every 
person  who  stood  in  his  way  to  power — 
including  his  own  flesh  and  blood. 
Basil  Rathbone,  portraying  the  ruthless 
Richard,  gives  a  superb  performance.  Ian 
Hunter,  in  the  role  of  King  Edward  VI, 
gives  a  sincere  and  believable  char- 
acterization. Boris  Karloff  is  right  in 
there,  too,  with  a  role  that  must  have 
made  him  shudder,  himself.  He's  the 
crippled,  bald-headed  chief  executioner 
by  vocation,  and  Rathbone's  stooge  in  the 
little  leisure  time  allotted  him.  Barbara 
O'Neil,  Vincent  Price,  Ernest  Cossart  and 
Nan  Grey  deserve  special  mention.  Out- 
standing throughout  this  picture  is  the 
wealth  of  pageantry  and  beauty  in  the 
background,  and  remarkable,  too,  is  the 
fact  that  the  story  clings  as  closely  as 
possible  to  actual  history.  Directed  by 
Rowland  V.  Lee — Universal. 

kk  Beware  Spooks 

There  isn't  much  plot  to  "Beware 
Spooks,"  but  there's  more  than  the  aver- 
age allotment  of  laughs  and  Joe  E. 
Brown  gives  his  fans  a  better-than- 
average  dose  of  his  talents. 

Joe  is  a  rookie  cop  who  gets  into  more 
trouble  than  his  superior  police  officers 
can  understand.  He's  the  son  of  a  late 
member  of  the  force  highly  respected  by 
all  for  his  courage  and  ability,  but  for 
(Continued  on  page  73) 


Don't  label  yourself 
all  winter  long  — 


Underarms  always  perspire  —  even  in  Winter! 
To  avoid  offending,  make  a  daily  habit  of  MUM! 


NO  MATTER  how  cold  it  is  outdoors, 
it's  Summer  under  your  arms.  For 
underarms  can,  and  do,  perspire  all  year 
'round.  In  winter  as  in  summer,  you 
need  Mum! 

Don't  be  deceived  because  you  see  no 
visible  moisture.  Chances  of  offending 
others  ...  of  being  tagged  as  "unattrac- 
tive"—are  often  actually  worse  in  winter, 
for  then  indoor  living  and  warmer 
clothes  make  penetrating  odors  cling. 

So  don't  label  yourself  .  .  .  don't  rely 
on  a  bath  alone  to  guard  your  charm.  A 
bath  takes  care  of  past  perspiration,  but 
Mum  prevents  future  odor. 


More  women  use  Mum  than  any  other 
deodorant  ...  in  summer  and  in  winter, 
too.  You'll  find  Mum . . . 

SO  QUICK!  In  30  seconds  you're  through, 
yet  you're  completely  protected. 

SO  SAFE !  Mum  holds  the  American  In- 
stitute of  Laundering  Seal  as  being  harm- 
less to  any  kind  of  fabric.  And  Mum 
never  irritates  your  skin. 

SO  SURE!  You  can  rely  on  the  protection 
of  a  daily  dab  of  Mum.  And  Mum  doesn't 
stop  perspiration  itself  (one  reason  why 
thousands  of  men  have  the  Mum  habit, 
too! )  Get  Mum  at  your  druggist's  today. 


Important  to  Voo  — 

Thousands  of  women  use 
Mum  for  sanitary  napkins 
because  they  know  that  it's 
safe,  gentle.  Always  use 
Mum  this  way,  too. 


TAKES  THE  ODOR  OUT  OF  PERSPIRATION 

15 


MODERN  SCREEN 


TEST 

Thynmold 
for  10  days 
...  at  our 
expense! 


FORMAT/ ON 


SLIMMER 

.  . .  at  once  ! 

WOULD  you  like  to  SLENDERIZE  your 
SILHOUETTE  .  .  .  and  wear  dresses 
sizes  smaller?  That  is  just  what  the  Thynmold 
Perforated  Rubber  Girdle  will  do  for  you!  But  you 
won't  believe  it  possible  unless  you  actually  try  it 
yourself.  That  is  why  we  will  send  you  a  beautiful 
THYNMOLD  Girdle  and  Brassiere  to  test  for  10 
days  at  our  expense.  If  you  cannot  wear  a  dress 
smaller  than  you  normally  wear,  it  costs  you  nothing. 

BULGES  Smoothed  Out  INSTANTLY! 

■  Make  the  simple  silhouette  test!  Stand  before  a 
mirror  in  your  ordinary  foundation.  Notice  the 
bumps  of  fat . . .  the  thickness  of  waist . .  .  the  width 
of  hips.  Now  slip  into  your 
THYNMOLD  and  see  the  amaz- 
ing difference!  Your  new  outline 
is  not  only  smaller,  but  all  bulges 
have  been  smoothed  out  instantly! 

Test  THYNMOLD  for  10  days 
at  our  expense! 

■  Make  the  silhouette  test 
the  minute  you  receive  your 

""K^0  THYNMOLD.  Then  wear  it  10 
•*fffiw*     —  days  and  make  the  mirror  test 

again.  You  will  be  amazed.  If 
you  are  not  delighted  ...  if 
THYNMOLD  does  not  correct 
5™S>s  your  figure  faults  and  do 
everything  you  expect,  it  will 
cost  you  nothing. 

Made  of  the  Famous 
PERFOLASTIC  RUBBER 

■  THYNMOLD  is  the  modern 
.  ,«'-;-,   solution  to  the  bulging  waistline 

.S"ftiw*      and  broad  hips.  Its  pure  Para 
—  rubber  is  perforated  to  help 

T^^B^  body  moiscure  evaporate... its  soft 
:.f^5BB  inner  lining  is  fused  into  the 
rubber  for  long  wear  and  the 
iSi-JllLS  special  lace-back  feature  allows 
y»  ample  adjustment  for  change  in 

•  V^^  size.  The  overlapping  Brassiere 
gives  a  support  and  freedom  of 
action  impossible  in  a  one-piece 
foundation. 

Send  for  free  illustrated  folder 



DIRECT    PRODUCTS    CO.,  INC. 
Dept.  222,  358  Fifth  Ave.,  New  York,  N.  Y. 
Send   me    illustrated    folder    describing  Thynmold 
Rubber  Girdle  and  Brassiere,  sample  of  perforated 
material  and  full  details  of  your  10-day  Trial  Offer. 

Name  

Address  

16 


Questions  answered,  curiosity  satisfied— write  us 


ROBERT  STACK  was  well 
qualified  to  give  Deanna 
Durbin  her  initial  screen 
kiss  in  "First  Love,"  hav- 
ing spent  six  years  in 
Paris  observing  the  con- 
tinental technique.  True, 
he  was  only  eleven  when 
he  left  France,  but  Bob 
always  learned  things  fast  and  has  proved 
that  many  times.  This  potential  Gable 
was  born  in  Los  Angeles  on  January  13, 
1919  and  it  was  to  that  city  that  the  Stacks 
returned  after  their  stay  abroad.  Bob  com- 
pleted his  education  right  there  in  the 
shadow  of  the  great  movie  studios  and  then 
entered  the  University  of  Southern  Cali- 
fornia. Although  he  is  too  young  to  have 
made  many  memories,  he  does  recall 
those  days  as  the  happiest  in  his  life.  This, 
despite  the  fact  that  most  of  the  time  he 
was  burning  with  the  ambition  to  be  an 
actor.  When  he  was  almost  twenty  he  left 
U.  S.  C.  and  entered  a  Hollywood  dramatic 
school.  Six  months  later,  a  prowling  talent 


CLAUDETTE    COLBERT:  A 

combination  of  beauty, 
personality  and  histrionic 
ability  is  extremely  rare — 
and  so  is  a  person  like 
Claudette  who  was  lavish- 
ly endowed  with  just  that. 
She  was  born  Lily  Chau- 
chion  on  September  13, 
1905,  in  the  city  of  the  Eiffel  Tower  and 
Champs  Elysees.  Her  family  had  no  con- 
nections with,  and  little  interest  in,  the 
theatrical  world,  but  Claudette  was  a  film 
fan  at  an  early  age.  One  of  her  favorite 
tricks  was  to  fill  her  room  with  pictures  of 
famous  stars  of  the  day  and— to  save  time 
and  trouble— she  blissfully  autographed 
them  herself.  Even  then  she  dreamed  of 
being  as  successful  as  the  people  who 
looked  out  of  the  photographs,  yet  it  is 
doubtful  that  she  ever  guessed  how  com- 
pletely her  hopes  would  be  realized.  She 
was  just  thirteen  years  old  when  her  par- 
ents bade  Paris  farewell  and  brought 
Claudette  and  her  brother,  Charles,  to  these 


WILLIAM    POWELL  is  as 

popular  with  his  co-work- 
ers as  with  his  fans  and 
many  in  both  groups  gave 
three  cheers  and  a  whoop 
when  they  learned  he  was 
returning  to  the  screen 
after  a  long  illness.  Bill 
is  forty-seven  years  old 
and  a  product  of  Pittsburgh,  Pa.  He  was 
schooled  in  Pittsburgh,  and  in  Kansas  City 
where  the  family  moved  following  his 
grammar  school  graduation.  His  father 
was  a  fairly  well-to-do  public  accountant 
who  was  not  kindly  disposed  toward  the 
acting  profession.  When  Bill  suggested 
that  he  finance  him  through  a  New  York 
dramatic  school,  Mr.  Powell,  Sr.,  politely 
turned  him  down.  Perceiving  that  there 
was  nothing  to  be  gained  from  that  source, 
he  set  out  to  earn  the  money  himself  and 
began  by  securing  a  job  with  the  Home 
Telephone  Company  at  $50  per  month.  He 
shortly  realized  that  at  that  rate  he'd  never 
get  out  of  Kansas  City  and,  remembering  a 


scout  dropped  in  on  a  class,  took  a  quick 
look,  and  Bob,  a  little  bewildered,  wound 
up  with  a  long-term  contract  between  his 
trembling  fingers.  Besides  being  great 
screen  material,  handsome  Mr.  S.  is  an 
athlete  of  no  trifling  talent.  He  spends 
several  evenings  a  week  at  the  studio 
gymnasium  boxing  with  his  trainer  and 
we  are  told  he  handles  the  gloves  skill- 
fully. Other  sports  in  which  he  excels  are 
skeet  shooting  and  swimming.  When  it's 
good  literature  he's  after,  Shakespeare  is 
the  man  who  fills  the  bill.  Bob  is  also 
a  versatile  musician  and  does  justice  to  the 
saxophone  and  clarinet.  However,  he  ad- 
mits the  superiority  of  Benny  Goodman, 
Tommy  Dorsey  and  Glenn  Miller,  his  fa- 
vorites in  the  realm  of  swing.  For  the 
awards  of  finest  actor  and  actress,  he  picks 
Spencer  Tracy  and  Helen  Hayes.  Bob  is  six 
feet,  one  inch  tall,  has  blue  eyes  and  blonde 
hair  and  weighs  one  hundred  seventy-five 
pounds.  You  can  write  him  in  care  of  Uni- 
versal Studios,  Universal  City,  Cal.  For  a 
review  of  "First  Love,"  turn  to  page  6. 


shores  and  it  was  here  that  she  completed 
her  education.  Some  years  later,  at  a  tea 
party,  she  met  Anne  Westcott,  the  play- 
wright, and  jokingly  suggested  that  she  be 
given  a  part  in  Miss  Westcott's  new  show, 
"The  Wild  Westcotts."  The  author  obliged 
and  was  rewarded  with  a  perfect  portrayal 
of  one  of  her  characters.  When  the  play 
closed,  Claudette  called  upon  producer 
Brock  Pemberton,  invented  some  impres- 
sive stories  about  her  experience,  and 
talked  herself  into  the  leading  role  in  "The 
Marionette  Man."  Thus,  a  few  months  af- 
ter her  debut,  she  was  an  established  star 
and  it  was  as  such  that  she  came  to  Holly- 
wood. This  beautiful  French  girl  was  once 
married  to  Norman  Foster,  the  director. 
They  were  divorced  and  in  December.  1935, 
she  married  Dr.  Joel  Pressman.  She  plays 
tennis,  rides  horseback  and  loves  to  watch 
football  games  and  boxing  matches.  Claud- 
ette can  be  reached  at  the  20th  Century- 
Fox  Studios,  Hollywood,  Cal.  A  review  of 
her  latest  picture,  "Drums  Along  The  Mo- 
hawk," appears  on  page  6. 

wealthy  aunt  back  in  Sharon,  Pa.,  sat 
down  and  wrote  her  a  twenty-three-page 
letter  that  added  up  to  a  plea  for  $1411.  She 
replied  immediately  and  sent  him  $700 
which  she  considered  quite  sufficient.  It 
took  him  thirteen  years  to  repay  the  loan. 
In  New  York  he  discovered  he  was  not  ex- 
actly the  casting  directors'  delight  and 
when  it  was  offered  him,  happily  accepted 
the  role  of  the  villain  in  John  Barrymore's 
movie  version  of  "Sherlock  Holmes."  He's 
been  eating  regularly  ever  since.  Bill  is 
an  ardent  baseball  fan,  reads  biographies 
and  popular  fiction,  and  enjoys  a  good 
game  of  tennis.  He  says  his  favorite  food  is 
strawberry  shortcake — the  third  helping. 
He  is  a  bachelor  today  but  has  been  mar- 
ried twice — the  first  time  to  a  non-profes- 
sional, the  second  time  to  Carole  Lombard. 
He  has  a  son  by  his  first  wife.  He's  six  feet 
tall,  has  brown  hair  and  eyes  and  weighs 
one  hundred  sixty  pounds.  Address  him  at 
Metro-Goldwyn-Mayer  Studios,  Culver 
City.  Cal.  "Another  Thin  Man,"  his  new- 
est vehicle,  is  reviewed  on  page  6. 


DESK 


for  a  personal  reply 

Clarabel  Gerhardt,  Long  Branch,  N.  J. 
Jackie  Cooper  is  his  real  name  and  he 
was  born  in  Los  Angeles,  Cal.,  on  Sept. 
15th,  1922.  He  weighs  one  hundred  forty- 
five  pounds,  is  five  feet,  nine  inches  tall, 
has  brown  curly  hair  and  hazel  eyes.  His 
last  picture  was  "What  A  Life,"  and  his 
next  will  be  "Seventeen,"  Booth  Tark- 
ington's  famous  novel  of  youth.  You  can 
write  him  in  care  of  Paramount  Stu- 
dios, Hollywood,  Cal. 

Walter  Bediek,  Bronxville,  N.  Y.  Walter 
Connolly  is  married  to  Nedda  Harrigan, 
popular  stage  actress.  His  most  recent 
picture  is  "The  Great  Victor  Herbert,"  in 
which  he  has  the  name  role. 

Rosalind  Dix,  Nashville,  Term.  No  doubt, 
you  will  be  pleased  to  hear  that  Tony 
Martin  has  just  completed  his  role  in  the 
romantic  musical  comedy,  "Music  In  My 
Heart."  You  can  write  him  at  Columbia 
Studios,  Hollywood,  Cal. 

Shirley  Levin.  Rochester,  N.  Y.  Jerome 
Cowan  has  been  going  from  one  strong 
part  to  another.  Veteran  of  stock,  vaude- 
ville and  the  Broadway  stage,  he  has 
performed  in  leading  roles  opposite 
many  celebrated  f ootlight  stars.  He  most 
recently  appeared  in  "The  Old  Maid," 
"There's  Always  A  Woman"  and  "East 
Side  of  Heaven."  His  next  picture  will 
be  "Framed." 


Baltimore,  Md.  In  studio  lan- 
an  "inky"  is  an  incandescent 


Ray  Silver, 

guage 
lamp. 

Doris  Hines,  Winnipeg,  Manitoba.  The  girl 
you  have  in  mind  is  Helene  Whitney,  the 
daughter  of  the  socially  prominent  Gran- 
ville Roland  Fortesques.  Her  big  chance 
came  while  she  was  playing  in  a  "home 
talent"  production  of  "The  Women"  at  a 
Nevada  dude  ranch.  There  she  was  no- 
ticed by  a  movie  scout  who  was  enroute 
East  to  find  someone  to  play  the  role  of 
"Fleur  de  Lys"  in  "The  Hunchback  of 
Notre  Dame."  Half  an  hour  later,  she 
agreed  to  go  to  Hollywood  for  a  test  with 
the  understanding  that  if  it  proved  favor- 
able, she  would  get  the  role.  Result  was 
that  she  got  the  role  along  with  a  long- 
term  contract.  You  can  write  her  at  RKO 
Radio,  Hollywood,  Cal. 


Dear  Readers: 

You've  been  swamping  us  with 
requests  for  information  on  the  lead- 
ing stars  appearing  in  jfjrjr  and 
"kif^ck  pictures  currently  playing 
in  your  neighborhood  theatres. 
Therefore,  we  have  decided  to 
change  our  policy  and  print  their 
biographies  each  month.  Remem- 
ber that  questions  of  general  inter- 
est will  be  answered  here  as  usual. 
If  you  desire  a  personal  reply,  send 
a  stamped,  self-addressed  envelope 
to  Information  Desk,  Modern 
Screen,  149  Madison  Ave.,  New 
York,  N.  Y. 


0 


How  much  more  you  can  get  in  a  suitcase  if  things  are  folded  nicely  than  if  they're 
wadded  up  and  tossed  in!  And  this  same  principle  makes  a  Kotex*  sanitary  napkin 
less  bulky  than  pads  made  with  loose,  wadded  fillers .  .  . 

Kotex  has  a  soft,  carefully  folded  center  (with  more  material  where  you  need  it . . .  less 
in  the  non-effective  portions  of  the  pad).  So  naturally  —  it's  less  bulky!  Less  apt  to  chafe, 
too  . . .  for  Kotex  is  entirely  sheathed  in  cotton  before  it's  wrapped  in  gauze! 


Why  be  self-conscious!  With  Kotex 
your  secret  is  safe!  Pressed  ends  (patented 
by  Kotex)  never  make  embarrassing,  tell- 
tale outlines... the  way  napkins  with  thick, 
stubby  ends  so  often  do! 

And  —  for  complete  peace  of  mind  —  re- 
member this.  Between  the  soft  folds  of 
Kotex  there's  a  moisture -resistant  panel! 
A  special  safeguard  . . .  newly  developed  by 
the  Kotex  Laboratories! 


Kotex*  comes  in  3  sizes,  too!  Super- 
Regular— Junior.  Kotex  is  the  only  dispos- 
able sanitary  napkin  that  offers  you  a 
choice  of  3  different  sizes!  (So  you  may 
vary  the  size  pad  according  to  each  day's 
needs!) 

All  3  sizes  have  soft,  folded  centers . . . 
flat,  tapered  ends . . .  and  moisture-resistant 
"safety  panels".  All  3  sizes  sell  for  the  same 
low  price! 


•Trade  Mark  Rear. 
V.  S.  Pat.  Off. 


FEEL  ITS  NEW  SOFTNESS 
PROVE  ITS  NEW  SAFETY 
COMPARE  ITS  NEW,  FLATTER  ENDS 


MODERN  SCREEN 


THRILLINGLY  ON  THE  SCREEN!  Those  stirring  days  of 
minstrels  and  river  boats . .  .when  a  great  and  stormy  love  put  America's  joys 
and  sorrows  to  music  and  gave  us  the  songs  we  took  to  our  hearts  forever ! 


-  4r 


llC>l0R 


SOIREE  POLKA 


P<>lKS 


The  Story  of  Stephen      Foster,  the  Great  American  Troubadour 

with 

DON  AMECHE  •  ANDREA  LEEDS  •  AL  JOLSON 

and 

FELIX  BRESSART  •  CHICK  CHANDLER 
RUSSELL  HICKS    •    GEORGE  REED 
and  HALL  JOHNSON  CHOIR 

Directed  by  SIDNEY  LANFIELD  •  Associate  Producer  Kenneth 
Macgowan  •  Screen  Play  by  John  Taintor  Foote  and  Philip  Dunne 

DARRYL  F.  ZANUCK  in  Charge  of  Production 


1  Gentlemen,  be  seated 


i"~y^ia-J   i   I    i   ■   ■  ■  ■  >  i 


BAD  GIRL 


6Q0D  GUY — GREAT  PICTURE  F  f! 


~a"yt/ii, 


..REMEMBER  THE  NIGHT 


Barbara  Stanwyck  •  Fred  MacMurray  .„ 

REMEMBER  THE  NIGHT" 

Slick  at  "Honeymoon  in  mall". . .  Cxplotlv  as  "Midnight". . .  Romantic  at  "(ova  A/fair" 

w.ii.  BEULAH  BOND  I 
Elizabeth  Patterson  •  Sterling  Hollo  way  •  Directed  by  Mitchell  leisen 

Original  Streen  Play  by  Preston  Sturges 


Of  Coarse, 


25 


RUMORS  CLOSE  IN  ON 


THEY  SAY  that  Nelson  isn't  what  he  used  to  be;  that 
he  is  suddenly  a  new  person,  with  a  new  future  ahead 
of  him.  Then,  in  the  next  breath,  they  say  that  there 
must  be  some  sinister  reason  why  he  has  given  up  a 
$6500-a-week  radio  contract.  They  say  that  he  is  giving 
up  his  concert  tours,  too — "to  save  his  voice."  They  say 
that  he  is  secretly  getting  ready  to  give  up  everything 
else,  to  accept  that  offer  from  the  Metropolitan.  It's 
none  of  their  business,  but  they  say  that  his  marriage 
isn't  working  out.  At  the  same  time,  they  say  that  the 
Eddys  are  building  a  honeymoon  mansion  that  will 
dwarf  anything  in  sight.  They  say  that,  after  making 
two  pictures  without  Jeanette  MacDonald,  he  is  pretty 
unhappy  about  being  co-starred  with  her  again. 

All  of  these  rumors  can't  be  true.  There  are  contra- 
dictions among  them.  But  which  are  true,  and  which 
are  false?  There  is  only  one  person  who  can  tell  us 
and  he's  willing. 

"What  about  the  new  Nelson  Eddy?"  Quizzically, 
Nelson  echoes  the  question.  He  takes  another  sip  of 
coffee,  which,  with  some  white  toast,  is  his  entire  lunch, 
because  this  is  a  singing  day.  Then,  with  a  self-derisive 
grin,  he  answers,  "When  I  first  heard  the  rumors,  I 
said,  'Uh-huh.  People  will  have  their  little  wisecracks.' 
When  I  kept  on  hearing  them,  I  said,  'Gangway!  I've 
got  to  find  out  what  I've  been  doing  that  I  don't  know 
about!' 

"I  hustled  myself  to  the  nearest  projection  room  and 
had  them  run  off  'Balalaika.'  I  sat  there  and  squirmed. 
'Why,  in  the  name  of  heaven,  did  you  do  that  in  that 
scene?'  I  kept  saying  to  myself.  'You  should  have  done 
this.  When  will  you  ever  leam?' 

"But  the  more  the  picture  got  around,  the  more  the 
rumors  seemed  to  grow.  That  didn't  just  baffle  me;  it 
floored  me.  I  started  cornering  people  I  could  depend 
on  for  a  straight  answer,  and  saying,  'You've  got  to  let 
me  in  on  the  secret.  I've  got  to  know.  How  am  I  "a 
new  Eddy?"  '  My  best  friends  couldn't  tell  me.  They 
said,  'You  tell  us.'  The  only  difference  anybody  could 
see  was  that  I  was  'freer  and  easier'  than  I  had  ever 
been  before.  I  haven't  figured  out  if  that  makes  me 
a  new  man  or  not.  Between  you  and  me,  I  doubt  it." 

He  helps  himself  to  a  half-slice  of  toast  and  a  reflec- 
tive pause.  "So  I'm  'freer  and  easier.'  I'll  tell  you  one 
answer.  In  'Balalaika,'  I  wore  some  pants  that  wouldn't 
split  if  I  bent  over.  Don't  think  that  didn't  make  a 
difference!  Some  of  the  musical  comedy  uniforms  I've 
had  to  wear  have  been  brutal.  Pants  so  tight  I  couldn't 
sit  down  without  courting  catastrophe.  Coats  so  wasp- 
waisted  I  couldn't  take  a  deep  breath  without  having 
sixteen  buttons  pop  off.  Collars  so  high  I  had  to  hold  my 
chin  just  one  way — up,  at  a  forty-five  degree  angle. 
People  said  Eddy  was  stiff.   And  how  Eddy  was  stiff! 

"In  'Balalaika,'  I  wore  Cossack  clothes,  which  were 
designed  for  comfort.  I  relaxed  a  little.  I  forgot  to 
worry  for  the  first  time  since  I  came  to  Hollywood.  I 
stopped  knocking  myself  out,  trying  to  act.  I  had  three 
and  a  half  days  off  in  three  months — and  I  put  on  ten 


pounds.  I  was  that  relaxed.  I  don't  know.  Maybe  that 
makes  me  a  new  Eddy." 

But  the  question  is:  Can  he  stay  relaxed? 

"I  certainly  hope  so,"  Nelson  Eddy  says.  "I've  been  in 
pictures  four  and  a  half  years.  I've  picked  up  that 
much  experience.  And  it  ought  to  begin  to  show.  I 
ought  to  stop  being  self-conscious  one  of  these  years. 

"When  I  came  to  Hollywood,  I  didn't  know  the  first 
thing  about  acting.  I'd  never  done  any.  I  didn't  know 
how  to  time  lines.  I  didn't  know  how  to  make  gestures 
talk  for  me.  I  didn't  know  what  a  camera  angle  was. 
I  had  to  be  told  how  to  do  everything,  except  sing. 
I  was  awkward;  I  was  stiff;  and,  most  of  all,  I  was  self- 
conscious.  In  short,  I  was  bad.  Not  that  I'm  good  now. 
But,  at  least,  I'm  beginning  to  look  Dat  Ol'  Debbil 
Camera  in  the  eye  without  taking  a  bath  in  nervous 
perspiration.  I  don't  scare  so  easily  now.  I've  got  a 
little  experience  behind  me. 

"Jeanette  used  to  stagger  me.  She  never  seemed  to  do 
anything  wrong.  Nobody  had  to  tell  her  what  to  do, 
or  how  to  do  it.  She  knew.  I  used  to  wonder  if  it  was 
feminine  instinct  that  told  her.  Now  I  know  it  was 
experience.  She  had  had  practice,  not  only  in  the 
movies  but  on  Broadway  before  that. 

"I'VE  NEVER  told  this  before,  but  I  used  to  go  through 
the  tortures  of  the  damned.  I  couldn't  sleep  at  night 
for  worrying  about  the  next  day's  scenes,  about  certain 
lines  of  dialogue  that  might  throw  me,  if  certain  bits 
of  action  didn't.  I  dreaded  getting  up  in  the  morning, 
because  once  I  was  up,  the  agony  was  just  that  much 
nearer.  Every  time  I  was  called  in  front  of  the  camera, 
I  had  a  sinking  sensation.  Was  this  the  time  I  wasn't 
going  to  be  able  to  make  the  grade?  I  had  to  drive 
myself  every  inch  of  the  way. 

"I  couldn't  tell,  when  I  did  something  for  the  camera, 
whether  I  was  putting  it  over  or  not.  I  had  to  take 
somebody  else's  word  for  it.  That  was  where  the  radio 
program  was  a  big  help.  The  talking  part  of  the  pro- 
gram, I  mean.  Every  time  I  sang,  the  announcer  would 
whip  up  thirty  seconds  of  applause,  which  sounded  good 
but  didn't  mean  a  thing.  If  I  had  said,  'I  demand  thirty 
seconds  more  of  applause,'  I  could  have  had  it.  When 
I  did  skits,  things  were  different.  The  audience  reacted 
of  its  own  accord,  or  it  didn't  react  at  all.  That  was  an 
education." 

These  days  Nelson  Eddy,  the  ex-introvert,  is  really 
getting  a  bang  out  of  life — including  marriage.  There's 
no  doubt  about  that,  either.  A  man  having  trouble  at 
home  couldn't  grin  the  way  Mrs.  Ann  Franklin  Eddy's 
husband  does. 

He  won't  talk  about  his  marriage.  "What  do  you 
want  to  do?  Make  me  self-conscious  at  home?"  he 
demands.  "Ann  is  not  an  actress,  so  the  less  publicity 
she  has,  the  happier  she'll  be.  And  I'm  out  to  make 
her  happy/' 

He  isn't  so  reticent  about  his  reasons  for  dropping  out 
of  radio.    "I  saw  the  story  that  I  had  tossed  a  contract 


EDDY! 


So  Nelson  takes  time 


out  to  set  you  straight 
on  the  things  people 
are  saying  about  him 


BY  JAMES  REIT) 


Nelson  Eddy  has  always  been 
self-conscious  and  evasive  with 
interviewers.  This  time  with  gos- 
sip buzzing  in  his  ears,  he  really 
"opens  up"  and  surprises  Modern 
Screen  with  scoop  after  scoop! 


for  $6500  a  week  into  the  wastebasket.  That  was  as 
pretty  a  flight  of  fancy  as  I've  ever  read  about 
anybody.  But,  apparently,  some  people  have  taken 
it  seriously.  They're  arguing  about  whether  I've 
lost  my  head  or  my  voice. 

"I'm  not  at  liberty  to  tell  what  salary  the  con- 
tract called  for,  but  it  wasn't  $6500.  And,  just  to  keep 
the  record  straight,  I'd  better  add  that  that  wasn't 
why  I  decided  to  go  off  the  air.  The  reasons  are 
very  simple.   They're  even  logical. 

"I  told  you  a  few  moments  ago  that,  during  the 
three  months  'Balalaika'  was  in  the  making,  I  had 
exactly  three  and  a  half  days  off.  That  was  because 
I  had  a  Sunday  radio  program.  I  had  to  work 
week-ends,  when  everybody  else  was  having  fun. 
I  didn't  give  up  just  my  Sundays.  I  had  to  work 
up  new  song  numbers  for  every  broadcast.  That 
meant  practising  for  two  hours  straight,  three  nights 
a  week,  after  I  got  home  from  the  studio.  Friday 
night,  and  again  on  Sunday,  (Continued  on  page  64) 


Left,  Undo  Darnell  at  the  aoe^t 

glamorizat.on  set  m.    Next  ^  tq]  of 

Wife."  in  whlc\^ta  lady.  R^t,  a  natural 
Tyrone   Powers  leading   laay  d  make. 

^  S°l^e  t  -  wen,  *~ 


m st/m  w Nudity  wood 

From  the  cradle  up,  Linda  Darnell  was  trained  for  the  place  she  holds  today 

BY  RUTH  HARDY 


TO  THE  folks  in  her  home  town, 
Dallas,  Texas,  Linda's  triumph  was 
neither  unexpected  nor  startling.  In- 
deed, they  would  have  been  surprised 
if  she  had  failed.  They  know  that 
since  the  day  she  was  born,  Linda 
Darnell  has  been  diligently  groomed 
for  exactly  the  place  she  holds  today. 
They  know,  too,  that  the  real  triumph 
belongs  not  so  much  to  Linda  herself 
as  to  her  mother  who  charted  the 
girl's  course  before  her  birth  and 
guided  the  child  to  its  ultimate  fulfill- 
ment. With  natural  beauty  and  such 
indefatigable  training,  Linda's  career 
was  inevitable. 

Four  and  a  half  months  before  the 
premiere  of  "Hotel  For  Women," 
Linda  Darnell  was  a  studious  and 
serious-minded  little  sophomore  in 
Sunset  High  School,  in  Dallas.  Her 
sudden  and  phenomenal  success  in 
one  picture  does  involve  a  great  fac- 
tor of  luck,  but  it  is  luck  backed  up 
by  unrelenting  hard  work  and  some 


28 


disappointment  and  delay.  It  was  not 
a  case  of  opportunity  striking  once 
and  finding  her  ready  to  take  advan- 
tage. Rather,  it  was  a  case  of  her 
knocking  at  the  door  of  opportunity 
time  after  time  until,  after  such  re- 
peated onslaughts,  the  door  must  of 
necessity  have  opened. 

Linda,  christened  Monetta  and  so 
still  known  to  her  home  folks,  was 
sixteen  on  last  October  16.  She  was 
born  in  1923,  according  to  Dallas 
school  records.  Thus  she  was  only 
fifteen  when  she  triumphed  in  Holly- 
wood in  "Hotel  For  Women."  The 
studio  is  going  to  great  lengths  to 
publicize  her  as  eighteen,  and  Linda's 
precocious  appearance  fully  supports 
their  statements.  Time  was,  however, 
when  an  actress  changed  her  age  only 
to  snip  a  few  years  off  as  she  ap- 
proached middle  age,  and  there  were 
no  restrictions  on  youth.  Loretta 
Young,  for  example,  was  playing 
leads  at  fourteen.   But  since  the  ad- 


vent of  the  Hay's  code,  the  younger 
teens  are  considered  suitable  only  for 
callow  calf-love  of  the  Andy  Hardy 
variety.  Deanna  Durbin,  at  sixteen, 
met  young  love  for  the  first  time  on 
the  screen.  Linda,  too  mature  in  ap- 
pearance and  manner  for  adolescent 
roles,  fits  visually  into  more  sophis- 
ticated parts  and  has  had  her  age 
stretched  by  the  studio. 

An  ambitious  mother,  who  twenty 
years  ago  had  battered  at  the  Holly- 
wood gates  and  returned  in  defeat  to 
her  home  in  Dallas,  destined  little 
Linda  for  the  theatrical  career  she 
had  missed  at  the  cradle.  As  an 
amateur,  the  child  was  before  the 
public  from  the  age  of  three.  Every 
influence  in  her  life  was  directed 
toward  the  goal  of  motion  picture 
stardom.  She  appeared  in  nearly 
every  "kiddie  show,"  dance  recital 
and  amateur  play  in  and  around 
Dallas.  Every  possible  talent  search 
or  contest  was  a  challenge  for  Mrs. 


Darnell  to  test  her  beautiful  daugh- 
ter. Many  times  she  failed,  or  came 
in  second,  but  once  she  won,  and  that 
was  enough. 

Linda's  outstanding  trait  is  her 
amazing  poise  and  common  sense  for 
one  so  young.  She  was  friendly,  met 
people  easily  and  was  well  liked  at 
school  but  was  not  spectacularly  pop- 
ular. She  hadn't  time  to  be.  When 
most  girls  were  busy  with  movie 
matinees  and  dates,  Linda  was  study- 
ing diction,  dancing  and  make-up. 
Every  night  of  her  life  from  Linda's 
babyhood,  Mrs.  Darnell  gave  her 
daughter  special  complexion  care. 
The  girl  was  a  natural  beauty  but 
Hollywood,  they  knew,  improves  on 
nature,  and  many  of  Hollywood's 
tricks  had  been  mastered  by  Linda 
before  she  ever  saw  California.  A 
comparison  of  her  photographs  of 
two  years  ago  and  of  last  spring 
shows  that  much  of  her  glamorization 
took  place  before  movie  make-up  ar- 


tists had  a  chance  to  work  their  magic. 

Despite  her  looks,  however,  Linda 
won  only  second  place  in  the  school 
beauty  contest  last  spring.  She  was 
beaten  when  a  boys'  club  supported 
another  girl,  and  the  contest  became 
actually  a  competition  in  popularity 
rather  than  beauty.  Mrs.  Darnell  dis- 
couraged dates  for  Linda  and  she 
seldom  had  time  for  school  parties, 
although  she  did  have  a  crush  on  the 
reigning  football  hero.  Now,  how- 
ever, eight  months  later,  Linda  is  the 
heroine  of  the  student  body  and  the 
pretty  contest  winner  is  a  stenog- 
rapher in  a  Dallas  business  office. 

Linda,  with  her  two  sisters  and  one 
brother,  grew  up  in  Oak  Cliff,  a 
suburb  of  Dallas,  in  a  modest  white 
frame  cottage  at  715  Hollywood  Street 
— a  prophetic  name.  Mr.  Darnell  was 
and  still  retains  his  position  as  a  clerk 
in  the  Dallas  postoffice.  Shy  and  re- 
tiring, he  is  proud  of  his  actress 
daughter,  but  (Continued  on  page  75) 


About  four  months  after  Lmda 
Eft  Sunset  High,  she  made  a 
triumphal  return  to  DaHa 
with  the  premiere  at  riore. 
To  Women Her  grandma, 
ft  and  dad  and  mother 
proud ! 


were 


29 


Between  takes,  Mickey  is  the 
life-ct-the-party!  On  extreme 
left,  June  Preisser  and  Jackie 
Cooper;  right,  Ann  Ruther- 
ford and  Judy  Garland. 


BY  ELISABETH  FRENCH 


The  lucky  number  this  time  is  Kay 
Stewart,  who  gurgles  with  delight 
as  she  dines  with  Mickey.  He 
picks  the  fashionable  restaurants 
because  they  have  the  best  bands. 


The  very  private  affairs  of  a  man  who  knows  his  way  around  -  Mickey  Rooney 


MICKEY  ROONEY,  erstwhile  reputed  ladies'  man  and 
night  club  habitue,  is  a  homebody  now.  A  year  ago  Mickey 
was  rumored  by  Hollywood  gossipers  to  be  the  menace  of 
the  minors.  They  say  he  covered  more  territory  than 
Cesar  Romero  or  David  Niven,  even  though  his  allowance 
was  only  $15  a  week. 

But  that  was  last  year.  Now  even  the  columnists  are 
content  to  leave  Mickey  on  his  San  Fernando  ranch  with 
his  ducks  and  his  flowers.  And  when  he  does  venture  into 
a  restaurant  it's  with  a  gang  of  "the  fellows."  Lady-killing 
is  out. 

"I  don't  know  where  I  ever  got  that  reputation,"  Mickey 
sighed  with  dignity  in  his  portable  dressing-room  between 
scenes  of  "Young  Mr.  Edison."  "Gosh,  I  haven't  time  to 
give  much  thought  to  girls." 

He  really  hasn't  had  time.  You  can't  accomplish  what 
Mickey  has  during  the  past  year  and  be  a  playboy,  too. 
According  to  the  latest  poll,  Mickey  is  now  Number  One 
at  the  box-office.  And  his  talents  have  multiplied  to  the 
point  where  developing  them  is  a  full-time  job.  He  has 
made  four  trips  East  for  personal  appearances;  he's  made 
radio  appearances,  composed  songs  and  an  opera,  collabo- 
rated on  a  new  Andy  Hardy  story  that  he  hopes  the  studio 
will  buy,  learned  to  shoot  in  the  seventies  at  golf,  polished 
up  his  manners,  practised  singing  and  piano-playing,  per- 
fected his  imitations,  and  improved  his  acting  immeasur- 
ably in  each  picture. 

He  even  carries  a  ball  around  in  his  hand  now,  and 
squeezes  it  to  develop  the  muscles  in  his  arms.  You  can 
see  how  completely  girls  have  been  crowded  out. 

In  New  York  after  one  of  his  personal  appearances,  when 
a  pretty  nineteen-year-old  admirer  suggested  that  they  go 
out  for  a  sandwich  and  he  had  to  refuse,  he  went  back  to 
the  hotel  and  sat  up  in  bed  writing  a  song,  "I  Can't  Afford 
to  Fall  in  Love."  He  didn't  mean  money,  of  course — just 
the  innumerable  activities  that  consume  his  time  and  al- 
most completely  banish  feminine  society  from  his  world. 


"But  what  do  you  do  when  you're  not  working?"  I 
asked. 

"Oh — stay  home  and  think,"  he  replied.  Then  added 
hastily,  "I  like  to  go  to  the  fights  on  Friday  nights,  and  to 
football  games.  I  swim  in  my  pool  and  play  golf  every  day 
I'm  not  working.    And  I'm  interested  in  horses. 

"I  have  a  gang  over  at  the  house  all  the  time.  All  fel- 
lows. I  can  have  more  fun  with  fellows.  I  don't  make  a 
habit  of  going  about  with  picture  people.  I  go  with  non- 
professionals, kids  I  went  to  high  school  with  or  that  I've 
met  in  various  ways  since.  Picture  people  are  always  on 
the  make  for  something — they  go  around  with  you  for  your 
name  and  not  for  friendship." 

He  admitted  that  non-professionals  sometimes  go  with 
you  for  your  name,  too,  but  still  they're  the  best  bet. 
Mickey's  closest  friends  are  his  stand-in,  a  young  Holly- 
wood clothing  merchant,  the  musical  director  of  "Babes  in 
Arms,"  a  football  player  at  the  University  of  Southern 
California,  and  others  not  related  to  the  social  racket  of 
the  picture  business.  His  now-neglected  girl  friends,  too, 
are  chosen  from  outside  the  studio. 

"I  LIKE  a  girl  who's  sincere,"  Mickey  declared,  his  chin 
stuck  out  challengingly,  "one  who  sincerely  likes  me,  and 
not  my  name.  I  haven't  found  one  yet,"  he  added,  with  a 
slightly  bitter  smile. 

When  Judy  Garland's  name  was  mentioned,  he  groaned. 
"Judy  is  a  very  sincere  girl,"  he  said  patiently,  but  as  one 
who  has  been  tried  too  far.  "When  she  likes  you,  you 
know  it's  genuine.  I  have  a  lot  of  fun  when  I'm  with  Judy. 
"But,"  he  shrugged,  "there's  just  nothing  there!" 

"As  for  other  girLs  in  pictures — well,  I'm  kind  of  young. 
And  most  girls  who  are  coming  along  in  pictures  are  sort 
of — well,  no  man,  if  he  has  any  brains,  likes  to  go  out  with 
a  girl  who  thinks  she's  better  than  he  is.  He  shouldn't 
think  he's  better  than  she  is,  either.  It  should  be  a  fifty- 
fifty  proposition.    But  at  least  (Continued  on  page  82) 


OF  A  LAW-KILLER 


31 


BRIAN  AHERNE 


VON  AMECHE 


ANNABELLA 


JEAN  ARTHUR 


He  married  Joan  Fontaine 
August  20,  1939.  It  was 
a  first  marriage  for  both. 


Wed  his  boyhood  sweet- 
heart, Honore  Prendergast, 
in  1932.    Has  three  sons. 


Ty  Power  is  her  fourth  hus- 
band. She  has  a  daughter, 
9,  by  an  earlier  marriage. 


Became  Mrs.  Frank  J.  Ross, 
Jr.,  June  11,  1932.  A  pre- 
vious marriage  annulled. 


CHARLES  80YER 


Divorced  from  John  Fox 
and  Gene  Markey.  Two 
girls,    one    by  each. 


She  is  happily  married  to 
Peter  Lindstrom,  a  practic- 
ing physician  in  Sweden. 


Mayo  Methot  is  wife  No.  3. 
Divorced  from  Mary  Phillips 
and  actress,  Helen  Menken. 


Met  Pat  Paterson  in  No- 
vember, 1933  and  married 
her   three    months  later. 


Allen,  Gracie 

Saw  George  Burns  backstage  at  a  theatre,  became  his  stooge  and  mar- 
ried him  in  1927.  Two  adopted  children — Ronnie,  four;  Sandra,  seven. 

Arlen,  Richard 

Has  a  son,  six,  by  Jobyna  Ralston  and  a  daughter  by  his  first  wile. 

Arnold,  Edward 

Olive  Emerson  is  his  second  wife.  They  have  three  grown  children. 

A  twill,  Lionel 

Formerly  married  to  Elsie  Mackay  of  Australia  and  since  June,  1930, 
to  Mrs.  Louise  MacArthur.    Has  a  son,  nineteen,  by  his  first  wife. 

Auer,  Mischa 

He  is  the  devoted  husband  of  non-professional  Norma  Tillman.  They 
have  two  children,  a  son,  aged  six,  and  an  adopted  baby  daughter. 

Bainter,  Fay 

Has  been  married  for  over  seventeen  years  to  Lt.  Commander  Reginald 
Venable  of  the  U.  S.  Navy  (retired).  They  have  a  fifteen-year-old  son. 

Bancroft,  George 

Will  celebrate  his  24th  anniversary  on  May  30th  next.  One  daughter. 

Bari,  Lynn 

Surprise  merger  with  agent  Walter  Kane  occurred  on  March  8,  1939. 

Barnes,  Binnie 

Divorced  Samuel  Joseph,  London  antique  dealer,  October  16,  1936. 


Barrymore,  John 

Separated  from  fourth  wife,  Elaine  Barrie.  His  first  was  {Catherine 
Corri  Harris;  second,  authoress  Blanche  Oelrichs;  third,  Dolores 
Costello.  Three  children' — one  by  his  second  wife  and  two  by  his  third. 

Barrymore,  Lionel 

His  second  wife,  Irene  Fenwick,  died  in  1936;  they  were  wed  in  1923. 

Barthelmess,  Richard 

After  his  divorce  from  Mary  Hay,  he  married  Mrs.  Jessica  Sargeant 
of  New  York  City.  His  daughter,  Mary,  is  his  child  by  his  first  wife. 

Baxter,  Warner 

Winifred  Bryson,  his  second  wife,  was  formerly  his  leading,  lady. 

Beery,  Wallace 

Fifteen  years  of  marriage  to  Rita  Gilman  ended  in  divorce  last  year. 
Wally  is  legal  guardian  of  their  adopted  daughter,  Carol  Ann,  eight. 

Bellamy,  Ralph 

Catherine  Willard  was  on  the  London  stage  before  becoming  his  wife. 

Benchley,  Robert 

A  single  marriage,  to  Gertrude  Darling  of  Worcester,  Massachusetts. 
Date,  June  6,  1914.   Children:  Nathaniel  Goddard  and  Robert  Gale. 

Benny,  Jack 

January  12,  1927,  was  the  red  letter  day  in  Jack's  life,  marking  his 
marriage  to  Mary  Livingstone.  Joan  Naomi,  five,  is  their  adopted  child. 


MATRIMONIAL  SCOREBOARD 


32 


FRED  AST  A  IRE 


GENE  AUTRY 


LEW  AYRES 


CONSTANCE  BENNETT 


Socialite  divorcee,  Phyllis 
Potter,  became  his  bride  in 
1933.  They  have  one  child. 


m 


Wife  Ina  May  Spivey  is  as 
real  a  westerner  as  Gene. 
She  was  born  in  Oklahoma. 


CLAUDETTE  COLBERT 


Parted  from  Ginger  Rogers 
whom  he  wed  in  1934.  Was 
once  married  to  Lola  Lane. 


RONALD  COL  MAN 


Separated  from  third  hus- 
band, Marquis  de  la  Cou- 
draye.   One  son — adopted. 


JOAN  CRAWFORD 


Wed  J.  Walter  Ruben  in 
1937.  Has  a  daughter  by 
first  husband,  John  Gilbert. 


Ex-wife  of  Norman  Foster. 
Present  wife  of  Hollywood 
physician,  Joel  Pressman. 


Eloped  with  actress,  Ben- 
ita  Hume.  -  It  was  his 
second  attempt,  her  first. 


Two  unsuccessful  mar- 
riages. First  to  D.  Fair- 
banks, Jr.;  second  to  F.Tone. 


Blondell,  Joan 

Former  husband,  cameraman  George  Barnes.  Son  Norman  born  in  1934. 
Present  husband,  Dick  Powell.   Daughter  Ellen  born  June  30,  1938. 

Bolger,  Ray 

Has  been  a  husband  for  eleven  years  and  still  likes  his  wife's  folks. 

Boyd,  Bill 

Divorced  from  first  and  second  wives;  now  Grace  Bradley  has  the  title. 

Brent,  George 

Score  three  marriages  for  him.  The  first  was  over  before  he  was 
nineteen.  The  second,  to  Ruth  Chatterton,  ended  in  divorce  in  1934. 
The  third,  to  Australian  Constance  Worth,  was  annulled  in  1937. 

Brook,  Clive 

Married  Mildred  Evalyn,  actress,  September  6,  1921.    Two  children. 

Brown,  John  Mack 

Mrs.  Brown  is  a  former  southern  belle.    Two  youngsters  for  them. 

Brown,  Tom 

He  and  Natalie  Draper  called  it  quits  last  year;  were  wed  in  1937. 

Burke,  Billie 

Married  Florenz  Ziegfeld  after  a  whirlwind  courtship,  and  was  wid- 
owed in  1933.  Her  daughter,  Patricia,  was  married  in  June  of  1939. 

Burnette,  Smiley 

His  wife  is  the  former  Dallas  McDonald.    One  daughter,  adopted. 


Bums,  George 

Has  a  life  contract  with  Grade  Allen;  he's  both  husband  and  coach. 

Burns,  Robert 

Married  to  his  secretary,  Harriet  Foster.  Their  daughter  will  be 
one  year  old  March  25.    A  son  by  his  first  wife  is  now  seventeen. 

Butterworth,  Charles 

Divorced  from  Ethel  Sutherland  whom  he  wed  in  1932,  a  year  before 
his  arrival  in  Hollywood.     Has  since  carefully  eluded  matrimony. 

Byington,  Spring 

The  ex-wife  of  a  Mr.  Chandler  and  the  mother  of  two  grown  daughters. 

Cabot,  Bruce 

His  marriage  to  Actress  Adrienne  Ames  came  to  an  end  in  April,  1937. 

Cagney,  James 

Billie  Vernon  was  his  vaudeville  partner  before  becoming  his  wife. 

Campbell,  Louise 

Has  been  Mrs.  MacMahon  since  December  26,  1938;  a  first  for  both. 

Cantor,  Eddie 

Still  the  husband  of  Ida  (Tobias)  and  father  of  the  five  Cantor  girls. 

Carlson,  Richard 

A  single  marriage.    His  wife  is  Mona  Mayfield,  a  non-professional. 

Carradine,  John 

Wed  Ardanelle  Cosner  in  1935  and  has  a  boy,  three.  Also  adopted 
his  wife's  son  by  a  previous  marriage.  (Continued  on  page  89) 


MOVIE  STARS  have  long  wrung  their  hands  and  wept 
on  the  public's  shoulder  over  their  chief  problem — in- 
accurate reports.  The  frequently  uttered  statements 
that  Hollywood  and  marriage  are  incompatible,  that  four 
out  of  every  five  unions  end  in  the  divorce  courts,  they 
regard  as  absolute  slander.   And  with  justification.  The 


truth  is  that  better  than  60%  of  the  stars  have  had  only 
a  single  marriage  and  are  still  living  with  their  first 
mates;  13%  have  had  one  divorce  and  are  now  unmar- 
ried. 21%  have  been  married  twice,  and  only  the  re- 
maining 6%  three  times  or  more.  It  would  seem  that  in 
this  case  at  least,  Hollywood  has  been  misunderstood. 


33 


THE  BUSIEST 
LADY  IN  TOWN 


Ten-year-old  Shirley  Temple  has  more 

SHIRLEY  settled  back  in  the  depths  of  a  couch  so  wide 
that  her  legs  stuck  out  straight  from  under  her  crisp 
pink  dress.  "I  like  interviews,"  she  observed.  '1  like  to 
answer  questions.  Sometimes  they  stump  me  though,  like 
when  they  ask  who's  your  favorite  actor  and  actress." 

There's  an  interesting  difference  between  the  Shirley  of 
nine  and  the  Shirley  of  ten.  A  year  ago  she  took  her  world 
for  granted.  Now  she's  beginning  to  explore  it.  A  year 
ago,  responsibility  was  for  adults.  Now  she's  beginning 
to  assume  it  herself.  A  year  ago  you  wouldn't  have  inter- 
viewed Shirley.  You'd  have  talked  to  her  mother  or  to 
Miss  Klamt,  her  teacher,  or  you'd  have  watched  her  at 
work  and  play  on  the  set.  She'd  have  been  ready  to  greet 
you,  to  answer  a  question  or  two  politely,  if  briefly,  and 
to  escape  the  moment  she  conveniently  could. 

Now,  far  from  showing  any  inclination  to  flee,  she 
planked  herself  down  on  the  couch  in  her  bungalow  living- 
room,  and  declared  that  she  liked  interviews.  Mbre,  she 
proved  herself  an  invaluable  aide.  Neither  forward  nor 
backward,  she  made  her  own  apt  contributions  as  they 
were  called  for,  and  subsided  when  they  weren't. 

To  say  that  she's  growing  up  at  ten  sounds  a  little  silly. 
But  this  much  is  true.  She's  left  her  babyhood  behind  her. 
She's  beginning  to  glimpse  horizons  beyond  the  magic 
that  rings  one's  earliest  years.  With  the  instinct  of  every 
healthy  child,  she's  reaching  for  realities.  She's  not  grow- 
ing up  yet,  but  she's  showing  the  first  symptoms. 

For  instance,  she's  increasingly  aware  of  herself  as  an 
individual.  When  she  went  to  Honolulu  this  year,  crowds, 
bearing  leis,  gathered  at  the  dock  to  welcome  her.  This 
was  as  it  had  always  been.  Honolulu,  where  she's  spent  so 
many  happy  holidays,  regards  Shirley  as  its  own  and  she 
returns  the  compliment.  Heretofore,  as  she  traveled  down 
the  gangplank  on  the  shoulder  of  some  stalwart,  she  has 
always  sung  by  request  "The  Good  Ship  Lollypop."  This 
year  she  said  to  her  mother,  'I'd  rather  walk  down  and  I'd 
rather  not  sing."  There's  never  been  anything  grandstand 


things  "on  the  fire"  than  any  five  adults-and,  what's  more,  she  does  them  up  brown! 


about  her.  As  a  younger  child,  die  simply  did  as  she  was 
asked.  Now,  growing  conscious  of  an  inner  reluctance  for 
the  limelight,  she  begins  to  assert  the  right  to  be  true  to 
herself. 

She's  always  had  tact,  if  tact  is  an  innate  gift  for  putting 
yourself  in  the  other  fellow's  place.  She  was  only  seven, 
when  she  was  asked  one  day  to  pose  for  a  picture  with  a 
newspaper  man.  It  was  all  in  the  day's  work  to  Shirley, 
but  the  representative  of  the  press,  more  accustomed  to 
giving  than  getting  publicity,  flushed  and  squirmed  and 
didn't  know  what  to  do  with  his  hands.  She  sensed  his 
discomfort.  Looking  up  at  him,  she  inquired,  "Know  any 
riddles?"  and  broke  the  ice. 

Now  she's  learning  to  apply  tact  to  her  own  dilemmas. 
She  was  lunching  with  her  mother  at  a  small  restaurant 
in  Honolulu.   A  group  of  Japanese  children,  picnicking 
nearby,  got  wind  of  her  presence  and  lined  up  outside  the 
restaurant.  With  the  restraint  of  their  race,  they  made  no 
demonstration  as  Shirley  came  out, 
didn't  even  break  ranks,  just  stood 
there  smiling.  Then,  as  if  at  the  dick       BY  /DA 
of  a  switch,  they  chorused,  'Tlease 
sing  one  qf  your  songs  for  us,  Shirley." 

"Pooh,"  said  Shirley.  "You've  heard  me  sing  lots  of 
times.   I'd  like  to  hear  you  sing." 

Radio  thrillers  are  her  passion,  the  more  bloodcurdling 
the  better.  Having  been  surrounded  virtually  from  the 
cradle  by  movie  personalities,  they  fail  to  impress  her. 
She  stands  in  no  awe  of  Darryl  Zanuck.  But  the  manager 
of  the  Lone  Ranger  broadcast  walks  apart  in  glory.  So 
when  she  heard  that  Orson  Welles  was  coming  to  call, 
she  did  nip-ups.  He's  been  the  man  of  her  heart  since 
the  night  he  brought  the  Martians  winging  to  earth. 

Her  first  concern  on  meeting  him  was  to  reassure  him. 
Lifting  worshipful  eyes,  she  said,  "Your  radio  program 
didn't  scare  me.  I  heard  lots  like  that.  Only  it  was  pretty 
exciting.  It  made  me  even  not  listen  to  Charlie  McCarthy." 


Later,  they  played  croquet  together,  a  game  at  which 
Shirley  excels.  But  she  played  poorly  that  day.  She  had 
to  play  poorly.  She  couldn't  give  her  fabulous  guest  the 
golden  crown  or  the  Kohinoor  diamond  he  deserved,  so 
she  gave  him  the  only  gift  within  her  power — she  made 
sure  he  beat  her. 

She  still  plays  with  dolls.  In  fact,  her  preoccupation 
with  them  is  a  rather  recent  affair,  almost  wholly  prac- 
tical. "No,  I  don't  pretend  they're  my  children.  They're 
just  dolls  to  me.  It's  no  fun  to  love  them,  like  my  pets, 
because  they  can't  love  back,  and  it's  no  fun  to  talk  to 
them  like  people,  because  they  can't  answer  back.  They're 
just  interesting  to  put  clothes  on  and  take  'em  off  again." 

She's  reached  the  stage  where  she'd  rather  keep  house 
than  play  house.  She  empties  ash  trays  faster  than  you  can 
use  them.  She  runs  her  own  small  vacuum  over  the  rugs. 
She  loves  to  cook. 

"But  the  only  time  I  can  usually  get  any  cooking  in  is 
Saturday.  Other  days  I  have  to  listen 
to  my  radio  programs,  but  Saturdays 
2  E  I  T  L  I  N  I  go  down  and  help  Katy.  Last  week 
I  made  these  steaks  for  dinner.  I  took 
one  of  those  pounders  to  break  up  all 
the  little  fibres,  then  I  put  'em  in  flour,  then  I  put  'em  in 
egg,  then  I  put  'em  in  b —  what  did  I  put  'em  in  then, 
mom?"  (Mom,  be  it  noted,  not  the  mommy  of  a  year  ago.) 

"Breadcrumbs,"  said  Mrs.  Temple. 

Shirley  chuckled.  "I  was  going  to  say  birdseed.  Then 
I  put  'em  in  the  frying  pan,  then  I  turned  'em  over  and 
that's  all.  Except  eat  'em.  I  gen'rally  make  about  eight 
or  nine  on  account  of  the  boys."  She  twitched  at  the  skirt 
of  her  doll  who  was  showing  too  much  leg.  "They've  got 
such  healthy  appetites,  bless  them,"  she  added  absently. 

One  of  the  studio  staff  came  in  to  remind  her  that  she 
had  a  letter  to  write. 

"1  know,  but  I'm  not  very  anxious." 

"I  thought  you  liked  to  write  letters."  (Cont'd  on  page  79) 


Nancy  Kelly's  clothes  are 
typical  of  those  bought — 
and  paid  for — by  Holly- 
wood's younger  set.  Nancy 
purchases  six  evening 
dresses  a  season  and  signs 
a  $75  to  $100  check  for 
each.  The  gown,  below,  is 
made  of  white  slipper 
satin,  trimmed  with  pearls. 


Youth,  even  the  high-sala- 
ried kind,  can  still  be 
practical.  Nancy  proves 
it  by  choosing  this  eye- 
stopping  evening  en- 
semble for  her  own  ward- 


Somali  leopard  coats  are 
priced  from  $595  to  $995. 
Shoes,  for  her  winter  out- 
fits, include  one  pair  for 
walking,  $10;  two  pairs 
for  tailored  suits  and 
frocks,  $14  each;  suede 
pumps,  $12;  shoes  for 
dark  dresses,  $14;  and 
evening  sandals,  $10. 


f ASH  I  ON  $  AND  FIGURES 

It's  easy  to  dress  like  a  screen  star  —  when  you  earn  a  screen  star's  salary 


NOWHERE  IN  the  world  is  the  per  capita  expenditure  for 
finery  so  huge  as  in  Hollywood.  To  the  great  majority  of 
stars,  clothes  are  their  stock  in  trade  and  their  yearly 
budget  is,  in  most  cases,  determined  by  the  position  they 
must  maintain.  Allowing  for  the  usual  exceptions,  the 
average  feminine  movie-careerist  spends  upwards  of 
$10,000  a  year  for  her  wardrobe,  with  the  fashion  leaders 
paying  that  much  and  more  for  their  furs  and  jewels,  alone. 

In  this  latter  group  are  Joan  Bennett  who  owns,  among 
other  furs,  a  white  fox  cape  costing  $1,750;  Dolores  del  Rio, 
the  proud  possessor, of  a  silver  fox  coat  you  could  have,  too 
— if  you  had  $2,000;  Claudette  Colbert  who  does  her  strut- 
ting in  a  full-length  ermine  evening  coat  valued  at  $1,800; 
and,  taking  first  place  for  furs,  Virginia  Bruce,  the  lady 
whose  chinchilla  wrap  is  said  to  represent  an  outlay  of 
$25,000.  The  wardrobes  of  these  women  consist  of  a  sub- 
stantial number  of  sports  clothes — worn  only  for  sports, 
afternoon  ensembles,  dinner  gowns  and  evening  clothes, 


and  they  pay  anywhere  from  $200  to  $600  for  an  original 
model.  Their  hats  are  creations  of  Lilly  Dache,  John- 
Frederic  and  Schiaparelli  and,  though  the  price  range  may 
start  at  $35,  actually  the  sky's  the  limit. 

Though  there  is  a  small  fortune  hanging  in  almost  every 
Hollywood  closet  and  shoebag,  the  stars  do  have  certain 
pet  economies  which  are  difficult  to  reconcile  with  their  not 
insignificant  incomes.  For  example,  Nancy  Kelly  confides 
that  she  always  buys  several  pairs  of  hose  of  a  single 
shade.  Then,  if  one  stocking  in  each  of  two  pairs  meets 
with  an  accident,  the  whole  ones  are  put  together  and  a 
perfect  pair  emerges.  This  little  trick  is  easier  to  under- 
stand when  you  consider  that  Nancy's  daytime  hose  cost 
$2  and  those  she  wears  for  evening,  $3  or  more. 

The  Kelly  lass  also  shoots  holes  into  the  belief  that  a 
dress  or  hat  is  tagged  for  the  junk  heap  after  a  single  ap- 
pearance on  Hollywood  Boulevard.  She  wears  her  clothes 
not  only  more  than  one  time — but  more  than  one  season. 


36 


Sports  numbers  like  the 
on^  on  the  left  cost  $45. 
Nancy's  dressier  daytime 
dresses  vary  from  $50  to 
$75,  and  her  handbags 
average  $10  apiece.  She 
spends  as  much  as  $16.50 
a  pair  for  long  afternoon 
and  evening  gloves,  and 
around  $5  a  pair  for  her 
shorter  ones. 


On  the  right  is  a  russet- 
colored  featherweight 
suede  frock  you  may  dupli- 
cate for  $50.  Lacing  on 
front  of  shirt  is  carried 
out  on  the  crown  of  the 
hat,  backs  of  the  gloves, 
and  on  a  matching  bag. 
Nancy's  hats  —  she  has 
five  a  season — run  from 
$  1 5  to  $20  apiece. 


FASHIONS  AND  FIGURES 


Ty  spends  over  $3,000 
yearly  for  his  suits  alone. 
An  assortment  of  two  doz- 
en, at  close  to  $135  each, 
keeps  him  stylishly  dressed. 


Sweaters  are  a  hobby  with  him. 
He  adds  twenty  a  year  to  his 
already  large  collection;  pays 
$5  for  polo  shirts  and  up  to 
$50  for  imported  Cashmeres. 


WHILE  HOLLYWOOD  generously  provides 
picture  clothes  for  the  feminine  players,  no  such 
favor  is  shown  the  male  star.  It's  his  personal 
finery  you  see  on  the  screen,  except  when  spe- 
cial costumes  are  required.  Therefore,  it  is  not 
unusual  for  an  actor  to  have  a  large  enough 
wardrobe  to  outfit  five  men — about  twenty  suits, 
ten  coats,  a  dozen  hats  and  seventy-five  ties. 

Like  the  feminine  stars,  the  male  leads  find 
themselves  the  focal  point  of  national  attention 
for  masculine  fashions.  As  a  result,  the  aver- 
age star's  wardrobe,  taking  Tyrone  Power  as 
an  example,  costs  in  the  neighborhood  of  $7,000 
a  year.  Offhand  this  seems  an  exorbitant 
figure,  but  remember  that  every  picture  requires 
a  different  wardrobe,  since  any  keen-eyed  fan 
would  immediately  spot  a  "repeat  performance." 

38 


Ty  pays  $20  for  a 
formal  shirt  and 
uses  five  a  year. 
Six  dozen  sport 
and  business  suit 
shirts  range  from 
$6  to  $25  apiece. 
Tails,  shown  right, 
cost  about  $  I  85. 


Miriam  Hopkins  is  one  screen  villainess  who  is  not  afraid  of  being  typed ! 


A  LITTLE  matter  of  paying  the  rent  made  Miriam  Hopkins 
turn  from  a  water  lily  to  a  writer.  She  was  impersonating 
one  of  the  fair  flowers  in  a  revue,  and  when  the  show 
folded,  had  to  attack  a  new  field. 

"I  was  broke  and  about  to  be  dispossessed  from  my 
apartment,"  she  explains.  "I  wrote  two  short  stories  and 
sent  them  to  Miss  Elisabeth  Marbury.  She  was  the  best 
known  literary  agent  of  the  time.  She  read  the  stories, 
liked  them  and  asked  me  to  lunch  at  her  home  at  13  Sutton 
Place,  New  York. 

"Miss  Marbury  asked  me  what  else  I  had  written  and 
about  my  plans.  I  told  her  I  hoped  that  I  was  an  actress 
but  that  I  was  out  of  a  job  and  needed  money.  Could  she 
sell  the  stories?  She  thought  she  could  and  she  would  see 
about  a  job  in  the  theater. 

"As  we  lunched  in  that  lovely  paneled  dining-room  with 
its  view  of  the  East  River  and  the  Queensborough  Bridge, 
I  said,  'Miss  Marbury,  some  day  I  shall  own  this  house.' " 

It  was  in  the  living-room  at  13  Sutton  Place  that  Miriam 
Hopkins  and  I  talked.  She  bought  the  house  in  1933.  The 
dining-room  has  not  been  changed.  The  walls  are  paneled 
in  pine  from  France.  The  drawing-room  is  as  it  was, 
the  walls  covered  in  a  bird  chintz  and  framed  in  pine.  A 
piece  of  the  same  chintz  hangs  in  the  Boston  Art  Museum. 
Those  rooms  fit  Miriam  Hopkins.  They  show  her  deter- 
mination, her  belief  that  only  the  best  pays,  her  fastidious- 
ness and  her  sense  of  discrimination. 

"I  want  to  keep  this  house  for  I  always  want  to  live 
in  New  York  for  a  part  of  every  year.  I  have  a  house  in 
California  and  a  lot  of  pictures  and  furniture  travel  from 
coast  to  coast.  There  is  a  Renoir  painting  that  I  partic- 
ularly love  and  a  red  chair.  In  this  way  I  manage  to  have 
my  cake  and  eat  it,  too.  I  want  possessions  but  I  won't 
be  tied  down  or  live  a  regular  life.  I  can't  imagine  any- 
thing worse  than  three  meals  a  day  at  the  same  hour  every 
day.  It  may  be  a  strange  way  to  live  but  it  is  right  for  me. 

"Last  winter  Dolores  Rel  Rio  invited  me  to  dine.  I  ex- 
plained that  if  I  accepted  I  would  be  late,  as  I  was  to 
broadcast  that  evening.   She  said  that  didn't  matter. 

"On  that  broadcast  I  was  acting  as  mistress  of  cere- 
monies. I  introduced  the  speaker,  a  man  who  had  just 
returned  from  Europe  and  was  an  authority  on  foreign 
affairs.  We  discussed  the  program  just  before  it  was  time 
for  us  to  go  on  the  air,  and  decided  to  alter  the  script  so  that 
the  interview  might  have  more  pep.  He  noted  some  sug- 
gestions on  the  margin  of  my  copy.  From  these  I  was  to 
form  the  questions.  When  we  got  before  the  microphone 
we  found,  to  our  horror,  that  there  was  only  one  script, 
and  we  had  to  share  it.  I  am  near-sighted  and  he  is 
far-sighted!  It  was  an  ordeal.  I  was  nervous  and  so 
exhausted  that  at  the  end  of  the  hour  I  couldn't  think  of 
going  straight  to  the  party.  He  and  I  went  to  a  nearby 
restaurant  for  a  cup  of  coffee  to  give  me  time  to  recover. 


BY  MARY  MARCH 


"I  became  so  interested  in  asking  questions  about  the 
foreign  situation  that  I  forgot  time.  When  I  remembered, 
I  insisted  that  he  go  with  me.  He  was  in  business  clothes 
but  he  came  along.  He  had  a  wonderful  time.  He  and 
Charlie  Chaplin  talked  of  Chaplin's  new  picture,  "The 
Dictator.''  Later,  he  made  it  possible  for  Charlie  to  get 
information  in  Washington  as  to  how  far  he  could  or  could 
not  go  in  portraying  this  ticklish  role. 

"That  is  the  way  I  enjoy  doing  things.  It  is  much  easier 
in  Hollywood  these  days  than  it  used  to  be.  When  I  first 
went  there,  we  had  little  social  life.  It  was  all  very  formal. 
We  went  to  picture  openings,  formal  parties  and  played 
bridge.  The  night  before  I  came  East,  the  Maxwell  Ander- 
sons (he  wrote  "Winterset"),  the  Kurt  Weils  (I  adore  his 
music)  and  the  Bruno  Franks  came  for  dinner.  We  wore 
sweaters  and  slacks  and  ate  around  the  swimming  pool. 
They  stayed  until  two  in  the  morning  and  I  was  terribly 
flattered  for  the  Andersons  seldom  go  out." 

Miriam  has  amazing  physical  (Continued  on  page  S3) 


"A  good  woman  is  lovely 
in  a  drawing-room,  but  for 


David  Niven  is  tall,  blond  and 
extremely  well  built,  an  effect 
emphasized  by  an  excellent  tai- 
lor. He  rides,  plays  tournament 
golf  and  is  Hollywood's  number 
one  expert  on  skis.  Right  now, 
he's  covering  the  field  but  don't 
let  that  fool  you.  He's  30,  and 
all  he's  waiting  for  is  The  Girl. 


The  question  is — what  has  this 
guy  Stewart  got?  He's  long- 
legged  with  a  sort  of  charming 
awkwardness,  and  he  has  a  great 
deal  of  boyish  appeal  without 
being  immature.  The  ladies  know 
him  as  a  swell  dancer,  a  witty 
conversationalist  and  a  man 
who    knows    his   way  around. 


Cesar  Romero,  32,  is  another  of 
the  film  city's  bachelors  who 
spreads  his  attention  around.  He 
has  squired  Loretta  Young, 
Joan  Crawford  and  Sonja  Henie, 
but  he  evidently  likes  his  inde- 
pendence. He  rents  two  apart- 
ments in  Hollywood — one  for 
himself,  the  other  for  his  parents. 


Mrs.  Bergen  once  tried  to  con- 
vince her  son  there  wasn't  a 
living  to  be  made  in  ventrilo- 
quism. If  Edgar  can't  live  on 
$500,000  then  she  was  right,  for 
that's  the  sum  which  pours  in 
annually.  By  marrying,  he  could 
save  about  $100,000  in  taxes, 
but  won't  economize  that  way. 


George  Brent,  35,  is  the  Cinema 
City  Casanova.  He  claims  to 
like  aloneness,  yet  has  deserted 
his  solitude  often  enough  to 
have  his  name  significantly 
coupled  with  L.  Young,  G.  Gar- 
bo,  A.  Louise  and  others.  In 
between,  he  found  time  for 
three  unsuccessful  marriages. 


Rosalind  Russell  has  had  thirty- 
one  years  of  spinsterhood  and 
thinks  maybe  enough's  enough. 
She  owns  her  home,  hates  to  be 
called  "Toots,"  is  a  poor  golfer, 
but  a  good  talker.  Outstand- 
ing peculiarity:  strict  vegetarian- 
ism. Says  Roz,  "I  think  it's  wrong 
and    unhealthy  to   live  alone." 


At  27,  Sonja  Henie  is  said  to 
carry  over  $3,000,000  in  insur- 
ance. Her  staggering  income 
allows  her  to  indulge  a  love  for 
diamonds,  but  it  may  encour- 
age aspiring  males  to  know  that 
she  dislikes  champagne,  saves 
a  good  part  of  her  earnings  and 
is    a    shrewd    business  woman. 


Being  a  mother  by  adoption 
doesn't  keep  Loretta  Young  from 
dates.  She  has  scads  of  them, 
but  dodges  proposals.  A  sense 
of  humor,  naturalness  and  intel- 
ligence are  the  traits  she  looks 
for  in  men.  Loretta  is  27,  was 
married  once — to  Grant  Withers 
— and    was    divorced    in  1930. 


■t :  «5!" 


ft- 


SHOPPING 
FOR  MATES 

A  preview  of  the  1940  entries 
in  the  Matrimonial  Sweepstakes 


SO  MANY  choice  plums  fell  from  the 
Celibate  tree  in  1939  that  these  stars  have 
become  conspicuous  for  their  state  of  single 
blessedness.  All  have  fabulous  incomes 
and  are  rated  the  town's  prize  catches. 

Not  pictured,  but  also  eligible  for  the 
marital  leap  as  we  go  to  press,  are  Greta 
Garbo,  33,  whose  name  has  been  linked 
romantically  with  the  late  J ohn  Gilbert, 
George  Brent,  two  noted  directors,  master 
musician  Leopold  Stokowski,  and  Holly- 
wood's current  diet  expert,  Dr.  Gaylord 
Hauser;  Miriam  Hopkins,  37,  three-times 
divorcee,  and  mother  of  an  adopted  son; 
Bette  Davis,  31,  recently  divorced  from 
Harmon  Nelson;  Greer  Garson,  who  is  25 
and  has  never  been  married;  Jeffrey  Lynn, 
31,  and  Richard  Greene,  25,  who  have 
yet  to  relinquish  bachelorhood;  William 
Powell,  47,  who  was  once  the  husband  of 
Carole  Lombard,  and  Dennis  O'Keefe,  27. 


Make  no  mistakes  about  Olivia 
de  Havilland.  The  young  lady 
has  stuff — enough  wit  and  in- 
telligence to  last  her  all  of  her 
life.  But  we're  told  she's  ex- 
tremely hard  to  get.  At  23, 
Livvy  earns  about  $1500  a  week, 
has  never  been  engaged  nor  has 
she  ever  fallen  seriously  in  love. 


Ambitious  Romeos  can  prepare 
themselves  for  a  jolt.  Ann  Sheri- 
dan, foremost  exponent  of  sex 
appeal,  is  about  as  attainable 
as  a  Garbo.  Her  love  life  is 
currently  edited  by  a  doting 
studio  and  her  bosses  propose 
to  keep  her  single.  They  last 
rejected  a  Los  Angeles  medico. 


Bob  Young  didn't  get  his  breaks  because  he  was  easy  to  handle -for  he  wasn't! 


SOMEHOW  THOSE  private  life  specialists  have  reported 
him  all  cock-eyed.  Robert  Young  may  be  the  most  normal, 
the  most  agreeable  husband  in  Hollywood — but  he  certainly 
is  no  phlegmatic  soul,  indifferent  to  the  dares  of  life.  Nor 
is  he  dull  as  ditchwater,  as  most  of  the  pretty  pieces  run 
up  on  him  have  left  you  thinking.  He  just  has  everything 
under  control,  finally. 

They  didn't  give  him  his  crack  at  movie  acting  because 
he  was  a  steady  and  well-planned  young  man.  He  wasn't. 
The  only  reason  he  has  such  a  good  disposition  is  because 
it  keeps  him  at  M-G-M.  He,  too,  stumbled  upon  the  solid 
and  indisputable  fact  that  you  do  better  when  you  holler 
less  and  beam  amiably  practically  all  of  the  time. 

You  don't  hear  him  called  hard  to  handle.  But  he  will 
admit  he  once  behaved  quite  differently  than  he  has  since 
success  set  in.   Getting  the  breaks  changed  him. 

It  wasn't  fun  to  be  around  him  when  he  was  a  nobody. 
He  was  neither  calm  nor  a  nice  conformist.  Talk  about 
your  temperament!  Bob  was  egotistical  and  moody  and 
expected  people  to  give  in  to  his  ideas  because  he  was 
naturally  right.  If  they  didn't,  he  had  no  qualms  about 
bawling  them  out. 

"If  anyone  ever  started  out  obnoxious  and  stubborn,  I 
did,"  Bob  said.  "Even  as  a  young  kid,  I  got  tired  of  my 
paper  route,  so  I  picked  a  corner  and  tried  to  get  rich 
selling  papers  in  my  own  original  manner.  I  chose  a  spot 
where  five  streets  came  together  and  the  commuters'  street 
cars  stopped.  I  didn't  realize  the  drugstore  was  popular 
and  that  the  commuters  bought  their  papers  there.  I  just 
stood  and  yelled  at  the  top  of  my  lungs,  not  only  one 
come-on  catch  phrase,  but  half  the  front  page.  The  drug- 
gist squawked.  I  moved  across  the  street.  Then  the  neigh- 
bors complained  about  my  noise.  The  only  commuter  who 
ever  demonstrated  any  loyalty  was  an  old  duck  who'd  try 
to  hit  me  on  top  of  the  head  with  a  wad  of  tobacco." 

Now,  he's  commended  as  the  ideal,  safe  and  sane  hus- 
band because  he  married  his  high  school  sweetheart  and 
has  two  cute  children.  But  until  he  rated  big  picture  pay, 
Bob  actually  was  in  a  continuous  financial  muddle. 

"I  couldn't  make  money  at  all,"  the  wise  investor  of  to- 
day confessed  frankly.  "I  gave  up  my  paper-selling  and 
was  the  bane  of  the  neighbors'  existences  because  I  pes- 
tered them  with  stain  -removers  and  all  the  stuff  news- 
papers give  kids  for  running  themselves  ragged. 

"I  built  up  to  some  terrific  let-downs  in  high  school.  I 
wondered  where  I  was  headed  for  and  used  to  envy  kids 
that  had  a  definite  aim.  I  wanted  to  be  interested  in  some- 
thing so  desperately.  My  elder  brother,  who  was  in  the 
army,  was  our  sole  support.    There  was  my  mother  and 


another  brother  who  worked  as  an  extra  in  pictures.  I  got  a 
job  as  an  extra  at  Sennett's  one  summer  vacation.  1  was 
unimpressed  but  it  gave  me  a  hunch  I'd  like  acting.  So  I 
went  out  for  the  school  plays  the  next  fall. 

"I  was,"  grinned  Bob,  "very  hammy.  I  was  the  'big  star' 
and  was  heartily  disliked.  I  was  the  objectionable  type  of 
stickler  for  detail.  I  would  pout  at  rehearsals.  I  took  my- 
self very  seriously.  Our  senior  class  play,  I  remember, 
was  an  opera.  I  had  to  be  urged  into  it  because  opera 
was  a  little  beneath  my  dignity.  I  sang  horribly.  I  was 
so  self-assured  that  when  a  cue  came  for  me  to  enter 
from  behind  some  profile  trees,  I  was  downstairs  eating  a 
piece  of  pie.  A  tubby  girl  was  alone  on  the  stage  waiting 
for  me.  She  became  so  frightened  she  just  stood  there 
and  developed  a  paroxysm  of  tears.  Our  audience  took 
this  for  an  emotional  peak  or  something  and  tore  the  joint 
to  pieces  with  applause  for  her,  when  I  rushed  on! 

"From  my  experience,  I  count  on  luck  one  hundred  per 
cent,  when  it  comes  to  a  theatrical  career.  After  I  left 
school,  I  met  a  woman  who  was  a  dramatic  instructor. 
She  put  me  on  the  right  road — the  Playhouse  in  Pasadena. 
She  was  entirely  responsible  for  my  becoming  an  actor." 

IT  WAS  not,  as  the  regulation  Robert  Young  legend  has 
it,  his  wife  who  egged  him  on  toward  that  career.  They 
met,  incidentally,  when  he  was  a  snooty  freshman,  and  he 
had  little  use  for  her.  It  was  puppy  love — in  reverse.  She 
was  annoyed  at  anyone  who  put  on  airs  and  that  was 
what  Bob  was  best  at  during  his  school  years. 

"One  day  I  offered  to  treat  her  to  a  soda,"  Bob  remin- 
isced. "At  the  counter  I  discovered  I  hadn't  enough 
change.  She  slipped  some  into  my  pocket  so  I  wouldn't 
be  embarrassed.  That  sold  me  on  her."  Yet  they  didn't 
go  together  from  then  on.  They  ran  into  each  other  oc- 
casionally for  years. 

"I  was  in  plays  over  at  Pasadena  for  four  years.  Through 
the  Playhouse,  three  of  us  one  day  got  a  chance  to  try  out 
for  a  little  repertory  company.  They  guaranteed  fifteen 
weeks.  I  was  the  lucky  one  of  the  three.  We  played  in 
high  school  auditoriums  and  travelled  in  autos.  I  was  very 
thrilled  and  was  getting  paid  for  acting  for  the  first  time. 

"Well,"  continued  Bob,  "when  I  ended  that  tour  I  paid 
off  my  friends  and  the  dentist  and  wasn't  even  back  where 
I  started  because  I  had  no  job  at  all.  So  I  went  home. 
Back  to  Boyle  Heights,  over  by  the  Los  Angeles  River,  a 
hefty  skip  from  Hollywood.  Came  the  great  starvation 
period.  I  made  the  rounds  of  the  agents,  who  were  tougher 
to  crack  than  the  studios.  One  of  them  finally  gave  me  a 
letter  to  Warners'  casting  director.  (Continued  on  page  88) 


"3HHHHHHHHHI 


Left,  Bob  with  Flor- 
ence Rice  in  a  scene 
from  his  latest  pic- 
ture, "Miracles  For 
Sale."  He  is  now 
making  "Northwest 
Passage,"  a  pre-Rev- 
olutionary  drama, 
with  Spencer  Tracy. 


Bob  and  his  missus 
met  when  he  was  just 
a  "snooty"  high 
school  freshman  who 
annoyed  her  with  his 
airs.  They  saw  each 
other  only  occasion- 
ally for  several  years. 
Then  they  fell  in  love. 


43 


Your  dreams  of  beauty 

IN  THE  Far  East,  a  woman's  hand 
is  the  symbol  of  love  and  good  luck, 
believed  to  hold  the  power  of  en- 
chantment. We  of  the  Western  world 
may  be  a  bit  less  romantic  and  more 
practical  about  it,  but  to  us,  too,  a 
graceful,  expressive,  well-groomed 
hand  talks  louder  of  charm  and  poise 
and  personality  or  the  utter  lack  of 
them  than  any  mere  words  can  shout. 

Hollywood,  which  sets  the  stand- 
ards for  most  of  us,  is  fully  aware  of 
the  importance  of  lovely  hands,  and 
girls  out  there  spend  loads  of  time, 
money  and  energy  training,  groom- 
ing and  beautifying  their  hands.  It 
isn't  just  by  accident  that  Loretta 
Young,  Ginger  Rogers,  Greta  Garbo, 
Isa  Miranda,  Janice  Logan  and  all 
the  rest  have  such  exquisite  hands 
that  almost  every  man  in  the  audi- 
ence would  give  a  king's  ransom  to 
hold  them.  Those  girls  on  the  cam- 
era coast  know  a  thing  or  three  about 
exercises,  care  and  grooming  that  we 
more  or  less  private  citizens  might 
practice  with  profit. 

First  of  all,  have  you  given  much 
thought  lately  to  the  way  you  wash 
your  hands?  While  it  is  true  that 
hand  skin  is  tougher  than  that  which 
covers  the  rest  of  you,  repeated 
washing  is  pretty  devastating  to  the 
natural  oils  that  skin  needs  to  keep 
it  soft  and  smooth  and  clear  looking. 
Hands  should  always  be  washed  in 
warm — never  hot — water  and  a  mild 
soap.  A  firm,  medium  bristled  brush 
will  help  you  to  keep  them  fresh  and 
immaculate  looking  and  will  not  in- 
jure hands  if  you  take  certain  other 
precautions. 

Always  dry  your  hands  thoroughly, 
pushing  back  the  cuticle  with  every 
stroke  and  working  from  the  finger- 
tips back  toward  the  wrists.  Follow 


BY  CAROL 
CARTER 


Push  back  cuticle  with  a  bit  of 
cuticle    softener    -wice  daily. 


to  the  finger-tips  can  be  a  reality  if  you'll  follow  closely  the  way  of  the  stars 


the  dfying  immediately  with  your 
favorite  cream  or  lotion,  again  push- 
ing back  the  cuticle  and  massaging 
up  from  the  finger-tips.  Creams  and 
lotions  not  only  soften,  but  protect 
your  skin  against  sudden  changes  of 
temperature,  overly  dry  houses  and 
damp  outside  air. 

If  your  hands  already  are  rough 
and  chapped,  wash  them  as  seldom  as 
you  respectably  can,  cleanse  them 
frequently  with  a  good  cream  or  lo- 
tion and,  every  night  after  massaging 
them  with  a  particularly  rich  emolli- 
ent, put  on  a  pair  of  those  inexpen- 
sive, soft  white  cotton  gloves  especi- 
ally made  for  the  purpose.  The 
gloves  help  keep  the  cream  not  only 
on  your  hands  but  off  the  bed  linens. 

Keep  an  orange  stick  near  your 
hand  brush,  soap  and  lotion,  so  that 
you  can  clean  under  each  nail  tip 
and  push  back  the  cuticle  every  time 
you  put  your  hands  into  water.  You'll 
find  this  practise  not  only  makes  your 
weekly  manicure  much  simpler,  but 
also  gives  your  hands  that  constantly 
well-groomed  look.  Stains  on  your 
hands  sometimes  need  a  special  re- 
mover. Usually,  though,  if  you'll 
give  them  a  double  scrubbing,  fol- 
lowed by  a  double  creaming,  with 
the  possible  addition  of  a  tomato  or 
lemon  rubbed  over  the  discolored 
areas,  you'll  have  very  little  worry 
on  that  score.  A  cake  or  bit  of 
ground  pumice  stone  always  comes 
in  handy  for  rough  places  on  finger- 
tips and  beside  the  nail  edges.  There 
are  special  bleaches  for  discolored 
hands,  too.  Most  lotions  contain  a 
mild,  safe  quantity.  Cucumber, 
lemon  or  buttermilk  creams  are  also 
mildly  whitening. 

Hands  need  a  lot  of  exercise  and 
massage  to  keep  them  graceful  and 
supple.  There  is  nothing  quite  so 
pathetic  and  unlovely  as  tense,  tight, 
nervous  hands  on  an  otherwise  at- 
tractive girl.  Try  to  keep  yours  open 
and  relaxed  and  break  them  of  short, 
choppy,  unrestful  gestures.  Keep 
them  still  when  you're  out  among 
people.  Save  the  mannerisms  and 
gesticulations  till  some  time  in  front 
of  your  own  mirror.  You  may  be 
astonished  to  discover  that  they  aren't 
nearly  ag  devastating  as  you'd 
thought  they  were.  In  these  days  of 
stress  and  hurry  and  high-powered 
tension,  nothing  so  charms  a  man  and 


puts  him  in  a  receptive  mood  more 
quickly  than  quiet,  graceful,  restful 
hands — and  the  poise  that  inevitably 
accompanies  them. 

Hand  massage  should  be  a  part  of 
your  daily  routine.  While  you're  dry- 
ing them,  massage  your  wrists  and 
fingers  as  if  you  were  putting  on  a 
tight  pair  of  new  kid  gloves.  That's 
an  excellent  motion  to  slim  and 
supple  your  hands,  too.  Always  begin 
at  the  fingers  and  massage  back 
toward  wrists  and  elbows.  Open  and 
close  your  hands  as  often  as  you 
think  of  it  "during  the  day  and  eve- 
ning, bending  the  fingers  backward  as 
far  as  they'll  go. 

IMAGINE  you  have  water  all  over 
your  hands,  then  try  to  shake  it  off — 
not  too  hard,  just  gently.  Pulling  on 
a  towel  or  tough  piece  of  paper  as 
if  it  were  taffy  is  another  good  exer- 
cise. Pretend  for  a  few  minutes  that 
you're  wringing  out  clothes  dripping 
with  water.  Use  a  piece  of  paper  or  a 
heavy  old  towel  for  this  one.  It's  a 
grand  exercise  for  suppling  the 
hands.  It  also  firms  the  muscles  of 
your  upper  arms. 

Wrinkled  hands  can  be  warded  off 
for  literally  years  if  you'll  devote  ten 
or  fifteen  minutes  daily  to  massaging, 
twisting  and  otherwise  stimulating 
the  circulation  in  them.  Of  course, 
always  use  a  cream  with  massage. 
Otherwise  you'll  stretch  and  irritate 
the  skin  and  do  a  lot  more  harm  than 
good.  It  is  remarkable  how  much 
can  be  done  toward  reshaping  stubby 
fingers,  too,  if  you're  really  in  earnest 
and  willing  to  keep  everlastingly  at 
it.  If  you  will  take  the  thumb  and 
forefinger  of  one  hand  and  pull  and 
press  the  fingers  of  the  other  con- 
stantly, as  often  as  you  think  of  it,  in 
time  you  actually  can  narrow  the 
tips  to  a  certain  extent. 

Remember  your  arms,  too.  What's 
the  use  of  having  alabaster-like  hands 
if  all  the  loveliness  stops  at  the 
wrists!  It's  like  a  beautifully  made- 
up  face  on  top  of  a  dirty  neck.  Arms 
should  have  their  daily  brushing  too, 
all  the  way  up  to  the  shoulders,  fol- 
lowed by  a  kneading  massage  with 
your  favorite  cream  or  lotion.  Top 
off  the  massage  with  a  rub-down  of 
alcohol  or  cologne  whenever  you  can. 
That  helps  to  keep  the  flesh  firm  and 
speedily  revives  neglected  muscles. 


Of  course  you  know  how  important 
it  is  to  keep  elbows  soft  and  im- 
maculately clean.  Why  is  it  that  so 
many  girls  seem  to  think  that  just 
because  they  can't  see  their  own 
elbows  that  nobody  else  is  going  to? 
You'd  be  surprised  how  many  girls 
have  lost  good  dates  because  the  stag 
line  approached  from  the  rear  and 
caught  a  glimpse  of  their  unsightly 
elbows!  Every  day — at  least  once- 
scrub  those  elbows  of  yours  with  a 
medium  to  soft  brush  and  a  rich 
warm  soap  lather.  Dry  them  well, 
then  massage  in  some  extra  rich 
cream  or  lotion,  whichever  you  like 
best.  You'll  get  a  grateful  response 
from  even  the  most  recalcitrant  pair 
of  elbows,  and  you'll  look  and  feel 
like  a  different  person. 

Do  you  ever  bite  your  finger  nails? 
We  sincerely  hope  not.  The  causes 
seem  to  be  many  and  varied.  It  may 
be  nervousness,  self-consciousness, 
just  plain  carelessness  in  correcting  a 
childish  habit,  or  some  other  evidence 
of  insufficient  poise.  Whatever  the 
cause,  though,  there  is  one  remedy 
which,  simple  as  it  may  sound,  almost 
always  succeeds.  That  is  a  perfect 
manicure.  Devote  extra  time  and 
care  to  making  your  nails  as  enchant- 
ingly  beautiful  as  you  know  how, 
keep  this  up  faithfully  in  spite  of 
even  repeated  setbacks  and  we'll 
wager  that,  before  very  long,  pride 
in  your  new  found  beauty  will  over- 
come your  erstwhile  slovenly  habit. 
Think  this  over  too,  next  time  that 
you're  tempted:  it  takes  at  least  six 
weeks  to  grow  a  nice,  long,  correctly 
shaped  nail — often  longer.  Isn't  that 
enough  said  about  that? 

As  for  your  manicure  itself,  by  all 
means  have  one  at  least  once  a  week, 
and  touch  up  your  nails  between 
times  as  often  as  necessary.  Fine, 
smooth,  well-groomed  hands  give  you 
a  poise  and  self-confidence  that 
nothing  else  can  replace.  Keep  a 
little  kit  of  manicuring  tools  always 
ready.  You'll  need  an  emery  board, 
orange  wood  stick,  cotton  and  a  pair 
of  nail  scissors  (for  extreme  cases  of 
unruly  cuticle  and.  hang-nails  only). 
Have  on  hand  a  supply  of  oily  polish 
remover,  cuticle  remover,  cuticle  oil, 
a  special  nail  softener,  several  shades 
of  polish,  either  liquid,  cream  or 
powder,  a  bit  of  powdered  pumice, 
nail  bleach,  (Continued  on  page  69) 


Liquid  polish  must  be  applied 
quickly  with  long,  bold  strokes. 


Creams  and  lotions  are  especially 
impor+ant   in    wintry  weather. 


I  Buff  noils  in  one  direction  only 
fa  strengthen  and  smooth  them.  A 

L  _K 


45 


When  you  meet  Jane  Bryan  (ace  to 


face,  you  are  in  for  a  real  surprise! 


WHEN  JANE  was  playing  in  "Marked  Woman,"  "The 
Sisters,"  and  the  others,  I  wasn't  the  slightest  bit  interested 
in  her.  She  had  a  pet  turtle,  named  Ulysses,  I'd  heard, 
and  a  duck  and  three  younger  brothers  with  plain,  down- 
to-earth  American  names,  Billy,  Jimmy  and  Don.  Al- 
though there  may  be  writers  who  can  be  "colorful"  about 
such  things,  I'm  not  one  of  them.  She  didn't  even  look 
like  a  movie  star — not  the  kind  I've  been  born  and  raised 
with. 

"The  Old  Maid"  didn't  change  my  mind.  In  spite  of 
Bette  Davis'  saying,  "Watch  that  girl!,"  in  spite  of  the  fact 
that  she  gave  a  vital,  robust  performance,  in  spite  of  the 
appreciation  she  rated  from  fans  and  critics,  I  still  wasn't 
interested.  A  healthy,  enthusiastic  child,  I  thought,  who 
happened  to  fit  into  a  part  cut  to  her  measurements. 

Then  it  v/as  announced  that  she  was  to  play  opposite 
Muni  in  "We  Are  Not  Alone."  I  said,  "Such  a  piece  of 
miscasting  has  never  been  heard  of  before.  How  can  that 
bouncing  Miss  play  the  wronged,  wan  little  dancer  in  the 
poignant  Hilton  tale?  Might  as  well  have  cast  Gable  as 
Mr.  Chips." 

One  day  I  was  lunching  in  the  Green  Room  on  the 
Warner  lot.  Across  from  me  sat  a  pale,  young  woman. 
I  said,  "Who  is  that?" 

My  companion  answered,  "Why,  that's  Janie  Bryan." 

"Nonsense."  I  said  rudely,  "It  is  not." 

But  it  was.  And  then  and  there  I  made  silent  apology 
to  Jane.  "You  dope,"  I  said  to  myself,  "just  because  you've 
been  raised  on  Dietrichs  and  Swansons  and  Crawfords  and 
other  lilies  so  gilded  you  can't  tell  whether  they're  lilies 
or  onions,  you're  not  excused  for  being  put  off  the  track 
by  this  normal  looking  youngster!" 

Jane  deceived  me  because  she  isn't  the  type  for  leg  art, 
bathing  suit  layouts  and  burning  captions.  Jane  deceived 
me  because  she  is  not  "lithe  and  lissome"  like  Lamarr, 
being  a  mere  five  feet  four  inches  in  height.  She  has  the 
added  decoys  of  a  rather  round  and  freckled  face,  clear 
but  unseductive  gray  eyes,  and  nondescript  American 
colored  hair.  So,  just  because  she  looks  and  behaves  like 
any  young  girl,  I'd  been  blind  to  the  rare  jewels  in  that 
homespun  little  case. 

Anyway,  I  asked  for  a  luncheon  date  with  Jane.  A  few 
days  later  we  met,  again  in  The  Green  Room.  Jane  said, 
"I'm  going  to  order  some  exotic  scrambled  eggs  and  bacon." 

Before  the  luncheon  was  over,  I  realized  that  that  order, 

Hollywood-born  Jane  Bryan  was  "discovered" 
while  she  was  studying  in  Jean  Muir's  Workshop. 


given  with  a  twinkle  in  the  eye,  was  a  little  key  to  the 
character  and  personality  of  Jane.  Because  no  one  ever 
thought  of  "exotic"  scrambled  eggs  until  Jane  thought  of 
them  and  likewise  no  one  ever  thought  of  a  movie  star 
like  Jane  until  Jane  thought  of  it.  I  not  only  realized  that 
Jane  has  a  most  amusing  and  maturely  informed  mind, 
but  also  that  she  is  a  rebel  in  our  ranks.  She  has  beauty — 
not  the  orchid  beauty  of  some  of  our  shiningest  stars,  but 
a  wood  violet  beauty,  wood  violets  which  smell  sweet  long 
after  orchids  are  sere  at  the  edges. 

Jane  is  a  stark  and  simple  fact  in  truth.  Take  her  Past — 
twenty-one  years  of  it — not  a  headline  in  it.  Not  a  single 
desperate  grief.  Not  a  single  unhappy  love  affair.  No 
under-privileged  years  which  might  have  carved  pre- 
mature maturity  upon  an  immature  heart.  Why,  she  even 
has  a  mother  and  a  father,  not  to  mention  a  perfectly 
good  home.  Movie  stars  don't  have  mothers  and  fathers. 
They  just  have  mothers.  Beginning  with  the  sisters  Tal- 
madge  up  to  the  present  day  of  the  sisters  Lane,  movie- 
star  fathers  are  definitely  not.  Jane's  father  is  a  lawyer 
who  has  certainly  not  retreated  from  the  scene. 

Then  there  are  those  three  younger  brothers  who  treat 
Jane  exactly  as  all  younger  brothers  treat  a  sister.  No 
worse,  perhaps,  certainly  no  better.  When  I  asked  Jane 
whether  they  were  keen  about  her  career,  see  all  her 
pictures  and  ask  for  her  autograph,  she  said,  "If  there  is 
a  soft-ball  game  on  and  one  of  my'  pictures  is  showing  on 
the  same  night,  where  do  you  think  they  go?"  The  tone 
of  her  voice  said,  "If  you  have  younger  brothers  of  your 
own,  you  know  where  they  go." 

HAVING  THESE  brothers  may  explain  why  Jane  is 
largely  indifferent  to  clothes.  It's  what  a  girl  does  that 
gives  her  a  score  with  kid  brothers,  not  the  way  she's 
dolled  up,  fergoshsake.  Jane  says,  "Even  now,  when  I  do 
get  a  quickie  yen  to  buy  some  clothes,  I  come  out  of  the 
shop  with  books,  records,  archery  sets  and  not  a  sock  to 
my  name." 

Jane  was  born  here  in  Hollywood.  I  don't  recall  any 
other  star  who  was  actually  born  in  Hollywood.  Otherwise, 
the  things  Jane  told  me  about  her  childhood  were  much  as 
I  had  feared.  She  did  own  a  turtle  named  Ulysses.  She 
still  owns  a  turtle.  She  also  owns  a  bull-frog,  a  duck 
and,  in  place  of  football  pennants  and  dance  favors  from 
the  Cccoanut  Grove  and  such,  several  rattler's  skins  and 

The  role  of  the  wan,  pathetic  dancer  opposite  Paul 
Muni  in  "We  Are  Not  Alone"  was  Jane's  real  test. 


She's  everything  that  a  glamour  girl  isn't  and  all  that  a  great  actress  should  be 


Suggest  she  re- 
move her  freckles 
and  Jane  says, 
won't.  I  like  them." 
Suggest  she  dress 
up  more,  she  says, 
"I'm  comfortable 
the  way  I  am." 


bird  nests  adorn  her  boudoir.  Recently  her  maid  left  her 
saying,  "Them  things  give  me  the  heebeejeebees!  You 
need  Frank  Buck  to  tidy  up  for  you,  Miss  Jane,  I  do 
declare!"  Jane  isn't  tidy.  Not  only  does  her  flair  for 
Zoology  manifest  itself  on  shelves  and  walls  but  also  books 
and  records  and  scribblings  make  goulash  of  her  floor. 

She  spent  most  of  her  time,  when  she  was  a  youngster, 
clipping  up  and  down  the  sidewalks  in  a  car  made  out 
of  wooden  grocery  boxes.  She  hated  dolls.  She  was,  and 
is,  mortally  afraid  of  groups  of  people.  Jane  can  talk  the 
tin  ears  off  any  one  individual.  But  let  there  be  two  or 
three  individuals  and  Jane  does  a  shrinkage-into-her- 
shell  which  would  give  any  psychiatrist  a  Roman  holiday. 
When  she  was  very  small  and  her  mother  would  ask  her 
to  say  a  how-de-do  to  visitors,  Jane  would  stand  on  one 
fat,  little  leg,  like  a  pelican,  make  an  awful  face,  point 
to  the  guests  and  scream,  "Monkeys!"  Cute,  wasn't  it? 
(Her  mother  still  doesn't  think  this  was  funny!) 

Her  most  delightful  memory  is  of  going  to  Auntie 
Coontz's  house  down  the  street.  Not  only  was  Auntie 
Coontz's  house  a  refuge  in  any  sidewalk  storm  but  also 
Auntie  Coontz  had  a  walnut  tree  in  the  front  yard  and 
the  most  enchanting  habit  of  scooping  out  the  walnut 
shells  and  filling  them  with  tiny  presents  for  a  tiny  Jane. 
Janie  was  enchanted,  for  this  was  fairytale  stuff.  Like  all 
little  realists,  she  loves  fairytale  stuff  and  even  now 
"presents  in  just  store  boxes"  seem  pretty  flat  after  Auntie 
Coontz's  walnut  shells.  Note  to  any  admirer  who  might 
want  to  present  Jane  with  a  diamond  tiara  or  a  limousine: 
Wrap  gift  in  walnut  shell. 

Well,  Jane  went  to  public  school  and  hated  it.  Her 
family  took  her  out  of  public  school  and  placed  her  in 
private  school  and  she  hated  that.  "Not  because  I  hated 
to  study,"  explains  Jane,  "but  because  I  hated  groups  of 
people."  The  first  time  she  was  ever  on  the  stage  was 
when  she  was  attending  the  Third  Street  School  and  was 
in  the  class  play.  She  says,  "I  was  a  Snowball  and  I  had 
to  dance.  I  went  clopping  around  out  there  and  Mother 
was  in  the  back  row  of  the  auditorium  and  kept  flagging 
me  and  yelling,  'Here  I  am!  Here  I  am!'  " 

Later  on,  Jane  appeared  in  a  couple  of  Shakespearean 
productions,  also  school  plays.  For  one,  she  didn't  have 
time  to  put  the  hem  on  her  costume  so  that  straggly 
threads  were  hanging  all  around,  and  for  the  other,  she 
sewed  up  the  legs  of  the  pajamas  (Continued  on  page  84) 

Jane's  too  busy  to  step  out  much  these  days,  but 
it's  Eddie  Albert  whose  ties  she  likes  to  straighten. 


The  first  round  in  Allan  Jones'  pecu- 
liar come-back  fight  was  won  when 
he  appeared  in  "Honeymoon  in  Bali." 


The  second  round  is  "The  Great  Victor 
Herbert."  With  Allan  in  this  scene 
are  Judith  Barrett  and  Mary  Martin. 


GROOMED  FOR  OBLIVION 


WHEN  ALLAN  JONES  co-starred 
with  Jeanette  MacDonald  in  "The 
Firefly"  and  was  widely  acclaimed, 
even  by  Nelson  Eddy's  fans,  stardom 
and  a  brilliant  career  seemed  assured.  His  voice,  good 
looks  and  screen  personality  had  passed  the  severest  test 
and  the  entire  country  was  humming  the  "Donkey's 
Serenade."  It  was  unthinkable  that,  overnight,  Allan 
Jones,  with  his  long-term  contract,  would  be  put  upon 
the  shelf,  there  to  remain  idle  for  eighteen  months. 

Yet  that's  exactly  what  happened.  Allan  was  mystified 
and  so  was  Hollywood.  Studios  usually  rush  stars  who 
click  at  the  box  office  into  new  pictures,  but  Allan  drew 
only  a  mediocre  part  in  "Everybody  Sing."  This  was  no 
successor  to  his  dashing,  cavalierish  role  in  "The  Firefly." 
After  that  there  were  no  assignments. 
•  Months  passed  by  and  Hollywood  began  whispering. 
The  gossip  columns  did  more — they  printed  that  Allan 
Jones  was  washed  up  because  of  temperament.  Others  said 
that  he  had  been  too  good  in  "Firefly,"  that  Nelson  Eddy, 
as  senior  star  on  the  same  lot,  had  to  have  his  interests 
protected.  Perhaps  Mr.  Eddy,  unwittingly  or  no,  was  the 
stumbling  block  in  Allan's  career.  Or  was  it  Allan  himself 
who  had  incurred  the  wrath  of  certain  producers  when  he 
at  first  flatly  refused  to  play  a  secondary  role,  after  his 
major  success  with  MacDonald?  Perhaps  he  was  being 
punished.   Hollywood  buzzed,  but  did  Hollywood  know? 

After  a  year,  Allan  seemed  resigned  to  what  was 
obviously  fate.  He  opened  the  Bel  Air  Riding  Stables 
with  Robert  Young,  and  apparently  turned  his  back  on 
pictures.  He  worked  from  morning  to  night,  either  at  the 
stables  or  on  a  tractor,  plowing  and  improving  his  prop- 
erty and  lots  in  Brentwood. 

But  early  last  summer,  when  Allan  had  despaired  of 
ever  coming  back  into  his  own,  or  had  ceased  to  care  par- 
ticularly, the  dark  cloud  that  had  been  hanging  over  him 
suddenly  lifted  and  revealed  a  silver  lining.  Overnight 
Allan  rebounded  to  the  top,  with  a  new  contract  at  a 
new  studio,  a  popular1  radio  program  and  a  concert  tour 
in  the  offing.    Once  more  his  future  looked  promising. 


BY  MAY  MANN 


been  out 

weathered 

oblivion? 


Nevertheless,  Hollywood  began 
speculating.  Could  Allan  come  back? 
Could  he  regain  popularity  after 
such  a  long  absence?    Why  had  he 
of  pictures  so  long?    How  had  his  morale 
the  travail  of  watching  his  career  pass  into 
Had  he  come  through  with  chin  up,  shoulders 
back,  his  spirits  high,  his  ambition  fresh? 

All  this  I  contemplated  as  I  turned  in  at  the  Joneses' 
drive  one  afternoon  and  happened,  luckily,  to  find  the 
family  at  home. 

Irene  Hervey,  his  slim  and  pretty  wife,  led  me  through 
the  attractive  living-room  out  to  Allan's  den.  Here  I  saw 
a  fireplace,  a  small  bar,  cozy  chairs  and  wide  sun  windows 
which  faced  spreading  lawns.  From  the  window  I  could 
see  a  gaping  hole  in  the  earth  where  Allan  had  been 
excavating  with  his  tractor.  Eventually,  I  was  told,  the 
excavation  would  be  a  swirriming  pool. 

To  Irene,  I  mentioned  a  few  of  the  things  that  had  been 
running  through  my  mind.  I  asked  her  if  Allan  would  be 
sensitive  about  the  subject.  Hollywood  stars,  usually,  love 
to  speak  in  terms  of  success,  but  rarely  in  terms  of  failure. 
Irene  reassured  me. 

"No  one  really  knows  just  how  much  that  boy  suffered 
all  those  long  months  while  he  was  idle,"  Irene  confided. 
"I  never  felt  so  sorry  for  anyone  in  my  life.  Allan  didn't 
know  what  to  do  with  himself.  He  was  hurt  and  puzzled 
by  it  all.  I  was  in  ill  health  at  the  time,  and  he  tried  to 
keep  his  problems  to  himself.  Sometimes  I'd  wake  up  in 
the  night  and  find  him  gone.  He'd  be  pacing  up  and  down 
the  garden,  frequently  until  dawn. 

"Each  morning  Allan  would  rise  early,  a  habit  he  formed 
when  he  worked  on  the  six  a.m.  crews  in  a  coal  mine  in 
Pennsylvania.  He  felt  that  he  must  be  up  and  doing 
whether  there  was  anything  to  be  done  or  not. 

"After  breakfast  he'd  go  off  to  the  studio  singing.  Then 
he'd  come  home  early  and  take  me  for  a  long  drive.  He 
asked  permission  to  take  a  trip  to  Hawaii,  but  the  studio 
told  him  to  stand  by  ready  for  a  call. 

"All  the  while  I  noticed  that  (Continued  on  page  66) 


The  case  of  Allan  Jones,  who  hit  the  top  and  then  was  shelved  for  18  months! 

48 


SCREEN 
NAME 


REAL  NAME       BIRTHPLACE      BIRTHDATE        HEIGHT  WEIGHT 


COLOR 
EYES 


COLOR 
HAIR 


EDUCATION 


Aherne, 
Brian 


Albert, 
Eddie 


Ba 

Ly 


Barnes, 


Aherne, 
Brian  deLacy 


Heimberger, 
Edward  Albert 


Worcester- 
shire, England 


May  2,  1902  6'2' 


Malvern 
College 


University  of 
Minnesota 


Public 
School 


Four 

Universities 


Philadelphia,  Sept.  30,  1882 
Pennsylvania 


St.  Thomas 
College 


Public 
School 


High 
School 


Private 
Schools 


Kenwood 
Loring  School 


Mercer's 
Sch.,  London 


Ethical  Cul. 
School,  N.  Y. 


High 
School 


University 
of  Arizona 


High 
School 


High 
School 


Musical  Inst, 
of  Chautauqua 


Annapolis  Na- 
val Academy 


Ronald  Colman  and  Wife  Benita 
Hume,  getting  set  for  a  drive. 
They'll  celebrate  two  years  of  mari- 
tal bliss  on  September  30,  1940. 


Actress-singer  Shirley  Ross,  looking  a  bit 
startled,  is  snapped  at  the  Cocoanut  Grove 
with  Hubby  Ken  Dolan,  who  is  a  well- 
known    ten    per    center    (agent    to  you). 


Bob  Hope  (note  initialed  cufflinks) 
amusing  Mrs.  MacMurray,  who 
adds  a  new  note  of  chic  with  a 
camellia  at  the  back  of  her  head. 


Lunching  at  the  La  Conga,  velvet 
topped  Anne  Shirley  and  Husband 
John  Payne.  Tis  rumored  he  will 
soon    become    a    band  leader. 


We,  too,  would  give  our  undivided  attention, 
as  Thomas  Mitchell  does,  to  newcomer  Helens 
Whitney.  Helene  makes  her  first  screen  ap- 
pearance in  "The  Hunchback  of  Notre  Dame." 


Arleen  Whelan  with  her  number 
one  beau,  Alex  D'Arcy.  Her  hat 
is  a  match  to  the  lining  of  her 
sleeves  and  pocket  of  her  dress. 


One  of  the  tallest  women  in  film- 
land, Mrs.  Milland  obviously  enjoys 
dancing  with  Ray;  Mr.  M.  seems 
to  feel  the  same  way  about  it. 


Those  on-again,  off-again  romancers — lawyer 
Greg  Bautzer  and  the  comely  Lana  Turner — 
dining  at  the  Victor  Hugo.  Lana's  sporting 
one  of  those  cute  collegiate  "sharpie"  hats. 


He  beats  his  own  set  of  drums  and 
would  like  to  be  a  band  leader,  so 
Jackie  Cooper  takes  Pat  Stewart  to 
hear  another  leader  strut  his  stuff. 

50 


Mr.  and  Mrs.  Richard  Barthelmess 
are  pleased  about  something. 
The  pearls  she  is  wearing  were 
an    anniversary    gift    from  Dick. 


Diamond  clips  fasten  Mary  Healy's  net 
backed  capelet.  Evidently  Franchot  Tone 
approves  of  Mary  as  a  dining  and  wining 
partner,    for   they're    a    freguent  twosome. 


Multi-millionaire  Harold  Lloyd,  his  wife  and 
daughters,  Gloria  and  Margaret,  attend  a 
preview.  Mrs.  Lloyd,  the  former  Mildred 
Davis,   was  'once   Harold's   leading  lady. 


"I  only  have  eyes  for  you"  is  what 
Pat  O'Brien  tells  Mrs.  Pat  at  ti. 
Beverly  Hills  Hotel.    Those  jeweL 
also   express   Pat's  admiration. 


Maureen  O'Sullivan  at  the  Brown  Derby 
with  Hubby  John  Farrow,  who  besides  being 
an  up  and  coming  film  director,  authored 
that    best-seller,     "Damien,     the  Leper." 


Brian  Aherne  flashing  a  polka  dot 
bow  tie  at  the  Lamaze,  and  Wife 
Joan  Fontaine  in  a  silver  fox  toque 
and  lace-trimmed  crepe  dress. 


"Orchids  to  you,"  says  Edward  G. 
to  Mrs.  Robinson;  or  is  it  some- 
thing on  the  serious  side  that  Art 
Collector     Eddie     is  discussing? 


"Gesundheit,  Billy  Gilbert!"  say  Olivia  de 
Havilland  and  Edgar  Bergen.  Liwy  attends 
a  Sunday  night  radio  broadcast  wearing 
a  pair  of  very  tricky  gold  turban  clips. 


Preview-minded  producer  J.  Walter 
Reuben  and  his  spouse,  mink- 
coated  Virginia  Bruce,  who  believes 
in  head-lighting  the  velvet  bow. 


Jon  Hall  takes  Wife  Frances  Lang- 
ford  dancing  at  the  Cocoanut 
Grove.  The  husky-voiced  singer 
still  favors  the  upswept  hair-do; 


Supping  at  the  Beverly  Wilshire  are  Peter 
Lorre,  Judith  Barrett,  Beverly  Roberts  and 
Billy  Seymour.  Billy  is  the  gentleman  from 
whom  most  of  the  stars  buy  their  jewels. 


The  Louis  Haywards  go  preview- 
ing, he  in  a  hounds-tooth  checked 
coat;  Ida  Lupino  in  a  quilted  dress, 
jeweled   clip   and   gold  earrings. 


What  the  well-dressed  movie  cow- 
boy wears  when  dancing.  The 
Gene  Autrys  must  be  celebrat- 
ing,  for  they  rarely  go  steppin'. 


51 


HOLLYWOOD: — There  was  a  great  commotion  in  front 
of  the  Shrine  Auditorium.  It  was  the  opening  night  of 
a  week  of  performances  by  the  San  Francisco  Opera 
Company.  Lily  Pons  and  Lawrence  Tibbett  were  going 
to  sing  the  leading  roles  in  the  opera  "Rigoletto"  and  the 
whole  town  was  sure  to  turn  out  for  the  gala  occasion. 

The  fans  had  figured  this  out  and  were  lined  up  outside 
the  entrance,  impatiently  waiting.  To  them,  what  went 
on  within  the  large  auditorium  was  of  small  consequence. 
Their  show  was  on  the  outside  and  they  knew  it  would 
have  a  star-studded  cast. 

After  several  false  alarms,  there  was  an  excited  shriek 
from  the  crowd  as  Jeanette  MacDonald  and  Hubby 
Gene  Raymond  arrived.  Jeanette's  waist-length  sable 
jacket  with  a  little-girl  collar  topped  a  midnight  blue 
crepe,  form-fitting  gown  with  a  front  slit  skirt.  She 
carried  a  metallic  brocade  evening  bag  and  a  velvet 
pouch  that  held  her  opera  glasses.  Gene  looked  very 
handsome  in  his  top  hat  and  tails. 

Another  whoop  from  the  fans  announced  Nelson  Eddy 
and  his  wife,  Ann.  Over  her  black  velvet  gown  with  its 
white  chiffon  bodice,  Ann  wore  a  jaunty  ermine  jacket 
with  exaggerated  shoulders,  three-quarter  sleeves  and 
four  trim  pockets.  Nelson  Eddy  wore  a  white  crepe 
scarf  tied  ascot  style  in  the  neck  of  his  double-breasted 
overcoat. 

Next  to  make  their  appearance  were  Adolphe  Menjou 
and  his  lovely  wife,  Verree  Teasdale.  Her  knee-length 
wrap  of  ermine  was  lined  with  black  satin  to  match  her 
gown.  An  orchid  corsage  was  pinned  to  her  shoulder. 
Adolphe's  evening  costume  was,  as  usual,  meticulously 
complete  even  to  white  gloves. 

A  wild  shout  of  "Irene  Dunne!"  rang  out  and  Irene 
and  her  husband,  Dr.  Griffin,  came  into  view.  Her  floor- 
length,  red  wool  coat  had  a  decollete  draped  bodice  and 
a  corseleted  midriff.  Her  gown  was  white  satin  with  a 
very  deep,  scalloped  border  of  chiffon  embroidered  with 
gold  bullion.  Her  only  jewelry  was  a  diamond  floral  pin 
which  she  wore  on  her  coat. 

Designer  Adrian  and  his  bride,  Janet  Gaynor,  fol- 
lowed. She  wore  a  velvet  wrap  with  moulded  bodice, 
full  skirt,  and  sleeves  with  little  capes.  Gold  and  jeweled 
encrusted  embroidery  in  a  large  bow  motif  adorned  the 
front  of  the  bodice.  She  carried  a  tiny  mink  muff  that 
had  a  velvet  ruffle  around  its  opening. 

Then  the  fans  spotted  Spencer  Tracy  and  his  wife. 
Mrs.  Tracy's  taffeta  gown  was  vertically  striped  with 
black,  gold  and  several  of  the  violet  shades.  Her  knee- 
length  cape  was  ermine. 

Soon  the  show  on  the  outside  was  over,  the  fans  dis- 
appeared for  a  few  hours  and  the  crystal  clear  notes 
of  Lily  Pons  and  the  deep,  rich  voice  of  Lawrence  Tib- 
bett held  the  stage. 


■»«Kt  bibs  and 
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Dr.  Francis  Griffin  and  wife, 
Irene  Dunne. 


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Jeffrey    Lynn    and    Bill    Lundigcm  were 
Suckling  over  their  mornings  work  as  they 
lunched  together  in  the  commissary.  They 
hod  had  to  make  one  scene  ^ere^ 
Les     "And  what's  so  funny  about  that? 
Sfed  Pat  O'Brien.    "Bet  you  were ,  *™ 
the  director  crazy  by  not  being  able  to  act 
your  parts  right."    "That's  right  we  were 
Lughed  the  boys.    "We're  both  corpses  m 
the~  scene  and  he  didn't  like  the  way  we 
played  dead." 


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OH,  TO  BE  IN  ENGLAND 

When  Merle  Ober'on  appeared  in  the  Silver 
Theatre  production  of  "Last  Crossing,"  there 
was  a  genuine  nostalgic  note  throughout 
her  performance  as  she  played  the  part  of 
an  actress  going  home  to  England.  Tears 
filled  Ker  eyes  every  time  she  rehearsed  the 
passage,  "There's  nothing  to  tell  about 
England  that  you  haven't  already  read.  It's 
foggy,  green  and  utterly  lovely."  And  you 
can  discount  those  rumors  about  the  star's 
divorce  from  Alexander  Korda.  Merle's 
looking  forward  to  the  time  when  she  and 
her  husband  can  settle  down  in  England 
to  spend  the  rest  of  their  days  together. 


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JnaMy  queried,  "how  do  Wel1'"  ^yrna 
fo^ell  considered  a  ^  ^  foel  about  it?" 
eel  strangely  as  if  rT^'  *en  said  "I 
feathers-  off  ]ike  Qn  ^  '°  Peel  those 

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WO  STATEMENT 

Ann  Sothern  met  Mickey  Rooney  the  other 
day  on  the  studio  lot  and  stopped  him  to 
say  that  she  had  named  her  Yorkshire 
Terrier  puppy  "Mickey"  because  the  dog 
looked  so  much  like  him.  "Why,  thanks,  Miss 
Sothern,"  said  Mickey,  "but  I  can't  make 
any  statement  at  this  time — not  until  my 
lawyer's   seen   your  pooch." 


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BRENDA'S  JOYS 

Brenda  Joyce  is  the  despair  of  her  studio. 
Movie  stars,  you  know,  are  supposed  to 
do  exciting  things  and  be  seen  at  the  right 
places  so  the  word  will  get  around  that 
they're  truly  glamour  girls.  But  Brenda's 
acting  just  like  she  did  when  she  was  a 
college  girl.  "Sorority  dances  and  teas  take 
up  most  of  my  leisure  time,"  Brenda  told 
us.  "Every  Sunday,  of  course,  Owen  and 
I  do  just  as  we  always  have.  We  take  the 
car  to  the  foot  of  a  hiking  trail  somewhere 
around  Los  Angeles,  and  spend  the  whole 
day  clambering  over  mountains.  I  don't 
suppose  it  does  sound  interesting  to  a  lot 
of  people,"  she  admitted,  "but  then,  hang- 
overs have  never  sounded  interesting  to 
me."  Owen  Ward,  incidentally,  is  the  Uni- 
versity of  Southern  California  student  who 
was  Brenda's  "steady"  during  campus  days. 


tests 


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A  RAFT  OF  ROMANCE 

Most  interesting  romance  around  town  is  the 
Shearer-Raft  one.  Both  stars  vehemently 
denied  that  they  were  even  friends  a  few 
weeks  ago,  but  now  are  seen  together  con- 
stantly. Norma's  appearance  at  Hedy  La- 
marr's  birthday  party,  with  Raft  as  her 
escort,  caused  considerable  speculation.  This 
event  has  been  followed  by  an  almost  night- 
ly dinner  date  or  night  club  jaunt.  No  doubt 
that  Norma's  fallen  under  the  influence  of 
the  dashing  Raft,  for  she's  affecting  a  gay 
caballero  touch  in  her  wardrobe,  even  to  - 
tasselled  toreador  hats. 

THE  AFFAIRS  OF  ANATOLE 

You  can  look  for  Ann  Sheridan  becoming 
Mrs.  Anatole  Litvak  one  of  these  days. 
Though  Ann  says  she  is  determined  to  live 
alone  and  like  it  for  awhile,  she  doesn't 
deny  that  eventually  Mr.  L.  may  change 
her  i  mind.  There  are  no  romances  rumored 
for  his  "ex,"  Miriam  Hopkins,  now  on  loca- 
tion for  "Virginia  City."  With  the  number 
of  pictures  lined  up  by  the  Warner  Brothers 
for  her,  it's  doubtful  whether  she  could 
squeeze  a  date  into  the  schedule. 

DID] A  KNOW 

That  Jane  Withers  very  seldom  gets  recog- 
nized by  autograph  fans  these  days  be- 
cause she's  changed  so  much  while  grow- 
ing up  .  .  .  That  Edgar  Bergen's  hobby  is 
whittling  out  new  dummies,  but  that  he's 
never  yet  been  successful  at  making  any 
that  surpass  Charlie  McCarthy  or  Mortimer 
Snerd  .  .  .  That  Marlene  Dietrich's  husband, 
Rudolph  Seiber,  has  followed  Marlene's  lead 
and  taken  out  United  States  citizenship 
papers  .  .  .  That  Steffi  Duna,  who  is  always 
cast  as  a  Spanish  dancer,  was  really  born 
in  Hungary  .  .  .  That  Hedy  Lamarr's  feet 
are  much  larger  than  Garbo's  .  .  .  That 
Spencer  Tracy  is  still  talking  about  the  time' 
he  met  Henry  Ford  .  .  .  That  Bill  Powell 
hops  off  for  a  South  American  vacation  in 
the  spring  .  .  .  That  Charlie  Chaplin's  picture 
will  take  at  least  another  eight  months  to 
finish,  and  Walt  Disney's  "Bambi"  will  take 
a  year  and  a  half  more  .  .  .  That  the  younger 
generation  has  voted  Judy  Garland's  taffy 
pull  during  the  Holiday  season  as  the  best 
party  of  the  year  .  .  .  That  Bette  Davis  still 
wants  to  do  a  New  York  stage  play,  in 
spite  of  her  compromise  with  Warners  on 
her  forthcoming  movies  .  .  .  That  the  swim- 
ming pool  at  the  Gable-Lombard  ranch  is 
a  rustic  ole  swimmin'  hole  instead  of  the 
usual  streamlined  Hollywood  model? 

GINGER  GETS  A  SCOLDING 

When  the  "Primrose  Path"  company  was 
on  location  at  Carmel-By-The-Sea,  Ginger 
Rogers  and  several  of  the  cast  wandered 
into  Whitney's  for  a  malted  milk.  Mr.  Whit- 
ney himself  was  dishing  up  the  malts  that 
afternoon  and,  rushing  to  serve  all  the  un- 
expected customers,  he  upset  a  full  glassful 
into  Ginger's  lap.  The  shock  brought  some 
hot  words  to  Ginger's  lips,  which  were 
promptly  followed  by  an  apology  and  re- 
assurance to  Mr.  Whitney  that  she  knew  he 
couldn't  help  it.  "That's  alLright,  girlie," 
he  said,  "but  I  bet  you'd  be  ashamed  if 
Ginger  Rogers  had  come  in  with  these 
people  and  heard  you."  Ginger  hung  her 
brunette  head  and  admitted  that  she  would 
indeed  have  been  ashamed. 


SHORT  SHOTS 

Gracie  Allen  is  very  busy  these  days  with 
her  newest  hobby.  She's  taking  hula  les- 
sons .  .  .  The  town  is  raising  eyebrows  in 
surprise  at  the  sudden  change  in  Peter 
Lorre.  He's  suddenly  become  interested  in 
night  clubs,  Palm  Springs  relaxation  activi- 
ties and  preview  showings  of  the  new  pic- 
tures .  .  .  Judy  Garland  and  Mickey  Rooney 
have  made  a  commercial  recording  of  the 
new  tune  "Oceans  Apart,"  music  and  lyrics 
by  Rooney  and  Sidney  Miller  .  .  .  Brian 
Aherne  gave  his  new  bride,  Joan  Fontaine, 
a  complete  set  of  golfing  eguipment  for 
her  birthday  .  .  .  Buster  Keaton  made  such 
a  big  hit  in  "Hollywood  Cavalcade"  that 
he's  been  signed  to  do  a  talkie  version  of 
some  of  his  former  silent  hits  .  .  .  Roz  Rus- 
sell has  been  having  a  lot  of  fun  turning  the 
tables  on  interviewers  who  visit  the  "His 
Girl  Friday"  sets.  She  takes  pad  and  pencil 
in  hand  and  asks  guestions  faster  than  the 
invaders  can  work.  .  .  .  Slapsy  Maxie  cele- 
brated the  second  anniversary  of  his  cafe 
opening  with  a  party,  the  proceeds  of  which 
went  to  the  Children's  Hospital  .  .  .  Sonja 
Henie  has  learned  to  drive  her  own  car 
since  coming  back  from  her  summer  in  Nor- 
way .  .  .  The  reason  you're  hearing  Jean 
Arthur  on  so  many  radio  broadcasts  these 
days  is  because  she  finally  conguered  her 
fear  of  the  mike  .  .  .  Freddie  Bartholomew 
had  to  learn  to  smoke  a  pipe  for  "Swiss 
Family  Robinson,"  and  was  he  sick  .  .  .  Fred 
Astaire  turned  down  an  offer  to  do  a 
dancing  picture  with  Ginger  Rogers  because 
he  wants  to  go  back  to  Broadway  for  a 
season  .  .  .  Joan  Crawford  wears  rubber 
tights  in  her  new  picture  because  she  spends 
so  much  time  submerged  in  swamps. 

CONCERT  TOURS 

Jeanette  MacDonald  starts  another  concert 
tour  after  the  first  of  the  year.  This  time 
she  will  skip  the  small  towns  and  con- 
centrate on  the  larger  places,  with  Dallas, 
Texas,  the  first  stop.  Nelson  Eddy  leaves 
on  his  tour  about  the  same  time,  but  they've 
mapped  their  trips  so  they  won't  be  within 
250  miles  of  each  other  at  any  time.  Nope, 
there's  no  feud  between  the  two — just  an 
agreement  that  business  will  be  better  for 
both  of  them  this  way. 

LETTER  OF  INTRODUCTION 

Sonja  Henie's  newest  boy-friend  is  Clayton 
Moore,  formerly  a  Chicago  trapeze  artist  but 
now  playing  in  "Pago  Pago."  Clayton 
was  once  Lupe  Velez'  boy-friend — but  that 
was  before  he  became  a  client  of  agent 
Vic  Orsatti.  All  of  Orsatti's  clients  have 
been  giving  Sonja  the  grand  rush,  as  wit- 
ness the  recent  Allen  Curtis  romance.  Vic's 
selling  point  to  prospective  male  customers 
is  "Become  a  client  of  mine,  and  I'll  intro- 
duce you  to  Sonja  Henie." 

RENO-BOUND 

With  Edna  Best  Reno-bound,  the  wedding 
bells  aren't  far  off  for  Herbert  Marshall  and 
Lee  Russell.  Edna  Best  and  agent  Nat  Wolff 
are  just  as  busy  with  their  honeymoon 
plans,  too.  Incidentally,  on  this  last  trip 
to  Hollywood,  the  English  actress  brought 
Sara  Lynn  Marshall,  Bart  Marshall's  six- 
year-old  daughter.  Sara  Lynn's  fragile  pink 
and  white  beauty  looks  like  definite  movie 


material,  though  her  mother  has  no  idea  of  ' 
letting  her  step  in  front  of  a  camera.  She 
says  she  has  enough  worries  now,  with  her 
eighteen-year-old  twin  sons  ready  to  go  to 
war  at  any  minute,  without  having  her 
daughter  in  the  movies! 

AT  FARMER'S  MARKET 

Eugene  Pallette,  one  of  the  market's  best 
customers,  ordering  from  nearly  every  shop 
in  the  place  for  one  of  his  famous  dinners 
.  .  .  Director  and  Mrs.  Frank  Borzage  de- 
bating over  whether  to  have  spinach  or 
brussels  sprouts  for  dinner,  then  deciding 
on  artichokes.  .  .  .  Taylor's  sausage  stand 
doing  a  sell-out  business  because  Stu  Erwin 
told  his  pals  about  wife  June  Collyer's  new 
recipe  for  sausage  dressing  in  the  holiday 
turkeys  .  .  .  Hedy  Lamarr,  with  an  ice-cream 
cone  in  one  hand,  pointing  out  her  prefer- 
ences at  a  fruits  and  vegetable  stand. 


VERSATILE  BELA 

When  Bela  Lugosi  had  a  call  from  the  Walt 
Disney  studios  the  other  day,  he  proceeded 
over  there  considerably  perplexed  about 
what  kind  of  role  the  cartoonist  had  dreamed 
up  for  him.  The  actor  was  met  by  Disney 
and  Leopold  Stokowski.  "Mr.  Stokowski  will 
direct  his  orchestra  in  music  symbolizing  the 
eruption  of  a  volcano,"  Disney  explained, 
"and  will  you  please  interpret  the  volcano?" 
Lugosi  admitted  it  was  something  of  a  shock 
to  be  called  on  for  anything  of  this  nature, 
but,  being  of  the  old  school,  he  launched 
into  the  assignment.  So  successful  was 
his  interpretation  that  moving  pictures  were 
taken  of  him.  These  will  later  be  used  as 
models  by  the  Disney  artists  when  draw- 
ing the  erupting  volcano  for  the  animated 
cartoon.  "Guess  I'm  one  actor,"  said  Lugosi, 
when  it  was  all  over,  "who  doesn't  have 
to  worry  about  being  typed." 

NOTHING  IF  NOT  FRANK 

Mischa  Auer  has  announced  the  perfect 
formula  for  seeing  the  opera.  "Miss  the 
first  act,"  he  says,  "see  the  second,  then 
retire  to  the  lobby  for  a  cigarette  and  forget 
to  go  back."  The  actor  made  his  announce- 
ment in  the  lobby  of  the  Philharmonic  on 
opening  night  of  the  opera  season,  to  an 
aghast  crowd  of  movie  stars  who  had  grim- 
ly determined  to  "do  the  opera."  When  the 
bell  rang  for  the  third  act,  Mischa  found  that 
he  wasn't  the  only  man  left  in  the  lobby. 
Slapsy  Maxie  Rosenbloom  was  at  his  elbow. 
"I  told  my  mother  and  the  wife  to  go  in 
without  me,"  he  said,  and  lowering  his 
voice  added,  "Confidentially,  it  steenks." 

BED-RIDDEN  BAKER 

Frances  Langford,  Ken  Murray  and  Kenny 
Baker  made  a  decided  hit  when  they  ap- 
peared together  at  the  Paramount  Theatre 
in  Los  Angeles.  Their  act  was  a  great 
success,  going  over  without  a  hitch  until 
the  Sunday  matinee — which  starts  at  11:00 
a.  m.  Kenny  Baker  came  on,  all  smiles, 
then  stopped  dead.  He  couldn't  remem- 
ber a  line!  After  an  awkward  pause, 
Frances  managed  to  edge  up  to  him  and 
whisper  a  word.  The  audience  was  titter- 
ing by  this  time,  but  ended  up  by  laugh- 
ing with  Kenny  when  he  explained,  "Gee, 
I  haven't  been  up  this  early  on  Sunday 
morning,  for  ten  years.  Guess  I'm  here 
in  the  body,  but  the  spirit's  still  in  bed." 


THAT'S  RIGHT,  JUDY! 

Judy  Garland  is  really  doing  the  night-spots 
lately.  Lind  Hayes,  Grace  Hayes'  son,  is 
the  current  escort,  but  the  list  of  Judy's 
dates  during  the  last  two  months  could  fill  a 
book.  When  asked  about  the  sudden  social 
activities,  Judy  said,  "Well,  gee,  when  a 
girl  gets  a  new  mink  coat,  there's  no  sense 
in  keeping  it  at  home,  is  there?" 

MYRNA.  the  housewife 

When  Myrna  Loy  was  called  by  her  studio 
the  other  morning  to  come  in  for  a  ward- 
robe fitting,  the  star  completely  awed  them 
with  her  surprise  reply.  "I  can't  come 
for  about  an  hour  and  a  half,"  she  said. 
"I'm  putting  up  marmalade."  And  very 
special  marmalade  it  was,  too,  she  ex- 
plained, because  the  oranges  were  the  first 
crop  from  the  Hornblows'  own  trees.  One 
thing  you  can  be  very  sure  of — Myrna's 
agricultural  pursuits  are  the  truth  and  the 
whole  truth,  s'help  her!  She  says  since  her 
childhood  days  on  a  farm,  nothing's  made 
her  so  completely  happy  as  bringing  in  her 
own  crop  of  vegetables  or  fruit — even  if  a 
whole  new  crop  of  freckles  is  included,  it's 
still  worth  it. 

FAIR  ENOUGH 

Latest  news  from  the  Tyrone  Power  home  is 
that  Ty's  taking  French  lessons,  though  not 
from  his  wife.  And  Annabella's  taking 
daily  golf  lessons  from  a  professional.  Seems 
the  two  have  struck  a  bargain — Tyrone  will 
go  in  for  culture  if  the  little  woman  will  be- 
come more  interested  in  sports.  "Annabella 
calls  it  compromise,"  says  Tyrone,  "but  no 
matter  how  you  look  at  it,  two  hours  a  day 
with  a  French  teacher  is  the  Supreme  Sac- 
rifice."     And  he  means  it! 

BEAUTIFUL  RICHARD 

No  doubt  about  the  serious  intentions  of 
Richard  Greene  and  Virginia  Field.  The  two 
have  been  inquiring  around  town  about 
architects  and  interior  decorators  and  spend- 
ing Sunday  afternoons  looking  at  lots.  Vir- 
ginia modelled  some  gowns  at  a  charity 
luncheon  the  other  day  and  certainly  stole 
the  show  with  her  radiant  appearance.  Ac- 
cused of  being  in  love,  Virginia  said,  "Cer- 
tainly, I'm  in  love  with  Dick.  Very  much 
indeed.  But  I  hope  he'll  grow  up  and  lose 
his  looks." 

MAUREEN  O'HARA 

Maureen  O'Hara,  the  beauteous  Irish  lass 
who  is  in  "Hunchback  of  Notre  Dame,"  has 
led  a  very  quiet  life  since  coming  to  Holly- 
wood. With  her  mother,  she  has  lived  at 
the  Garden  of  Allah,  and  their  chief  diver- 
sions of  an  evening  have  been  a  movie  or 
a  bridge  game  with  their  next-door  neigh- 
bors, the  Charles  Laughtons.  Hollywood 
parties  or  movie  stars  have  been  nothing  in 
Maureen's  life,  for  she'd  rather  sit  and  write 
letters  to  George  Brown,  the  Englishman 
whom  she  married  just  before  heading  for 
Hollywood.  But  now  news  comes  that  there'll 
be  an  annulment  of  the  marriage  in  the  very 
near  future.  The  line,  gentlemen,  forms  to 
the  right.  However,  it  had  better  be  told 
right  now — Maureen's  a  jiu-jitsu  expert, 
having  studied  that  fine  art  for  two 
years.     (Continued  on  page  74) 

57 


Hedy  Lamarr,  with  velvet  band  in  flow- 
ing hair,  looks  like  a  little  girl  playing 
hostess  at  her  birthday  party.  And 
that's  just  what  she  is!  Hubby 
Gene  Markey  gave  the  party  in  the 
Florentine  Room  of  the  Beverly-Wil- 
shire  Hotel.  Hedy's  wearing  a  cover- 
up  model  of  black  satin  with  a  basque 
jacket  buttoned  snugly  up  the  front. 
Myrna  Loy,  one  of  the  guests,  looks 
mighty  perky  with  that  curled  feather 
tied  to  her  hair  with  a  small  velvet 
bow.    It  matches  her  pink  satin  gown. 

Below,  George  Raft  and  Norma 
Shearer  were  also  at  the  Lamarr 
party.  Yes,  he's  been  escorting  her 
about  ever  since  she  returned  to 
Hollywood  after  her  New  York  illness. 
The  severity  of  her  quaint,  heavy 
black  satin  gown  is  broken  by  the 
novel  use  of  the  white  fringed  scarf. 


Loretta  Young  is  getting  a  big  kick 
out  of  George  Burns'  showing  off  his 
skill  as  a  jockey  in  the  hobby  horse 
race  at  the  Cocoanut  Grove.  Guests 
are  invited  to  race  and  champagne 
is  given  as  a  prize.  It  didn't  faze 
Georgie  that  he  wasn't  dressed  in 
dinner  clothes.  He  stepped  right  up, 
cigar  in  mouth,  grabbed  his  steed  and 
away  he  went.  That  rooter  in  the 
center  is  Irene  Dunne's  husband.  Lo- 
retta's  very  chic  in  a  white  crepe 
with  a  shirred  bodice,  and  long  scarf 
draped  from  one  shoulder.  Like  so 
many  of  the  stars,  she's  wearing  her 
costume  jewelry  even  with  evening 
clothes.  P.S.  No,  George  didn't  win 
the  prize. 

Right,  we  have  a  trio  that  would 
grace  any  table,  Claudette  Colbert, 
Gary  Cooper  and  Annabella.  They 
all  stepped  out  together  for  a  bit  of 
frolicking  after  a  recent  preview. 


58 


MODERN  SCREEN 


VE  lather  facial  for  30  davs 


9  oural  10 
Screen  Stars  us 
Lux  Toilet  Soap 


Women  everywhere  find 
this  bed-time  Beauty  Care 
really  works! 

Everywhere  clever  women  are  following  the 
screen  stars'  lead — are  enthusiastic  about  ACTIVE- 
lather  complexion  care.  Hollywood's  Lux  Toilet  Soap 
facials  take  just  a  few  moments — yet  they  give  your 
skin  protection  it  needs.  ACTIVE  lather  leaves  skin 
fresh  and  glowing,  really  clean.  Try  ACTIVE-lather 
facials  regularly  for  30  days — at  any  time 
during  the  day,  ALWAYS  at  bedtime. 
Prove  what  this  care  the  screen  stars 
use  can  do  for  your  skin. 

Use  cosmetics  all  you  like,  but 
don't  risk  Cosmetic  Skin 

It's  foolish  to  risk  Cosmetic  Skin: 
dullness,  enlarged  pores,  little 
blemishes  that  spoil  good  looks. 
Because  Lux  Toilet  Soap  hasACTIVE 
lather,  it  removes  stale  cosmetics, 
dust  and  dirt  thoroughly.  Give 
your  skin  the  protection  of  perfect 
cleansing.  Use  Hollywood's  beauty 
care  regularly! 


59 


MODERN  SCREEN 


At  fifty,  the  screen's 
suavest  citizen  is  at 
his    sophisticated  best. 


THE  magnificent  Menjou  is  in  fine  fettle  these  days.  Fresh  from 
a  comeback  campaign,  he  sits  serenely  atop  his  private  Olympus 
and  catapults  smoke  rings,  round  and  elegant.  If  you  ask  him, 
life  is  not  only  real  and  earnest,  as  Mr.  Longfellow  insisted,  but 
even  wonderful.    Mr.  Menjou  ought  to  know. 

Exactly  twenty-eight  years  have  slipped  into  limbo  since  he 
first  reported  on  the  Vitagraph  lot,  and  he  is  still  in  pictures. 
But  going  strong.    Stronger  than  ever,  in  fact. 

Considerable  Scotch  has  gone  down  the  hatch  since  those  days. 
For  one  thing,  almost  three  generations  of  actors  have  come  and 
gone  since  he  first  cavorted  before  the  cameras,  long  before  any- 
one had  ever  dreamed  up  a  sound  track.  In  fact,  Menjou,  himself, 
has  had  three  careers  in  Hollywood — those  of  Menjou  the  meek; 
Menjou  the  mellowing;  and  Menjou  the  magnificent. 

It  is  Part  III  of  the  Life  and  Times  of  Adolphe  Menjou  that 
delights  its  hero  the  most.  And  for  good  reasons.  He  was  never 
more  in  demand  by  the  studios  than  he  is  today,  He  was  never 
better  box  office.   He  was  never  more  popular  with  the  critics. 

Before  his  latest  comeback  there  was  a  period  of  inactivity. 
He  turned  free  lance.  No  takers  for  a  while.  Then  a  part  or  two 
here  and  there — but  not  enough  elbow  room.  Finally  Columbia 
offered  him  the  role  of  the  wistful,  well-on-his-way  fight  pro- 
moter, Tom  Moody,  in  "Golden 
Boy."    He  won  rave  notices. 

Next,  R.  K.  O.  paired  him  up 
with  music  man  Kay  Kyser  to 
provide  some  of  his  sophisticated 
high  jinks  in  "That's  Right — 
You're  Wrong."  He  injected  so 
many  red  corpuscles  into  the 
picture,  so  much  rare  jest  and 
merriment,  that  the  studio  was 
quick  to  show  its  gratitude.  They 
awarded  him  the  dream  part  in 
Clemence  Dane's  famous  opus, 
"A  Bill  of  Divorcement,"  the 
identical  part  which  so  delighted 
John  Barrymore. 

Small  wonder  that  today  Men- 
jou can  sit  back  and  philosophize 
over  the  yesterdays  when  he 
was  not  crowding  John  Barry- 
more  for  the  honor  of  being  the 
actor's  actor. 

"It  was  not  always  thus,"  he 
admits  cheerfully,  as  he  sees  to  a 

00 


Verree  Teasdale  is  a  wife 
shares  her  husband's  e 


THE 
MAGNIFICENT 


Dealing  with  the  third  and 
most  interesting  phase  of 
Adolphe  s  amazing  career 

BY  JOHN  FRANCHEY 


handkerchief  that  is  protruding  an  eighth  of  an  inch  too  much 
from  his  handsome  gray,  pin-striped  lounge  suit. 

What  he  is  referring  to  is  his  acknowledged  position  somewhere 
near  the  top  of  the  list  of  the  ten  best-dressed  men  in  the  world. 

Then  he  will  launch  out  and  limn  for  you,  with  anything  but 
self  pity,  that  period  of  his  life  known  as  the  "salad  days."  Such 
a  strange  design  for  living  you  never  saw.  He  started  out  to  be 
a  soldier  and  zoomed  through  Culver  Military  Academy.  Then 
he  traipsed  off  to  Cornell  University  where  he  planned  to  become 
a  mechanical  engineering  wizard.  Here  the  drama  virus  got  into 
his  system  and  he  began  appearing  in  campus  theatricals.  He 
even  wrote  for  the  collegiate  stage. 

By  the  time  he  said  good-bye  to  Cornell,  he  had  lost  all  in- 
terest in  blue  prints  and.  engineering.  Unabashed  at  leaving 
science  to  shift  for  itself,  he  hied  himself  to  Cleveland  after  a 
heart-breaking  sojourn  in  New  York,  bagged  a  berth  with  a 
local  stock  company  and  played  everything  in  the  "legit"  reper- 
toire except  Little  Eva.  He  did  so  well  that  eventually  Vitagraph 
lured  him  onto  its  payroll. 

"Ah,  me,  those  were  the  days,"  Menjou  recollects.  "That 
was  long  before  Al  Jolson  and  sound,  long  before  the  days  of 
fabulous  salaries  and  long-term  contracts." 

"Longer  than  you  care  to  re- 
member?" an  interviewer  ven- 
tures. "That's  where  you're 
wrong.  I  happen  to  be  one  indi- 
vidual who's  fifty  and  sold  on  it. 
I  was  nowhere  up  to  form  at 
forty.  And  at  thirty  I  must  have 
been  impossible." 

Well,  to  get  back  to  the  story, 
he  managed  in  time  to  appear  in 
a  whole  string  of  Paramount 
triumphs  such  as  "The  Ama- 
zons," "The  Valentine  Girl"  with 
Marguerite  Clark,  "The  Kiss" 
with  Owen  Moore,  and  "The 
Moth"  with  Norma  Talmadge. 

The  war  interrupted  his  cam- 
paign to  become  Public  Screen 
Idol  Number  One.  He  enlisted, 
was  sent  to  Italy  with  the  ambu- 
lance corps  and  became  a  captain 
in  due  time,  serving  through  the 
French-American  drive  at  St. 
Mihiel.  {Continued  on  page  62) 


par  excellence;  she  even 
nthusiasm  for  clothes. 


MODERN  SCREEN 


"Shall  we  give  it  to  Daddy?.  .  .  Look  —  look, 
Daddy  loves  it!  He'll  take  it  all,  if  you  don't 
eat  it  up  quick!".  .  . 

Silly,  eh?  That's  what  a  baby  thinks,  too. 
You  don't  need  tricks  if  he  likes  the  taste!  He's 
bound  to  like  Clapp's  and  thrive  on  them. 
You'd  like  them  ever  so  much  better  yourself! 


Cut  the  comedy  and  try  Clapp's . . . 

BABIES  TAKE  TO  CLAPP'S! 


There's  no  mystery  about  it  really.  Clapp's 
are  garden-fresh  when  canned.  That's  one 
thing.  They're  ever  so  lightly  salted  according 
to  doctors'  directions — that's  two.  And  years  of 
plant-breeding  and  soil  selection  have  made 
them  rich  in  the  minerals  and  vitamins  that 
go  along  with  appetizing  flavor  .  .  .  Open  up 
several  different  kinds  of  Strained  Spinach,  for 
instance,  and  taste  them.  You'll  be  astonished 
at  the  extra  freshness  and  goodness  of  Clapp's! 


Here's  another  point  you  might  not  notice- 
but  babies  do.  Clapp's  have  just  the  right  tex- 
ture to  give  a  baby's  tongue  real  exercise  with- 
out getting  it  into  trouble.  Babies  appreciate 
that.  So  do  doctors— they've  been  giving  us 
tips  about  what  babies  like  in  texture  and  fla- 
vor for  19  years.  For  Clapp's  is  not  only  the 
oldest  baby  foods  house — it  is  the  only  one  of 
any  importance  that  makes  nothing  but  foods 
for  babies  and  young  children. 


17  Strained  Foods  for  Babies 

Soups  —  Vegetable  Soup  •  Beet  Broth 
Liver  Soup  •  Unstrained  Baby  Soup 
Vegetables  with  Beef  •  Vegetables — Toma- 
toes •  Asparagus  •  Spinach  •  Peas  •  Beets 
Carrots  •  Green  Beans  •  Mixed  Greens 
Fruits — Apricots  •  Prunes  •  Apple  Sauce 
Cereal — Baby  Cereal. 

12  Chopped  Foods  for  Toddlers 

Soup — Vegetable  Soup  •  Junior  Dinners 

— Vegetables  with  Beef  •  Vegetables  with 
Lamb  •  Vegetables  with  Liver  •  Vege- 
tables—  Carrots  •  Spinach  •  Beets  •  Green 
Beans  •  Mixed  Greens  •  Fruits — Apple 
Sauce  •  Prunes  •  Dessert — Pineapple  Rice 
with  Raisins. 


Clapp's  Baby  Foods 

OKAYED    BY  DOCTORS  AND  BABIES 


MODERN  SCREEN 


The  action  of  Ex-Lax  is  thorough,  yet 
gentle!  No  shock.  No  strain.  No 
weakening  after-effects.  Just  an  easy, 
comfortable  bowel  movement  that 
brings  blessed  relief.  Try  Ex-Lax 
next  time  you  need  a  laxative.  It's 
good  for  every  member  of  the  family. 


101  md  25< 


(Continued 

His  company,  moved  by  his  eloquence 
produced  "Good-bye,  Bill,"  a  smash  hit 
with  the  bored  doughboys. 

He  returned  home,  tried  a  spot  of  pro- 
ducing, and  threw  up  his  hands.  He 
resumed  acting,  tossed  off  a  few  minor 
parts  with  the  old  Menjou  elan,  -and 
then  got  himself  an  audition  with 
Charlie  Chaplin.  From  this  rendez- 
vous he  emerged  as  an  important  player 
in  "The  Woman  of  Paris."  The  picture 
made  him. 

Came  fame;  came  fortune.  The  Men- 
jou weekly  stipend  shot  up  to  something 
like  $7,000  per  week.  He  was  going  like 
sixty  when  the  Gods-That-Be  suddenly 
blew  cold.  Paramount,  his  masters, 
wouldn't  renew  his  contract.  Not  at  that 
fabulous  figure,  at  any  rate.  In  some- 
thing of  a  huff,  he  went  abroad. 

Oyer  in  France  he  made  a  picture.  But 
Paris  is  not  Hollywood  in  more  ways 
than  one — and  among  the  differences  is 
the  salary  item.  Then,  too,  he  had  be- 
come philosophic.  He  caught  a  liner  back. 

*TPHE  studios  didn't  exactly  grab  him  in 
A  a  hurry.  All  washed  up,  the  wise  guys 
said.  And  it  looked  as  if  they  were  right 
— until  the  idea  came  to  him  to  visit  the 
late  Irving  Thalberg.  The  M.G.M.  mag- 
nifico  listened  to  a  potent  argument. 

"I'm  still  good  box-office,  I  tell  you," 
Menjou  pounded  home.  "And  I'm  doing 
my  best  work." 

Thalberg,  always  the  inspired  prophet, 
shoved  a  contract  across  the  desk. 

Menjou  did  not  disappoint  him.  With 
a  splash  he  was  back.  He  fairly  outdid 
himself.  A  flawless  performance  in  "The 
Front  Page,"  and  he  had  recovered  his 
former  place  in  the  sun.  Fan  mail  poured 
in  on  him. 

"Phenomenal  is  the  word  for  Menjou," 
a  syndicate  columnist  reported  to  his 
readers.  "The  new  Menjou  is  even  bet- 
ter than  the  former  model." 

There  was  a  veritable  tornado  of  ac- 
tivity climaxed  by  "Stage  Door."  And 
then  a  slump.  The  old  bugaboo  began 
to  stalk  abroad:  "Is  Menjou  through?" 
For  a  while  there  was  at  least  enough 


from  page  60) 

evidence  to  make  a  case  for  the  cynics. 
Until  "Golden  Boy."  And  the  appear- 
ance of  still  another  Menjou — Menjou 
the  Magnificent. 

At  fifty,  Adolphe  Menjou  is  in  the  en- 
viable position  of  a  man  looking  for  new 
worlds  to  conquer.  Smooth,  hard,  and 
polished  as  only  chromium  is  polished, 
he  is  the  screen's  most  debonair  and 
sophisticated  citizen.  So  sophisticated 
and  so  debonair  that  he'll  even  discuss 
his  age  with  you. 

Is  he  miserably  unhappy  because  he's 
slipping  into  the  fifties?  Don't  be  silly! 
He  never  felt  better  in  his  life.  And 
as  for  wishing  he  were  young  again — 
not  a  chance. 

"Nowadays  the  sudden  rocketing  to 
fame  of  a  young  movie  star  isn't  any- 
thing on  which  a  hard-boiled  betting 
commissioner  would  wager  even  a  mod- 
est bet.  The  odds  are  a  hundred  to  one 
that  the  thing  won't  last." 

What  makes  him  so  ecstatic  about  this 
latest  phase  of  his  life  and  his  art  is  the 
spectacular  success  he  has  made  of  his 
marriage  with  Verree  Teasdale. 

Two  other  marriages  did  not  work  out 
and  ended  up  in  the  divorce  courts.  This 
one  is  an  idyll. 

He  attributes  it  all  to  the  fact  that  he 
and  his  wife  have  practically  identical 
tastes.  Both  are  omnivorous  readers. 
Both  love  to  travel.  They  enjoy  the  same 
people,  appreciate  the  same  brand  of 
humor. 

"We're  born  under  the  same  star,"  is 
how  Miss  Teasdale  explains  it.  "I  never 
did  hold  with  people  who  insist  that  a 
married  couple,  in  order  to  be  ideally 
mated,  must  be  poles  apart." 

The  Menjous  live  in  a  lordly  house  (of 
course)  surrounded  by  sixty-five  acres 
of  rolling  countryside. 

"When  Verree  is  working,"  Adolphe 
confides,  "the  house  runs  itself." 

It  would  have  to.  The  master  is 
fabulously  busy.  When  he  isn't  acting 
or  reading  scripts  or  just  plain  reading, 
he's  relaxing  on  a  golf  course. 

Now  and  then,  just  to  show  he  keeps 
his  feet  on  the   ground,  Menjou  will 


A  portrait  of  a 
rakish  -  looking 
straw  chewer  — 
Burgess  Mere- 
dith in  a  charac- 
ter pose  from 
'  'Of  Mice  and 
Men."  Though 
there  is  nothing 
of  the  "glamour 
boy"  about  Bur- 
gess with  his  un- 
shapely nose,  un- 
ruly hair,  and 
lack  of  height,  he 
is  one  of  our  best 
actors.  He  has  a 
sincerity  and 
warmth  of  per- 
sonality that  de- 
mand attention. 


£2 


0f« 


MODERN  SCREEN 


JOAN  BLONDELL 

Star  of 

•AMAZING  MR.  WILLIAMS" 
A  Columbia  Picture 


7jfi9USpaiinrmrmam 

2-wTTr  EXPHSE-MIl  VftCflTION 


OFFERED  BY 


iuiwh  at  famous  Brown  Derby 


4th  PRIZE: 


Tuition  and  Room 


One  Year's 
Paid  For  at 


AnlghtatCocoanirtOrOM 


NEXT  50  PRIZES: 


DEFIANCE 
COLLEGE 


Fully  recognized 
college  located  in 
Defiance,  Ohio.  It 
has  a  record  of  94% 
placements  for  ks  graduates  for  the  past 
10  years. 


Lovely  and 
Useful  Beautifully  Designed 

DEVILBISS 

PERFUME 
ATOMIZERS 


This  summer  .  .  .  three  girls  will 
see  Hollywood  as  few  ever  see 
it!  One  of  them  might  be  you! 

They'll  go  behind  scenes  on  the 
great  sound  stages!  They'll  meet 
the  Stars  and  be  photographed 
with  them!  They'll  see  film  hits  in 
the  making!  Every  moment 
crowded  with  thrills! 

Beauty  and  Talent  Not  Essential 
YOU  May  Be  A  "Movie-Type"! 

The  winners  will  be  guests  of  Per- 
fume of  The  Stars — with  all  ex- 
penses paid  for  a  full  two-week  va- 
cation. They'll  speed  to  California 
on  a  luxurious  streamliner  with 
meals  and  berth  paid  for.  Their 
ten-day  stay  will  be  at  beautiful 
Roosevelt  Hotel  in  the  heart  of 
Hollywood. 

In  addition,  Fourth  Prize  will 
be  one  year's  tuition  and  room  at 
Defiance  College  in  Defiance,  Ohio. 
Next  50  Winners  will  receive  beau- 
tifully designed  De  Yilbiss  Per- 
fume Atomizers  filled  with  Per- 
fume of  The  Stars.  54  prizes  in 
all! 

When  you  wear  Perfume  of  The 
Stars  you  immediately  win  some- 
thing ...  a  new  loveliness!  Joan 
Blondell  and  Franciska  Gaal  Per- 
fumes are  two  fragrances  so  deli- 
cate and  different,  they  accent 
your  personality  and  charm.  Worth 


trying  .  .  .  definitely! 


You'll  be  proud  of 
this  modern,  na- 
tionally known 
atomizer  filled  with 
1  oz.  of  Perfume  of  The  Stars  in  choice 
of  two  types. 


AT  LEADING 
TEN-CENT  STORES 


IF  YOUR  TEN-CENT  STORE  CANNOT 
SUPPLY  YOU,  MAIL  COUPON 


So  Easy!  Simple  Contest  Rules 
On  Back  of  Each  Card 

How  to  Enter:  GO  TO  YOUK 
neahest  ten-cent  store  and  ask 
for  either  Joan  Blondell  or  Fran- 
ciska Gaal  Perfume.  Answer  the 
few  questions  about  yourself  on 
the  card  attached  to  each  bottle. 
Send  the  card,  or  facsimile,  to- 
gether with  your  snapshot  or  photo 
as  directed.  That's  all.  Nothing  to 
compose.  Nothing  to  name.  Noth- 
ing else  to  do.  Entries  must  be  post- 
marked not  later  than  May  1st, 
1940.  Winners  announced  June 
1st.  Send  in  your  entry  now! 


Act  now!  The  back  of  PERFUME  OF  THE  STARS  Card  is  your  entry  blank. 
Send  in  as  many  as  you  wish.  But  send  them  before  midnight  MAY  1ST. 

VISIT  YOUR  TEN-CENT  STORE  AT  ONCE!  IT 
MAY  WIN  YOU  ANY  ONE  OF  THE  54  PRIZES! 


WARREN-SMITH  CO.,  DEPT.  s-B,  DEFIANCE,  OHIO 

Please  send  me  bottles  of  Perfume  of  The  Stars  mounted  on 

Entry  Cards.  Check  choice:  □  Jro«n  Blondell  CiFranciska  Gaal.  I  enclose 
10c  for  each. 


Name .  .  . 
A  ddrcss . 


63 


MODERN  SCREEN 


THAT 

STAYS  ON 

Swim,  eat,  smoke,  kiss— Don  Juan  Lip- 
stick stays  on!  It's  the  beauty  find  of  the 
year.  Thousands  of  women  everywhere 
are  changing  to  it  because  .  .  .  while  it 
stays  and  stays  on  your  lips,  it  does  not 
dry  them  .  .  .  it's  made  of  only  the  purest 
ingredients  ...  its  consistency  is  firm- 
not  greasy  ...  its  colors  are  constant,  re- 
maining the  same  when  applied  to  the 
lips.  And  the  colors  are  the  most  delight- 
ful hues  you've  ever  seen  in  a  lipstick! 
Most  smart  stores  in 
the  United  States 
and  Canada  now 
carry  Don  Juan.  In 
a  striking  black  and 
white  plastic  cameo 
container  at  $1.00. 
Refills,  60c.  Trial 
Size  10c.  Rouge 
to  match  $1.00. 


THE       LIPSTICK       THAT       STAYS  ON 

VALDOR  NEWYORK 


(Continued  from  page  62) 


regale  friends  with  tales  of  those  troub- 
lous days  when  he  first  came  to  New 
York.  He  found  the  city  so  cold  and  so 
jobless,  he  had  to  live  in  a  thirty-cent 
room  in  the  Mills  Hotel! 

It  was  from  that  modest  address  that 
he  departed  to  take  a  job  as  a  hired 
hand  on  Vincent  Astor's  estate. 

"The  Menjou  of  the  bucolic  days  was 
a  sight  to  behold,"  he  volleys  in  a  tor- 
rent of  self-ridicule.  "Imagine  me 
weeding  a  garden  or  milking  a  cow!" 

Clothes  are  one  of  his  major  weak- 
nesses, which  is  only  natural  for  a  con- 
tender for  the  title  of  the  world's  best- 
dressed  man.  He  leans  toward  striped 
suits,  white  shirts  and  polka-dot  ties. 
No  extremes  for  Menjou.  He  avoids 
flashy  colors,  hates  people  who  wear 
country  clothes  in  the  city,  would  rather 
die  than  be  caught  incorrectly  attired. 
A  Hollywood  tailor  looks  after  his  ward- 
robe, every  bit  of  it. 

His  hobby  is  stamp-collecting.  He  has 
one  of  the  niftiest  collections  in  the 
country.  It's  worth  something  like 
$25,000. 

On  the  cultural  side,  he's  not  high- 
brow although  he's  anything  but  a  yokel. 
He  speaks  assorted  languages.  In  pic- 
tures he's  spoken  English,  Spanish,  Ger- 
man, French,  Italian,  Swedish,  Russian 


and  even  bits  of  Japanese  and  Arabic. 

He  loves  the  realistic  technique  in  pic- 
ture-making, has  nothing  but  contempt 
for  unreal  situations  which  he  knows  the 
fans  will  scoff  at,  and  loathes  mugged 
and  what  he  calls  "exaggerated  the- 
atricalism."  He  adores  Hepburn's  acting. 

Despite  the  fact  that  he's  the  screen's 
most  bland,  blase  and  man-of-the-world 
character,  in  real  life  he's  actually  a 
softie,  a  rank  sentimentalist. 

WHAT  he  loves  more  than  acting, 
stamp-collecting,  golfing  and  read- 
ing put  together,  is  playing  with  the 
Menjou  moppet,  Peter  Adolphe,  aged 
three,  a  scion  by  adoption. 

This  same  Peter  Adolphe  knows  noth- 
ing more  fascinating  under  the  sun  than 
his  sire's  mustache. 

Once  the  little  shaver  got  hold  of  some 
mascara  and  made  himself  a  mustache, 
not  so  handsome  as  his  father's  perhaps 
though  a  trifle  more  sinister.  Mostly 
Menjou  pere  roared  when  he  heard  the 
story.  There  was  no  mistaking  his  de- 
light. As  the  twig  is  bent,  so  grows  the 
tree.  By  that  token  this  democracy 
seems  to  be  sheltering  another  magnifi- 
cent Menjou,  scheduled  for  release 
sometime  around  1960.  It's  a  happy 
thought,  at  the  very  least. 


RUMORS  CLOSE  IN  ON  EDDY! 

(Continued  from  page  27) 


we  had  to  do  some  heavy  rehearsing. 

"The  new  contract  would  have  kept 
me  on  the  radio  throughout  the  making 
of  this  present  picture.  I'd  have  been 
right  back  on  the  same  old  treadmill. 
I  figured  out  that  all  work  and  no  play 
was  liable  to  make  Nelson  a  very  dull 
husband.  No  contract  was  worth  miss- 
ing a  home-life.  Not  when  I  wanted  a 
home-life." 

This  doesn't  sound  as  if  Nelson  has  lost 
his  head.  It's  a  cinch  that  he  hasn't  lost 
his  voice.  We  have  just  come  from  the 
recording  studio,  where  he  has  been 
singing  "Stout-Hearted  Men"  as  he  has 
never  sung  it  before.  (Be  forewarned: 
It  will  be  one  of  the  high  spots  of  "New 
Moon.") 

HE  pushes  aside  his  plate  and  cup 
for  elbow  room,  and  leans  forward. 
"As  soon  as  I  finish  this  picture,  I'll  be 
going  on  another  tour.  I'll  give  thirty 
concerts  in  thirty  different  cities.  That," 
he  adds  pointedly,  "is  the  usual  quota. 

"There  will  be  just  one  change.  I've 
already  written  ahead  that,  this  time, 
no  seats  are  to  be  sold  on  stages.  Watch 
the  wisecracks  pop  when  people  see 
stages  empty  that  were  filled  with  over- 
flow customers  before.  'Uh-huh.  Eddy 
must  be  slipping.  He  doesn't  seem  to  be 
drawing  the  crowds  this  year,  the  way 
he  did  last.' 

"On  every  seat  that's  sold,  I  get  a 
certain  '.percentage.  I  lose  by  banning 
the  bleachers.  But  I  •  can  give  better 
concerts.  The  acoustics  will  be  better. 
And  I  won't  have  to  be  self-conscious, 
singing  with  my  back  to  part  of  the 
audience,  or  wondering  when  that  can- 
did-camera fiend  in  the  front  row  is 
going  to  pounce  out  after  another  quick 
close-up. 

"You  can  ignore  any  rumors  that  I'm 
'saving  my  voice.'  I've  got  only  so  many 
notes  in  me.  And  I'm  going  to  get  them 
out  while  I  can." 

Dr.  Lippe,  his   voice   coach,   who  is 


lunching  with  us,  volunteers  with  quiet 
assurance,  "Nelson's  voice  is  good  for 
twenty  years  more." 

That  being  settled,  we  bring  up  the 
point  that  Nelson  will  soon  be  settled  in 
a  new  house. 

"Oh,  yes,  the  new  house.  It  has  thirty- 
four  rooms. '  Don't  laugh.  That's  the 
story  I'm  stuck  with.  I  was  under  the 
impression  that  it  had  ten  rooms.  But 
a  columnist  reports  having  seen  it  'and 
it  has  thirty-four  rooms.'  So  there  you 
are.  Last  night  I  was  figuring  up. 
Counting  the  bathrooms,  every  closet, 
the  service  porch,  and  that  alcove  in 
the  dining-room — well,  it  has  thirty- 
four  rooms,  all  right. 

"I  hear,  too,  that  it's  a  showplace.  I 
had  the  idea  that  it  was  a  Williamsburg 
Colonial,  tucked  away  behind  some  trees 
at  the  deadest  end  of  a  dead-end  street 
in  Brentwood  Heights.  But  maybe  I'm 
wrong.  Seriously,  it's  small,  small  enough 
to  find  a  buyer,  if  we  ever  change  our 
minds  about  it.  My  studio,  for  example, 
has  room  for  the  piano,  one  chair  and 
nothing  else.  If  two  people  are  in  the 
room  at  the  same  time,  one  of  them  has 
to  sit  on  the  attic  stairs,  which  lead  up 
out  of  it. 

"I  didn't  think  I  wanted  to  build.  Ann 
talked  me  into  it;  said  I'd  get  a  kick  out 
of  it.  At  first  I  was  like  the  new  father 
who  doesn't  want  anything  to  do  with 
the  baby.  Now  I'm  like  the  same  father, 
after  he  begins  to  see  something  of  him- 
self in  the  infant.  I  can't  keep  hands  off. 

"There's  another  funny  thing.  We 
made  a  soil  test  a  few  months  back  and 
tossed  some  vegetable  seeds  on  the  prop- 
erty, to  see  how  they  would  do.  The 
corn  came  up  this  high!"  He  reaches  far 
into  the  air,  half-rising  out  of  his  chair 
to  illustrate.  "For  years,  my  father  has 
been  writing  me  about  his  garden,  rav- 
ing about  it.  I  didn't  think  I'd  inherited 
any  of  his  passion  for  green  groceries. 
But  I  was  wrong.  It's  beginning  to  crop 
out  in  me  finally,  believe  it  or  not." 


64 


MODERN  SCREEN 


Is  the  new  house  a  tip-off  that  the 
rumor  that  he  is  aching  to  get  out  of 
the  movies  and  into  the  Metropolitan 
isn't  so? 

"The  new  house  is  a  tip-off  that  I 
intend  to  have  a  home  of  my  own,  some- 
where. I  don't  want  to  get  out  of  the 
movies.  Not  with  the  going  as  good  as  it 
is.  Especially  now  that  I'm  beginning  to 
enjoy  the  work.  I'm  hoping  I  can  last 
about  three  more  years,  before  my  hair 
starts  falling  out,  my  midriff  starts  fill- 
ing out,  and  I  have  two  chins  instead 
of  one. 

"Long  after  those  things  happen,  I'll 
still  have  time  to  be  a  romantic  juvenile 
in  opera.  Operatic  juveniles  are  usually 
forty-five  at  least. 

"I  have  a  three-way  standing  offer  in 
my  desk  from  the  Metropolitan  for  a 
whole  season,  for  as  many  performances 
in  one  season  as  I'd  like  to  give,  or  for 
one  performance  in  any  opera  of  my 
choosing.  But  I'd  be  sticking  my  neck 
out  to  sing  there,  right  now,  for  even  one 
performance.  Singing  at  the  Metropol- 
itan is  no  cinch.  I  found  that  out  when 
I  gave  a  concert  there  on  my  last  tour. 
I  wondered  how  that  first  note  was  go- 
ing to  get  out  of  my  throat,  with  my 
heart  in  the  way.  An  operatic  role  is 
ten  times  more  difficult  than  a  concert. 
I  know.  I  sang  in  Philadelphia  opera  for 
seven  years. 

"Another  thing.  On  the  stage  of  the 
Met,  I  might  sing  to  forty  thousand  peo- 
ple in  one  season.  On  the  screen,  I  can 
sing  to  sixty  or  eighty  million  people  in 
one  picture.  That  means  something  to 
me. 

"I'd  get  less  money  at  the  Met  than 
I'm  getting  here,  but  that  isn't  what  is 
holding  me  back.  If  I  wanted  to  go,  I'd 
go.  I  want  to  sing  there  some  day.  To 
'make  the  Met'  is  the  big  ambition  of 
every  singer.  But  before  I  take  that 
offer,  I  want  to  be  able  to  join  some 
small  touring  opera  company  for  a  year, 
at  $50  a  week,  or  nothing  a  week,  to 
practise  up  on  those  roles.  I  don't  want 
to  go  into  them  cold." 

THE  hands  of  the  commissary  clock 
point  toward  one.  He  has  to  get  back 
to  work.  And  how  is  his  alleged  feud 
with  Jeanette  MacDonald  coming  along? 

"I  hope  you're  not  like  that  reporter 
who  came  out  here  from  the  East  when 
we  were  making  'Sweethearts,'  all  hot 
and  bothered  about  checking  the  rumors. 
I  kidded  them  and  he  took  down  every- 
thing I  said.  Then  he  sat  around  to 
watch  us  make  a  scene. 

"As  Fate  would  have  it,  it  so  happened 
that  that  scene  called  on  us  to  stage  a 
battle  royal.  He  went  back  home  and  re- 
ported that  the  rumors  were  true,  no 
matter  what  either  Jeanette  or  I  said. 
With  his  own  eyes,  he  had  seen  us  fight- 
ing. And  did  I  treat  Jeanette  mean! 
When  I  saw  the  story,  I  took  the  time 
and  trouble  to  write  a  letter,  kidding 
him  for  not  believing  that  our  fight  was 
in  the  script  and  asking  him  to  see  the 
picture.  Then  they  cut  the  scene  out! 
That  reporter  still  believes  what  he  saw. 

"I  don't  know  why  the  wishful  think- 
ers insist  that  Jeanette  and  I  hate  the 
sight  of  each  other.  We  don't.  Honest. 
We  didn't  ask  to  be  separated  for  a  year. 
We  don't  decide  what  pictures  we  should 
do,  or  shouldn't  do.  The  studio  decides 
that.  Why,  we'd  be  fools  to  feud,  when 
working  together  in  harmony  is  bread 
and  butter  to  both  of  us. 

"I  enjoyed  making  'Balalaika.'  But 
after  working  with  strangers,  I'm  all 
pepped  up  about  being  back  with  Jean- 
ette and  the  gang,  where  they  call  a 
spade  a  spade  and  an  actor  a  so-and-so. 
It's  really  lots  of  fun  to  be  'home.'  " 


LI'L 


N-NEVAH  RECKONED 
DAISY  MAE'D  COME 
A-COURTIN'  ME  WIF 
A  SHOOT m  IRON.7 


YES  SIR,  MY  NEW  CREAM 
OF  WHEAT  COOKS  TO  FULL 
PI6ESTIBILITY  —  EVEN  FOR 
BABIES  — IN  JUST  5  MINUTES. 
IT  TASTES  WHEATIER,  TOOf 


AN'  — 
IT'5  GOT 
EXTRY  BENEFICKS 
TOO/"- SEC H  AS 
ADDED  MINERALS 
AN'  VITAMIN 
Bl    AT  NO 
EXTRY  COST.f 


YOUR  GROCER  ALSO  HAS  REGULAR" 

Cream  of  Wheat 


65 


MODERN  SCREEN 


GROOMED  FOR  OBLIVION 

(Continued  jrom  'page  48) 


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Allan  became  more  and  more  restless. 
He  started  to  ignore  invitations.  One  in- 
cident in  particular  remains  vivid  in  my 
memory.  Allan  and  I  had  attended  a 
premiere  with  the  Robert  Montgomerys 
and  had  been  accosted  by  a  group  of 
autograph  fans.  One  of  them  imme- 
diately found  himself  in  difficulties  and 
obviously  couldn't  make  up  his  mind  as 
to  which  autograph  to  get  first.  His  pal, 
wasting  no  time,  shoved  him  in  the  gen- 
eral direction  of  Montgomery  saying, 
'That  other  guy  isn't  in  pictures  any 
more.'  Of  course  he  meant  Allan.  We 
tried  to  laugh  it  off,  but  the  damage  had 
been  done. 

THEN  Allan  bought  the  Bel  Air 
Stables  with  Bob  Young  and  I  be- 
came a  "stable  widow."  He'd  leave  home 
every  morning  at  dawn  to  get  over  to 
his  stables.  You'd  imagine  those  horses 
couldn't  get  along  without  him.  But  I 
was  happy  for  Allan,  because  I  saw  that 
when  he  was  working  he  was  more  like 
himself,  whistling  and  singing." 

At  this  moment  Allan,  himself,  entered 
the  room.  A  tall,  slender,  immaculate 
figure  in  white  slacks  and  a  light  blue 
sports  shirt  open  at  the  throat. 

'You  should  have  seen  me  a  few 
minutes  ago,"  he  said,  seating  himself  in 
a  red  leather  chair,  surveying  through 
the  window  the  result  of  his  day's  toil. 
"I  looked  like  a  day  laborer." 

"When  I  began  digging  that  pool,  it 
didn't  look  as  though  I  would  be  busy 
at  a  studio,"  he  continued.  "So  now  I 
have  to  finish  it  on  my  days  off." 

That  gave  me  my  opening.  "Are  you 
making  just  one  picture  or  are  you  under 
a  long-term  contract  now?"  I  asked. 

"Under  contract,  you  bet.  Eh,  honey?" 
Allan  replied,  glancing  happily  at  Irene. 
"I've  got  the  best  contract  I've  ever  had. 
It's  with  Paramount.  I  make  three  pic- 
tures a  year,  with  star  or  co-star  billing. 
I  have  a  say  in  selection  of  my  pictures, 
with  one  off-the-lot-picture  a  year,  if  I 
should  choose. 

"I've  got  a  fine  radio  offer  and  I'm 
going  on  concert  tour  for  three  months 
right  after  the  first  of  the  year.  I'm 
already  booked  solid  for  thirty  cities  and 
towns.  Right  now  I'm  making  'The  Great 
Victor  Herbert,'  a  picture  any  singing 
star  would  give  his  eye-tooth  to  get. 
I'll  sing  all  of  the  favorite  Victor  Her- 
bert songs.  I'll  say  I've  got  a  contract!" 


"How  do  you  explain  your  current 
activity  after  having  been  off  the  screen 
for  so  long?"  I  asked. 

"To  be  truthful,  my  run  of  bad  luck 
was  as  much  a  puzzle  to  me  as  it  may 
have  been  to  everyone  else.  The  studio 
kept  telling  me  there'd  be  a  new  picture 
ready  for  me.  But  after  six  months  I 
knew  the  cards  were  stacked  against  me. 
There  was  nothing  I  could  do. 

"I  was  drawing  a  very  big  salary  each 
week  and  doing  absolutely  nothing  for 
it.  Now  that  would  be  all  right  for  some 
people.  But  in  this  business,  if  you  don't 
keep  right  on  going,  the  public  changes 
or  forgets  you  and  you're  done  for.  Once 
you're  out,  you  have  to  start  all  over 
again  and  make  a  come-back.  That's 
what  I've  just  done  in  'Honeymoon  in 
Bali'  with  Fred  MacMurray  and  Made- 
leine Carroll. 

"I  had  a  contract  that  netted  me  $100,- 

000  for  the  months  that  I  was  out  of 
pictures.  I  offered  to  sell  it  to  the 
studio  for  half,  since  it  was  apparent 
that  they  didn't  have  a  picture  for  me. 
But  they  refused.  Finally  I  offered  to 
buy  it  at  a  reasonable  figure — anything 
so  I  could  be  free  to  accept  other  offers. 
But  again  I  was  refused. 

"Of  course  I  put  up  a  big  fight  when 
they  cast  me  in  a  small  picture  after 
'Firefly.'  It  didn't  seem  fair.  I  was  de- 
serving of  more.  I'd  proven  my  ability 
and  the  public  had  liked  the  picture. 
But  for  some  unexplainable  reason  they 
offered  me  a  mediocre  role,  one  that  I 
felt  would  disappoint  the  new  following 

1  had  acquired.  I  balked  and  swore  I 
wouldn't  make  it,  but  I  finally  did.  Of 
course  I  got  myself  in  bad  with  the  front 
office.  And  they  decided  that  one  studio 
can't  groom  two  singing  stars  for  similar 
productions  at  the  same  time.  At  least 
that  was  what  I  was  told. 

"Through  the  grapevine  of  studio  gos- 
sip, I  heard  that  it  was  Nelson  Eddy  who 
was  keeping  me  from  good  roles  at 
M-G-M.  But  that  was  not  completely 
true.  Nelson  and  I  are  friends,  and  he 
seemed  as  anxious  about  my  continued 
success  as  I  was,  whenever  we  met.  But 
there  was  nothing  he  could  do  personally 
one  way  or  the  other. 

"I  hung  about  the  studio  a  good  deal 
at  the  beginning  of  my  enforced  vaca- 
tion, but  finally  it  became  embarrassing 
with  everyone  asking  me  why  I  wasn't 
working.  I  decided  to  stay  away. 


These  two  romantics  are  Sonja  Henie  and  Robert  Cummings.    They  appear 
together  in  the  new  Henie  film,  "Everything  Happens  at  Night." 


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66 


MODERN  SCREEN 


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"It  didn't  seem  possible  that  all  of  this 
was  happening  to  me.  But  it  was.  I  was 
down-hearted  because,  for  the  first  time 
in  my  life,  I  couldn't  find  a  solution  for 
my  problem.  I've  always  been  resource- 
ful. I  had  to  be  to  became  a  singer.  I 
got  my  start  by  working  double  shifts  in 
a  coal  mine,  saved  $1500  and  enrolled 
in  music  school.  I  won  a  couple  of 
scholarships  and  later  I  wanted  to  con- 
tinue my  studies  in  Europe.  I  had  no 
money,  nor  did  my  parents.  Finally  I  hit 
upon  a  plan.  I  presented  myself  in  a 
concert  in  my  home  town  at  Scranton, 
Pennsylvania,  and  the  house  was  a  sell- 
out.   I  netted  over  a  thousand  dollars. 

"But  think  as  I  would  for  many  sleep- 
less nights,  there  was  no  solution  to  this 
enforced  screen  layoff.  I  didn't  want  to 
become  morose,  beaten  and  lose  my 
initiative,  as  I've  seen  other  fellows 
out  here  do.  So  I  said,  'Allan,  my  boy, 
you'll  have  to  find  a  new  interest  until 
your  contract  is  up.  You'll  have  to  for- 
get pictures  whether  you  want  to  or  not!' 

"I've  always  been  interested  in  horses. 
There  were  some  stables  in  Bel  Air 
where  a  few  of  us  kept  our  horses.  One 
day  Bob  Young  and  I  got  to  talking 
about  the  run-down  condition  of  the 
place.  We  inquired  and  found  that  it 
had  been  up  for  sale  for  a  long  time.  It 
didn't  take  very  much  capital  to  swing 
the  deal,  so  we  bought  it  and  converted 
the  stables  into  up-to-date  quarters. 

"The  work  of  re-conditioning  the  place 
gave  me  a  new  interest.  I  had  something 
I  could  do.  I  was  no  longer  one  of  the 
'unemployed.'  I  had  a  job.  And  what  a 
job  it  was,  cleaning  up.  I  supervised 
razing  the  old  stalls,  building  new  ones, 
and  I  not  only  bossed  the  job,  but  got 
right  in  there  and  worked  as  hard  as 
anyone  I  employed. 

NOW  we've  fifty  horses  there.  Our 
friends  board  theirs  with  us.  We 
have  eighteen  of  our  own,  some  of  which 
we  rent  to  people  who  want  to  ride.  In 
three  months  we  had  the  Bel  Air  Stables 
on  a  paying  basis.  Each  evening  we  gave 
an  exhibition  for  sightseers  through  a 
tie-up  with  a  local  bus  company. 

"My  new  work  built  up  my  optimism. 
It  kept  my  weight  down.  I  kept  in  good 
physical  condition.  The  time  slipped  by 
and  I  was  actually  surprised  when  my 
agent  reported  that  my  contract  with 
M-G-M  had  finally  expired.  At  last  I 
was  free  to  make  a  test  for  Warner 
Brothers  for  'The  Desert  Song.'  But  dur- 
ing these  long  months,  they  had  signed 
another  singer.  Paramount  made  me  an 
offer.  We  got  together  and  I  found  my- 
self with  a  grand  contract. 

"Personal  appearances  and  concert 
tours  are  the  best  possible  breaks  an 
actor  can  get.  I'll  have  the  opportunity  of 
meeting  the  people  face  to  face,  singing 
for  them  the  songs  they  want  me  to 
sing.  Nelson  Eddy  acknowledges  the  im- 
portance of  his  concert  tours.  Jeanette 
MacDonald's  was  so  successful  this  past 
year,  she  intends  to  make  them  annually. 
I  expect  to  be  on  tour  for  three  months 
leaving  sometime  in  January. 

"Will  Irene  accompany  you,  or  will 
she  remain  in  Hollywood?"  I  asked. 

"Irene  has  a  double  career  of  her  own," 
Allan  replied  with  a  smile.  "She's  under 
contract  at  home  with  John  Allan  Jones, 
Jr.,  our  two-year-old  son,  and  Gail, 
(Irene's  daughter  by  a  first  marriage) 
our  nine-year-old  daughter.  She  also 
signed  with  Universal  for  three  pictures 
a  year,  but  I  think  she  will  find  time 
to  join  me  for  some  of  the  tour." 

And  that's  how  Allan  summed  up  the 
situation.  It  was  a  trying  period  in  his 
life  as  well  as  his  career.  But  once  more 
his  future  is  assured  and  he's  happy. 


{You  can  paste  this  on  a  penny  postcard) 

Lady  Esther,  7110  W.  65th  St.,  Chicago,  111. 

EDEE  Please  send  me  by  return  mail 
r.l»(6S  your  Magic  Fingertips  showing  all 
12  different  shades  of  Lady  Esther  7-Day 
Cream  Nail  Polish.  (52) 


NAME  

ADDRESS  

CITY—  -  STATE  

If  you  live  in  Canada,write  Lady  Esther,  Toronto, Ont. 


67 


MODERN  SCREEN 


Amazing  Gains  of  10  to  25  lbs. 
in  a  Few  Weeks  Reported  by 
Men  and  Women  Everywhere 

MANT  thin,  rundown,  nervous  men  and 
women  who  had  tried  several  other  ton- 
ics without  apparent  results  —  who  could 
hardly  look  at  food,  slept  poorly  and  were 
always  tired  and  jittery — report  gains  of  10 
to  25  pounds  in  a  few  weeks,  wonderful  new 
pep,  fine  appetite,  sound  sleep,  steady  nerves 
through  simply  taking  these  amazing  little 
Ironized  Yeast  tablets. 

The  reason  is  simple.  Scientists  have  dis- 
covered that  great  numbers  of  people  are 
skinny,  puny,  tired  and  nervous  only  because 
they  don't  get  enough  Vitamin  B  and  iron 
from  their  daily  food.  Without  these  two  vital 
substances  you  may  lack  appetite  and  not  get 
the  most  body-building  good  out  of  what  you 
eat. 

But  now  you  get  these  exact  missing  sub- 
stances in  these  scientifically  made,  easy-to- 
take  little  Ironized  Yeast  tablets.  So  it's  easy 
to  see  how,  with  their  aid,  so  many  almost 
hopeless  people  have  easily  put  on  the  natu- 
rally attractive  pounds  they  so  long  wished 
for— have  gained  new  strength,  new  pep,  new 
friends  and  new  joy  in  life. 

Try  them  on  money-back  test 

Get  Ironized  Teast  tablets  from  your  druggist  today.  If 
with  the  first  package  you  don't  eat  better  and  FEEL  bet- 
ter, with  much  more  strength  and  pep — if  you're  not  con- 
vinced that  Ironized  Yeast  will  give  you  the  normally 
attractive  flesh,  new  energy  and  life  you  have  wished  for, 
the  price  of  this  first  package  will  be  promptly  refunded 
by  the  Ironized  Yeast  Co.,  Atlanta,  Ga. 

Only  be  sure  you  get  genuine  Ironized  Yeast,  and  not 
some  cheap  inferior  substitute.  Look  for  the  letters  IY  on 
each  tablet.  That  assures  the  genuine. 

Special  offer! 

To  start  thousands  building  up  their  health  right  away, 
we  make  this  special  offer.  Purchase  a  package  of  Ironized 
Yeast  tablets  at  once,  cut  out  the  seal  on  the  box  and 
mail  it  to  us  with  a  clipping  of  this  paragraph.  We  will 
send  you  a  fascinating  little  book  on  health,  "Facts  About 
Your  Body."  Remember,  results  with  the  first  package — 
or  your  money  refunded.  At  all  druggists.  Ironized  Yeast 
Co.,  Inc.,  Dept.  32,    Atlanta.  Ga. 

TUNE  IN  ON  JOHN  J.  ANTHONY'S  GOOD  WILL  HOUR. 

See  your  local  newspaper  for  exact  time  and  station. 


OUR  PUZZLE  PAGE 


Puzzle  Solution  on  Page  81 


ACROSS 


1  &  6.  First  and  last  name  of 
star  pictured 
12.  He  starred  in  "The 
 ing  Twenties" 

16.  Actor  in  12  across 

17.  Our  star's  first  film  : 

"Penny  '■' 

18.  Co-star  of  "The  Private 

Lives  of  Elizabeth  and 
Essex" 

20.  Talented  RKO  starlet 

21.  Twisted 

23.  Chinese  money  of 
account 

25.  Famous  personality  in 

"Hotel  for  Women" 

26.  Busy  insect 

27.  TheMarx  brothers  form 

one 

28.  Stepped 

30.  Even  :  poet. 

31.  Attempt 

33.  Character  actor  in  "On 

Your  Toes" 
37.  Wash  lightly 

39.  "  ther  Rat  and  a 

Baby" 

41.  Charlie  McCarthy's  pal 

42.  Coal  scuttle 

43.  Girl  in  "Five  Little  Pep- 

pers and  How  They 
Grew" 

47.  Slippery  fish 

48.  Star  of  "Thunder 

Afloat" 

52.  One  to  whom  property  is 

transferred 

53.  Asserts 

54.  Color  of  our  star's  hair 

55.  Our  star  was  in  "Public 

 my" 

56.  Gene  Autry's  singing 

rival 

57.  Small  island 

58.  Sun  god 

59.  Musical  note 

60.  Feminine  lead  in  "Years 

Without  Days" 
62.  Poem 
65.  Age 

68.  Tiny  screen  role 

69.  "  Mr.  Chips" 

71.  She  stars  in  "Destry 

Rides  Again" 

73.  Commander 

74.  Sour  comedian  in  "The 

Star  Maker" 


77. 

Leaps 

29. 

Comically 

78. 

Assist 

32. 

Capable 

79. 

Opposite  1  across  in 
"Bov  Meets  Girl" 

34. 

Holland  commune 

35. 

"That  Certain  " 

81. 

Irene  Dare  s  producer  " 

36. 

Salt 

_  _  _  Lesser 

38. 

Inactive 

82. 

Male  lead  in  "Kid 

\  i  en ti vi  era  1  p 

40. 

Greer  Garson's  father  in 
1 '  Remember" 

85. 

Wpv^nnp  l  ti      (.rppti       pi  1 
i-j-Ciuiiic  ill     xji  ecu  J.J.CH 

42. 

imbus 

87. 

Ronald  Reagan's  lovely 

43. 

Mixture 

fiancee 

44. 

Star  of  "Broadwav  Mel- 

91. 

Beverage 

ody  of  1940" 

92. 

Close 

45. 

Cover 

94. 

What  any  woman  does 

46. 

Visualize 

over  Baby  Sandy 

48. 

Theme  of  our  star's  "The 

96. 

Room  in  a  harem 

Fighting  Sixty-ninth" 

97. 

Gold 

49. 

Turkish  magistrate 

99. 

Similar 

50. 

1  across  was  in 

101. 

Exclamation  to  attract 

"  Zero" 

attention 

51. 

Lands 

102. 

Birthmonth  of  our  star 

61. 

Bow 

103. 

Brilliant  success 

62. 

With  our  star  in  "Angels 

105. 

Star  of  "The  Bluebird" 

with  Dirty  Faces" 

107. 

Entertains 

63. 

Colored 

109. 

See  unexpectedly 

64. 

Ever  :  poet. 

110. 

Sinks 

65. 

Printing  measures 

111. 

Husband  of  Ann  Soth- 

66. 

Knocks 

ern 

67. 

Slender  pointed  shafts 

DOWN 

68. 

Comedian  Blue 

70. 
72. 

College  official 
Lovely  delicate  flower 

1. 

Singer  in  "Honeymoon 
in  Bali" 

74. 

Girl  in  "Tower  of 
London" 

2. 

Silent  star  :  Ayres 

75. 

Sea  eagle 

3'. 

She  is  soon  to  be  teamed 
with  W.  C.  Fields 

76. 

1  across  was  in  "Each 
Dawn  I  " 

4. 

Our  star  was  Bottom  in 
"Midsumm  -  -  Xight's 

79. 

She  has  an  epic  fight 
with  71  across 

Dream" 

80. 

Engraves 

5. 

A  topnotch  film  player 

82. 

One  of  "Four  Wives" 

6. 

Star  of  "In  Name  Only" 

83. 

Star  of  "Hollywood 
Cavalcade" 

7. 

C    -  Grant 

8. 

Army  medico  in  "The 

84. 

Shouts 

Real  Glory"  :  init. 

85. 

Temptations 

9. 

Featured  comic  in  "At 

86. 

Part  of  the  foot 

the  Circus" 

88. 

Disney's  animated  car- 

10. 

The  head  of  a  magazine 

toon  character 

11. 

Crave 

89. 

Husband  of  Sylvia 

12. 

Concerning 

Sidney 

13. 

Mineral 

90. 

Negative  votes 

14. 

Star  of  "Man  from 

93. 

Swedish  comedian 

Montreal" 

95. 

 Kiam,  Hollywood 

15. 

Flowers 

designer 

16. 

Stan  Laurel's  partner 

98. 

Kind  of  dance 

19. 

Opposite  our  star  in 

100. 

Australian  bird 

"Oklahoma  Kid" 

101. 

Loftv  mountain 

22. 

Accessory  in  costume 

102. 

Pitcher 

films 

104. 

Bet  -  -  Field 

24. 

Mickey  R  -  -  ney 

106. 

Afternoon 

27. 

Star  of  "Day-time  Wife" 

108. 

Central  state :  abbr. 

MODERN  SCREEN 


HANDS  TO  HOLD 

(Continued  from  page  45) 


nail  white,  a  buffer  and,  by  all  means, 
a  constant  supply  of  your  favorite  hand 
cream  or  lotion.  This  last  is  a  "must"  if 
you'd  have  lovely  hands,  especially  at 
this  time  of  year. 

And  speaking  of  winter,  you  outdoor 
girls  who  skate,  ski  or  golf  all  year  round 
— and  even  you  indoor  damsels  who  find 
ordinary  frequent  washing  too  much  for 
your  delicate  hand  skin — have  you  ever 
tried  an  oil  manicure?  It's  grand  for  re- 
storing that  smooth  firm  look  of  natural 
loveliness  so  important  to  both  hands 
and  nails. 

Here's  how  you  go  about  it:  first,  re- 
move all  old  polish  with  cotton  dipped  in 
regular  polish  remover  or  one  of  those 
convenient  little  specially  prepared  pads 
that  come  already  moistened  in  boxes. 
(And  don't  forget  the  little  crevices 
around  your  cuticle.  An  orangewood 
stick,  wrapped  in  cotton  and  dipped  in 
remover  will  take  care  of  those.) 

SECOND,  file  and  shape  your  nails  with 
an  emery  board.  If  they're  tough 
and  strong,  use  a  fine  grooved  file,  but 
if  they're  brittle  or  broken,  this  may  be 
too  harsh  for  them.  A  medium  long  oval 
is  the  only  shape  that's  correct  for  most 
of  us.  The  ancient  Chinese  loved  long 
talon-shaped  nails,  thought  they  were  a 
mark  of  leisured  aristocracy  and  all  that. 
But  we  live  in  a  practical,  scientific  world 
where  talons  belong  to  hawks  and  other 
birds  of  prey — not  on  pretty  girls'  fingers. 
Always  file  from  the  corners  toward  the 
center,  and  steer  clear  of  the  cuticle  at 
the  outer  edges.  Nails  left  just  a  tiny  bit 
long  at  the  corners  will  be  stronger  and 
much  less  apt  to  break  than  those  filed 
right  down  to  the  cuticle. 

Third,  have  a  little  bowl  of  warm  oil 
ready.  (You  can  heat  it  by  placing  the 
bottle  in  a  pan  of  hot  water  for  a  few 
minutes.)  Soak  your  fingers  in  this  for 
at  least  ten  minutes.  The  oil  will  not 
only  smooth  your  nails  for  the  time  be- 
ing, it  will  also  nourish  them  and  make 
them  stronger  and  more  resilient.  Fourth, 
scrub  with  a  soft  brush  and  warm  soap 
suds  as  in  any  other  manicure. 

Fifth,  after  the  scrubbing,  with  a  cot- 
ton-tipped orangewood  stick  dipped  in 
cuticle  remover,  push  back  all  old  cuticle. 
Work  the  stick  gently  around  the  nail 
edges  to  loosen  and  remove  stubborn  dirt 
under  the  nail  tips.  Don't  cut  cuticle 
unless  it's  exceptionally  rough  and  heavy. 
Sixth,  a  bit  of  powdered  pumice  stone 
moistened  with  nail  bleach  will  smooth 
calloused  skin  beside  the  nails. 

Seventh,  apply  nail  white  under  the 
free  edges  and  scrub  your  fingers  again. 
Eighth,  a  good  buffing  now  will  help  to 
smooth  thick,  ridged  nails.  If  they  are 
thin  and  brittle,  buff  gently  to  stimulate 
and  strengthen  them.  Always  buff  in  one 
direction  only.   Ninth,  you're  ready  for 


STAR  ADDRESS  LIST 

Send  a  stamped,  self-addressed  envelope 
today  for  a  new  list  of  Hollywood  stars 
with  their  correct  studio  addresses.  It 
is  a  convenient  size  to  handle  or  keep 
in  a  scrap-book.  To  receive  a  list,  all 
you  have  to  do  is  write  to  us  and  ask 
for  it,  enclosing  a  large,  self-addressed 
and  stamped  envelope.  Don't  forget 
that  last  item,  as  no  request  can  be 
complied  with  otherwise.  Please  send 
requests  to  Information  Desk,  Modern 
Screen,  149  Madison  Ave.,  New  York,  N.Y. 


TO  THE  NEW  FASHI ONS 

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Mascara  in  handsome 
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Maybelline  Cream-form 
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Maybelline  Eve  Shadow 
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Maybelline  Smooth- 
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EYE    BEAUTY  AIDS 


THE  EYES  OF  FASHION 


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DAY  AND  NIGHT 

I  WAS 
WRACKED 
WITH  PAIN! 


MODERN  SCREEN 


THE  AFFLICTION  OF 
THOUSANDS! 

Simple  Piles  may  sound  like  a  light  thing,  but  they 
are  an  awful  agony. 

They  make  your  every  move  a  torment.  They  even 
hurt  or  itch  while  you  are  sitting  or  lying  down.  The 
torture  drags  you  down  and  makes  you  look  old 
and  worn. 

Both  men  and  women  suffer  from  simple  Piles.  But, 
during  pregnancy  and  after  childbirth,  women  espe- 
cially are  subject  to  this  trouble. 

TO  RELIEVE  THE  PAIN  AND  ITCHING 

What  you  want  to  do  to  relieve  the  pain  and  itching 
of  simple  Piles  is  use  Pazo  Ointment. 

Pazo  Ointment  really  alleviates  the  torment  of 
simple  Piles.  Its  very  touch  is  relief.  It  quickly  eases 
the  pain ;  quickly  relieves  the  itching. 

Many  call  Pazo  a  blessingand  say  it  isone  thing  that 
gives  them  relief  from  the  distress  of  simple  Piles. 

AH!  WHAT  COMFORT! 

Pazo  does  a  good  job  for  several  reasons. 

First,  it  soothes  simple  Piles.  This  relieves  the  pain, 
soreness  and  itching.  Second,  it  lubricates  the  affected 
parts.  This  tends  to  keep  the  parts  from  drying  and 
cracking  and  also  makes  passage  easier.  Third,  it 
tends  to  shrink  or  reduce  the  swelling  which  occurs 
in  the  case  of  simple  Piles. 

Yes,  you  get  grateful  effects  in  the  use  of  Pazo ! 

Pazo  comes  in  collapsible  tubes,  with  a  small  per- 
forated  Pile  Pipe  attached.  This  tiny  Pile  Pipe,  easily 
inserted  in  the  rectum,  makes  application  neat,  easy 
and  thorough.  (Pazo  also  comes  in  suppository  form 
for  those  who  prefer  suppositories.) 

TRY  IT  FREE! 

Give  Pazo  a  trial  and  see  the  relief  it  affords  in  many 
cases  of  simple  Piles.  Get  Pazo  at  any  drug  store  or 
write  for  a  free  trial  tube.  A  liberal  trial  tube  will  be 
sent  you  postpaid  and  free  upon  request. 
Just  mail  the  coupon  or  postcard  today. 


GROVE  LABORATORIES,  INC 
Dept.  121-MO,  St.  Louie,  Mo. 
Gentlemen:  Please  send  me  free  PAZO 

Name  

Address  , — 

City  


FREE! 


_Sm*e_ 


This  offer  is  good  only  in  U.  S. 


polish  now.  If  it's  liquid  you're  using, 
quick,  bold  strokes  should  be  your  aim, 
one  down  the  middle  first,  then  one  on 
either  side. 

Tenth,  remove  excess  polish  with  the 
blunt  end  of  your  orange  stick — wipe  off 
a  thin  tip  with  your  thumb  or  a  tissue, 
and  allow  nails  to  dry  thoroughly.  A 
colorless  polish  base,  applied  before  and 
after  liquid  polish,  will  help  protect 
brittle  nails  and  add  lustre  too.  After 
they're  entirely  dry,  cold  water  run  over 
the  nails  will  also  help  "set"  the  polish 
and  make  it  last  longer. 

T  AST  in  order,  but  almost  first  in  im- 
'  portance  this  time  of  year,  massage 
your  hands  and  wrists  with  your  favorite 
cream  or  lotion,  working  it  in  with  a 
rotary  motion  from  finger  tips  upward 
till  every  vestige  has  been  absorbed.  This 
not  only  softens  and  whitens  the  skin, 
but  supples  and  relaxes  your  hands.  If 
you'll  repeat  this  little  ceremony  every 
morning  and  night,  and  touch  up  your 
nails  between  manicures  whenever  they 
show  the  slightest  wear,  you'll  take  a 
big  step  toward  perpetual  grace  and 
beauty.  For,  when  you  know  you  look 
your  best,  grace,  poise  and  self-confi- 
dence become  a  real  part  of  you. 

Nowadays  more  and  more  manufac- 
turers are  making  nail  polishes  that  har- 
monize with  lip  and  cheek  rouges.  This 
is  as  it  should  be.  Let  all  your  make-up 
blend  becomingly,  and  consider  your 
costume  colors  too.  Subtle,  pastel  shades 
are  much  smarter  with  daytime  clothes, 
while  all  those  brilliantly  beautiful  deep 
colors  are  gorgeous  with  evening  things. 
If  you  are  wearing  any  of  the  browns, 
beiges,  muted  greens  or  slate  blues  so 
popular  this  year,  a  dull,  coppery  pink  or 
red  polish  will  be  stunning.  If  plaids  or 
navy  blues  are  your  favorites,  wear  neu- 
tral pale  or  bright  red  polish,  according 
to  whether  you're  the  quiet  or  the  daring 
type,  also  depending  upon  the  formality 
of  the  occasion.  If  you  love  greys,  wines, 
purples  or  blue-greens — a  subtle,  bluish- 
red  polish  will  look  marvelous.  And  if 
you're  all  dressed  up  in  one  of  those 
clarion- clear  true  colors  that  Paris  is  so 
enthusiastic  about  for  evening — such  as 
cyclamen  pink,  violet,  bright  grey,  white 
or  black,  wear  one  of  the  more  brilliant 
bluish  reds.  You'll  be  the  belle  of  the 
ball. 

Oval  nails  should  show  a  thin  tip  and 


a  half  moon  to  match.  Round  nails  look 
prettiest  when  polished  the  entire 
length,  leaving  just  a  hair-line  at  each 
side  for  "slimth."  Spade-shaped  nails 
need  tiny  half  moons  and  accentuated 
curves  at  the  tip,  and  square  nails  can 
be  made  to  look  more  graceful  if  the 
curves  at  both  ends  are  exaggerated. 
But  never  be  ashamed  of  the  shape  of 
your  hands.  The  way  they  were  made 
is  right  for  you.  Firm  fingers  with  squar- 
ish nails  may  not  be  your  ideal — but  they 
indicate  the  executive  type  of  hand  and 
you  should  be  proud  to  own  them. 

A  slender,  finely  molded  hand  with 
tapering  nails  is  aristocratic  and  "lady- 
like," so  accent  it  with  all  the  care  it 
deserves.  An  extravagantly  slender  hand 
with  narrow  nails  that  grow  to  exag- 
gerated points  is  exotic  and  exciting  and 
can  wear  startling  shades  of  polish  ef- 
fectively. Short,  stubby  fingers,  thick  at 
the  base  with  wide,  short  nails,  indicate 
much  creative  ability.  So,  far  from  hid- 
ing them,  you  should  be  doubly  proud. 
Polish  them  from  end  to  end  as  we  ad- 
vised for  round  nails,  keep  them  immac- 
ulately smooth  and  clean  and  let  the 
world  see  them  for  what  they  are. 
Tapering  fingers  with  nails  narrowing 
out  to  long  ovals  are  the  mark  of  artistic 
talent.  Like  as  not  if  you  have  this  type, 
you'll  know  instinctively  how  to  show 
them  off  to  best  advantage.  Such  hands 
can  be  excitingly  dramatic. 

IF  you  have  freckles,  a  scar  or  conspic- 
uous veins  in  your  hands,  cover  them 
with  some  of  those  marvelous  founda- 
tion creams  or  cover-mark  preparations. 
If  you  have  damp,  perspiring  hands,  a 
bit  of  powder  will  often  help — or  a  daily 
massage  with  cologne  or  alcohol  may 
improve  the  situation.  If  this  condition 
persists  to  an  annoying  degree,  better 
see  your  doctor  as  it  may  indicate 
a  nervous  or  other  systemic  disorder. 

There,  we  hope  we've  been  able  to 
add  a  lot  to  the  loveliness  of  your  hands 
this  winter.  If  you  will  spend  a  few 
minutes  each  day  and  half  an  hour  once 
a  week  on  the  care  we've  outlined  here, 
we're  sure  and  convinced  that  your  own 
two  hands  will  soon  become  the  kind 
that  every  woman  loves  to  look  at  and 
every  man  will  love  to  hold. 

It's  becoming  so  easy  to  keep  lovely 
on  a  limited  income  that  we  sometimes 
wonder  what  else  these  ingenious  cos- 


r 


Modern  Screen  made  its  selections  of  the  year's  movie  highlights  in  the  January 
issue.  Now  it  wants  to  know  what  you,  the  readers,  have  chosen.  The  results  of  this 
questionnaire  will  be  published  in  an  early  issue.  Fill  in  the  coupon  below  and  send  it 
to  Modern  Screen,  149  Madison  Ave.,  New  York,  N.  Y. 


1 .  Best  actor   

2.  Best  actress   

3.  Most  handsome  man  on  the  screen.  . 

4.  Most  beautiful  girl  on  the  screen.  . .  . 

5.  Most  promising  newcomer  (male)... 

6.  Most  promising  newcomer  (female)  . 

7.  Biggest    scene-stealer  (male)  

8.  Biggest  scene-stealer  (female)  

9.  My  favorite  child  actor  

10.  My  favorite  child  actress  

11.  Best-dressed  man  on  the  screen  

12.  Best-dressed  woman  on  the  screen.. 

13.  My  favorite  cowboy  star  

14.  Best  movie  I  saw  in  1939   

15.  Worst  movie  I  saw  in  1939  


My  name  is. 
Address    .  .  . 


(City) 


(State) 


70 


MODERN  SCREEN 


meticians  can  possibly  think  up.  But 
their  ideas  seem  inexhaustible.  Those 
slick  little  compact-sized  plastic  boxes 
filled  with  pads  saturated  in  liquid  nail 
polish  remover — fifteen  to  a  box  for  just 
one  thin  dime — are  one  of  our  favorite 
innovations.  No  waste,  no  spill,  and  one 
pad  removes  a  complete  manicure.  Each 
pad  is,  in  fact,  practically  a  nail  beauty 
treatment  in  itself,  for  not  only  does  it 
remove  old  polish  in  a  whisk,  it  also 
softens  and  lubricates  both  nail  and 
cuticle  and  helps  to  prevent  peeling  and 
cracking. 

Easy,  quick,  neat  and  economical  we 
call  it!  These  little  prepared  pads  are 
not  drying,  either.  They're  also  grand 
to  carry  in  your  purse,  as  the  screw-top 
container  won't  spill  anywhere.  And  did 
we  tell  you  they're  daintily  perfumed 
besides? 

• 

Cutting  your  cuticle  can  be  both 
dangerous  and  messy.  In  the  first  place 
you're  likely  to  get  a  serious  infection. 
And  in  the  second  place,  though  your 
nails  may  look  smooth  for  a  day,  as  sure 
as  you're  a  foot  high,  on  the  second  day 
rough,  ragged  cuticle  edges  will  again 
plague  your  best  efforts.  But  why  be 
old  fashioned?  There's  a  new  safe,  more 
simple  way  which  smart  girls  everywhere 
are  using.  Just  dip  an  orangewood  stick 
wound  in  cotton  into  a  certain  new  liquid 
cuticle  softener  and,  beginning  at  the 
center  of  each  nail,  work  forward,  push- 
ing the  cuticle  gently  back.  Now,  soak 
your  fingers  for  a  few  seconds  in  warm 
water,  and  simply  wipe  off  all  the  old, 
dead  cuticle  with  a  clean,  dry  towel.  It's 
as  easy  as  all  that. 

We're  awfully  enthusiastic  about  a  cer- 
tain clear,  golden- colored  skin  lotion 
that  we've  been  using  lately.  It  really 
is  different.  Not  only  does  it  flow  freely, 
but  it  contains  not  a  drop  of  gummy 
or  starchy  substances  to  make  your  skin 
feel  sticky  or  "gooey."  This  lotion  helps 
to  protect  the  natural  loveliness  of  your 
skin  and  counteracts  the  drying  effects 
of  winter  weather,  over-heated  houses, 
and  frequent  washing.  It  is  excellent  to 
smooth  rough,  chapped  hands  and  faces 
and  to  overcome  redness,  overgrown 
cuticle  and  such  things. 

This  lotion  acts  quickly  to  dissolve 
sticky  perspiration,  dirt,  soap  and  foreign 
matter  too — then  it  leaves  an  emollient 
film  to  smooth  and  protect  the  skin.  Not 
being  heavy,  it  spreads  rapidly  into  every 
little  crack  and  crevice  and  dries  quickly, 
which  saves  you  time  and  rubbing.  It 
always  leaves  your  skin  feeling  refreshed 
and  satiny  too.  Many  girls  like  this  lo- 
tion as  a  make-up  foundation,  because 
it  takes    face    powder    so  beautifully. 

•      •      •  . 

Would  you  like  to  try  it?  We'll  be 
happy  to  send  a  generous  trial  sized  bot- 
tle if  you'll  fill  in  and  mail  the  coupon 
below.  Do  you  want  to  know  the  names 
oj  the  cuticle  remover  and  the  nail  polish 
remover  pads?  Just  say  the  word  and 
we'll  send  them. 

i  1 

I    Carol  Carter 

I    Modern  Screen  Magazine 

I    149  Madison  Avenue,  New  York  City 

Please  send  me  the  free  sample  of  skin  and  j 
|    hand  lotion. 

I  I 

I    Name   I 

I  I 

I    Address   I 

I  I 

-I    City   State    1 

|       This  Offer  Not  Good  After  60  Days 

I  „  I 


"That's  right— give  'em  a  blast  on  your  horn!  Maybe  they'll  ask  us  what  we'll  have, 
and  we  can  say  how  about  a  little  soft,  satiny  Johnson's  Baby  Powder .  .  .  Hoo-onk! 
. . .  Pretty  sour.  And  look  at  your  fingering!  Terrible." 


"Now  watch  the  old  maestro.  TOOOOOOt!  There,  how's  that?  Right  in  the  groove, 
I'd  say.  We'll  have  a  rubdown  with  that  downy,  velvety-cool  Johnson's,  and  then  on 
with  the  dance,  let  joy  be  unconfined!" 


"Where's  the  baby  that  doesn't  go  for 
Johnson's?  That  slippery,  extra-fine  talc 
sure  helps  to  put  the  skids  under  prickly 
heat  and  chafes!  Johnson's  doesn't  cost 
much  either." 

JOHNSON'S 
BABY  POWDER 

Johnson  &  Johnson,  New  Brunswick,  N.  J. 


71 


I  !' 


MODERN  SCREEN 


I  •  .  ...>■/.  I  7 II II 


«  "til 

fino     '   — 


10*  and  25* 


•  Also  ask  for  FLAME- GLO  ROUGE  in  harmonizing  colors! 


WORLD  Ffl  m  □  U  S  •  STfl  n  D  A  R  D  m  fl.R  E 

TYPEWRITERS 


YOUR  CHOICE  —  UNDERWOODS!  "^K&j3«?  v/tC^T',  _  __ ... 
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low  as  S26.90.  Genuine,  standard,  lull  sized  rebuilt  ■*™M\I..~  1 
office  models-up-to-date  improvements-standard  key-  «A  11 U  WE 
board,  back  spacer,  ribbon  reverse,  2  color  ribbon,  etc.  Never  before  sucb  rock- 
bottom  prices!  FULLY  GUARANTEED!  Backed  by  30  years  ollair  dealing. 
Ten  day  trial.  Easiest  terms  in  history— as  low  as  SOc  a  week. 
FREE  big  price  slashing  catalog  shows  all  makes  in  colors,  details  on  10  day 
trial  and  easiest  terms.  FREE  Van  Zand!  Touch  Typing  course  with  your  type- 
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!  at  tremendous  savings  with  no  money  down  and  10  days'  trial.  • 


TRICKY  TOPPERS 


V^OU  who  "make  your  own"  are  the 
■1  lucky  ones  this  season!  There's 
nothing  smarter  than  the  knitted 
tricks  that  are  topping  everything 
from  the  heaviest  of  ski  pants  to  the 
sheerest  of  billowing  chiffons. 

The  Tyrolean  sweater,  pictured 
above,  is  ideal  for  winter  sporting,  for 
its  zippered  front  makes  it  fit  very 
snugly.  Made  of  white  or  bright 
colored  wool,  it  has  a  "three-dimen- 
sional," crocheted,  many-colored 
floral  trim  running  down  the  front 
panel.  You'll  find  this  topper  a  gay 
little  aid  if  you  aim  to  be  queen  of 
your  skating  rink,  ski  train  or  snow- 
shoe  brigade! 

If  it's  an  evening  outfit  you're  need- 
ing, the  low,  square-necked  slip-on  to 
the  left  is  the  ticket  for  you.  Made  of 
a  soft,  silky  chenille  yarn  with  a 
lastex  thread  run  through  on  the 
wrong  side,  it  luxuriously  moulds 
your  figure.  Though  the  pattern  looks 
very  complicated  and  professional  to 
your  admirers,  it  is  a  combination  of 
two  of  the  simplest  stitches.  But  that's 
your  secret — they'll  think  you're  a 
genius! 

#  *  # 
All  you  have  to  do  to  receive  ab- 
solutely jree  directions  for  knitting 
either  or  both  of  these  gems  of  the 
sweater  world  is  to  fill  in  and  send 
us  the  coupon  below. 


ANN  WILLS,  Modern  Screen 

149  Madison  Avenue,  New  York,  N.  Y. 

Kindly  send,  at  no  cost  to  me: 

Knitting  directions  for  No.  129  

Knitting  directions  for  No.  2835  

I  enclose  a  stamped,  self-addressed  (large) 

envelope. 

Name   

Address   

City   State  

Check  one  or  both  designs  and  please  print 
name  and  address  plainly. 


No.  129— Warmth,  neat- 
ness and  femininity  have 
made  this  long-sleeved 
cardigan  a  winter  clas- 
sic. The  zipper,  neck 
border  and  embroidery 
are    in    bright  colors. 


No.  2835 — The  evening 
sweater,  below,  is  made 
of  a  soft,  silky  chenille 
yarn.  Wear  it  with  either 
a  full,  flowing  skirt  or  a 
slim,  slinky  one  and  you'll 
love  yourself! 


72 


MODERN  SCREEN 


MOVIE  REVIEWS 

(Continued  from  page  15) 


some  reason  just  can't  use  his  head  to 
advantage.  The  smartest  thing  he  does 
is  marry  cute  Mary  Carlisle,  who  is  a 
perfect  team-mate  for  the  Brown  antics. 
And  Mary  has  a  grand  time  of  it,  helping 
Joe  prove  to  the  police  department  that 
he  can  capture  the  criminals. 

Solution  of  a  couple  of  murders  puts 
Joe  in  first  place,  however,  with  both  his 
bride  and  the  police,  and  the  intervening 
action  where  he  chases  the  murderer 
through  a  seaside  resort  spook  house  is 
hilarious  comedy.  There  are  plenty  of 
good  gags  and  dialogue,  and  the  entire 
cast  helps  the  comedian  remain  the  fa- 
vorite of  countless  fans.  Supporting  play- 
ers are  Marc  Lawrence,  Clarence  Kolb, 
Don  Beddoe  and  George  J.  Lewis.  Di- 
rected by  Edward  Sedgwick — Columbia. 

★★The  Secret  of  Dr.  Kildoxe 

"The  Secret  of  Dr.  Kildare"  hits  the 
stride  established  by  the  first  picture  of 
this  series  and  maintains  the  pace 
throughout.  Lionel  Barrymore  and  Lew 
Ayres  as  Doctors  Gillespie  and  Kildare 
are  so  familiar  with  their  roles  that  their 
team-work  is  pleasingly  natural. 

This  time,  young  Dr.  Kildare  meets  a 
society  deb  who  has  been  behaving  very 
strangely.  Her  father  begs  him  to  solve 
the  mystery,  and  Kildare,  realizing  that 
Dr.  Gillespie  is  much  too  exhausted  from 
heavy  research  work,  takes  the  case  in 
spite  of  his  cantankerous  objections.  Of 
course,  Kildare  learns  what  makes  the 
girl  act  in  such  a  manner  and  wins 
back  the  affections  of  Dr.  Gillespie — but 
not  until  he's  worked  pretty  hard  at  en- 
tertaining the  audience. 

In  supporting  roles,  Helen  Gilbert  is 
quite  adequate  as  the  debutante,  Laraine 
Day  is  the  same  nifty  little  nurse  and 
Alma  Kruger  continues  her  good-natured 
arguments  with  Barrymore.  Also  spotted 
to  advantage  are  Lionel  Atwill,  Nat 
Pendleton,  Sara  Haden,  Samuel  S.  Hinds, 
Emma  Dunn  and  Marie  Blake.  Directed 
by  Harold  S.  Bucquet — Metro-Goldwyn- 
Mayer. 

★★  Allegheny  Uprising 

This  picture  is  good  factual  information 
about  the  immediate  years  before  the 
American  Revolution,  but  is  shy  on 
entertainment  value.  It  concerns  the 
efforts  of  the  settlers  in  the  Allegheny 
valley  to  prevent  the  English  and  their 
allies  from  trading  ammunition  and 
liquor  with  the  Indians,  thus  causing 
continual  danger  to  the  white  settlers 
who  are  trying  to  develop  the  new 
country. 

Claire  Trevor  and  John  Wayne  try 
hard  to  inject  some  drama  and  interest 
into  their  characters,  but  they're  too 
busy  hopping  on  horses  and  driving  the 
Indians  away  to  get  very  far  with  their 
romance. 

Claire  Trevor  looks  quite  appealing 
placed  alongside  the  dozens  of  husky 
pioneers,  but  her  usual  ability  is  lost  in 
the  haze  of  muddled  story.  The  British- 
ers in  the  audience  may  disapprove  of 
the  stuffed-shirt  portrayal  of  their  early 
American  armies,  but  George  Sanders, 
as  usual,  is  very  capable  as  the  dull 
officer.  Brian  Donlevy  sinks  his  teeth 
into  another  villainous  role,  with  other 
good  work  by  Wilfred  Lawson,  Robert 
Barrat,  John  F.  Hamilton  and  Moroni 
Olsen.  Directed  by  William  A.  Seiter — 
RKO. 


Did  you  ever  hear  of  the  Girl  who 
slept  her  way  to  Loveliness  and 

Romance?.  .  .  .  well,  I  did  and  here's  how 


At  bedtime  .  .  .  she  cleanses  her 
skin  hygienically  with  Woodbury 
Germ-free  Cold  Cream — leaving  on 
a  thin  film  to  soften,  invigorate  .  ,  . 
work  for  beauty  and  perhaps  for 
romance  .  .  .  while  she  sleeps! 


By  Janet  Parker 
Woodbury  Beauty  Consultant 

You,  too,  can  gain  new  loveliness  while 
you  slumber.  Thousands  of  women  report 
glamorous  results  from  overnight  use  of 
Woodbury  Cold  Cream. 

Your  skin  is  attacked  by  enemies  all  day 
long.  Wind,  sun,  fatigue  rob  your  cheeks 
of  bloom;  leave  your  skin  dull,  dry.  So 
nighttime  is  when  Nature  and  the  right 
cold  cream  have  their  best  chance  to  repair 


WOODBURY 

3-WAY   BEAUTY  CREAM 

CLEANSES  safely 
Smooths  as  if  LUBRICATES 
INVIGORATES 


your  beauty,  after  the  day's  wear  and  tear. 

Woodbury  Cold  Cream  gives  you  ALL 
THREE  of  the  following  special  virtues, 
vitally  needed  for  bedtime  beauty  care.  (1) 
It  cleanses  hygienically — stays  germ-free; 
(2)  It  smooths  as  it  lubricates — liquefies  at 
skin-contact;  (3)  It  invigorates — contains 
a  skin-invigorating  Vitamin. 

Use  Woodbury  for  ordinary  cleansing,  of 
course.  But  to  get  its  extra  benefits,  leave 
on  a  thin  film  when  you  go  to  bed.  Get  it 
today!  Only  $1.00,  50*,  2'5*,  10*. 


MAIL  NOW  FOR  GENEROUS  TUBE...  FREE! 

(Just  Paste  on  Penny  Postcard) 

John  H.  Woodbury,  Inc.,  6611  Alfred  St.,  Cincinnati,  O. 
(In  Canada)  John  H.  Woodbury,  Ltd.,  Perth,  Ontario 
Please  send  me,  free  and  postpaid,  a  generous-size  tube  of 
Woodbury  3-Way  Beauty  Cream,  enough  for  several 
"Beauty  Nightcap"  treatments.  Also  8  fashion-tested 
shades  of  exquisite  Woodbury  Facial  Powder. 


JState^ 


MODERN  SCREEN 


New  under-arm 

Cream  Deodorant 

safely 

Stops  Perspiration 


1.  Does  not  harm  dresses  —  does  not 
irritate  skin. 

2.  No  waiting  to  dry.  Can  be  used 
right  after  shaving. 

3.  Instantly  stops  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  white,  greaseless,  stainless 
vanishing  cream. 

5.  Arrid  has  been  awarded  the 
Approval  Seal  of  the  American 
Institute  of  Laundering  for  being 
harmless  to  fabric. 


More  than  25  MILLION 
jars  of  Arrid  have  been 
sold... Try  a  jar  today. 


ARRID 


39^ 


a  jar 

AT  ALL  STORES  WHICH  SELL  TOILET  GOODS 
(Also  in  10  cent  and  59  cent  iars) 


AT  home: 

Learn  to  color  photos  and  miniatures 

in  oil.  No  previous  experience  needed.  Good 
demand.   Send  for  free  booklet,  'Make 
Money  at  Home'*  and  requirements. 
NATIONAL  ART  SCHOOL 
3601  Michigan  Ave.    Dept.   2362  Chicago 

FREE  Powder 
For  Brunettes 

A  new,  ravishing  shade  of  face  powder  for 
brunettes  called  Egyptian  has  just  been  pro- 
duced by  TAYTON'S — the  famous  quality  cos- 
metic house.  To  quickly  introduce  TAYTON'S 
Egyptian  to  brunettes  everywhere,  free  sam- 
ples are  mailed  on  request.  Try  this  glamorous 
powder.  See  how  it  brings  out  your  hidden 
skin  beauty  with  its  glamorous  rose  undertone. 
TAYTON'S  Egyptian  contains  a  wonderful  new 
improvement  that  increases  clinging  power 
many  times.  Sifting  through  silk  makes  this 
powder  super-fine,  producing  the  true  no- 
shine,  no-cake  effect.  At  10c  stores,  drug 
stores  everywhere.  For  free  sample  of  TAY- 
TON'S Egyptian  and  5  other  newest  shades 
merely  send  post 
card  to  TAYTON'S, 
Room  3332,  Kan- 
Powder — Lipstick — Cream    sas  City,  Mo. 


Tayton's 


GOOD  NEWS 

(Continued  jrom  page  57) 


NAME  YOUR  OWN  FIGURE 

"A  woman  always  has  the  right  to  change 
her  mind  and  her  figure,"  says  Mae  West. 
So  now  when  corsets  are  all  the  rage,  La 
West  has  decided  she  will  have  none  of 
them  for  herself.  Instead,  she  has  reduced 
her  weight  to  one  hundred  and  twenty 
pounds  flat  and  intends  to  stay  that  way. 
You'll  see  for  yourself  how  uncurvaceous 
but  still  beauteous  she  is  when  "The  Farm- 
er's Daughter  and  the  Travelling  Sales- 
man," in  which  she's  co-starred  with  W.  C. 
Fields — of  all  things — is  released.  Diet  did 
it,  girls.  Mae  doesn't  believe  in  exercise 
for  anything  but  the  will— power.  Just  give 
the  glassy  eye  to  anything  smacking  of 
starch,  she  says,  and  you  can  name  your 
own  figure. 

GINGER'S  A  BRUNETTE 

Ginger  Rogers  is  being  accused  of  "going 
Garbo"  on  Hollywood.  She  seldom  ap- 
pears at  night-spots  and  when  she  does, 
her  time  is  spent  playing  hide-and-seek 
with  the  cameramen.  Rogers'  reason  is 
that  she  doesn't  want  to  be  photographed  in 
her  new  brunette  tresses  until  the  release  of 
her  current  picture.  Miss  R.  seems  to  have 
forgotten  that  this  isn't  the  first  time  she's 
been  a  brunette.  On  that  Honolulu  trip,  she 
landed  in  a  black  wig — hoping  to  hoax  the 
island  camera-sleuths.  But  she  needn't 
have  bothered.  The  boys  recognized  her 
all  right.  But  since  she  had  refused  to  give 
an  interview  when  the  boat  docked,  they 
decided  to  leave  the  young  lady  strictly  to 
herself,  blonde  or  brunette.  Imagine  Gin- 
ger's surprise  not  to  have  even  a  notice  of 
her  leave-taking  get  a  word  in  the  papers! 

ROMANCE  NOTES 

Now  that  Helen  Gilbert's  divorce  from 
musician  Mischa  Bakaleinikoff  is  final,  she 
is  expected  to  marry  Lew  Ayres  when  and 
if  he  ever  decides  to  divorce  Ginger  Rogers 
.  .  .  Bubbles  and  Wayne  Morris  invited 
members  of  the  "Brother  Rat  and  a  Baby" 
cast  over  for  a  wind-up-the-picture  party. 
Then  they  announced  that  the  party  was 
really  in  honor  of  the  engagement  of  Jane 
Wyman  and  Ronald  Reagan  .  .  .  Loretta 
Young  is  spending  a  lot  of  her  evenings 
with  Bob  Riskin  .  .  .  Lana  Turner  still  dates 
Greg  Bautzer  guite  often,  but  she's  stepping 
out  with  Bill  Hunt  and  Tom  Brown,  too  .  .  . 
Lucille  Fairbanks,  Doug,  Sr.'s  niece  who's 
now  the  white  hope  of  Warner  Bros.,  is 
smitten  with  Bill  Lundigan  .  .  .  Ilona  Massey 
and  Producer  Sam  Katz  are  so  very  much 
in  love  that  wedding  bells  are  predicted 
that  soon  .  .  .  Mary  Healy  is  giving  more 
dates  to  Ken  Murray  than  to  any  other  of 
her  dozens  of  .admiring  suitors  .  .  .  Rudy 
Vallee  is  back  in  town  and  giving  the 
film  lovelies  the  annual  whirl  .  .  .  Brenda 
Marshall  and  William  "Golden  Boy"  Holden 
like  to  go  dancing  at  the  Cocoanut  Grove 
— but  t'aint  serious,  because  Brenda's  mar- 
ried .  .  .  Alex  Morison,  brother  of  Patricia, 
is  dating  Jean  Cagney,  sister  of  Jimmy. 

ALONG  SUNSET  STRIP 

Garbo    running    lickety-cut    for   her  "town 


car"  with  Modern  Screen's  photog,  Jules 
Buck,  hot  on  her  trail  .  .  .  Virginia  Bruce  in 
the  back  seat  of  her  chauffeured  limousine 
peeking  out  to  watch  the  fans  who  are 
craning  their  necks  to  get  a  good  look  at 
her  .  .  .  Peter  Lorre  double  parked  in  front 
of  his  tailor's  shop  while  the  tailor  runs 
back  for  a  sample  of  some  new  material 
that  Lorre  wants  made  into  an  overcoat  .  .  . 
J.  Farrell  MacDonald  downing  a  nutburger  at 
a  drive-in,  then  ordering  another  one  before 
leaving — just  to  take  along  with  him  .  .  . 
Bing  Crosby  and  a  couple  of  the  little  Cros- 
bys disappearing  into  the  Crosby  building 
where  the -old  man  has  an  office  .  .  .  Lana 
Turner  in  an  open  roadster,  her  red  locks 
flying  in  the  breeze. 

FREE  MOVIES 

Nancy  Kelly  may  be  pining  for  Edmond 
O'Brien,  but  she's  pining  in  the  company 
of  Ken  Murray,  Cesar  Romero,  Lee  Bowman 
and  Howard  Hughes.  Hughes  really  has 
the  inside  track,  though.  He's  the  only  one 
with  a  private  projection  room  and  since 
Nancy  hates  crowded  movie-houses*  she's 
catching  up  on  all  the  late  pictures. 

DESSERT  FIRST 

We  don't  know  if  this  is  a  tip  on  how  to  be 
glamorous,  girls,  but  we  do  know  it  to  be  a 
fact.  Hedy  Lamarr  eats  most  of  her  meals 
backwards.  It's  not  at  all  unusual  to  see 
the  lovely  Lamarr  come  into  the  Derby  at 
dinner  time  and  order  a  dish  of  ice  cream 
or  a  healthy  slab  of  apple  pie  a  la  mode 
as  a  starter. 

ANDY'S  SPINACH 

Overheard  before  a  recent  Jack  Benny 
broadcast:  Mrs.  Andy  Devine  pleading  with 
Jack  to  fix  things  so  Andy  won't  have  to 
grow  another  beard  for  his  role  in  the  Para- 
mount picture,  "Buck  Benny  Rides  Again." 

THE  COMFORTS  OF  HOME 

When  Edward  G.  Robinson  appeared  on 
the  set  for  the  first  day's  shooting  of  "Dr. 
Ehrlich,"  he  was  being  closely  followed 
by  two  studio  workmen  bearing  a  huge 
leather  chair.  The  chair,  said  Eddie  in 
explanation,  was  his  favorite  one  from 
home  so  he  just  decided  to  have  it  brought 
along.  "All  the  comforts  of  home,  you 
know,"  he  said  blissfully,  preparing  to  sink 
into  the  chair.  But  he  wasn't  quick  enough. 
Director  Dieterle  had  got  there  first.  After 
the  director,  every  member  of  the  cast  had 
to  try  the  chair.  We  visited  the  set  a  few 
days  later,  and  the  actor  confided  he  was 
taking  his  chair  home  that  night.  "I  miss  it 
so  much,"  he  sighed.  Robinson's  make-up 
for  this  role  is  something  to  see.  Un- 
doubtedly it  is  famous  Perc  Westmore's 
best  make-up  job  to  date,  for  the  actor  is 
scarcely  recognizable.  However,  Perc  had 
something  of  a  blow  when  Eddie  first  looked 
at  his  new  face  in  a  mirror.  "I  may  look 
like  Dr.  Ehrlich  to  you,"  said  the  actor, 
"but  I  look  like  the  spittin'  image  of  Paul 
Muni  to  me."    They  don't  come  finer,  Eddie! 


74 


MODERN  SCREEN 


DESTINATION— HOLLYWOOD 

(Continued  from  page  29) 


he  will  not  follow  his  family  to  Cali- 
fornia except  for  occasional  visits. 

"It's  real  nice  about  Monetta,"  he  ex- 
plains, "but  I'll  'batch'  in  Dallas  for 
a  while.  In  ten  more  years,  I'll  be  eligi- 
ble for  a  $100-a-month  pension.  Too 
many  things  can  happen  in  ten  years  and 
I'd  rather  keep  my  job  and  be  able  to 
support  my  family  in  case  Monetta  tires 
of  the  movies.  I'm  fifty-one  years  old 
and  in  ten  years,  I'd  be  an  old  man  with- 
out a  way  of  making  a  living. 

THOUGH  she  was  a  child  entertainer 
during  her  early  years,  it  was  not 
until  she  was  thirteen  that  Linda  got  her 
first  job  as  a  professional.  The  Texas 
Centennial  sent  out  a  call  for  models. 
They  were  to  be  known  as  Texanitas 
and,  attired  in  picturesque  Mexican 
costumes,  were  to  pose  in  endless 
publicity  photographs  to  exploit  the 
Dallas  World's  Fair.  On  the  morning  of 
the  try-out,  hundreds  of  Dallas  girls 
answered  the  call  of  Bill  Langley,  chief 
photographer  for  the  Fair.  Several  dozen 
were  chosen — among  them,  Linda. 

"Monetta  was  actually  too  young,"  Bill 
Langley  now  explains.  "She  was  only 
thirteen  and  too  thin,  but  her  face  was 
photogenic  and  she  had  a  remarkable 
knack  for  modeling.  I  was  dubious,  but 
some  of  the  other  fellows  insisted  we 
accept  her  because  of  her  facial  beauty 
and  we  padded  her  figure  to  make  it 
more  mature.  Soon  we  were  using  her 
more  than  any  other  model  because  of 
her  rare  talent  for  posing.  She  became 
the  outstanding  model  of  1937. 

After  the  summer's  work,  Linda  pur- 
sued her  professional  studies  more 
strenuously  than  ever.  She  studied  dra- 
matics and  played  in  Little  Theatre  pro- 
ductions. She  studied  dancing  and  un- 
derstudied the  Virginia  Self  Mignonettes, 
a  line  of  professional  dancers  trained  by 
the  Dallas  dancing  teacher.  Here  again 
Linda's  immaturity  thwarted  her  desire 
to  be  a  "regular"  in  the  chorus  line,  but 
she  substituted  when  needed  and  was 
promised  that  this  year  she  could  be  a 
permanent  member  of  the  group. 

"Little  did  we  realize  then  that  Mon- 
etta this  year  would  be  in  Hollywood," 
Miss  Self  laughed. 

It  is  probable  that,  if  finances  had  been 
available,  Linda  and  her  mother  would 
have  started  westward  to  try  Hollywood 
long  before.  But  that  being  impractical 
on  a  postman's  salary,  they  did  the  next 
best  thing  and  tried  every  local  oppor- 
tunity for  experience. 

Dick  Parker,  one  of  Linda's  champions 
in  the  Exposition  press  department  and 
formerly  a  Hollywood  press  agent,  was 
now  writing  scenarios  for  screen  adver- 
tising. Remembering  her  good  work  at 
the  Fair,  he  introduced  her  to  the  cast- 
ing director.  Both  groaned  when  they 
heard  the  verdict,  "Too  young." 
(Continued  on  page  76) 


INFORMATION  DESK. 
MODERN  SCREEN 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  your  up-to-date  chart 
listing  the  heights,  ages,  birthdays  and 
marriages  of  all  the  important  stars.  I 
enclose  5c  (stamps  or  coin)  to  cover  cost 
of  mailing. 

Name  

Street  ."  

City   State  


"Don't  let  daddy 
lick  me  again! 


99 


An  old, 
old  problem  solved  in  an 
vp-to-date  way. 


1.  MOTHER:  Oh,  John,  why  don't  you  let  him 
alone?  He's  only  a  child. 

FATHER :  Well,  somebody  has  to  make  him  listen 
to  reason. 


2.  MOTHER  :  That's  the  first  time  I  ever  heard 
of  a  hairbrush  being  called  "reason"! 
FATHER:  Look!  Let's  settle  this  right  now.  He 
needs  that  stuff  and  he's  going  to  take  it 
whether  he  likes  the  taste  or  not! 


3.  MOTHER:  That's  right,  Mr.  Know-it-all- 
get  him  all  upset  and  leave  it  for  me  to 
straighten  him  out. 

FATHER:  Aw,  don't  get  yourself  in  a  stew! 


4.  MOTHER  :  I'm  not!  All  I  know  is  that  Millie 
Bliss  used  to  jam  a  bad-tasting  laxative  down 
her  boy  until  her  doctor  put  a  stop  to  it.  He 
said  it  could  do  more  harm  than  good! 
FATHER:  Then  what  laxative  can  we  give  him? 


5.  MOTHER:  The  one  Millie  uses  — not  an 
"adult"  laxative,  but  one  made  only  for  chil- 
dren . . .  Fletcher's  Castoria.  It's  mild,  yet  effec- 
tive. It's  SAFE,  and  Millie's  boy  loves  its  taste! 
FATHER:  O.K.  I'll  get  a  bottle.  But  boy,  he 
better  like  it! 


6.  MOTHER:  Would  you  believe  it,  John?  I 
never  saw  a  spoonful  of  medicine  disappear  so 
fast! 

FATHER:  I  wouldn't  have  believed  it  if  I  didn't 
have  my  glasses  on.  I  guess  this  Fletcher's  Cas- 
toria is  okay! 


CL^ftf&z^  CASTORIA 

The  modern  —  SAFE  —  laxative  made  especially  for  children 


75 


MODERN  SCREEN 


STYLES 
CHANGE 


•  When  Sani-Flush  was  introduced, 
28  years  ago,  dresses  hung  low,  and 
hair  was  piled  high.  This  odorless 
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•  Although  many 
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Flush  has  not.  It  j 
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and  best  known 
way  to  keep  toi- 
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twice  a  week.  Cannot  injure  plumbing 
connections.  (Also  effective  for  clean- 
ing out  automobile  radiators.)  See  di- 
rections on  the  can.  Sold  by  grocery, 
drug,  hardware  and  5-and-10c  stores. 
10c  and  25c  sizes.  The  Hygienic  Prod- 
ucts Company,  Canton,  Ohio. 

Sani-FIush 

CLEANS  TOILET  BOWLS 
WITHOUT  SCOURING 


FREE  CLUB  PIN  CATALOG 


*PH  300  SMART  DESIGNS 

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'and  CALLOUSES 

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The  Moss  Co.,  Rochester,  N.  Y.    Send  free  sample  toi 


"Don't  be  silly,"  Dick  exclaimed. 
"That's  what  they  said  at  the  Exposition 
but  she  became  the  best  model  we  had. 
Some  day  she'll  be  a  Hollywood  star, 
and  you'd  better  use  her  while  you  can. 
This  girl's  got  something!" 

So  she  was  put  to  work,  but  where 
now  she  earns  $750  a  week  before  the 
camera,  she  posed  then  for  one  dollar 
an  hour.  During  the  next  eighteen 
months,  Linda  appeared  in  over  two 
hundred  movie  shorts,  advertising  auto- 
mobiles, soft  drinks,  cookstoves,  furni- 
ture or  whatever  came  to  hand.  As  a 
result,  when  she  went  to  Hollywood, 
she  was  already  camerawise  and  free  of 
the  self-consciousness  that  defeats  many 
novices. 

TEXAS,  especially  Dallas,  has  given 
many  stars  to  Hollywood.  Movie  tal- 
ent scouts,  sleuthing  for  new  faces  over 
the  country,  mark  this  region  as  a  port 
of  call.  A  year  ago,  Ivan  Kahn,  talent 
scout  for  Twentieth  Century-Fox,  paid 
a  visit  to  Dallas  and  announced  through 
the  newspapers  that  he  was  prepared  to 
interview  potential  actors.  Linda,  now  in 
the  habit  of  trying  for  everything,  an- 
swered the  call.  Kahn  was  impressed 
but,  like  her  other  discoverers  had  been, 
was  dubious  about  her  age.  Neverthe- 
less, he  sent  her  to  the  coast  for  a  screen 
test.  Linda  was  accustomed  now  to  the 
inevitable  answer. 

"You'll  have  to  grow  up,"  they  told 
her.  "Go  back  home  and  when  you're 
older,  try  again." 

And  so  Linda  returned  to  school.  Her 
disappointment  was  keen,  and  when  she 
came  back  she  gave  all  her  attention, 
for  the  moment,  to  her  books.  Despite 
missing  eight  weeks  of  school  by  the 
trip,  she  made  the  scholastic  honor  roll. 

On  her  return,  she  found  a  subtle  dif- 
ference in  her  classmates.  Some  regarded 
her  with  awe  and  asked  for  her  auto- 
graph which  she  obligingly  and  unas- 
sumingly gave  them.  On  the  other  hand, 
others  of  the  girls  were  jealous  and  catty, 
but  it  never  fazed  Linda.  Her  remark- 
able poise  stood  her  in  good  stead.  She 
continued  to  experiment  with  make-up 
and  dress,  and  she  dared  to  be  different 
from  the  others.  At  one  of  the  rare 
school  parties  she  attended,  Linda  ar- 
rived in  evening  dress  and  found  all  the 
others  in  sports  clothes. 

"She's  trying  to  go  Hollywood  on  us," 
some  of  the  girls  gossiped.  But  Linda 
ignored  them  and  had  a  good  time. 

She  became  co-captain  of  the  school 
pep  squad  not  only  because  of  her  in- 


terest in  school  activities  but  also  be- 
cause she  realized  that  the  more  experi- 
ence she  had  before  the  public,  even 
leading  cheers  before  a  grandstand  full 
of  shrieking  football  fans,  the  more  she 
would  gain  in  discarding  all  self-con- 
sciousness for  her  career. 

When  the  first  Gateway-to-Hollywood 
contest  came  along,  Linda,  by  habit,  en- 
tered. Another  girl  won  the  elimina- 
tion bout  but  audience  reaction  to  Linda's 
appearance  was  so  enthusiastic  the 
judges  recommended  that  she  be  sent 
along  to  the  finals.  She  tied  with  an- 
other girl  in  the  district  meet  and  so, 
for  the  second  time,  she  found  herself 
en  route  to  Hollywood.  But  in  the  na- 
tional finals,  too,  she  was  to  come  in 
only  second.  RKO,  sponsoring  the  con- 
test, took  a  three  months'  option  on 
her  services,  off  salary,  as  runner-up 
and  told  her  to  return  to  Dallas  until 
they  needed  her. 

Regardless  of  the  disappointments  that 
came  her  way,  Linda's  poise  carried  her 
through.  With  small  hope  of  anything 
developing  from  the  option,  but  with  no 
trace  of  bitterness  at  her  second  failure, 
she  returned  to  her  classes  and  to  her 
screen  work  at  the  advertising  agency. 
She  worked  harder  than  ever  at  her 
preparations  for  eventual  success.  Her 
two  visits  to  Hollywood  had  enlarged  her 
vision  of  the  possibilities  of  theatrical 
make-up,  and  in  her  enthusiasm,  she 
went  too  far.  She  shaved  her  forehead 
into  a  widow's  peak  and  rouged  her 
mouth  like  Joan  Crawford's,  not  from 
vanity  but  to  experiment.  Hollywood  has 
since  corrected  her  mistakes  and  simpli- 
fied her  glamorization. 

Meanwhile,  events  of  which  she  was 
unaware  were  shaping  her  destiny.  The 
publicity  she  had  received  in  Hollywood 
in  the  "Gateway"  contest  had  reminded 
Twentieth  Century -Fox  of  their  previous 
interest  in  the  girl.  Quietly  investigating 
her  status,  they  determined  on  the 
strategy  of  saying  nothing  until  her  RKO 
option  expired  on  April  4th. 

The  night  of  the  expiration,  Linda  was 
at  home  studying,  trying  to  forget  that 
this  night  marked  the  end  of  another 
opportunity.  Suddenly  the  phone  rang. 
It  was  American  Airlines. 

"We  have  a  ticket  to  Hollywood  for 
you,"  the  agent  announced.  "What  plane 
are  you  taking?" 

"There's  some  mistake,"  Linda  ob- 
jected, suspecting  a  practical  joke  from 
some  school  mate.  "I'm  not  going  any- 
where." 

Thirty  minutes  later  the  phone  rang 


Virginia  Weidler  challenges  Gene  Reynolds  to  a  game — but  not  without  a 
referee!    These  three  became  friends  during  the  filming  of  "Bad  Little  Angel!'* 


76 


MODERN  SCREEN 


again.  "Hollywood  calling.  Leave  to- 
night and  be  here  to  sign  a  contract  to- 
morrow," she  was  instructed.  Two  hours 
later  she  was  in  the  plane,  breathless 
and  pinching  herself  to  make  sure  she 
was  not  dreaming.  Her  third  call  to 
Hollywood.  Something  had  to  happen 
this  time. 

In  Hollywood  there  began  the  period 
of  waiting  around  that  falls  to  the  lot 
of  every  newcomer.  Away  from  the 
guidance  of  her  mother  for  the  first 
time,  she  was  lonely  and  blue  and  so 
Undine  resigned  her  job  in  Dallas  and 
left  for  California  to  be  with  her  little 
sister.  Soon  she  was  before  the  camera 
in  "Hotel  For  Women."  As  soon  it  was 
known  definitely  that  she  was  to  stay, 
Mrs.  Darnell  packed  up  the  two  young- 
est children  and  "Weedy,"  Linda's  pet 
rooster,  and  followed. 

One  hundred  and  thirty-three  days 
after  her  departure,  Linda  was  back  in 
Dallas  again,  but  for  a  different  reason 
this  time — a  triumphant  home-coming. 
Attired  in  the  wardrobe  she  wore  in 
"Hotel  For  Women,"  with  which  the 
studio  had  presented  her  for  good  luck, 
she  was  to  make  personal  appearances 
with  her  first  picture.  Relatives  from 
three  states  were  brought  to  Dallas  to 
welcome  the  most  distinguished  member 
of  their  clan.  Among  the  group  was  her 
seventy-four-year-old  grandmother,  who, 
when  she  viewed  her  granddaughter's 
picture,  was  viewing  the  first  movie  she 
had  ever  seen. 

DALLAS  turned  out  en  masse  for  the 
local  girl  who'd  made  good.  She  was 
presented  with  a  plaque  by  the  Mayor 
in  front  of  the  City  Hall.  There  were 
parades  and  dinners,  and  throughout  the 
three-day  stay,  her  suite  in  the  Baker 
Hotel  was  a  reception  room  for  the 
hundreds  of  friends  who  wanted  to  see 
her  again  in  person.  No  longer  were 
there  quips  about  "going  Hollywood." 
No  longer  was  there  cattiness  or  jealousy. 
Linda  was  the  heroine  of  the  hour.  There 
were  former  schoolmates  to  see,  and  the 
pep  squad  from  Sunset  High,  the  crew 
from  the  advertising  agency  to  thank. 

Each  day,  over  1,000  people  called  at 
the  suite.  In  two  days  she  received 
3,800  letters,  2,000  wires  and  150  bouquets 
of  flowers.  There  was  still  no  trace  of 
affectation  on  her  return.  She  was  the 
same  unassuming,  pretty  Monetta  who 
could  take  success  as  calmly  as  she  had 
taken  failure.  But  whereas  she  had 
boarded  the  plane  with  only  her  parents 
and  brother  and  sisters  to  say  goodbye, 
the  crowd  which  waved  her  farewell 
after  her  brief  visit  in  August  filled  the 
Union  Station  and  overflowed  to  the 
street. 

On  the  outskirts  of  the  station  crowd 
was  a  genial  little  fellow  who  had  come 
to  catch  a  glimpse  of  her.  He  had  tried 
each  day  to  see  her  at  the  hotel  but 
each  time  had  been  crowded  out.  He 
knew  now  he  wouldn't  have  the  op- 
portunity to  say  hello,  but  he  just  wanted 
to  see  her  and  notice  the  change.  Sud- 
denly, as  Linda  boarded  the  train  and 
turned  to  wave  goodbye,  she  caught  a 
glimpse  of  his  face. 

"Bill!"  she  cried  and  dashed  off  the 
platform  to  make  her  way  to  the  edge 
of  the  crowd.  There  she  planted  a 
kiss  on  his  cheek.  "Isn't  it  wonderful, 
Bill?   You  always  said  I  could  do  it." 

And  Bill  Langley,  remembering  the 
little  lanky  model  at  the  Exposition, 
grinned  with  pride. 

And  this  time  she's  staying — with  loads 
of  plans  for  her  rolling  along.  Her 
second  picture  was  "Daytime  Wife,"  with 
Tyrone  Power.  Don't  think  her  Dallas 
pals  didn't  get  a  kick  out  of  that! 


Nancy  Kelly  and 
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77 


MODERN  SCREEN 


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Name  Age  

City_  State  


MOVIE  SCOREBOARD 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.  4-^  means  very  good;  3-^-,  good;  2j{,  lair;  1-^-,  poor. 
C  denotes  that  the  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  iilm  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


picture  Genera. 

Adventures  of  Sherlock  Holmes  (20th  Cent.-Fox) . .    3  ★ 

Allegheny  Uprising  (RKO)   2* 

*  Amazing  Mr.  Williams,  The  (Columbia)   3  Ik- 

Andy  Hardy  Gets  Spring  Fever  (M-G-M). . .  .C     3  Ik 

Another  Thin  Man  (M-G-M)   3* 

Babes  In  Arms  (M-G-M)  C  3* 

Bachelor  Mother  (RKO)  C  3Vz* 

Bad  Lands  (RKO)   2* 

Beachcomber,  The  (Mayflower)  3V21k 

Beau  Geste  (Paramount)  C  3* 

Beware  Spooks  (Columbia)   2  Ik- 
Blackmail    (M-G-M)   2* 

Blind  Alley  (Columbia)  2V2* 

Blondie  Brings  Up  Baby  (Columbia)   2  -tr 

Blondie  Takes  a  Vacation  (Columbia)   2  + 

Boy  Friend  (20th  Century-Fox)  C  2V2* 

Bridal   Suite  (M-G-M)   2* 

Bulldog  Drummond's  Bride  (Paramount)   2 -*- 

Call  a  Messenger  (Universal)  2'/21k 

Calling  All  Marines  (Republic)   2* 

Captain  Fury  (United  Artists)  C  2V4* 

Career  (RKO)   2* 

Cat  and  the  Canary,  The  (Paramount)   3V2  -k 

Charlie  Chan  at  Treasure  Island  (20th  Century-Fox)  2-*- 

Charlie  Chan  in  Reno  (20th  Century-Fox)  C  2V2  ★ 

Clouds  Over  Europe  (Columbia)  2V2* 

Coast  Guard  (Columbia)   2* 

Confessions  of  a  Naii  Spy  (Warners)   3* 

Dancing  Co-ed  (M-G-M)  2V2* 

Daughters  Courageous  (Warners)   3-k 

Day  the  Bookies  Wept,  The  (RKO)   2* 

Day-time  Wife  (20th  Century-Fox)   3  Ik- 
Death  of  a  Champion  (Paramount)  2V4* 

Disputed  Passage  (Paramount)   3-k 

Drums  Along  the  Mohawk  (20th  Century-Fox)..  3* 

Dust  Be  My  Destiny  (Warners)  2V2* 

Each  Dawn  I  Die  (Warners)   3* 

Elizabeth  and  Essex  (Warners)   4* 

Escape,  The  (20th  Century-Fox)  2V21k 

Espionage  Agent  (Warners)  2'/2* 

Eternally  Yours  (United  Artists)  2V21k 

Everything's  on  lee  (RKO)   2* 

Ex-Champ    (Universal)   2k 

Fast  and  Furious  (M-G-M)   2  ★ 

Fifth  Avenue  Girl  (RKO)   3* 

First  Love  (Universal)   3 -A" 

Five  Came  Back  (RKO)   2* 

Flight  at  Midnight  (Republic)   2* 

Flying  Deuces  (RKO)   2* 

Forgotten  Woman,  The  (Universal)   2* 

Four  Feathers  (United  Artists)  3'/2* 

Frontier  Marshal  (20th  Century-Fox)  2V2*- 

Full  Confession  (RKO)   2* 

*Geronimo  (Paramount)   3^ 

Girl  and  the  Gambler,  The  (RKO)   2* 

Girl  from  Rio  (Monogram)   2* 

Golden  Boy  (Columbia)   3* 

Goodbye  Mr.  Chips  (M-G-M)  C  4* 

Good  Girls  Go  To  Paris  (Columbia)  2V2* 

Gorilla,  The  (20th  Century-Fox)  2V2* 

Gracie  Allen  Murder  Case  (Paramount)  iVz'k 

Grand  Jury  Secrets  (Paramount)  2V2-fr 

Hawaiian  Nights  (Universal)   2* 

Heaven  With  a  Barbed  Wire  Fence  (20th  Cen.-Fox)    2  ★ 

Hell's  Kitchen  (Warners)  2V2* 

Here  I  Am  a  Stranger  (20th  Century-Fox)  2V2* 

Hollywood  Cavalcade  (20th  Century-Fox)   3* 

Honeymoon  in  Bali  (Paramount)   3-k 

Hotel  For  Women  (20th  Century-Fox)  2V2* 

Hotel  Imperial  (Paramount)   2-* 

House  of  Fear,  The  (Universal)   2* 

Housekeeper's  Daughter,  The  (United  Artists)...  2* 

Indianapolis  Speedway  (Warners)  2V21k 

In  Name  Only  (RKO)  3V2* 

Intermezzo,  A  Love  Story  (United  Artists)   3 1k 

Invitation  to  Happiness  (Paramount)  C  3-*- 

Irish  Luck  (Monogram)  2V21k 

I  Stole  a  Million  (Universal)   3  + 

It  Could  Happen  to  You  (20th  Century-Fox)   2* 

It's  a  Wonderful  World  (M-G-M)   3  * 

Jamaica  Inn  (Paramount)   3  k 

Jones  Family  in  Hollywood  (20th  Century-Fox)  C  31k 

Juarez  (Warners)   3  k 

Kid  From  Kokomo,  The  (Warners)   21k 

Kid  From  Texas,  The  (M-G-M)   2* 

Kid  Nightingale  (Warners)   2* 

Lady  of  the  Tropics  (M-G-M)   2* 

Little  Accident  (Universal)  2V21k 

Lucky  Night  (M-G-M)  2V2* 

Magnificent  Fraud  (Paramount)   2-k 

Main  Street  Lawyer  (Republic)  2V21k 

Maisie  (M-G-M)   3* 

Man  About  Town  (Paramount)   3  Ik- 
Man  in  the  Iron  Mask  (United  Artists)   31k 

Man  of  Conquest  (Republic)   3  -fa 

Marx  Bros,  at  the  Circus  (M-G-M)  C  2V2-*- 


Pictlire  General 

Rating 

Mickey,  the  Kid  (Republic)   2  + 

Midnight  (Paramount)  

Mikado,  The  (Universal)  C  3-k 

Million  Dollar  Legs  (Paramount)   21k 

Miracles  For  Sale  (M-G-M)  2V2* 

Missing  Daughters  (Columbia)   21k 

Missing  Evidence  (Universal)   3* 

Mr.  Moto  Takes  a  Vacation  (20th  Century-Fox)  C     2  * 

Mr.  Smith  Goes  to  Washington  (Co.^mbia)   4* 

Mr.  Wong  in  Chinatown  (Monogram)   2^k 

Mutiny  on  the  Blackhawk  (Universal)   2* 

Naughty  But  Nice  (Warners)   21k 

Never  Say  Die  (Paramount)   2* 

News  is  Made  at  Night  (20th  Century-Fox)  2V2-*- 

Ninotchka  (M-G-M)   4* 

No  Place  To  Go  (Warners)   2  Ik 

North  of  Yukon  (Columbia)   2* 

Nurse  Edith  Cavell  (RKO)   4* 

Oklahoma  Kid,  The  (Warners)   3* 

Old  Maid,  The  (Warners)   4* 

On  Borrowed  Time  (M-G-M)   3-k 

On  Dress  Parade  (Warners)   21k 

One  Hour  to  Live  (Universal)   2* 

$1 ,000  a  Touchdown  (Paramount)   2  Ik 

Only  Angels  Have  Wings  (Columbia)   3  Ik 

On  Your  Toes  (Warners)  2V2-ir 

Our  Leading  Citizen  (Paramount)  2V21k 

*Our  Neighbors — The  Carters  (Paramount)   1  -k 

Pack  Up  Your  Troubles  (20th  Century-Fox)  SVi* 

Panama  Lady  (RKO)   2  Ik- 
Parents  on  Trial  (Columbia)   2  Ik 

Pride  of  the  Blue  Grass  (Warners)  2V2* 

Quick  Millions  (20th  Century-Fox)  C  2* 

Rains  Came,  The  (20th  Century-Fox)   3& 

Range  War  (Paramount)   21k 

Real  Glory,  The  (United  Artists)   2* 

*Reno  (Universal)   2  Ik- 
Rio   (Universal)  2V2lk- 

Roaring  Twenties,  The  (Warners)   3lk 

Rose  of  Washington  Square  (20th  Century-Fox)  C     3  ★ 

Rulers  of  the  Sea  (Paramount)  3V2ik- 

Sabotage    (Republic)  2V2T>r 

Second  Fiddle  (20th  Century-Fox)  C  31k 

'Secret  of  Dr.  Kildare  (M-G-M)   21k 

She  Married  a  Cop  (Republic)   21k 

6,000  Enemies  (M-G-M)  2V2* 

Smashing  the  Money  Ring  (Warners)  2'/2  Ik- 
Some  Like  it  Hot  (Paramount)   ilk- 
SOS— Tidal  Wave  (Republic)   2* 

Spellbinder,  The  (RKO)   2* 

Spirit  of  Culver,  The  (Universal)  C  2V21k 

Stagecoach   (United    Artists)   4* 

Stanley  and  Livingstone  (20th  Century-Fox)  3*4 Ik- 
Star  Maker,  The  (Paramount)  2V21k 

Stolen  Life  (Paramount)  2V21k 

Stop,  Look  and  Love  (20th  Century-Fox)   2  ★ 

Stronger  Than  Desire  (M-G-M)  2V21k 

Sun  Never  Sets,  The  (Universal)   2  Ik- 
Susannah  of  the  Mounties  (20th  Century-Fox).  C  3 Ik- 
Sweepstakes  Winner  (Warners)   21k 

Tarzan  Finds  a  Son  (M-G-M)  C  2V2* 

Tell  No  Tales  (M-G-M)  iV2k 

That's  Right,  You're  Wrong  (RKO)  C  3* 

These  Glamour  Girls  (M-G-M)  2V21k 

They  All  Come  Out  (M-G-M)  2V2* 

They  Asked  For  It  (Universal)   2* 

They  Shall  Have  Music  (United  Artists)  C  3V21k 

Those  High  Grey  Walls  (Columbia)  2V2* 

Three  Smart  Girls  Grow  Up  (Universal)  C     3 1k 

Three  Sons  (RKO)   3* 

Thunder  Afloat  (M-G-M)  2V2* 

Too  Busy  To  Work  (20th  Century-Fox)  C  2* 

Torchy  Plays  With  Dynamite  (Warners)  2V21k 

Torchy  Runs  for  Mayor  (Warners)  2Vi1k 

"Tower  of  London  (Universal)   21k 

Tropic  Fury  (Universal)   2-Hr 

20,000  Men  a  Year  (20th  Century-Fox)   3  ★ 

Two  Bright  Boys  (Universal)   2lk 

U-Boat  29  (Columbia)   3* 

Undercover  Doctor  (Paramount)  2Vi~k 

Underpup,  The  (Universal)   3  k 

Unexpected  Father  (Universal)   2ltr 

Union  Pacific  (Paramount)  3V4lk 

Waterfront  (Warners)   21k 

We  Are  Not  Alone  (Warners)   3lk 

What  a  Life  (Paramount)   3* 

When  Tomorrow  Comes  (Universal)  2V21k 

Winter  Carnival  (United  Artists)  2V4* 

Wizard  of  Oz,  The  (M-G-M)  C  4* 

Wolf  Call  (Monogram)   2lk 

Woman  Is  the  Judge,  A  (Columbia)   2  + 

Women,  The  (M-G-M)   3* 

Wuthering  Heights  (United  Artists)   41k 

You  Can't  Get  Away  With  Murder  (Warners).  .2 V2* 
Young  Mr.  Lincoln  (20th  Century-Fox)  C  3V4* 


78 


THE  BUSIEST  LADY 
IN  TOWN 

(Continued  from  page  35) 


Shirley  scented  cajolery  here.  She 
threw  him  a  level  glance  as  she  slid  off 
the  couch.  "Do  you?"  she  inquired 
very  coldly 

Her  position  has  brought  her  into  con- 
tact with  all  sorts  of  conditions  and 
people.  She  has  met  them  equably,  the 
prominent  and  the  obscure.  But  only 
those  within  her  close  circle  have  meant 
much  to  her.  Now  she's  begun  to  be 
interested  in  people  as  such.  She  sizes 
them  up.  She's  making  her  first  tenta- 
tive forays  into  the  confusing  field  of 
human  nature.  Like  the  rest  of  us,  she 
seeks  the  kindred  spirit  behind  the  face. 
Her  sense  of  fun,  for  example,  is  marked, 
and  when  she  finds  an  answering  spark 
in  the  other  fellow's  eyes,  all  barriers 
are  down.  She  found  it  in  Secretary 
Morgenthau,  with  whom  she  recently 
spent  a  lively  afternoon  in  Washington. 

"Thank  you  for  one  of  the  best  days 
I've  ever  had.  I  mean  that  with  all  my 
heart,"  he  said  so  gravely  as  to  make 
Shirley  pause. 

"Hm,"  she  reflected.  "Too  bad  you 
don't  live  in  California.  We'd  cheer  you 
up  if  you  did." 

Her  milk  fund,  taking  its  name  from 
the  circumstance  that  the  funds  are  kept 
in  a  milk  bottle,  was  started  by  her 
mother.  But  Shirley  has  come  to  know 
the  children  at  the  camp  and  day  nurs- 
ery to  which  the  money  goes,  and  has 
made  the  project  her  own,  taking  re- 
sponsibility for  her  share  of  the  work 
in  earnest. 

When  she  was  officially  inducted  into 
the  police  department,  people  on  the  lot 
besieged  her  for  badges.  "All  right,"  she 
said,  "but  you  have  to  pay  ten  cents  to 
the  milk  fund  for  the  badge  and  a  nickel 
fine  if  you  forget  to  wear  it."  She  col- 
lects the  nickels  and  dimes  religiously 
and  hands  them  over  to  Miss  Klamt,  who 
puts  them  into  an  envelope  which  Shir- 
ley takes  home  and  empties  into  the  milk 
bottle.  She  keeps  an  eye  peeled  for  of- 
fenders and  is  learning  how  to  deal  with 
their  dodges.  "There's  one  trick  I  caught 
on  to,"  she  explained.  "If  they  forget 
their  badge,  I'm  afraid  they  loan  it  to 
one  another,  and  they  all  look  the  same 
so  you  can't  tell  the  difference.  Guess 


After  "doing  his  duty"  in  France, 
Charles  Boyer  returned  to  Hollywood. 
His  wife,  Pat  Paterson,  was  with  him. 


MODERN  SCREEN 


DON'T  COVER  IIP  A 
POOR  COMPLEXION 


Let  the  Famous  Medicated  Cream  That's  Aided 
Thousands  .  .  .  Help  Clear  Up  Your  Complexion 


A POOR  complexion  can  cheat  you  of  a 
lot  of  life's  fun!...  Don't  try  to  "cover 
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79 


MODERN  SCREEN 


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I'll  have  to  have  names  printed  on  'em. 

"Sometimes  my  pets  help  out,  too. 
Rony,  my  pony,  worked  in  a  picture  and 
gave  his  money  to  the  milk  fund.  So 
did  Chingching.  She  was  really  the  star 
of  'Stowaway.'  We  had  a  little  trouble 
with  her,  though.  She  has  to  eat  at  five 
o'clock  positively  or  she  pouts.  You 
wouldn't  think  a  dog  could  tell  the  time, 
but  Ching  can.  I  don't  know  if  she  tells 
it  by  the  clock  or  her  stomach,  but  sure 
enough,  when  five  o'clock  comes  around 
and  Ching  doesn't  get  her  dinner,  she 
hides  under  a  chair  and  pouts.  It's  all  in 
a  good  cause  though,  for  the  milk  fund." 

SHE  seeme  more  casual  about  her  own 
finances.  Christmas  and  birthday 
gifts  form  her  principal  item  of  expendi- 
ture, and  on  these  she's  inclined  to  go 
overboard.  Having  set  her  heart  on  a 
certain  pin  for  her  mother's  Christmas 
gift,  she  went  into  conference  with  her 
business  manager,  who  is  also  her  father, 
and  watched  with  interest  as  he  juggled 
figures  on  paper.  "Well,  Shirley,  it'll 
take  you  exactly  six  months  and  a  half 
to  work  it  out,"  he  said. 

"Couldn't  we  make  a  deal?"  she  sug- 
gested. So  they  made  a  deal  about  whose 
details  Shirley  is  vague.  "You  see,  Dad 
and  I  are  really  partners  in  crime.  We 
don't  have  any  papers  or  IOU's  or  any- 
thing. Sometimes  when  I  get  my  next 
week's  allowance  and  there's  nothing 
special  to  do  with  it,  I  give  it  to  him  to 
save  for  a  rainy  day — rainy  Christmas 
I  guess  you'd  call  it.  But  most  of  the 
time  it  just  kind  of  goes  by." 

With  two  big  brothers  to  roughhouse 
her  and  the  children  of  her  parents' 
friends  to  play  with,  Shirley  has  always 
taken  boys  for  granted,  as  a  necessary 
adjunct  to  a  satisfactory  game  of  G-men. 

Boys  have  now  acquired  a  new  value. 
Her  mother  allowed  her  to  accept  an 
invitation  to  a  party  given  by  a  dancing 
class  to  which  some  of  her  friends  be- 
longed. "You  have  little  dance  tickets," 
Shirley  explained,  "and  you  have  to 
write  down  the  boys'  names  who  want 
to  dance  with  you,  and  they  write  down 
yours.  But  I  wasn't  used  to  it,  so  I  got 
mixed  up  and  put  some  of  the  names 
on  the  wrong  line,  so  they  all  came  at 
once.  I  didn't  know  what  to  do,  so  I 
just  said,  'Well,  the  first  one  that  comes 
can  dance.' 

"Then  one  time  this  lady,  she  was  kind 
of  in  charge,  said  take  the  fourth  part- 


ner in  front  of  you.  So  we  all  walked 
down  and  took  the  fourth  partner  in 
front  of  us,  and  once  I  got  a  real  fat 
boy  and  then  I  got  a  great,  big,  tall  boy, 
and  we  all  had  to  laugh,  it  was  so  funny 
the  way  he  had  to  bend  over  to  hold 
me.  And  are  they  strict,  though!  My 
goodness!  If  the  boy  sits  on  the  right 
side  instead  of  the  left  side,  or  vice 
versa,  I  don't  remember  which,  does  he 
get  called  down!  It's  supposed  to  teach 
you  dancing  manners.  I  like  it.  I  was 
only  a  guest  this  time,  but  next  term 
mom's  going  to  let  me  be  a  member." 

Her  friend,  Mary  Lou,  has  a  brother 
of  fourteen  whom  Shirley  considers  a 
wit.  "He  gets  more  funnier  all  the 
time." 

"Just  funnier,  Shirley." 

"Just  funnier,"  agreed  Shirley,  pre- 
occupied. "Teasier,  too.  He's  even 
teasier  than  my  brother.  But  he's  got  a 
girl  friend  now,  so  we  can  tease  him." 

Mary  Lou  is  Shirley's  stand-in  and 
bosom  companion,  her  co-giggler,  her 
arch-ally,  her  paragon,  and  would  be,  if 
Shirley  could  manage  it,  a  Siamese  twin. 
She  comes  to  stay  for  a  week  at  a  time, 
and  the  day  after  she  leaves,  Shirley 
starts  her  campaign.  "When's  Mary  Lou 
coming  back  again?" 

WHEN  Mary  Lou  gets  a  pair  of 
shorts,  Shirley  gives  her  mother  no 
peace  till  she  has  a  pair  like  them.  She 
has  ordered  birthstone  rings  for  their 
next  birthdays.  "Mary  Lou's  birthstone's 
a  pearl,  and  mine's  a  diamond.  So  she's 
going  to  have  a  pearl  between  two  dia- 
monds and  I'm  going  to  have  a  diamond 
between  two  pearls.  So  they'll  be  nearly 
just  the  same. 

"Why  we're  such  good  friends  is  be- 
cause we  like  each  other,  I  guess,  and  we 
have  lots  of  fun  with  guns  and  dolls 
and  badminton  and  jacks.  Jacks  have 
come  in  an  awful  lot  lately,"  she  offered 
helpfully.  "Of  course  her  mother  wants 
to  have  her,  too.  You  know  how  it  is 
when  you've  got  a  little  girl,  but  gosh! 
When's  Mary  Lou  coming  back  again, 
mom?   I  miss  her  so." 

Shirley's  latest  screen  success  is  "The 
Blue  Bird,"  a  Technicolor  portrayal  of 
Maeterlinck's  classic  fantasy  of  the  search 
of  two  dissatisfied  and  selfish  children 
for  the  bird  of  happiness.  It's  half  way 
between  a  childhood  and  adolescence 
role  for  Shirley  and,  needless  to  say,  she 
takes  it  right  in  stride. 


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Bergen  and  Mortimer  Snerd  all  "moustached"  up 
new  picture,  "Charlie  McCarthy,  Detective." 


80 


MODERN  SCREEN 


She  was  having  three  children  to  lunch 
at  her  studio  bungalow  this  day,  during 
the  filming  of  "The  Blue  Bird."  It  was 
a  special  occasion,  for  Mrs.  Temple  had 
business  elsewhere,  and  Shirley  was  to 
be  hostess,  Miss  Klamt  assisting. 

"Now  don't  get  silly,"  was  her  moth- 
er's parting  admonition.  "Giggle  if  you 
must,  but  don't  whoop." 

"Well,  I'll  try  to  hold  myself  down." 
She  shot  a  severe  glance  at  her  teacher. 
"I  don't  know  if  I  can  hold  Klammy 
down,  though." 

DRESENTLY  the  guests  arrived.  There 
*■  was  a  girl  a  little  older  than  Shirley, 
another  somewhat  younger,  and  a  boy 
of  five,  all  speechless  with  excitement  and 
wonder. 

They  were  introduced.  "Hello,"  said 
Shirley.   "I'm  hungry,  aren't  you?" 

There  was  a  moment's  silence,  then  the 
older  girl  gasped,  "Please  excuse  us  for 
being  tongue-tied,  but  we're  all  so 
thrilled." 

Shirley  couldn't  quite  cope  with  that 
one.  The  boy,  whose  eyes  had  never 
left  her,  advanced  a  step.  "Are  you  a 
rabbit?" 

"Why?  Would  you  like  me  to  be  one?" 

"The  man  up  there  said  you're  a  rabbit 
and  live  under  the  house." 

"Well,  that's  only  sometimes,"  she  as- 
sured him  comfortably  and  took  his 
hand.  "Come  on.  I'll  show  you  where  I 
have  school.  Then  we'll  decide  what 
we'll  have  to  eat." 

From  the  schoolroom  a  few  minutes 
later  came  sounds  which  by  the  over- 
critical  might  have  been  described  as 
whoops,  but  which  we  will  call  giggles. 
Then,  single  file,  four  Indian  braves 
stalked  back,  hands  shading  eyes. 

"This  is  Big  Chief  Bestypuss,  this  is 
Big  Chief  Talkumfast,  this  is  Little 
Chief  Squidgeumup,  and  I'm  Big  Chief 
Betterfeedum,"  said  Shirley.  "Let's  see, 
Klammy,  I  think  you  better  be  an  Indian, 
too.  You  can  be  Big  Chief  Usefulclam. 
Now  I'll  order  lunch." 

Usefulclam  suggested  that  the  children 
might  like  to  order  their  own  lunch. 
"No,  I  asked  'em.  They  mostly  want  to 
be  surprised."  She  had  picked  up  the 
phone.  "This  is  Shirley.  I'd  like  to  order 
lunch  for  five  Indians — yes,"  she  giggled, 
"four  papooses  and  Klammy.  Five  yel- 
low tomato  juices  and,  let's  see,  five 
lamb  chops  and  five  peas  and  carrots  and 
five  milks.  Klammy's  going  to  drink 
milk  too,  it's  good  for  her.  Then  we'll 
have  five  floating  swans  and  some  cookies 
and  I  guess  that's  all." 

I  left  them  at  their  meal.  Shirley's  eye 
glinted  as  she  gave  me  her  hand.  "G'by, 
Big  Chief  Writeeumupgood,"  she  sug- 
gested blandly. 


Solution  to  Puzzle  on  page  68 


FACE  COLDSW,TH  M0*E  CONFIDENCE 


You  are  probably  one  of  the  millions 
of  American  mothers  who  can  home- 
prove  this  clinic-tested  Plan — without 
going  out  and  spending  a  penny. 

For  the  very  medications  used  so  suc- 
cessfully in  these  clinical  tests  of  Vicks 
Plan  are  doubtless  in  your  medicine 
cabinet  right  now.  And  the  Plan  is  so 
simple — just  a  few  rules  of  hygiene  and 
the  use  of  Vicks  Va-tro-nol  and  Vicks 
VapoRub  whenever  needed. 

So  why  not  give  it  a  thorough  trial. 
What  a  blessing  if  your  children's  sick- 
ness and  time  lost  due  to  colds  were 


cut  in  half  this  winter, 
just  as  in  these  clinical 
tests  on  2,650  chil- 
dren! Of  course  Vicks 
Plan  may  not  do  as 
much  in  your  case.  On 
the  other  hand,  it  may 
do  even  more.  But  certainly  a  Plan  so 
thoroughly  tested  is  worth  a  trial. 

Always  keep  stocked  up  with  both 
Va-tro-nol  and  VapoRub — look  in  the  pack- 
ages for  full  details  of  Vicks  Plan — and  be 
sure  to  follow  this  simple  home  guide  that 
helps  you  face  colds  with  more  confidence. 


How  to  Use 
Va-tro-nol  and  VapoRub 
Essential  Parts  of  Vicks  Plan 


WHEN  COIDS  THREATEN 

Mothers  everywhere  have  confidence 
in  this  quick  simple  treatment  to  help 
keep  many  colds  from  developing.  At 
the  first  sneeze,  sniffle,  or  sign  of  nasal 
irritation,  put  a  few  drops  of  Vicks 
VA-TRO-NOL  up  each  nostril.  It  is 
a  specialized  medication,  expressly  de- 
signed for  the  nasal  passages — where 
most  colds  start.  You  can  feel  the 
tingle  as  it  goes  to  work,  stimulating 
Nature's  defenses  to  prevent  colds 
from  developing — 
to  throw  them  off  in  .  .  VICKS 
their  early  stages.  VA'TRO'NOL 


/FA  COID  STR//CES 

This  external  poultice- vapor  treat- 
ment is  famous  for  swiftly  relieving 
discomforts  of  a  developed  cold — 
clogged-up  breathing  passages,  cough- 
ing, phlegm,  muscular  soreness  and 
tightness.  You  simply  massage  Vicks 
VAPORUB  on  throat,  chest,  and 
back  at  bedtime — there's  no  dosing. 
VapoRub  works  2  ways  at  once — stimu- 
lating like  a  poultice,  and  giving  off 
vapors  that  are  breathed  into  the  air 
passages  —  bringing 
comfort  and  inviting 
restful  sleep.  W  VapoRub 


81 


MODERN  SCREEN 


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82 


CONFESSIONS  OF  A  LADY-KILLER 

(Continued  from  page  31) 


she  shouldn't  feel  superior.  And  that's 
how  they  all  feel.  That's  why  I  don't  go 
around  with  picture  people." 

Mickey  still  lives  with  his  mother  and 
stepfather  on  a  big  place  they  bought  in 
San  Fernando  Valley,  where  he  raises 
ducks,  flowers,  tomatoes  and  horses.  A 
year  ago  he  used  to  think  living  with  his 
Mom  was  somewhat  of  a  handicap. 
"But  lately  I've  decided  I  like  it  pretty 
well,"  he  said  cheerfully.  "We  have 
a  beautiful  place  out  there.  Natu- 
rally, she  doesn't  spoil  me,"  he  replied 
rather  sharply  to  my  query.  "I  wouldn't 
admire  her  very  much  if  she  did,  would 
I?  No,  I'm  thankful  to  say  that  I  haven't 
a  stage  mother.  Never  have  had.  All 
that  I've  done  and  that  I  am,  I  owe  to 
my  mother." 

MICKEY'S  father,  vaudevillian  Joe 
Yule,  is  now  nearly  a  fixture  on 
the  Metro  lot.  He  and  Mickey's  mother, 
though  separated,  have  always  had  their 
son's  welfare  at  heart,  and  now  it  fre- 
quently happens  that  both  parents,  with 
their  present  mates,  congregate  at 
Mickey's  house — just  two  big  happy 
families,  with  Mickey  in  the  middle. 

Mickey's  mother  still  puts  him  on  an 
allowance,  but  the  ante  has  been  raised 
to  $30  a  week.  "The  rest  goes  into  a 
trust  fund,  dear,"  explained  Mickey.  "I've 
had  a  trust  fund  for  years  now,  and 
every  cent  goes  in  it." 

Nor  does  he  sling  money  around  the 
way  he  used  to  when  he  had  a  smaller 
salary  and  a  $15  allowance.  His  ward- 
robe is  modest.  "No  more  than  any  other 
fellow  has,"  he  insists.  The  famous  valet 
has  been  banished.  And  now  when  he 
and  a  gang  of  the  fellows  go  to  a  restau- 
rant or  night  club,  Mickey  no  longer 
pays  the  check  for  the  crowd,  as  he  used 
to.  An  adviser  argued,  "Why  do  you  let 
them  leave  you  with  the  check?  Always 
let  them  pay  their  share  and  they'll  think 
a  lot  more  highly  of  you  for  it."  Now 
that's  just  what  he  does. 

Mickey's  taste  in  restaurants  is  still 
expensive.  He  likes  the  Cocoanut  Grove, 
the  Beverly  Wilshire  Florentine  Room, 
and  all  the  other  high-priced  and  fash- 
ionable places,  but  that's  because  they 
have  the  best  bands.  Mickey  is  a  swing- 
addict,  and  his  choice  of  a  restaurant  de- 
pends entirely  on  who  is  playing  there. 
Like  most  modern  boys  of  his  age,  he  has 
a  library  of  a  few  hundred  swing  records, 
with  the  name  and  life  history  of  each 
member  of  each  band  at  his  tongue's  tip. 
And,  like  the  others,  he'd  rather  listen 
than  dance — a  new  trend  that  makes  it 
easier  to  dispense  with  girls. 

A  lot  of  Mickey's  attention  this  year 
has  been  given  to  improving  his  deport- 
ment. His  life  had  always  been  so  full 
of  more  pressing  things  that  he  never 
slowed  down  long  enough  to  consider  the 
fine  points  of  table  manners,  of  meeting 
people  graciously,  of  being,  well,  suave. 

He  used  to  be  almost  rude  to  people 
who  were  introduced  to  him.  Now  he  is 
polite  to  the  point  of  gallantry.  He  hangs 
up  your  coat,  offers  you  cigarettes  and  ice 
cream  cones,  puts  you  at  your  ease  when 
you  spill  them,  comes  through  with  a 


kindly  compliment  at  the  proper  moment, 
is  vigilantly  modest  about  himself,  and 
forgets  no  small  attention.  There  is  noth- 
ing to  mar  his  new  polish,  except  possibly 
a  too  thinly  veiled  impatience  and  an  air 
of  authority  not  usual  to  his  nineteen 
years.  His  breaches  of  conduct,  the  repu- 
tation he  once  had  for  swaggering  and 
showing  off  in  public,  were  chiefly  bra- 
vado to  cover  up  his  feeling  of  uncer- 
tainty while,  with  the  spotlight  so  defi- 
nitely on  him,  he  floundered  and  groped 
and  learned. 

One  of  his  former  girl  friends  related 
that  when  they  went,  out  to  dinner 
Mickey  grandly  refused  to  let  her  talk 
directly  to  the  waiter,  but  insisted  that 
she  give  the  order  through  him,  in  the 
Emily  Post  manner.  Mickey  denies  this, 
and  points  out  that  all  sorts  of  ridicu- 
lous, untrue  things  are  said  about  him. 

"It  burns  me  up,  but  what  can  I  do?" 
he  said  a  little  cynically.  "Just  laugh  it 
off,  that's  all." 

In  spite  of  his  attempt  to  be  a  lady- 
killer,  Mickey  is  tremendously  well-liked 
by  men.  The  consensus  of  opinion  among 
photographers,  press  agents,  producers, 
and  just  people,  is  that  he  is  a  swell  kid 
and  a  regular  guy. 

"I  don't  believe  in  playing  when  you're 
young,"  he  stated  amazingly.  "I  believe 
you  should  work  when  you're  young, 
keep  your  nose  to  the  grindstone  and  ac- 
complish something,  so  that  later  on  you 
can  play.  Then  when  I'm  twenty-eight  or 
twenty-nine,  if  I  want  to  get  married, 
I  can  give  my  wife  everything  she 
wants.  And  I'll  have  made  enough 
money  so  I'll  have  time  to  play. 

"Most  people  waste  their  youth  play- 
ing, and  then  when  they're  older  they 
have  to  work  to  survive. 

A LOT  of  actors-  take  the  crazy  atti- 
tude that  the  industry  could  never 
get  on  without  them.  I  don't  feel  that 
way.  I  know  there's  always  someone 
better  than  you  are,  and  always  someone 
to  take  your  place.  You  have  to  keep 
plugging  and  improving,  to  stay  there. 
You  learn  something  new  each  year — 
that's  what  makes  it  so  exciting  to  be  a 
part  of  this  business. 

"My  great  ambition  is  to  be  a  di- 
rector," he  continued.  "I'm  working  to- 
ward that  all  of  the  time,  and  hope  I'll  be 
able  to  accomplish  it  within  three  years. 
After  all,  I've  been  in  show  business 
eighteen  years.  I  should  know  some- 
thing about  it.  I  don't  say  that  in  an 
egotistical  way,"  he  put  in  hastily.  "Just 
stating  a  fact.  I  don't  want  to  start  with 
a  feature  picture.  I'd  like  to  direct  one 
of  those  crime  shorts  they  make  on  this 
lot.    That  would  be  a  big  thrill  for  me. 

"You  have  to  start  at  the  bottom,"  he 
concluded  with  undeniable  wisdom.  "If 
you  want  to  understand  the  end  of  the 
book,  you  must  read  the  beginning." 

That's  the  hard-working,  far-seeing 
philosophy — plus  a  million-dollar  per- 
sonality, an  irresistible  face,  and  a 
brilliant  talent — that  goes  to  make  the 
Number  One  Star  of  the  year.  Or,  as 
the  studio  likes  to  call  him,  "The  Man 
of  the  Hour." 


Who's  really  who  in  Hollywood  society?  Don't  miss 
"Socially  Yours"  in  the  March  MODERN  SCREEN 


MODERN  SCREEN 


THE  HUMAN  SIDE  OF 
A  MENACE 

(Continued  from  page  39) 


and  intellectual  vitality.  She  can  do,  and 
does  do,  a  dozen  things  at  once.  On  the 
afternoon  that  we  talked,  she  saw  a 
representative  from  a  large  manufac- 
turer about  a  proposed  radio  program, 
tried  on  hats  from  John-Frederics,  made 
arrangements  for  redecorating  a  room  in 
her  New  York  house,  jotted  down  Holly- 
wood stories  that  she  thought  of  for  a 
Broadway  columnist  who  wanted  help 
on  a  new  book,  talked  of  her  return  to 
the  screen  and  made  plans  for  her 
adopted  son,  Michael. 

"  'The  Old  Maid'  was  my  first  picture 
in  two  years.  I  like  working  for  Warner 
Brothers  because  they  do  courageous 
pictures.  They  don't  tailor  the  picture 
to  fit  the  star. 

"Pictures  today  must  be  more  than  a 
boy  and  a  girl  in  an  airplane.  Pictures 
have  to  be  well  motivated  and  they  must 
have  clearly  defined  characters.  I  don't 
care  what  sort  of  character  I  play  if  she 
is  well-written.  My  friends  ask  me  if  I 
am  not  afraid  of  being  typed  after  Becky 
Sharp,  Temple  Drake  and  Delia  Lovell. 
I  am  not  afraid.  They  may  all  be  lady 
villains  but  I  don't  honestly  believe  there 
is  such  a  thing  as  an  unsympathetic 
character  if  the  author  shows  why  the 
woman  acts  as  she  does. 

OF  course,  the  Hays  office  stopped  us 
from  being  too  bad!  The  'Story  of 
Temple  Drake'  is  the  best  picture  I 
ever  made.  There  was  talk  of  reissu- 
ing it  but  it  couldn't  get  by  the  censors. 
Even  'Doctor  Jekyll  and  Mr.  Hyde'  was 
cut  before  it  could  be  shown.  Others  of 
my  pictures  which  can  not  be  re-released 
are  'Barbary  Coast'  and  'Design  for 
Living.'  I  don't  believe  in  censorship  but 
on  the  other  hand  I  don't  think  it  is 
really  any  of  the  actor's  business.  The 
producer  knows  best. 

"My  next  picture  will  be  'Virginia 
City,'  a  story  of  the  famous  mining  town 
of  the  1860's.  I  have  the  role  of  a  dance 
hall  girl  in  this  one.  I  really  like  costume 
pictures.  For  some  reason  I  act  better 
when  I  wear  dresses  of  another  era.  I  am 
less  Miriam  Hopkins  and  more  the  char- 
acter. It  is  awfully  hard  for  me  to  differ- 
entiate between  a  modern  character  and 
myself.  But  when  I  put  on  the  gowns  of 
another  century  they  reflect  in  my  emo- 
tions, my  thought  and  the  way  I  act. 

"It  really  is  funny.  Every  picture  I 
have  mentioned  has  been  one  where  my 
character  was  not  all  'sugar  and  spice 
and  everything  nice.'  But  say  what  you 
please,  these  characters  are  more  in- 
teresting on  the  stage  or  screen  than 
the  conventionally  good  woman.  A  good 
woman  is  lovely  in  the  drawing-room 
but  for  seven  reels  or  three  acts  she  is 
a  frightful  bore." 

The  telephone  interrupted  Miss  Hop- 
kins and  this  "good  woman"  was  left 
with  her  dish  of  tea.  It  was  Made- 
moiselle, Michael's  nurse,  calling  from 
Hollywood.  Had  Miss  Hopkins'  plans 
changed?  They  had  not.  The  girl  who 
likes  to  portray  a  many-sided  woman  on 
the  screen  would  definitely  be  home  on 
Monday  to  take  charge  of  son  Michael. 

"He  is  seven  now  and  too  big  for  a 
nurse.  I  am  sending  him  to  the  Desert 
School  at  Tucson.  He  is  young  for 
boarding  school  but  it  seems  the  best 
plan  for  this  year.  I  have  three  more 
pictures  to  make  and  it  is  very  difficult 


Voted  most  likely  to  be  the 
First  Bride" . 


Lovely  Jo  Caldwell 


University  of  Pennsylvania  senior,  makes  up  to 
romance  with  the  Woodbury  Powder  shade  especially 
created  to  match  her  skin.  There's  one  for  you,  too! 


Canoeing  on  the  Wissahickon,  setting  of  many 
a  U.  of  P.  romance.  Says  lovely  Jo  Caldwell, 
"An  off-key  shade  of  face  powder  can  smother 
a  girl's  chances  for  popularity.  By  testing  all 
8  shades  of  Woodbury  Powder  free,  I  found 
the  perfect  shade  for  me  .  .  .  'Champagne' ." 


Saturday  Night  at  Philadelphia's  Bellevue- 
Stratford  Hotel.  "It's  wicked  what  night  light- 
ing does  to  a  girl's  beauty,  if  her  face  powder 
is  lifeless,"  says  this  co-ed.  "For  my  coloring, 
'Champagne'  is  the  most  glowing  shade.  Many 
of  my  friends  found  their  shade  affinities,  too." 


Courtship  Couch  at  the  Kappa  Kappa  Camma 
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'save  your  face'  from  a  man's  eyes,  it's  time 
you  made  up  to  romance  with  Woodbury 
Powder,"  says  Jo.  The  clear  romantic  shades 


of  this  famous  face  powder  blend  with  your 
natural  coloring.  More  flattering,  too,  because 
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83 


MODERN  SCREEN 


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Mar-O-Oil  is  utterly  different  from  any 
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Mar-O-Oil  contains  no  free  alkali,  no 
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to  keep  a  child  simple  and  unaffected  in 
the  glamorous  atmosphere  of  Hollywood. 
It  is  so  easy  to  give  him  too  much. 
Michael  went  to  a  private  school  in  Bev- 
erly Hills.  Then  last  year  I  sent  him  to 
public  school.  That  was  better,  but  even 
so  he  gets  exaggerated  ideas. 

"One  day  he  came  home  and  asked  if 
he  could  have  a  servant.  He  argued  that 
one  of  his  playmates  had  two  and  he 
wanted  one  so  that  he  could  boss  him 
around.  That  may  seem  funny  to  you 
but  it  was  an  awful  blow  to  his  mother. 
I  said  there  weren't  such  things  as  ser- 
vants. I  reasoned  that  Mademoiselle 
worked  for  us  but  we  didn't  boss  her 
around.  Until  he  is  older,  I  want  him 
with  a  group  of  children  his  own  age, 
all  of  whom  are  definitely  living  under 
a  strict  regime  and  getting  bossed — not 
doing  the  bossing. 

Will  Miriam  Hopkins  return  to  New 
York  and  the  theatre?  Yes,  definitely 
yes.  "After  my  three  pictures  I  want  to 
come  east  and  do  a  play.  My  house  here 
is  rented  until  the  fall  of  1940  but  then  I 
shall  come  back  and,  I  hope,  do  a  play. 
I  tried  out  'Wine  of  Our  Choice'  last 
winter  but  I  did  not  come  into  New 
York.  It  was  a  Theatre  Guild  play,  writ- 
ten by  S.  N.  Behrman,  one  of  my  best 
friends.  We  played  in  Pittsburgh  to 
packed  houses.  But  I  didn't  think  that 
meant  anything.  A  moving  picture  ac- 
tress on  the  road  in  a  play  is  really 
making  a  series  of  personal  appearances. 
It  does  not  necessarily  mean  that  the 
play  is  good  or  that  she  is  good  in  it. 

"So  I  told  Beri  that  I  didn't  think  I 
was  right  for  the  play  and  he  agreed  to 
let  me  out  of  the  cast.  But  I  shall  try 
again  next  year.  I  am  reading  plays  con- 
tinuously. It  used  to  be  that  plays  were 
sent  to  Hollywood  actresses  from  New 
York.  But  now  so  many  of  the  best 
playwrights  are  on  the  Coast  that  I  re- 
ceive more  plays  to  read  out  there  than 
I  do  here. 

"However,  nothing  is  definite.  I  don't 
want  it  to  be.  I  told  you  that  I  never 
want  to  know  just  what  I  am  going  to 
do  tomorrow,  much  less  next  year.  But 
I  think  of  New  York  as  home  and  I  want 
Michael  with  me.  So  before  long  he  and 
I  and  my  red  chair  and  the  Renoir  lady 
in  blue  will  be  back  in  New  York.  Or— 
we  might  go  to  Bali.  I  have  always 
wanted  to  go  to  Bali.  Haven't  you?" 


PRYIN*  INTO  BRYAN 

{Continued  from  page  47) 


she  was  wearing  for  her  role  as  Touch- 
stone in  "As  You  Like  It." 

But  add  it  all  together  and  what  have 
you  got?  An  average  American  child- 
hood in  an  average  American  home.  On 
the  surface,  yes.  So,  as  I  say,  it  was 
not  until  I  failed  to  recognize  that  pale, 
driven  woman  in  the  Green  Room  as 
Jane,  not  until  Jane  ordered  "exotic" 
scrambled  eggs  and  bacon,  that  I  perked 
up  my  ears,  aware  that  the  "average 
child"  is  far  from  being  average,  that 
she  may  have  been  born  and  raised  in 
Hollywood,  but  that  her  spirit's  home  is 
some  strange  hinterland,  such  as  Auntie 
Coontz's  walnut  tree. 

As  if  reading  my  thoughts  (Jane  has 
an  uncanny  way  of  reading  your 
thoughts,  incidentally),  she  said,  "It's 
just  that  I  am  a  rebel,  I  suppose." 

I  asked,  "In  what  ways?" 

"In  most  ways.  I  don't  change.  I  don't 
adapt.  I  stay  as  I  am.  I  seem  to  grow 
into  the  people  I  play,  and  then  I  come 
right  back  to  my  own  immovable  self. 


Paulette  Goddard  models  a  dinner 
dress  from  her  personal  wardrobe. 
Inspired  by  a  fencing  costume,  it's  an- 
other proof  that  often  the  simplest 
clothes  are  the  smartest.  The  deeply- 
hemmed,  full  skirt  is  of  while  starched 
cotton  with  a  shadow  design.  The  trim 
little  long-sleeved  bodice  is  of  black 
silk  jersey,  with  starched  white  cuffs 
and  zippered  wrists. 


84 


MODERN  SCREEN 


I  didn't  want  to  go  into  pictures,  you 
know.  When  the  Warner  Brothers'  cast- 
ing director  saw  me  in  'Green  Grow  the 
Lilacs'  at  Jean  Muir's  Workshop  and 
offered  me  a  contract,  I  said,  'I  don't 
want  to  do  pictures.  Let's  not  talk  about 
it.'  I  wanted  to  go  on  the  stage.  I  still 
do.  I  was  never  a  movie  fan.  I  didn't 
go  to  the  movies  when  I  was  a  kid  ex- 
cept on  Saturdays  when  it  rained  and 
there  was  a  good  serial  playing. 

"I  don't  know  where  I  got  the  idea 
of  going  on  the  stage.  Not  at  home, 
certainly.  I  didn't  do  any  of  the  things 
I  read  that  other  girls  who  wanted  to  go 
on  the  stage  did  when  they  were  kids. 
I  didn't  strike  poses  in  front  of  mirrors. 
I  didn't  come  down  to  breakfast  as  Cleo- 
patra one  morning  and  Cinderella  the 
next  morning.  The  boys  would  have 
seen  to  that,  in  any  case. 

"I  had  parts  in  school  plays  but  no 
more  than  other  girls.  When  I  graduated 
from  high  school,  however,  I  knew  that 
the  time  had  come.  The  family  expected 
me  to  go  to  college.  I  said  T  will  not  go 
to  college.  I  want  to  learn  to  be  an 
actress.  Where  can  I  learn?'  No  one 
knew.  Then  Mother  read  an  advertise- 
ment in  the  paper  about  Jean  Muir's 
Workshop  in  Los  Angeles.  You  know 
what  happened  after  that. 

"I  finally  signed  the  contract  because 
I  got  to  thinking  that  it  would  be  fun 
to  be  financially  independent  at  seven- 
teen and  because  I  could  finance  myself 
on  the  stage  with  money  I  made  in 
pictures.  Now  that  I'm  in  them,  I  like 
pictures.  I'm  learning  a  lot.  It's  not 
apple  polishing  to  say  that  you  couldn't 
work  with  Bette  Davis  and  Paul  Muni 
without  learning  a  lot.  It's  a  swell  inter- 
lude, but  it  is  an  interlude! 

"I  still  don't  want  to  be  a  glamour 
girl.   I  don't  want  to  be  a  'well-known 


Believe  if  or  not,  you're  soon  going  to 
see  "Gone  With  the  Wind."  Ann  Ruth- 
erford plays  Scarlett's  sister,  Careen, 
in   the   movie   of  the  famous  novel. 


star.'  A  well-known  star  gets  mobbed  in 
public  and  if  I  got  mobbed  in  public  it 
would  scare  the  daylights  out  of  me.  I 
won't  pose  for  leg  art.  I'm  not  in  pic- 
tures for  my  figure.  I  won't  dye  my  hair. 
If  anyone  should  ask  me  to  remove  my 
freckles  I'd  say,  'I  won't,  I  like  them.' 
When  they  tell  me  I  should  dress  up 
more,  I  say,  'No,  I'm  comfortable  the 
way  I  am.'  I  make  myself  up,  do  my  own 
hair,  my  own  nails — when  they  get  done. 

"I  won't  have  'studio  romances.'  Not 
that  I'm  in  love  with  anyone  now,"  Jane 
was  continuing.  "It's  not  that.  But  I 
have  a  great  respect  for  love  and  when 
it  does  happen  to  me  I  won't  want  to 
think  that  I  kicked  it  around,  like  a 
cheap  toy,  for  self- exploitation.  When 
love  and  marriage  come  to  me,  they're 
going  to  be  my  own  affair.  Of  course, 
I  still  say  that  I'll  give  up  my  career  for 
marriage  when  I  really  fall  in  love.  But 
I  can't  even  think  about  it  now." 

I  thought,  she  can't  "even  think  about 
it  now,"  because  she  hasn't  enough  "left 
over"  to  think  about  it  with.  When  she 
finished  Lennie's  death  scene  in  "We 
Are  Not  Alone,"  she  fainted  dead  away. 
During  the  whole  six  weeks  she  was 
making  that  picture,  she  never  went  out 
once,  not  once.  She'd  go  home,  fall  up 
the  stairs  and  into  bed,  saying,  "Don't 
speak  to  me,  don't  even  ask  me  to  eat, 
just  leave  me  alone,  please." 

"I  don't  like  show,"  said  Jane,  our 
luncheon  concluded.  "I  don't  like  con- 
spicuousness.  If  by  some  fluke  I  should 
ever  become  important,  I'd  get  more  and 
more  inconspicuous.  My  clothes  would 
get  plainer  and  plainer.  My  car  would 
get  smaller  and  darker.  I  probably 
wouldn't  go  out  at  all.  I  just  want  to  be 
real,  to  be  me,  however  simple  and  plain 
and  'average'  being  me  may  be.  If  that's 
being  a  rebel,  then  put  me  down  as  one." 


"Colgate's  special  pen- 
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hidden  crevices  be- 
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,  clean  out  decaying 
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the  stagnant  saliva  odors  that  cause 
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naturally  bright  and  sparkling!  Al- 
ways use  Colgate  Dental  Cream  — 
regularly  and  frequently.  No  other 
dentifrice  is  exactly  like  it." 


85 


MODERN  SCREEN 


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86 


Rome(r)o 


Don't  you  think  we've  all  been  taking 
Cesar  Romero's  fine  acting  too  much  for 
granted? 

I  have  seen  him  in  so  many  varied 
roles  and  he  has  always  turned  in  a  per- 
fect performance.  I  have  become  so  ac- 
customed to  this  that  I  just  sit  back 
complacently  and  expect  him  to  portray 
a  man  about  town,  a  very  polished 
scoundrel,  an  uncouth  greasy  Mexican 
or  a  westerner  with  equal  versatility. 

I  go  to  see  a  picture  in  which  the  star 
has  been  "lauded  to  the  skies"  and  come 
away  remembering  Cesar  Romero's  per- 
formance. So  I  began  wondering  if  there 
were  not  many  like  myself,  who  have 
been  taking  him  too  much  for  granted, 
not  realizing  that  the  pictures  we  have 
liked  best  and  remembered  longest  were 
the  ones  in  which  Romero  did  another 
fine  bit  of  work. — Edwina  Erhardt,  Kan- 
sas City,  Mo. 

Believe  It  Or  Not 

Producers  have  been  struggling  vainly 
for  years  to  find  some  expensive  formula 
to  substitute  for  the  one  primary  picture 
requirement — namely,  a  good  story.  But 
to  date  there  simply  isn't  any  such 
animal.  Lavish  sets  won't  do  the  trick, 
fashion  parades  won't,  and  most  em- 
phatically neither  will  merely  the  ap- 
pearance of  some  glamour  personality. 
So  what?  I  suggest  the  careful  con- 
sideration of  stories,  whether  those  stories 
were  written  by  a  big  name  or  some 
unknown.  Just  recall  to  mind  "It  Hap- 
pened One  Night,"  which  wasn't  even 
taken  from  a  best-seller.  It  was  a  picture 
made  from  a  run-of-the-mill  magazine 
yarn  entitled  "Night  Bus."  But  did  it 
wham  the  box-office?  Oh  DID  it!  Then 
there  was  "Goodbye  Mr.  Chips,"  a  tender 


little  tale  of  an  aging  schoolmaster.  And 
you've  seen  what  it  did,  too.  There  has 
been  such  a  long  list  of  costly  flops  and 
so  very  few  really  worthy  pictures  that 
the  object  lesson  is  too  plain  to  ignore. 
Stories,  and  only  stories  are  what  a  pro- 
duction stands  or  falls  by,  Mr.  Holly- 
wood Producer,  believe  it  or  not! — C.  I. 
Dunlop,  Vancouver,  Can. 

"Figuratively"  Speaking  • 

Jean  Parker,  in  my  opinion,  has  the 
most  beautiful  shape  in  Hollywood,  but 
does  she  have  to  show  it  quite  so  much? 

Rare  indeed  are  pictures  of  her  fully 
clothed  in  an  outfit  that  isn't  skin  tight. 
Even  in  her  movies,  her  too  form-fitting 
clothes  makes  one  conscious  of  her  figure 
rather  than  her  fine  acting  ability.  Bath- 
ing beauty  pictures  are  all  right  in  their 
place,  but  I  am  sure  that  Miss  Parker 
must  own  some  dresses,  too. — Patricia 
Cavanaugh,  Duluth,  Minn. 


Young  In  Heart 


Had  youth-seeking  Ponce  de  Leon 
lived  today,  he  need  not  have  been  dis- 
appointed in  his  quest!  Thanks  to  the 
movies,  particularly  such  delightful  ones 
as  "Snow  White  and  the  Seven  Dwarfs" 
and  even  more  recently,  "The  Wizard  of 
Oz,"  he  might  have  ever  so  enjoyably 
recaptured  his  youth  without  forfeiting 
the  comfort  and  wisdom  of  age.  For  we 
grownups  were  all  youngsters  again  at 
these  two  wonderfully  young  frolics,  with 
that  mental  fountain  of  youth  as  near 
as  our  neighborhood  movie  emporium, 
which  places  the  latter  in  the  invaluable 
service  of  rejuvenating  audiences  in  the 
"modern  screen"  manner!' 

Thus,  unashamed,  I  admit  I'm  looking 
forward  to  "Pinocchio"  just  as  much  as 


So  you've  just  left  a  movie  and  are  bursting  to  tell  the  world  about  it!  Fans, 
take  pen  and  paper  and  speak  your  piece!  Was  it  the  best  one  you've  ever  seen? 
Was  it  the  poorest  you've  ever  sat  through?  Did  some  newcomer  give  you  the  thrill 
oi  "discovering  a  star?"  Was  it  a  supporting  role  of  a  veteran  that  entranced  you? 
All  the  tans  in  the  country  are  curious  to  know  what  you're  thinking.  You  have 
your  favorites  and  pet  peeves  and  so  have  they.  They'll  argue  with  you,  but  that's 
the  fun!  Then,  too,  there's  the  chance  of  winning  a  $1.00  prize  awarded  each  month 
to  ten  writers  of  the  most  original  and  interesting  letters.  lust  one  thing — we  ex- 
pect you  to  play  fair  with  us  and  not  copy  or  adapt  letters  or  poems  already  pub- 
lished. This  is  plagiarism  and  will  be  prosecuted  as  such.  Send  your  letter  or  poem 
to:  A  Dollar  For  Your  Thoughts.  Modern  Screen.  149  Madison  Ave.,  New  York,  N.  Y. 


MODERN  SCREEN 

Ten  fans  win  prizes  each  month  for  frank  and  lively  letters!    Have  you  tried? 


the  kiddies  are,  and  I'm  grateful  to  those 
producers  who  know  grownups  relish 
fairy  tales  of  youth  so  magically  recap- 
tured for  us  via  the  "Wizard  of  Oz"  man- 
ner.—Mrs.  U.  A.  Stone,  B'klyn,  N.  Y. 

Listen,  Hollywood 

We're  worried!  We  may  appear  rest- 
less, critical  and  unappreciative  of  Holly- 
wood's efforts  to  please  us,  but  We,  the 
People,  have  a  gnawing  worry  for  our 
futures,  due  to  war  clouds  nearing  our 
own  horizons.  If  Hollywood  will  give 
us  something  to  think  about,  something 
to  tease  our  minds,  make  us  forget  these 
worries  for  just  a  few  hours,  we'll  be 
grateful! 

We  like  murder  mysteries  again,  we're 
ripe  for  "continued  pictures"  using  plen- 
ty of  plot  and  conflict.  Comedies  not  too 
silly  are  good.  And,  couldn't  you  please 
run  a  series  of  shorts,  contest-fashion, 
with  something  for  us  to  "guess  about," 
giving  theatre  tickets  away  as  prizes? 

And  please  go  easy  on  the  war  pic- 
tures. Help  us  keep  our  emotions  on  an 
even  keel.  For,  after  all,  We,  the  Peo- 
ple, are  pretty  dependent  on  Hollywood 
for  emotional  styles  as  well  as  other 
kinds. — Mary  Dee  Meritt,  Camp  Bullis, 
Texas.. 

Jimmy — Take  a  Bow 

James  Stewart  gave  me  the  surprise  of 
my  life  in  "Mr.  Smith  Goes  To  Washing- 
ton." I  have  never  particularly  admired 
his  acting,  thought  it  rather  listless  and 
indifferent,  and  it  was  my  impression  that 


his  portrayals  were  rather  good  pictures 
of  himself.  But  in  this  film  his  work  is 
superior,  something  to  "rave"  about.  He 
manifested  acting  ability  of  the  highest 
order;  in  fact  I  think  he  deserves  the 
Academy  Award  (and  I  saw  "Goodbye 
Mr.  Chips").  The  entire  cast  of  "Mr. 
Smith  Goes  To  Washington"  was  splen- 
did, but  Jimmy's  portrayal  was  outstand- 
ingly fine,  something  "especially  special." 
— Ann  C.  Kath,  Cinn.,  Ohio. 


Match-Makers,  Ahoy! 

Women  are  natural  born  match-makers 
and  I'm  no  exception.  I  want  the  people 
I  love  above  everything,  to  be  happily 
married.  This  leads  me  to  be  forever 
matching  them  up,  yet  I  cannot  recall 
one  case  where  they  married  my  choice. 

For  instance  there  were  Janet  Gaynor 
and  Charles  Farrell,  simply  made  for 
each  other,  and  what  happened?  For 
two  full  years  I  tried  to  marry  Nelson 
Eddy  to  my  superb  Jeanette,  and  what 
happened? 

Now  I  have  a  brand  new  worry.  It's 
that   tow-headed   Mickey   Rooney  I've 


loved  since  his  portrayal  of  Puck.  Why 
can't  the  brat  go  on  playing  baseball  and 
have  a  yardful  of  dogs  and  ducks  to 
love?  Oh,  no,  he's  got  to  grow  up.  I 
saw  this  in  "Babes  in  Arms"  where  he 
simply  bowled  me  over  with  his  gigantic 
capacity  to  love  things — and  of  course 
girls.  Oh  well,  I  may  as  well  out  with 
it.  Why  doesn't  Mickey  give  Judy  his 
music  pin  in  real  life,  give  it  to  her  for 
keeps? — Esther  L.  Nelson,  Abilene,  Texas. 

Counseling  Loy 

Open  letter  to  Myrna  Loy: 

You've  been  my  favorite  movie  star 
for  years,  even  before  you  became  "Mrs. 
Thin  Man."  To  me  you've  always  been 
"The  Lady  With  Her  Wits  About  Her." 
I  guess  that's  why  I  squirm  so  when  I 
see  you  cast  in  pictures  where  you  have 
to  go  completely  berserk.  Miss  Loy,  your 
fans  think  you're  a  little  out  of  your 
element  when  you're  cast  as  a  flighty 
young  woman,  weeping,  stewing,  waving 
your  arms  and  throwing  fits  in  a  picture. 
I  hope  the  producers  realize  this  too. 
Your  fans  like  you  gay  and  witty,  but 
you're  not  the  type  to  go  ga-ga  on  us. 
You've  usually  been  the  lady  who's  calm, 
cool,  possessed.  It  gives  us  other  gals 
something  to  aim  for.  Maybe  that's  why 
I'm  glad  your  next  picture  is  to  be  an- 
other "Mrs.  Thin  Man."  Imagine  Nora 
having  hysterics! — Mrs.  Jasper  Robb, 
Rapid  City,  S.  D. 

Tyrone  vs.  Garfield 

The  other  day  my  friends  and  I  had 


I  donY  want  love 


TO  PASS  ME  BY. 


HOW  PALMOLIVE,  MADE  WITH   OLIVE  OIL, 

HELPS    KEEP   SKIN   SMOOTH,  ALLURING! 


THATS  WHY  I  GUARD  AGAINST 
DRY,  LIFELESS  "MIDDLE-AGE'SKIN! 


IN  ALL  FAIRNESS  TO  THE 
MEN, YOU  REALLY  CAN*T 
BLAME  THEM,  BABS,  FOR 
NOT  FALLING  IN  LOVE 
WITH  GIRLS  WHO  HAVE 
DRY,  LIFELESS,  OLD- 
LOOKING  SKIN  ! 


rv 


BUT  HOW  CAN  I 
GUARD  AGAINST  IT, 
SUE  ?  I  JUST  DON'T 
SEEM  TO  BE  ABLE 
TO  KEEP  MY  SKIN  . 
SOFT  AND  ^-^ji^ 
SMOOTH ! 


WHY  DOnV  YOU  TRY  PALMOLIVE  SOAP  ?  YOU  SEE, 
PALMOLIVE  IS  MADE  WITH  OLIVE  AND  PALM  OILS, 
NATURE'S  FINEST  BEAUTY  AIDS.  THAT'S  WHY  ITS 
LATHER  IS  SO  DIFFERENT,  SO  GOOD  FOR  DRY, 
LIFELESS  SKIN!  IT  CLEANSES  SO  THOROUGHLY 
YET  SO  GENTLY  THAT  IT  LEAVES  SKIN  SOFT  AND 


.COMPLEXIONS  RADIANT  ! 


TO  KEEP  SKIN  SOFT,  SMOOTH,  YOUNG 

87 


MODERN  SCREEN 


Bud  Westmore,  Beauty  Ex- 
pert at  20th  Century-Fox, 
applies  Westmore  foundation 
cream  for  Brenda  Joyce. 


BRENDA  JOYCE  "TJSr 
gets  a  WESTMORE  make-up! 

This  wonderful  foundation  cream  is  the  "star"  of 
the  Westmore  cosmetics  line.  Used  by  Hollywood 
stars  for  both  screen  and  street  wear,  because  it  is 
one  essential  part  of  perfect  make-up.  It's  lasting, 
water-proof,  covers  up  tired  shadows.  Gives  you  a 
lovely,  lively  look  in  day  or  evening  light.  In  four 
youthful  glowing  tones,  with  powder  to  match.  At 
drug,  department,  and  variety  stores.  25 tf,  5 Of  sizes. 


GET  PERC  WESTMORE'S 
MAKE-UP  GUIDE  Has  measuring 
wheel  to  show  you  your  face  type. 
Tells  how  to  make  up  each  type 
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sale  near  you  send  25(*  to  House 
of  Westmore,  Inc.,  Dept.  (B-2), 
730  Fifth  Ave.,  New  York  City. 


^WESTMORB* 


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a  heated  argument  over  our  respective 
movie  heroes. 
Said  she: 

"Garfield  is  dark  and  dusty  and  crude; 
His  face  is  too  swarthy,  his  manners  are 
rude; 

His  appeal  is  as  garish  as  the  midsummer 
sun — 

Now  I'll  take  Tyrone — boy!  he  is  the  one! 
With  the  face  of  an  angel,  so  shining  and 
bright, 

His  manners  so  courtly,  so  smooth,  and 
so  right; 

He's  built  like  Adonis — so  hard  and  so 
lean, 

Begorrah,  he'd  thrill  most  any  colleen!" 

To  which  I  replied: 
"So — he's  dark  and  dusty  and  crude — says 
you! 

Well,  Ty's  a  fudge  sundae,  just  sickening 
with  goo. 

Sure,  Garfield's  the  sun,  while  the  moon 
is  Tyrone, 

Which  reflects  the  sun's  light,  having 

none  of  its  own! 
If  Power's  an  angel,  it's  John  with  fools 

tread, 

Who'll  rush  in  to  waken  the  hearts  Ty's 
left  dead! 

— Mrs.  Miriam  Wood,  Merchantville,  N.  J. 


Three  Cheers 

Until  "Full  Confession"  and  Joseph 
Calleia,  I  was  getting  a  strange  picture 
of  the  priesthood  from  the  movie  follow- 
ers of  fine  actor  Spencer  Tracy.  Did  you, 
too,  imagine  that  all  priests  had  tousled 
hair,  Irish  maps,  and  impudent  nick- 
names like  Tim,  Jim,  Mike  and  Joe? 
These  brawny  fellows  resorted  to  fists 
in  every  pinch,  yet  never  lost  their  sunny 
dispositions.  They  talked  a  slang  jargon 
with  a  gangster  twist. 

Now,  I  have  seen  another  kind  of 
priest,  thanks  to  the  flame  and  subtlety, 
the  grace  and  fanaticism,  of  Joseph  Cal- 
leia's  "Father  Loma."  In  his  great  scenes 
he  was  superb  as  he  invariably  is  in  any 
part.  But  in  those  tender  moments  with 
his  frisky  pup  he  reached  closer  to  the 
heart  and  soul  of  his  character  than  any 
of  his  predecessors. 

Every  year  versatile  Calleia's  genius 
for  making  poignant,  moving  men  out  of 
lay  figures  is  seen  anew.  He  is  equalled 
by  few  actors  and  surpassed  by  none.  At 
least  four  times  he  has  deserved  an 
"Oscar"  for  his  supporting  roles.  This 
time,  too,  he  offers  a  tremendous  chal- 
lenge, but  as  a  star. — Virginia  Coffman, 
Oakland,  Cal. 


EVERYTHING  UNDER  CONTROL 

(Continued  from  page  43) 


I  got  the  brush  off.  He  suggested  that  I 
go  to  the  Pasadena  Playhouse.  'I  was 
there  four  years  and  I  need  money 
now!'  I  exclaimed  with  little  diplomacy. 

"I  told  you  I  believe  in  luck.  Well, 
here's  how  I  got  my  Metro  contract. 
Maurice  Ankrum,  a  splendid  actor,  was 
taken  to  Paramount  by  Nat  Goldstone, 
a  new  agent.  Goldstone  happened  to  say 
he  needed  a  juvenile.  Ankrum  put  on 
a  rave  about  me.  Later,  Ankrum  phoned 
and  tipped  me  off  as  to  how  to  proceed. 
'Don't  be  in  when  this  agent  calls  you,' 
he  said.  Goldstone  was  frantic  when  I 
wasn't  in  several  times.  Finally,  I  made 
an  appointment  with  him.  He  liked  me, 
bought  me  a  new  suit  to  wear  to  the 
studios,  got  me  a  test  at  Paramount  and 
I  was  offered  a  stock  contract  at  $75 
a  week.  He  wouldn't  let  me  take  it. 

"He  brought  me  out  to  Metro  one 
afternoon  at  five.  The  casting  director 
said,  'We  can't  give  him  a  test;  they're 
too  expensive.  But  they're  testing  two 
new  girls,  Ann  Dvorak  and  Karen  Mor- 
ley,  for  a  role  in  Marion  Davies'  next 
picture.  He  can  go  down  and  see  if  he 
can  play  Leslie  Howard  to  them  if  he 
wants  to.' 

"Well,  I  stepped  in  with  the  girls  and 
stood  there,  dumbfounded  by  the  chalk 
marks,  like  a  wooden  Indian.  After  it 
was  over,  the  test  director  said,  'Say, 
would  you  stay  tonight  and  stooge  in  an- 
other test  I've  got  to  make  of  some  so- 
ciety girl?'  Funny,  there  was  my  luck 
again.  The  girl  was  so  bad  that  he  was 
irritated  into  focusing  on  me  rather 
than  her  and  wound  up  by  finally  di- 
recting me." 

One  week  later,  the  agent  called  Bob 
and  told  him  to  meet  him  at  Metro. 
When  he  arrived  he  was  handed  a  nine- 
teen-page thing,  full  of  whereases  and 
to-wits,  and  told  to  sign  it.  He  had 
never  seen  a  contract  before. 

"I  didn't  react,"  he  said.   "I  just  went 


totally  blank."  But  that  night  he  dated 
his  one-time  sweetheart. 

Even  marriage  didn't  automatically 
transform  him  into  the  staid  citizen  he  is 
supposed  to  be,  according  to  the  typical 
Young  write-ups.  When  he'd  been  mar- 
ried a  year,  he  decided  to  buy  a  house 
in  Beverly  Hills.  "When  I  recall  the  gall 
I  had.  I'd  had  my  option  taken  up  for 
another  year  but  I  was  facing  a  twelve- 
week  layoff  without  pay.  I  argued  the 
studio  into  advancing  me  $5,000  on  my 
future  salary,  as  the  down  payment  on 
the  house.  I  got  a  first  mortgage  from 
a  bank,  and  the  people  I  bought  it  from 
took  a  second.  It  was  ego  and  blind 
faith."  Now  he  owns  a  ranch  and  has 
this  town  place  up  for  sale. 

"Yep,  I've  been  lucky,  because  some 
folks  are  dogged  by  bad  breaks  and 
things  go  wrong  all  their  lives.  I  studied 
acting,  yes;  but  if  I  hadn't  had  those 
breaks,  the  preparation  would  have  done 
no  good.  Half  the  time  I  resolve  to 
march  up  to  the  front  office  and  do  my 
share  of  kicking  for  better  roles.  'All 
right,'  I  say  to  myself,  'I'll  be  a  ham!  I'll 
barge  up  there  and  scream  my  brains  out 
for  the  parts  I'd  like.'  Then  I  remember 
the  fellows  outside  the  studio  gates.  I 
consider  how  lucky  I've  been,  and  don't 
say  a  word." 

At  present,  Bob  is  portraying  a  grand 
role  in  "Northwest  Passage"  with  Spen- 
cer Tracy.  It  is  a  story  of  pre-Revolu- 
tionary  days,  when  Maine  was  still  a 
frontier.  Bob,  as  Langdon  Towne,  is  a 
young  romantic  who  is  expelled  from 
Harvard  and  then  develops  into  a  stal- 
wart character  as  a  member  of  the 
Indian-fighting  Rogers'  Rangers. 

An  exceedingly  alive,  exceedingly  hu- 
man guy,  this  Bob  Young.  He  may  have 
been  too  temperamental  once,  but  his 
acquired  self-knowledge  and  the  sense 
of  humor  he's  developed  prove  what  sort 
he  is  today. 


Want  the  lowdown  on  Deanna  Duibin's  exciting  romance? 

Read  MODERN  SCREEN  for  March 


88 


MODERN  SCREEN 


MATRIMONIAL  SCOREBOARD 

(Continued  from  page  33) 


Carrillo,  Leo 

Married  to  Edith  Shakespeare  and  has 
an  adopted  daughter,  nineteen. 
Carroll,  Madeleine 

Divorce  rumors  notwithstanding,  she's 
still  the  wife  of  Captain  Philip  Astley, 
an  English  officer  whom  she  wed  in  1932. 
Carver,  Lynne 

She's  married  to  Nicholas  Nayfack,  film 
executive.   Her  only  "ex"  is  Dr.  R.  C. 
McClung  of  Birmingham,  Alabama. 
Chaplin,  Charles 

Paulette  Goddard  is  the  third  Mrs. 
Chaplin.  They  were  reportedly  married 
aboard  his  yacht  in  June  of  1934.  His 
first  wife  was  Mildred  Harris,  and  his 
second,  Lita  Grey,  who  at  the  time  of 
divorce  was  given  custody  of  their  two 
sons. 

Claire,  Ina 

Starred  in  a  rapid-fire  elopement  on 
March  17,  1939,  when  she  married  Wil- 
liam R.  Wallace,  San  Francisco  attorney. 
Her  two  previous  husbands  were  James 
Whitake,  a  Chicago  newspaperman,  and 
the  late  John  Gilbert. 
Connolly,  Walter 

One  marriage — to  Nedda  Harrigan  of  the 
Broadway  stage.  Has  a  daughter,  fifteen. 
Cooper,  Gary 

Since  December,  1933,  has  been  married 
to  Veronica  Balfe,  social  registerite  who 
appeared  in  motion  pictures  under  the 
name  of  Sandra  Shaw.  They  have  one 
child,  a  daughter,  born  Sept.  15,  1937. 
Crisp,  Donald 

-Lives  simply,  with  wife  Jane  Murfin,  a 
scenario  writer. 


Crosby,  Bing 

Four  times  a  father — Gary,  aged  seven, 
twins  Phillip  and  Dennis,  five,  and  Lind- 
say, two.  Bing's  wife  is  Dixie  Lee. 
Cummings,  Robert 

He's  married  to  Vivian  Janis,  former 
Ziegfeld  Follies  beauty.  Date:  February 
27,  1935. 
Curtis,  Alan 

He   and   Priscilla   Lawson   are   in  the 
process  of  calling  it  quits. 
Darrieux,  Danielle 

Has  been  Mme.  Henri  Decoin  for  the  past 
four  years.    Her  husband  is  a  French 
director  and  playwright. 
Darro,  Frankie 

Married  to  Aloha  Wray,  actress. 
Davis,  Bette 

Was  divorced  from  Harmon  O.  Nelson 
on  January  20,  1939. 
Davis,  Joan 

Her  manager  teamed  her  with  Si  Wills 
and  they  were  married  five  months  after 
they  met.    One  daughter,  Beverly,  six 
years  old. 
Dee,  Frances 

None  more  happily  wedded.    She's  the 
wife  of  Joel  McCrea,  and  the  mother  of 
two  sons,  one  five  and  the  other  four. 
Del  Rio,  Dolores 

Married  Jaime  del  Rio  in  1921  and  di- 
vorced him  in  1928.  Her  second  husband 
is  Cedric  Gibbons,  art  director  for  a 
major  studio. 
Devine,  Andy 

Was  married  in  1933  to  Dorothy  Irene 
House  .  .  .  has  two  sons  of  his  own  and 
is  the  friend  of  every  youngster  within 


five  miles  of  his  ranch  in  Van  Nuys. 
Dickson,  Gloria 

Keeps  house  for  Perc  Westmore,  Holly- 
wood's  famous   make-up    artist.  They 
were  married  on  June  20,  1938. 
Dietrich,  Marlene 

Rudolph  Sieber,  German  film  director,  is 
the  lucky  man.  Their  only  child,  Maria, 
was  born  in  1925. 
Dix,  Richard 

Divorced  his  first  wife,  Winifred  Coe,  in 
1933  and  married  his  secretary,  Virginia 
Webster,  in  1934.  Children:  twin  sons 
by  his  present  wife,  and  a  daughter  by 
his  first. 
Donat,  Robert 

Has  a  wife,  two  sons  and  a  daughter 
and  lives  in  Hampstead,  England. 
Donlevy,  Brian 

Followed  the  civil  ceremony  with  a  re- 
ligious one  when  he  married  Marjorie 
Lane  in  December  of  1936.   It  was  his 
second  leap. 
Douglas,  Melvyn 

The  husband  of  Helen  Gahagan,  Broad- 
way stage  star.    Two  children  by  his 
present   wife   and   one   by  a  previous 
marriage. 
Drew,  Ellen 

But  two  men  in  her  life;  Fred  Wallace, 
her    husband,    and    their    small  son, 
Skipper. 
Dunne,  Irene 

One  marriage — to   Dr.    Francis  Griffin. 
Missy,  christened  Mary  Frances,  is  their 
daughter  by  adoption. 
Dvorak,  Ann 

Film  director  Leslie  Fenton  is  the  head 


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89 


MODERN  SCREEN 


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man  still.  They  were  married  on  March 
17,  1932. 
Ebsen,  Buddy 

Ruth  Cambridge  was  Walter  Winchell's 
"Girl  Friday"  before  she  became  Buddy's 
missus. 
Eddy,  Nelson 

A  year-old  marriage  to  Mrs.  Ann  Frank- 
lin. The  date,  January  18,  1939.  Mrs. 
Eddy  is  the  former  wife  of  screen  direc- 
tor, Sidney  Franklin,  and  has  a  son  in 
his  fifteenth  year. 
Eilers,  Sally 

Hoot  Gibson  became  a  memory  in  Au- 
gust,   1933.     She    married    Harry  Joe 
Brown  a  month  later,  and  they  have  a 
five-year-old  son. 
Ellison,  James 

Actress  Grace  Durkin  said  the  word  in 
April,  1937. 

Erikson,  Leif 

Fell  in  love  with  Frances  Farmer  and 
lost  no  time  getting  married. 
Erwin,  Stuart 

The  beauteous  June  Collyer  retired  from 
the  screen  when  she  married  the  com- 
edian.  They  have  a  son,  seven,  and  a 
daughter,  four. 
Fairbanks,  Douglas,  Jr. 

On  April  22,  1939,  he  stepped  to  the  altar 
with  the  very  social  Mrs.  Mary  Lee  Ep- 
ling  Hartford.  It  was  a  second  marriage 
for  both.    The  first  Mrs.  F.  was  Joan 
Crawford. 
Farmer,  Frances 
See  Leif  Erikson. 
Farrell,  Glenda 

One  marriage  which  didn't  take.  Tommy, 
her    eleven-year-old    son,    attends  a 
Hollywood  military  academy. 
Faye,  Alice 

Still  married  to  Tony  Martin.  They've 
had  a  second  anniversary. 
Fazenda,  Louise 

The  wife  of  Hal  Wallis,  motion  picture 
executive.  Their  son,  Brent,  will  be  six 
on  April  10th. 
Fields,  W.  C. 

One  unhappy  marriage.  One  grown  son. 
Fitzgerald,  Geraldine 

Her  husband  is  Edward  Lindsay-Hogg; 
he  writes  songs  and  breeds  horses. 
Flynn,  Errol 

Became   the   husband   of   Lili  Damita 
June  19,  1935. 
Fonda,  Henry 

Divorced  from  Margaret  Sullavan  in 
1933;  married  socialite  Frances  Seymour 
Brokaw  in  1936.  Their  daughter  was  born 


December  22,  1937;  step- daughter  is  eight 
years  old. 
Fontaine,  Joar. 
See  Brian  Aherne. 
Foran,  Dick 

Married  Ruth  Hollingsworth  on  June  7, 
1937.  Two  sons. 
Foster,  Preston 

The   husband   of   Gertrude   Warren,  a 
non-professional,   and  the  father   of  a 
year- old  daughter  by  adoption. 
Francis,  Kay 

Was   successively   married   to  William 
Gaston,  John  Meehan,  F.  Dwight  Fran- 
cis and  Kenneth  MacKenna. 
Furness,  Betty 

Band  leader  Johnny  Green  has  been 
making  music  for  her  since  Nov.  26,  1937. 
Goal,  Franciska 

Her  husband,  Dr.  Francis  Dajkovich  re- 
linquished his  practice  in  Budapest  to 
be  with  her  in  Hollywood. 
Gable,  Clark 

Less  than  a  month  after  his  divorce  from 
Rhea  Langham,  came  his  long-awaited 
marriage  to  Carole  Lombard.  The  date: 
March  29,  1939.  His  first  mate  was 
Josephine  Dillon,  Hollywood  dramatic 
coach.  Carole  is  the  ex-wife  of  William 
Powell.  They  were  divorced  in  1933. 
Garfield,  John 

He  and  the  former  Roberta  Mann  wanted 
a  baby  and  couldn't  afford  one,  so  they 
went  to  Hollywood.   Now  they  have  a 
daughter  whose  name  is  Catherine. 
Gargan,  William 

Autographing  checks  for  a  lass  named 
Pat.    They  have  two  sons,  Leslie  and 
Barrie. 
Gaynor,  Janet 

Eloped  with  Gilbert  Adrian,  fashion  de- 
signer, on  August  14,  1939.  Her  only 
other  matrimonial  venture  was  in  1929 
when  she  wed  Lydell  Peck,  a  San  Fran- 
cisco attorney.  They  were  divorced  in 
1933. 

George,  Gladys 

Divorced  from  Edward  H.  Fowler,  mil- 
lionaire paper  manufacturer.  Married  to 
actor,  Leonard  Perm. 
Gleason,  James 

With  Lucille  Webster,  has  created  Hol- 
lywood's   Number    One  Phenomenon. 
They've  been  married  since  1906!  Son 
Russell  is  an  actor,  too. 
Goddard,  Paulette 

At  sixteen,  wedded  Edgar  James,  son  of 
a  wealthy  lumberman.  When  they  were 
divorced  in  1932,  she  reportedly  received 
his  best  wishes  and  $100,000  to  boot.  At 


Meet  the  Allan 
Jones  family  — 
nine-year-old  Gail, 
two  -  yea  r  -  old 
Jackie,  Papa  Allan 
and  Mama  Irene 
Hervey.  The  little 
girl  is  Irene's  by  a 
former  marriage. 


90 


MODERN  SCREEN 


present  she  is  Mrs.  Charles  Chaplin. 
Gorcey,  Leo 

Proving  a  fellow  can't  be  a  kid  forever, 
this  Dead  Ender  married  Katherine  Mar- 
vis  on  May  19th,  1939. 
Grable,  Betty 

Her  divorce  from  Jackie  Coogan  will  be 
final  in  September,  1940. 
Grant,  Cary 

Married  briefly  to  Virginia  Cherrill. 
Gravet,  Fernand 

His  big  romance  was — and  is — Jeanne 
Renard,  French  star,  who  answers  also 
to  the  name  of  Mme.  Gravet. 
Grey,  Nan 

After  a  romance  of  more  than  a  year, 
she  became  Mrs.  Jackie  Westrope  on 
May  4,  1939.  Her  husband  is  a  nationally 
known  jockey. 
Gurie,  SIg rid 

On  August  6,  1939,  married  Dr.  Laurence 
C.   Spangard.    Her   first   husband  was 
Thomas   W.   Stewart,   a   leather  goods 
salesman. 
Hale,  Alan 

His  union  with  Gretchen  Hartman  has 
been  blessed  with  two  children. 
Haley,  Jack 

His  vaudeville  partner,  Florence  Mc- 
Fadden,  thought  he  was  so  funny  she 
married  him.  They  have  two  youngsters. 
Hardwicke,  Sir  Cedric 

Appeared  with  Helena  Pickard  in  one  of 
his  stage  plays  and  married  her  shortly 
afterwards. 
Hardy,  Oliver 

Divorced  from  Myrtle  Lee  in  1937. 
Hayward,  Louis 

Staved  off  wedding  bells  for  three  years; 
wanted  to  achieve  stardom  before  he 
tied  the  knot.  Married  Ida  Lupino  Novem- 
ber 17,  1938. 


Hayworth,  Rita 

Matrimonial    score:    One   marriage,  to 
Eddie  C.  Judson. 
Herbert,  Hugh 

Was   married   in   his   vaudeville  days; 
still  has  the  same  wife. 
Hersholt,  Jean 

Uninterruptedly  married  for  more  than 
twenty-five  years  to  Via  Anderson, 
thereby  setting  good  example  for  son 
Alan  and  his  actress-bride,  Osa  Massen. 
Hervey,  Irene 

Has  been  married  for  the  past  four  years 
to  Allan  Jones.    They  have  a  son,  two. 
Irene's  daughter  by  her  first  marriage 
has  been  legally  adopted  by  Allan. 
Hiller,  Wendy 

Her    husband    is    Ronald    Gow;  their 
daughter  is  exactly  one  year  old. 
Hodges,  Joy 

Became  Mrs.  Gilbert  Doorly  last  Sep- 
tember.   Hubby   is   assistant  managing 
editor  of  Omaha  World-Herald. 
Holden,  Fay 

Married  early  and  permanently  to  David 

Clyde. 

Holt,  Jack 

Divorced  from  Margaret  Wood,  St.  Paul 
socialite.  Two  children:  actor,  Tim  Holt, 
who  is  married  to  Virginia  Ashcroft,  and 
a  daughter,  Elizabeth. 
Hope,  Bob 

His  wife  is  Dolores  Reade;  she  sings  and 
stooges  for  him  in  his  personal  appear- 
ances. They  have  an  adopted  daughter, 
Linda,  and  expect  to  adopt  a  two-year- 
old  brother  for  her. 
Hopkins,  Miriam 

Recently  divorced  from  Anatole  Litvak. 
There  were  two  previous  marriages — to 
Brandon  Peters  and  the  late  Austin 
Parker.  Ten-year-old  Michael  is  her  son 
by  adoption. 


Howard,  Leslie 

Married  to  Ruth  Martin  and  has  two 
children,  a  son  and  daughter. 
Hudson,  Rochelle 

Has  been  Mrs.  Hal  Thompson  since  Au- 
gust 16,  1939.  Her  husband  is  a  sequence 
director  at  the  Walt  Disney  studios. 
Hume,  Benita 
See  Ronald  Colman. 
Hunter,  Ian 

His  wife  is  Casha  Pringle,  well-known 
English  actress.  Two  boys. 
Huston,  Walter 

Nan  Sutherland  became  his  third  wife 
in  November,  1931.    His  only  son  is  a 
writer. 
Jenkins,  Allen 

Married  since  1933.  One  child. 
Jolson,  Al 

Ruby  Keeler  was  his  third  matrimonial 
misfortune;  she  filed  suit  for  divorce  last 
October.  Their  adopted  son,  Al,  Jr.,  is 
nearing  five,  and  will  probably  live  with 
his  ma. 
Jones,  Allan 

Divorced  in  July,  1936,  his  wife  winning 
custody  of  their  son,  then  six.  A  few 
days  later,  married  Irene  Hervey,  and 
on  January  14,  1938,  he  and  Irene  had 
a  son  of  their  own. 
Jones,  Buck 

His  marriage  to  Odelle  Osborne  was  per- 
formed under  a  circus  tent  in  August, 
1915.  One  grown  daughter,  Maxine. 
Jory,  Victor 

Was  married  eleven  years  ago  to  Jean 
Inness,  actress.  They  have  a  daughter, 
nine. 

Karloff,  Boris 

His  second  marriage  is  faring  much  bet- 
ter than  his  first. 
Keeler,  Ruby 
See  Al  Jolson. 


LOVELY  MARY  MARTIN,  FRESHMAN  AT  SARAH  LAWRENCE  COLLEGE,  SAYS: 


fox  cWasfoliHCj  cj/amoiui . . . 
o$C  ffcaf"  wtocW^v  viatuAai  look  I 

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UM-240 

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f  enclose  104  to  help  cover  mailing  costs. 

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Be  sure  to  check  color  of  your  eyest 


Name- 
Street- 


City- 


MODERN  SCREEN 


NOW  WE  BOTH  HAVE 

LOVELY  BLONDE 
HAIR! 


New  Shampoo 
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Made  for  Blondes — Washes  Hair 
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lovely.  Because  of  its  delicate  texture,  particular  care  is 
needed  to  keep  blonde  hair  from  fading,  darkening,  losing 
attractiveness.  That's  why  smart  blondes  throughout  the 
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absolutely  safe.  Nothing  finer  for  children's  hair.  Get  it 
today  at  any  good  store. 

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VPS  OR  IAS  IS 

(SCALV   SKIN   TROUBLE  ) 

DGRmOIL 


Prove  it  yourself  no  matter 
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or  what  you  have  tried. 
Beautiful  book  on  Psoria- 
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disease  Psoriasis.  Apply 
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Thousands  do  for  scaly 
spots  on  body  or  scalp. 
Grateful  users,  often  after 
years  of  suffering,  report 
the  scales  have  gone,  the 
red  patches  gradually  dis- 
appeared and  they  enjoyed 
thrill  of  a  clear  skin  again.  Dermoil  is 
used,  by  many  doctors  and  is  backed  by  a  positive  agreement 
to  give  definite  benefit  in  2  weeks  or  money  is  refunded 
without  question.  Generous  trial  bottle  sent  FREE  to  those 
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Here's  a  simple  pleasant  way  to  win  relief 
from  the  pain  and  discomfort  that  many- 
women  have  to  face.  Just  remember  that  1 
to  4  tablespoon sful  of  Doctor  Siegert's  An- 
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hot  or  cold,  tends  to  relieve  periodic  pain. 
It  is  gentle  and  non-habit  forming.  You  can 
get  a  bottle  of  Angostura  in  any  drug  store. 


MANY  NEVER 
SUSPECT  CAUSE 
OF  BACKACHES 

This  Old  Treatment  Often 
Brings  Happy  Relief 

Many  sufferers  relieve  nagging  backache  quickly, 
once  they  discover  that  the  real  cause  of  their  trouble 
may  be  tired  kidneys. 

The  kidneys  are  Nature's  chief  way  of  taking  the 
excess  acids  and  waste  out  of  the  blood.  They  help 
most  people  pass  about  3  pints  a  day. 

When  disorder  of  kidney  function  permits  poison- 
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and  energy,  getting  up  nights,  swelling,  puffiness 
under  the  eyes,  headaches  and  dizziness.  Frequent  or 
scanty  passages  with  smarting  and  burning  some- 
times shows  there  is  something  wrong  with  your 
kidneys  or  bladder.  , 

Don't  wait!  Ask  your  druggist  for  Doan  s  .Fills, 
used  successfully  by  millions  for  over  40  years.  They 
give  happy  relief  and  will  help  the  15  miles i  of  kidney 
tubes  Bush  out  poisonous  waste  from  your  blood.  Oet 
Doan's  Pills. 


Kibbee,  Guy 

Married   to    a   non-professional.  Two 
young  children. 
Korjus,  Miliza 

Her  most  appreciative  listeners  are  an 
audience  of  two — husband,  Kuno  Foelsch, 
and  their  four-year-old  daughter. 
Kruger,  Otto 

Chalk  up  nearly  twenty  years  of  wedded 
bliss  for  him  and  Susan  MacNamany. 
Lahr,  Bert 

A    tragic   marriage    ended    in   a  1933 

divorce. 

Lake,  Arthur 

Married  to  Patricia  Van  Cleve,  singer. 
Lamarr,  Hedy 

Eloped  with  Gene  Markey,  movie  pro- 
ducer, on  March  4,  1939.  It  was  a  second 
marriage  for  both.  Hedy's  first  husband 
was  Fritz  Mandl,  millionaire  munitions 
manufacturer,  and  Joan  Bennett  was 
Gene's  first  wife. 
Lamour,  Dorothy 

Conflicting  careers  caused  divorce  from 
orchestra  leader,  Herbie  Kay,  on  May 
2,  1939. 
Lane,  Lola 

Ex-frau  of  Lew  Ayres  and  Alexander 
Hall. 

Loughton,  Charles 

Married  to  the  well-known  English  ac- 
tress, Elsa  Lanchester. 
Lederer,  Francis 

A  girl  in  Prague  preceded  Margo  as 
Mrs.  Lederer. 
Leeds,  Andrea 

Bob  Howard,  sportsman,  won  her  on  Oc- 
tober 25,  1939. 
Leigh,  Vivien 

Awaiting  divorce  from  Leigh  Holman,  a 
London  barrister.  They  have  one  daugh- 
ter, Suzanne,  aged  six. 
Litel,  John 

One  marriage,  to  a  non-professional. 
Livingston,  Robert 
Married  to  Dorothy  Gee. 
Lockwood,  Margaret 

Executive  position  in  the  British  Iron 
and    Steel    Corporation    keeps  Rupert 
Leon  away  from  his  lovely  wife. 
Lome,  Peter 

Married  Cecilie  Lvovsky  in  June,  1934. 
Loy,  Myrna 

Married  to  producer  Arthur  Hornblow, 
Jr.,  since  June  27,  1936.  It  was  her  first 
and  his  second. 
Lugosi,  Bela 

Twice  wed.  Present  wife  is  Lillian  Arch. 
Lukas,  Paul 

Grizella  Benes  is  his  second  wife. 
Lupino,  Ida 

See  Louis  HaywarcL 


DOES 

COUGHING 

MAKE  YOU  AN  OUTCAST? 

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gatherings?  Are  you  glared  at  in  public  places 
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to  others? 

If  your  cough  is  due  to  a  cold,  try  Pertussin. 
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Many  physicians  have  prescribed  Pertussin, 
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PICTURES 


Andrea  Leeds  was  26  and  Bob  Howard 
23  when  they  became  Mr.  and  Mrs. 


SCREEN 
ALBUM 

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of  all  your  favorite  movie 
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2 


MODERN  SCREEN 


Lys,  Lya 

Has  been  married  and  divorced  and  pre- 
fers not  to  talk  about  it. 
MacDonald,  Jeanette 

Became  the  wife  of  Gene  Raymond  on 
June  16,  1937. 
MacLane,  Barton 

One  marriage,  one  divorce  for  him. 
MacMurray,  Fred 

He's  married  to  Lillian  Lamont,  a  former 
show  girl.  Their  date  with  the  preacher 
was  on  June  20,  1936. 
March,  Fredric 

His  wife's  name  is  a  familiar  one  to 
Broadway  theatre-goers;  it's  Florence 
Eldridge.  They  were  married  in  the  fall 
of  1936  and  have  two  children — Penny 
and  Tony,  both  adopted. 
Marshall,  Brenda 

Her  three-year-old  son  stems  from  real 
theatrical  stock.   His  dad  is  the  prom- 
inent stage  star,  Richard  Gaines. 
Marshall,  Herbert 

Divorced  from  Mollie  Maitland  and  sep- 
arated from  his  second  wife,  Edna  Best, 
whom  he  married  in  1928.  One  daughter, 
born  May  25,  1933. 
Martin,  Mary 

Her  heart  belongs  to  Larry,  her  eight- 
year-old  son.  His  father  is  Ben  J.  Hage- 
man,  whom  Mary  married  when  she  was 
in  her  early  teens. 

Marx  Bros. 

Harpo  brought  starlet  Susan  Fleming 
into  the  family  in  September,  1936. 
Groucho  made  his  vows  in  1920,  and  Chico 
is  the  father  of  a  grown-up  miss. 

Massey,  Nona 

Divorced  before  she  came  to  America. 
Massey,  Raymond 

Two  divorces — from  Peggy  Fremantle 
and  Adrienne  Allen — now  married  to 
Mrs.  Wm.  D.  Whitney.  Children:  A  six- 
teen-year-old son  by  his  first  wife,  and 
a  daughter,  six,  and  another  son,  two, 
by  his  second. 
McCrea,  Joel 
See  Frances  Dee. 

McHugh,  Frank 

Married  to  Mrs.  Dorothy  Spencer.  Three 
children,  Michael,  Peter  and  Susan. 
McLaglen,  Victor 

Has  a  daughter,  Sheila,  sixteen,  and  a 
son,  Andrew,  eighteen — a  student  at  the 
University  of  Virginia.  He  married  early 
in  his  career  and  has  the  same  wife  still. 
She's  Edna  Lamont,  a  non-professional. 
Menjou,  Adolphe 

Two  marriages,  one  divorce.  Present 
wife — Verree  Teasdale,  who,  with  him, 
adopted  Peter  Adolphe  on  Sept.  28,  1937. 
Meredith,  Burgess 

His  first  marriage  to  Helen  Derby  of 
Montclair,  N.  J.,  ended  in  divorce,  as 
did  his  second,  to  the  wealthy  young 
actress,  Margaret  Perry. 
Merkel,  Una 

Her  husband  is  Engineer  Ronald  Burla. 
Milland,  Ray 

In    1931    married    Muriel    Webber  of 

Hollywood. 

Miranda,  Isa 

New    bridegroom     is    named  Alfred 

Guarini. 

Mitchell,  Thomas 

Has  a  daughter,  21,  by  his  first  wife  from 
whom  he  is  divorced.  Married  to  Rachel 
Hartzell,  well-known  stage  star. 
Montgomery,  Robert- 
He  was  married  to  Elizabeth  Allen  on 
April  14,  1928.  They  lost  their  first  child 
in  1931.  Now  have  Betty,  six,  and  Robert, 
three. 

Moore,  Constance 

On  April  29,  1939,  eloped  to  Yuma  with 
Johnny  Maschio,  Hollywood  agent. 


DRIP  TEST 

SHOWS  CHAMBERLAINS  LOTION 
FLOWS  MORE  RAPIDLY 


Chamberlain's 


Lotion  No.  2 


Lotion  No.  3 


Lotion  No.  4 


Laboratory  Tests  show  Chamberlain's  clear, 
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half  teaspoonful  each  of  the  four  leading  lotions  is 
dropped  on  a  piece  of  cleansing  tissue  or  filter 
paper,  three  lotions  will  not  even  filter  through. 
Yet  Chamberlain's  drips  through  very  rapidly! 


Dries  quickly,  .  .never  sticky, 
gummy  or  messy 

A  few  drops  leave  the  hands  feeling  smooth, 
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men  admire.  WRITE  TODAY  to  Cham- 
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KILL  THE  HAIR  ROOT 


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Write  Stories 


that  SELL 


Mrs. Grace  Elanchard  had 
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MODERN  SCREEN 


Look  Sweet  and  Neat 


at  breakfast  in 
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BOB  P»NS 


Almost  Everybody  Asks  for  DeLong 


BABY  COMING? 


See  your  doctor  regularly. 
Ask  him  about  breast-shape 
Hygeia  Nipples  and  wide- 
mouth  Hygeia  Bottles. 
Valve  inside  nipple  aids  in 
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GIVE  YOUR  LAZY 

LIVER  THIS 
GENTLE  "NUDGE" 

Follow  Noted  Ohio  Doctor's  Advice 
To  Feel  "Tip-Top"  In  Morning! 

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Morgan,  Frank 

Married  Alma  Muller  almost  a  quarter 
of  a  century  ago.    They  have  a  son, 
George,  22. 
Morris,  Chester 

Off-again,   on-again  separation  rumors 
were  brought  to  a  climax  when  Suzanne 
Kilbourn  sued  for  divorce.   They  have 
two  children,  Cynthia  and  Brooks. 
Morris,  Wayne 

His  wife  is  the  former  Leonora  (Bub- 
bles)   Schinasi,  tobacco   heiress.  They 
were  married  January  8,  1939. 
Mowbray,  Alan 

Married  a  Chicago  girl  named  Lorraine 
Carpenter  and  has  a  daughter,  eight,  and 
a  son,  five. 
Muni,  Paul 

His  wife,  the  former  Bella  Finkel,  became 
Mrs.  Muni  on  May  8,  1921. 
Murphy,  George 

Married   his   dancing   partner,  Juliette 
Johnson,  December  28,  1926. 
Nagel,  Anne 

Widow  of  Ross  Alexander. 
Nolan,  Lloyd 

Wrote  "finis"  to  his  bachelorhood  in  1932. 
Norris,  Edward 

The  ex-husband  of  Ann  Sheridan.  She 
was  his  third  wife. 
Oakie,  Jack 

Denies  divorce  rumors.  Has  been  mar- 
ried to  Venita  Varden  since  March  22, 
1936. 

Oberon,  Merle 

Became  Mrs.  Alexander  Korda  on  June 
5,  1939. 

O'Brien,  George 

Marguerite  Churchill  retired  from  the 
screen  to  keep  house  for  him.  Their  first 
child  died  in  1932.  They  now  have  two. 
O'Brien,  Pat 

Because  he  had  proposed  to  five  girls 
before  he  met  Eloise  Taylor,  it  took  him 
three  years  to  persuade  her  to  marry 
him.  They  have  three  children  by  adop- 
tion— Mavourneen,  five,  Sean,  two,  and 
Christopher,  one. 
O'Hara,  Maureen 

Married  a  technical  adviser  in  the  May- 
flower Motion  Picture  Company  before 
she  sailed  for  America. 
O'Keefe,  Dennis 

His  ex-wife  is  Louise  Stanley. 
Oliver,  Edna  May 

Long-ago  union  with  D.  W.  Pratt  was  a 

mistake. 

Olivier,  Laurence 

They  say  his  marriage  to  actress  Jill 
Esmond  is  about  to  end. 
O'Sullivan,  Maureen 

Her  husband  is  screen  writer  John  W. 
Farrow.  Their  son  was  born  June  1, 1939. 


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MODERN  SCREEN 


Page,  Gale 

Secured  an  October  divorce  from  Fred- 
erick Tritschler  of  Chicago.  They  have 
one  son,  five. 
Parker,  Cecilia 

Married  Dick  Baldwin,  actor,  June  2, 
1938. 

Parker,  Jean 

It  was  love  at  first  sight  for  Jean  and 
newspaperman,   George   E.  MacDonald. 
They  were  wed  March  1,  1936.  Divorce 
suit  pending. 
Patrick,  Gail 

She's  Mrs.  Robert  Cobb,  wife  of  the 
Hollywood  restaurateur.  The  date:  De- 
cember 16,  1936. 
Payne,  John 

Was  introduced  to  Anne  Shirley  at  a 
cocktail  party,  proposed  within  a  week, 
and  married  her  one  month  later  on 
August  22,  1937.  His  gift  to  her  on  their 
second  anniversary  was  an  eighty-carat 
topaz. 

Pendleton,  Nat 

His  first  wife  died  when  their  daughter 
was  born.  His  second  marriage,  which 
lasted  seven  years,  was  recently  called  off. 
Pidgeon,  Walter 

Separated  from,  but  on  good  terms  with, 
Ruth  Walker,  whom  he  married  in  1931. 
Has  one  daughter  by  his  first  wife  who 
died  in  childbirth  in  1921. 
Pitts,  Zazu 

Had  a  child  by  her  first  husband,  Tom 
Gallery:  also  adopted  son  of  the  late 
Barbara  LaMarr.   Now  married  to  Ed- 
ward Woodall,  tennis  expert. 
Powell,  Dick 

Divorced  from  Mildred  Maund;  married 
to  Joan  Blondell. 
Powell,  William 

A   pre-Hollywood   marriage   to  Eileen 
Wilson  and  a  subsequent  divorce.  On 
June   26,   1931,   a   second  marriage — to 
Carole  Lombard  from  whom  he  was  di- 
vorced in  1933.  One  son,  William  D.,  by 
his  first  wife. 
Power,  Tyrone 
See  Annabella. 
Price,  Vincent 

His  wife  is  Edith  Barrett,  granddaughter 
of  the  famous  actor,  Laurence  Barrett. 
They  were  married  on  April  23,  1938. 
Prouty,  Jed 

Married   long   and  happily   to  Miriam 
Murray,  silent  screen  star. 
Quinn,  Anthony 

One  marriage,  to  Katherine  DeMille. 
Raft,  George 

His  frequently  predicted  divorce  from 
Grace  Mulrooney  and  marriage  to  Vir- 
ginia Peine,  former  Chicago  heiress,  still 
indefinite.  One  son,  married. 
Rainer,  Luise 

Her  turbulent  marriage  to  playwright 
Clifford  Odets  is  rtill  in  operation. 
Rains,  Claude 

Three  divorcrs — from    actress  Isabel 

Jeans,  Marie  Hemingway  and  Beatrice 

Thompson.   His  present  wife  is  Frances 

Propper  and  they  have  a  two-year-old 

daughter. 

Raymond,  Gene 

See  Jeanette  MacDonald. 

Randall,  Jack 

Began   annulment   proceedings  exactly 
three  months  after  his  marriage  to  Louise 
Stanley,  ex-wife  of  Dennis  O'Keefe. 
Rathbone,  Basil 

During  his  first  screen  engagement  met 
and  married  Ouida  Bergere,  celebrated 
scenarist  and  playwright.  An  earlier 
London  marriage  to  Ethel  Marian  For- 
man  ended  in  divorce.  His  baby  girl  was 
adopted.  One  son,  by  his  first  wife, 
Rodion,  23,  is  an  Oxford  graduate  and  a 
newlywed. 

(Continued  on  page  97) 


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During 


MODERN  SCREEN 


(Continued  from  page  49) 

SCREEN  NAME  REAL  NAME 

Barrymore,  Lionel      Lionel  Blythe 
Barthelmess,  Richard  Richard  Barthelmess 
Bartholomew,  Fred     Fred  Bartholomew 


Baxter,  Warner 
Beery,  Wallace 
Bellamy,  Ralph 
Benchley,  Robert 
Bennett,  Constance 
Bennett,  Joan 
Benny,  Jack 
Bergen,  Edgar 
Bergman,  Ingrid 
Blondell,  Joan 
Bogart,  Humphrey 
Boland,  Mary 
Boles,  John 
Bolger,  Ray 
Boyd,  William 
Boyer,  Charles 
Bradna,  Olympe 
Brent,  George 
Brice,  Fanny 
Brook,  Clive 
Brooks,  Phyllis 
Brown,  Joe  E. 
Brown,  John  Mack 
Brown,  Tom 
Bruce,  Virginia 
Bryan,  Jane 
Burke,  Billie 
Burnette,  Smiley 
Burns,  Bob 
Burns,  George 


Warner  Baxter 
Wallace  Beery 
Ralph  Bellamy 
Robert  Benchley 
Constance  Bennett 
Joan  Bennett 
Benny  Kubelsky 
Edgar  Berggren 
Ingrid  Bergman 
Rose  Blondell 
Humphrey  Bogart 
Mary  Boland 
John  Boles 
Raymond  Bolger 
William  Boyd 
Charles  Boyer 
Olympe  Bradna 
George  Nolan 
Fannie  Borach 
Clive  Brook 
Phyllis  Sciler 
Joseph  Evan  Brown 
John  Mack  Brown 
Thomas  Brown 
Virginia  Helen  Briggs 
Jane  O'Brien 
Ethelbert  Burke 
Lester  Burnette 
Robert  Burns 
Nathan  Birnbaum 


Butterworth,  Charles  Charles  Butterworth 


Byington,  Spring 
Byrd,  Ralph 
Cabot,  Bruce 
Cagney,  James 
Campbell,  Louise 
Cantor,  Eddie 
Carlson,  Richard 
Carradine,  John 
Carrillo,  Leo 
Carroll,  Madeleine 
Carver,  Lynne 
Chandler,  Chick 
Chaplin,  Charles 
Chester,  Hally 
Claire,  Ina 
Colbert,  Claudette 
Colman,  Ronald 
Connolly,  Walter 
Cooper,  Gary 
Cooper,  Jackie 
Crawford,  Joan 
Cromwell,  Richard 
Crosby,  Bing 
Cummings,  Robert 
Curtis,  Dick 
Dale,  Virginia  , 
Darnell,  Linda 
Darrieux,  Danielle 
Darro,  Frankie 
Davis,  Bette 
Day,  Laraine 
Dee,  Frances 
DeHavilland,  Olivia 
Del  Rio,  Dolores 
Devine,  Andy 
Dickson,  Gloria 

96 


Spring  Byington 
Ralph  Byrd 
Jacques  de  Bujac 
James  Cagney 
Louise  Weisbecker 
Isidore  Iskowitz 
Richard  Carlson 
Richmond  Carradine 
Leo  Carrillo 
Madeleine  Carroll 
Virginia  Sampson 
Fehmer  Chandler 
Charles  Chaplin 
Harold  Repatsky 
Ina  Claire  Fagan 
Lily  Chauchion 
Ronald  Colman 
Walter  Connolly 
Frank  J.  Cooper 
Jack  Cooper 
Lucille  LeSueur  Cassin 
Roy  Radabaugh 
Harry  Lillis  Crosby 
Charles  Cummings 
Richard  Dye 
Virginia  Paxton 
Monetta  Darnell 
Danielle  Darrieux 
Frank  Johnson 
Ruth  Elizabeth  Davis 
Loraine  Johnson 
Frances  Dee 
Olivia  DeHavilland 
Lolita  Dolores  Martinez 
Andrew  Devine 
Thais  Dickeson 


BIRTHPLACE 

Philadelphia,  Pa. 
New  York,  N.  Y. 
London,  England 
Columbus,  Ohio 
Kansas  City,  Mo. 
Chicago,  111. 
Worcester,  Mass. 
New  York,  N.  Y. 
Palisades,  N.  J. 
Chicago,  111. 
Chicago,  HI. 
Stockholm,  Sweden 
New  York,  N.  Y. 
New  York,  N.  Y. 
Detroit,  Mich. 
Greenville,  Texas 
Boston,  Mass. 
Cambridge,  Ohio 
Figeac,  France 
Paris,  France 
Dublin,  Ireland 
New  York,  N.  Y. 
London,  England 
Boise,  Idaho 
Holgate,  Ohio 
Dothan,  Alabama 
New  York,  N.  Y. 
Minneapolis,  Minn. 
Hollywood,  Calif. 
Washington,  D.  C. 
Summum,  111. 
Van  Buren,  Ark. 
New  York,  N.  Y. 
South  Bend,  Ind. 
Denver,  Colorado 
Dayton,  Ohio 
Carlsbad,  N.  M. 
New  York,  N.  Y. 
Chicago,  Ell. 
New  York,  N.  Y. 
Albert  Lee,  Minn. 
New  York,  N.  Y. 
Los  Angeles,  Calif. 
W.  Bromwich,  Eng. 
Lexington,  Ky. 
Kingston,  N.  Y. 
London,  England 
Brooklyn,  N.  Y. 
Washington,  D.  C. 
Paris,  France 
Richmond,  Surrey,  Eng 
Cincinnati,  Ohio 
Helena,  Mont. 
Los  Angeles,  Calif. 
San  Antonio,  Tex. 
Los  Angeles,  Calif. 
Tacoma,  Wash. 
Joplin,  Missouri 
Newport,  Ky. 
Charlotte,  N.  C. 
Dallas,  Texas 
Bordeaux,  France 
Chicago,  111. 
Lowell,  Mass. 
Roosevelt,  Utah 
Los  Angeles,  Calif. 
Tokyo,  Japan 
Durango,  Mexico 
Flagstaff,  Arizona 
Pocatello,  Idaho 


Dec. 
Jan. 
Oct. 
Jan. 


BIRTHDATE 

Apr.  28,  1878 
May  9,  1897 
Mar.  28,  1924 
Mar.  29,  1893 
Apr.  1,  1889 
June  17,  1905 
Sept.  15,  1889 
Oct.  22,  1905 
Feb.  27,  1910 
Feb.  14,  1895 
Feb.  16,  1903 
Aug.  22,  1917 
Aug.  30,  1909 
25,  1900 
28,  1880 
27,  1900 
10,  1903 
June  5,  1898 
Aug.  28,  1899 
Aug.  12,  1920 
Mar.  15,  1904 
Oct.  29,  1891 
June  1,  1891 
July  18,  1914 
July  28,  1892 
Sept.  1,  1904 
Jan.  6,  1913 
Sept.  29,  1910 
June  11,  1918 
Aug.  7,  1885 
Mar.  18,  1911 
Aug.  2,  1896 
Mar.  22,  1900 
July  26,  1899 
Oct.  17,  1892 
Apr.  22,  1909 
Apr.  20,  1904 
July  17,  1904 
May  30,  1915 
Jan.  31,  1893 
Apr.  29,  1912 
Feb.  5,  1906 
Aug.  6,  1899 
Feb.  26,  1908 
Sept.  13,  1909 
Jan.  18,  1905 
Apr.  16,  1889 
Mar.  6,  1921 
Oct.  15,  1892 
Sept.  13,  1905 
Feb.  9,  1891 
Apr.  8,  1888 
May  7,  1901 
Sept.  15,  1922 
Mar.  23,  1908 
Jan.  8,  1910 
May  2,  1904 
June  9,  1910 
May  11,  1902 
Nov.  8,  1921 
Oct.  16,  1923 
May  1,  1917 
Dec.  22,  1917 
Apr.  5,  1908 
Oct.  13,  1919 
Nov.  26,  1907 
July  1,  1916 
Aug.  3,  1905 
Oct.  7,  1905 
Aug.  13,  1917 


HEIGHT 

6'  0" 
5'  9" 
5'  6" 
5'  10% 
6'  1" 

6'  y2" 

5' 7" 
5'  4" 
5'  3" 
5'  9" 
5'  8" 
5' 6" 
5' 4" 
5'  11" 
5'  4" 
6'  1" 

5'  ioy2 

6'  0" 
5'  9" 
5'  3" 
6'  1" 
5' 7" 
5'  11" 
5'  6" 
5'  7V2" 
6'1" 

5'  ioy2 

5'  6" 
5'  3" 
5' 3" 
6'  0" 
6'  2" 
5' 9" 
5' 7" 
5'  3" 
6'1" 
6'iy2" 

5'  8y2- 

5'  4" 
5'  7" 
6'  0" 
6'  1" 
5'  10" 
5'  4" 
5'  6" 
5'  9" 
5'  6" 
5'  4" 
5'  6" 
5'  5" 
5'  11" 
5'  9" 
6'  2" 
5' 9" 
5'  4" 
5'  10" 
5'  9" 
6'1" 
6'  3" 
5'  3" 
5' 5" 
5'  5" 
5'  3" 
5'  3" 
5'  5" 
5' 3" 
5'  4" 
5'  31/2" 
6'  2" 
5' 4" 


WEIGHT  EYES 

155  Blue 

150  Brown 

115  Brown 

"  150  Brown 

189  Hazel 

189  Blue 
160  Brown 
110  Blue 
110  Blue 
150  Blue 
135  Blue 
120  Hazel 
120  Grey 
150  Brown 
125  Blue 
185  Blue 

'  135  Blue 

180  Blue 

150  Brown 
115  Brown 
170  Hazel 
135  Green 
149  Grey 
118  Brown 

149  Blue 
165  Brown 

'  162  Blue 

130  Blue 

113  Grey 

118  Blue 
225  Brown 
201  Blue 

151  Grey 
145  Blue 
120  Grey 
180  Brjown 
180  Grey 

150  Brown 
105  Hazel 
135  Brown 
170  Hazel 
150  Green 
178  Brown 
115  Blue 

119  Grey 
140  Green 
130  Brown 
128  Grey 

120  Hazel 
103  Brown 
158  Brown 

190  Brown 
175  Blue 
145  Hazel 
130  Blue 
148  Blue 
165  Blue 
178  Blue 
204  Blue 
110  Blue 
109  Brown 
118  Hazel 

114  Brown 
108  Blue 

112  Blue 
108  Blue 
107  Brown 

115  Black 
245  Blue 

113  Grey 


Brown 

Brown 

Brown 

Brown 

Blonde 

Blonde 

Brown 

Blonde 

Blonde 

Blonde 

Black 

Blonde 

Brown 

Brown 


Black 
Black 
Brown 
Brown 


HAIR  EDUCATION 

Grey     Private  Schools 
Brown  Trinity  College 
Brown  Private  Schools 
High  School 
Chase  School 
High  School 
Harvard  University 
Private  Schools 
Private  Schools 
Public  School 
Northwestern  Univ. 
Lyceum  for  Flickor 
Public  School 
Andover  Academy 
Sacred  Heart  Convent 
University  of  Texas 
High  School 
Blonde  High  School 
Brown  Sorbonne  Lyceum 
Private  Tutors 
University  of  Dublin 
Public  School 
Private  Schools 
Blonde  Private  Schools 
Brown  Public  School 
Black    University  of  Alabama 
Brown  Private  School 
Blonde  High  School 
Brown  High  School 
Red       Private  Schools 
Brown  High  School 
Brown  University  of  Arkansas 
Brown  Public  School 
Brown  Notre  Dame  University 
Blonde  High  School 
Black    High  School 

Univ.  of  New  Mexico 
Columbia  University 
Northwestern  Univ. 
Public  School 
Univ.  of  Minnesota 
Private  Schools 
Loyola  University 
Blonde  Birmingham  Univ. 
Auburn  Private  Schools 
Brown  Military  School 
Grey     Public  Schools 
Blonde  High  School 
Blonde  Holy  Cross  Academy 
Black    High  School 

Hadley  School 
University  of  Dublin 
Iowa  College 
Private  Tutors 
Private  Schools 
High  School 
Gonzaga  College 
Carnegie  Tech 
High  School 
Blonde  High  School 
Brown  High  School 
Brown  High  School 
Brown  Lawlor's  School 
Blonde  Cushing  Academy 
Brown  High  School 

University  of  Chicago 
Notre  Dame  Convent 
St.  Joseph's  Convent 
Arizona  State  College 
Blonde  High  School 
(Continued  on  page  98) 


Brown 

Red 

Brown 

Black 

Brown 

Black 

Black 


Brown 
Brown 
Brown 
Brown 
Brown 
Brown 
Brown 
Brown 
Brown 


Brown 
Brown 
Black 
Brown 


MODERN  SCREEN 


(Continued  from  page  95) 
Raye,  Martha  .  - 

On  May  30th,  1937,  eloped  with  Buddy 
Westmore  and  divorced  him  September 
28,  1938.   Ten  days  later  married  David 
Rose,  Hollywood  composer. 
Read,  Barbara 

Divorced  from  William  Paul,  artist. 
Rice,  Florence 

A  youthful  marriage  to  Sidney  Smith 
ended  abruptly.  Has  been  married  to 
actor,  Robert  Wilcox,  since  March,  1939. 

Ritz  Bros.  _  .. 

Jimmy,  husband  of  Ruth  Hilliard,  radio 
singer;  Al,  married  to  Annette  Nelson; 
Harry's  young  wife,  Charlotte  Green- 
field, died  of  pneumonia  last  October. 
Robinson,  Edward  G. 

Married  to  Gladys  Lloyd,  former  stage 
star,  and  has  adopted  her  daughter.  Their 
own  son,  Manny,  is  six. 
Robson,  May 

Was  made  a  widow  twice,  a  grandmother 
several  times. 
Rogers,  Ginger 

Was  married  at  sixteen  to  a  vaudeville 
actor  named  Jack  Culpepper.  She  di- 
vorced him  in  1931  and  married  Lew 
Ayres  on  November  14,  1934. 
Ross,  Shirley 

Has  been  married  to  radio  agent,  Ken 
Dolan,  since  September  18,  1938. 
Ruggles,  Charles 

Two  marriages;  two  divorces. 
Scott,  Randolph 

Separated  from  Mariana  DuPont  Somer- 
ville,  wealthy  divorcee. 
Schildkraut,  Joseph 

His  wife  is  Marie  McKay,  a  non-pro- 
fessional. 
Shearer,  Norma 

Widow  of  Irving  Thalberg.  Two  children, 

Irving,  Jr.,  nine,  and  Katharine,  four. 

Sheridan,  Ann 

See  Edward  Norris. 

Shirley,  Anne 

See  John  Payne. 

Sidney,  Sylvia 

Now  Mrs.  Luther  Adler;  formerly  Mrs. 
Bennett  Cerf.  Son  born  last  October. 
Singleton,  Penny 

On  November  22,  1939,  after  two  years 
of  marriage,  filed  suit  for  divorce  from 
dentist,  Lawrence  Scroggs  Singleton. 
Sothern,  Ann 

Band  leader  Roger  Pryor  is  Anns  hus- 
band. They  were  wed  in  1936  and  have 
a  twelve-year-old  adopted  son. 
Stanwyck,  Barbara 

Divorced  from  Frank  Fay  and  married 
to  Robert  Taylor.  Has  an  adopted  son, 
Dion,  seven. 
Starrett,  Charles 

Married  in  his  senior  year  at  Dartmouth 
to  Mary  McKinnon.  Has  nine-year-old 
twin  sons. 
Stone,  Lewis 

Lives  a  very  normal,  happy  life  with  his 
third  wife,  the  former  Hazel  Woof.  Two 
daughters  by  his  first  wife,  both  in  their 
twenties  and  married. 
Stuart,  Gloria 

Her  experimental  marriage  to  Gordon 
Newell  ended  in  divorce.  Married  writer 
Arthur  Sheekman  in  1934.  They  have  a 
three-year-old  daughter,  Sylvia. 
Sullavan,  Margaret 

The  wife  of  Leland  Hayward,  actors' 
agent,  and  ex-wife  of  Henry  Fonda  and 
director  William  Wyler.  Two  daughters. 
Talbot,  Lyle 

Has  been  married  to  Marguerite  Cramer 
for  a  great  many  years. 
Tamiroff,  Akim 

One  marriage,  to  Tamara  Shayne. 

Taylor,  Robert 

See  Barbara  Stanwyck. 


Tone,  Franchot 

See  Joan  Crawford. 
Toomey,  Regis 

His  wife  is  actress,  J.  Katheryn  Scott. 
Tracy,  Lee 

Eloped  with  Helen  Thomas  on  July  21, 
1938. 

Tracy,  Spencer 

His  marriage  to  Louise  Treadwell  dates 
back  to  July  28,  1923.  Two  children, 
Johnny,  thirteen,  and  Susy,  five. 
Trevor,  Claire 

Became   the    wife    of   radio  producer, 
Clark  Andrews,  in  July,  1938. 
Twelvetrees,  Helen 

Married  and  divorced  twice.  Has  a  six- 
year -old  son  by  her  second  marriage. 
Wayne,  John 

Lives  in  a  Hollywood  apartment  with 
his  Venezuelan  wife,  two  sons  and  a 
daughter. 

Weissmuller,  Johnny 

Divorced  from  Bobbe  Arnst  in  1931  and 
from  Lupe  Velez  in  1939.   Married  Beryl 
Scott,    San   Francisco   society   girl,  on 
August  20,  1939. 
West,  Mae 

Was  reportedly  married  to  Frank  Wallace, 
vaudeville  entertainer. 
Wheeler,  Bert 

Three  marriages,  two  divorces.  Present 
wife,  Sally  Haines. 
William,  Warren 

Following  a  five-year  engagement,  he 
married   Helen   Nelson   in   1923.  She's 
still  his  one  and  only. 
Winninger,  Charles 

Separated  but  not  divorced  from  Blanche 

Ring. 

Wray,  Fay 

Her   marriage   of   ten   years,   to  John 
Monk   Saunders,   ended   in   divorce  in 
1938.    One  daughter,  three. 
Wyman,  Jane 

Married  and  divorced  from  a  millionaire 
named  Myron  Futterman. 
Young,  Loretta 

At  seventeen,  eloped  with  Grant  Withers; 
at    eighteen,    divorced.    One  adopted 
daughter. 
Young,  Robert 

Married  to  Elizabeth  Henderson.  They 
have  two  daughters. 
Young,  Roland 

Seeking  divorce  from  Marjorie  Kummer. 
They  were  married  for  eighteen  years. 
Zorina,  Vera 

Her  husband  is  George  Balanchine,  head 
of  the  American  Ballet. 


The  truth  about 

CORNS. 

gi j£"wHAT  CAUSES  THE/vP) 
W\HOW  TO  GET  RID  OF  THEM) 


CORNS  are  caused  by  pressure  and  friction — 
often  become  large  and  painful.  Home  paring 
only  gives  temporary  relief — means  risk  of  infec- 
tion. 

Now  you  can  remove  corns  easily,  scientifically. 
Just  put  a  Blue-Jay  plaster  over  the  corn.  Felt  pad  (C) 
relieves  pain  quickly  by  removing  pressure.  Special 
medicated  formula  (D)  acts  on  the  corn,  gently 
loosens  it  so  it  can  be  lifted  right  out.  You  have 
wonderful  relief!  Then,  simply  by  avoiding  pres- 
sure and  friction  which  caused  your  corns  you  can 
prevent  their  coming  back.  Follow  the  example  of 
millions  who  have  gotten  rid  of  corns  ^ttbs- 
this  easy  way.  Get  Blue-Jay  Corn  Plas-  f^gwjjj 
ters  today — only  2  5c  for  6.  Same  price 
in  Canada. 


BA(J£R6 
BLACK 


BLUE-JAY 


CORN 
PLASTERS 


WAKE  UP  YOUR 
LIVER  BILE- 

Without  Calomel — And  You'll  Jump  Out 
of  Bed  in  the  Morning  Rarin'  to  Go 

The  liver  should  pour  out  two  pounds  of  liquid 
bile  into  your  bowels  daily.  If  this  bile  is  not  flow- 
ing freely,  your  food  doesn't  digest.  It  just  decays 
in  the  bowels.  Gas  bloats  up  your  stomach.  You 
get  constipated.  You  feel  sour,  sunk  and  the  world 
looks  punk. 

It  takes  those  good,  old  Carter's  Little  Liver  Pills 
to  get  these  two  pounds  of  bile  flowing  freely  and 
make  you  feel  "up  and  up."  Gentle,  yet  amazing  in 
making  bile  flow  freely.  Ask  for  Carter's  Little 
Liver  Pills  by  name.  10<J  and  25(J  at  all  drug  stores. 
Stubbornly  refuse  anything  else. 


FASTER  than  Quinine 

To  relieve  distress  of  COLDS 

PROMPTLY  and  effectively,  take 


Salicoit 


25c 


NO  Aeetanilid,  NO  Acetphenetidin, 
NO  Quinine,   NO  Habit  Forming  Drugs 


STOP  CHAPPING 


with  regular  use  of .  •  • 
ITALIAN  BALM 


1.  Safeguards  skin  beauty  against  chapping,  dry- 
ness from  in-door  heat,  hard  water,  housework. 

2.  Contains  costliest  ingredients  used  in  any  of 
the  most  popular  advertised  brands  of  lotion. 

3.  Less  than  5%  alcohol.  Cannot  dry  the  skin. 
Leaves  no  stickiness. 

4.  Accepted  for  advertising  in  the  Journal  of  the 
American  Medical  Association.  Priced —  10c,  20c, 
35c,  60c,  $1.00  a  bottle. 


OVER   90  MILLION  BOTTLES 


SOLD 

97 


MODERN  SCREEN 


(Continued  from  page  96) 

SCREENNAME  REAL  NAME 


Dietrich,  Marlene 
Dix,  Richard 
Donat,  Robert 
Donlevy,  Brian 
Douglas,  Melvyn 
Draper,  Paul 
Drew,  Ellen 
Duncan,  Charles 
Dunne,  Irene 
Durbin,  Deanna 
Ebsen,  Buddy- 
Eddy,  Nelson 
Eilers,  Sally 
Ellison,  James 
Erikson,  Leif 
Ernest,  George 
Erwin,  Stuart 


Maria  Van  Losch 
Ernest  Brimmer 
Robert  Donat 
Brian  Waldo  Donlevy 
Melvyn  E.  Hesselberg 
Paul  Draper 
Terry  Ray 
Charles  Duncan 
Irene  Dunne 
Edna  Mae  Durbin 
Christian  R.  Ebsen 
Nelson  Eddy 
Sally  Eilers 
James  Ellison  Smith 
William  Anderson 
George  Ruud  Hjorth 
Stuart  Erwin 


Fairbanks,  Douglas  Jr.  Douglas  Fairbanks 


Farmer,  Frances 
Faye,  Alice 
Fazenda,  Louise 
Fellows,  Edith 
Field,  Betty 
Field,  Virginia 
Fields,  W.  C. 


Frances  Farmer 
Alice  Leppert 
Louise  Fazenda 
Edith  Fellows 
Elizabeth  Field 
Margaret  Field 
Claude  W.  Dunkenfield 


Fitzgerald,  Geraldine  Geraldine  Fitzgerald 


Flynn,  Errol 
Fonda,  Henry 
Fontaine,  Joan 
Foran,  Dick 
Foster,  Preston 
Francis,  Kay 
Gaal,  Franciska 
Gable,  Clark 
Garbo,  Greta 
Garfield,  John 
Gargan,  William 
Garland,  Judy 
Garson,  Greer 
Gaynor,  Janet 
George,  Gladys 
Gleason,  James 
Gleason,  Russell 
Goddard,  Paulette 
Gorcey,  David 
Grable,  Betty 
Grant,  Cary 
Granville,  Bonita 
Gravet,  Fernand 
Greene,  Richard 
Grey,  Nan 
Grey,  Virginia 
Gurie,  Sigrid 
Gwynne,  Anne 
Hale,  Alan 
Hall,  Jon 


Errol  Flynn 
Henry  Fonda 
Joan  DeHavilland 
John  Nicholas  Foran 
Preston  Foster 
Katherine  Gibbs 
Fanny  Zilverstitch 
William  Clark  Gable 
Margaret  Gustafson 
Jules  Garfinkle 
William  Gargan 
Judy  Gumm 
Greer  Garson 
Laura  Gainor 
Gladys  Claire 
James  Gleason 
Russell  Gleason 
Pauline  Levy 
David  Gorcey 
Betty  Grable 
Archibald  A.  Leach 
Bonita  Granville 
Fernand  Martens 
Richard  Greene 
Eschol  Miller 
Virginia  Grey 
Sigrid  Gurie  Haukelid 
Marguerite  G.  Trice 
Alan  McKahn 
Charles  Hall  Locker 


Hardwicke,  Sir  Cedric  Sir  Cedric  Hardwicke 


Hardy,  Oliver 
Hayward,  Louis 
Hayward,  Susan 
Hayworth,  Rita 
Heifetz,  Jascha 
Henie,  Sonja 
Henry,  William 
Herbert,  Hugh 
Hersholt,  Jean 
Hervey,  Irene 
Hiller,  Wendy 
Hinds,  Samuel  S. 


Oliver  Hardy 
Charles  Louis  Hayward 
Edythe  Marrener 
Margarita  Cansino 
Jascha  Heifetz 
Sonja  Henie 
William  Henry 
Hugh  Herbert 
Jean  Hersholt 
Irene  Herwick 
Wendy  Hiller 
Samuel  S.  Hinds 


BIRTHPLACE 

Berlin,  Germany 
St.  Paul,  Minn. 
Manchester,  England 
Portadown,  Ireland 
Macon,  Georgia 
Florence,  Italy 
Kansas  City,  Mo. 
Louisville,  Ky. 
Louisville,  Ky. 
Winnipeg,  Canada 
Orlando,  Florida 
Providence,  R.  I. 
New  York,  N.  Y. 
Guthrie  Center,  Iowa 
Alameda,  Calif. 
Pittsfield,  Mass. 
Squaw  Valley,  Calif. 
New  York,  N.  Y. 
Seattle,  Wash. 
New  York,  N.  Y. 
Lafayette,  Ind. 
Boston,  Mass. 
Boston,  Mass. 
London,  England 
Philadelphia,  Pa. 
Dublin,  Ireland 
Antrim,  Ireland 
Grand  Island,  Neb. 
Tokio,  Japan 
Flemington,  N.  J. 
Ocean  City,  N.  J. 
Oklahoma  City,  Okla. 
Budapest,  Hungary 
Cadiz,  Ohio 
Stockholm,  Sweden 
New  York,  N.  Y. 
Brooklyn,  N.  Y. 
Murfreesboro,  Tenn. 
County  Down,  Ireland 
Philadelphia,  Pa. 
Hatton,  Maine 
New  York,  N.  Y. 
Portland,  Oregon 
Great  Neck,  N.  Y. 
New  York,  N.  Y. 
St.  Louis,  Mo. 
Bristol,  England 
New  York,  N.  Y. 
Brussels,  Belgium 
Plymouth,  England 
Houston,  Texas 
Hollywood,  Calif. 
Brooklyn,  N.  Y. 
Waco,  Texas 
Washington,  D.  C. 
Fresno,  Calif. 
Stowbridge,  England 
Atlanta,  Ga. 
Johannesburg,  So.  Afr. 
Brooklyn,  N.  Y. 
New  York,  N.  Y. 
Vilna,  Poland 
Oslo,  Norway 
Los  Angeles,  Calif. 
Binghamton,  N.  Y. 
Copenhagen,  Den. 
Los  Angeles,  Calif. 
Stockport,  Eng. 
Brooklyn,  N.  Y. 


BIRTHDATE   HEIGHT  WEIGHT  EYES  HAIR 

Dec.  27,  1904  5'  5"  120  Blue  Gold 

July  18,  1895  6' 0"  180  Brown  Brown 

Mar.  18,  1905  6'  0"  165  Brown  Auburn 

Feb.    9,  1905  6'0"  190  Blue  Brown 

Apr.    5,  1901  6'  iy2"  180  Brown  Blonde 

Oct.  25,  1909  5'  11"  190  Blue  Red 

Nov.  23,  1915  5'3V2"  110  Grey  Brown 

Mar.  12,  1920  5' 6"  128  Blue  Blonde 

July  14,  1904  5'  4"  115  Grey  Brown 

Dec.    4,  1922  5'  3y2"  112  Blue  Brown 

Apr.    2,  1904  6' 2"  174  Brown  Brown 

June  29,  1901  6'  0"  173  Blue  Blonde 

Dec.  11,  1908  5' 3"  110  Brown  Auburn 

May    4,  1910  6' 3"  170  Blue  Brown 

Oct.  27,  1914  6'  3y2"  195  Blue  Brown 

Nov.  20,  1921  4'  8"  86  Blue  Blonde 

Feb.  14,  1902  5' 9"  165  Grey  Brown 

Dec.    9,  1907  6'  1"  170  Blue  Brown 

Sept.  19,  1914  5'  6"  124  Hazel  Blonde 

May    5,  1915  5'  5"  112  Blue  Blonde 

June  17,  1895  5'  9"  125  Blue  Blonde 

May  20,  1926  4' 10"  80  Blue  Brown 

Feb.    8,  1918  5' 5"  110  Grey  Brown 

Nov.    4,  1917  5' 5"  109  Blue  Blonde 

Feb.  10,  1879  5'  8"  180  Blue  Blonde 

Sept.  18,  1914  5'  3V2"  112  Green  Auburn 

June  20,  1909  6'  2"  180  Brown  Brown 

May  16,  1908  6'1"  170  Blue  Black 

Oct.  22,  1917  5'  33/4"  110  Hazel  Blonde 

June  8,  1910  6'  2V2"  205  Blue  Red 

Oct.   24,  1902  6' 2"  200  Blue  Brown 

Jan.  13,  1905  5' 5"  112  Brown  Brown 

Feb.    1,  1904  5'  3"  115  Brown  Auburn 

Feb.    1,  1901  6'1"  190  Grey  Brown 

Sept.  18,  1906  5'  6"  125  Blue  Brown 

Mar.   4,  1913  5' 9"  193  Brown  Brown 

July  17,  1905  6'  0"  170  Blue  Brown 

Jan.  10,  1923  5' 3"  110  Brown  Brown 

Sept.  20,  1914  5'  5"  112  Green  Red 

Oct.    6,  1906  5'0"  100  Brown  Red 

Sept.  13,  1903  5'  3"  115  Hazel  Blonde 

May  23,  1886  5'  10"  140  Blue  Brown 

Feb.    6,  1908  6' 0"  155  Blue  Brown 

June  3,  1911  5' 4"  110  Blue  Brown 

Feb.    6,  1921  5' 5"  130  Hazel  Brown 

Dec.  18,  1916  5' 3"  106  Blue  Blonde 

Jan.  18,  1909  6'  1"  172  Brown  Black 

Feb.    2,  1923  5'  0"  102  Blue  Blonde 

Dec.  25,  1908  5'  11"  145  Brown  Brown 

Aug.  24,  1914  6'0"  170  Grey  Brown 

July  25,  1918  5' 5"  115  Blue  Blonde 

Mar.  22,  1916  5'  5"  117  Blue  Blonde 

May  18,  1915  5' 5"  110  Blue  Brown 

Dec.  10,  1918  5'  5"  117  Hazel  Red 

Feb.  10,  1892  6' 2"  210  Blue  Blonde 

Feb.  26,  1913  6'  2"  195  Blue  Brown 

Feb.  19,  1893  5' 11"  199  Grey  Brown 

Jan.  18,  1892  6'  1"  284  Brown  Black 

Mar.  19,  1909  5'  11"  154  Blue  Brown 

July  16,  1919  5'  3"  108  Hazel  Red 

Oct.  17,  1918  5' 6"  120  Brown  Brown 

Feb.    2,  1901  5'  10"  158  Brown  Brown 

Apr.    8,  1913  5' 2"  110  Brown  Blonde 

Nov.  19,  1906  5' 11"  155  Blue  Brown 

Aug.  10,  1887  5'8y2"  170  Blue  Brown 

July  12,  1886  5'  11"  185  Brown  Brown 

July  11,  1910  5' 4"  110  Hazel  Brown 

Aug.  15,  1912  5'  7"  112  Grey  Brown 

Apr.    4.  1875  5' 11"  150  Grey  Grey 


EDUCATION 

Private  Schools 
Northwestern  Univ. 
Private  Schools 
St.  John's  Academy 
High  School 
Brooklyn  Institute 
High  School 
High  School 
Private  Schools 
Studio  School 
University  of  Florida 
Normal  School 
High  School 
High  School 
Univ.  of  California 
High  School 
Univ.  of  California 
Private  Schools 
Univ.  of  Washington 
High  School 
High  School 
Private  Schools 
High  School 
Private  Schools 
Public  School 
Convent 
St.  Paul's  School 
Univ.  of  Minnesota 
Private  Schools 
Princeton  University 
High  School 
Private  Schools 
High  School 
University  of  Akron 
Private  Schools 
High  School 
High  School 
High  School 
London  University 
High  School 
Private  School 
Public  School 
Berkeley  College 
High  School 
Private  Schools 
High  School 
Fairfield  Academy 
High  School 
St.  Paul's  School 
Card.  Vaughn  School 
High  School 
High  School 
Private  Schools 
Stephens  College 
High  School 
Private  Schools 
Private  Schools 
University  of  Georgia 
St.  Sauver  College 
High  School 
Private  Schools 
Private  Tutors 
Private  Schools 
High  School 
Cornell  University 
College  of  Copenhagen 
High  School 
Winceley  House  School 
Harvard  University 


BIOGRAPHICAL  DATA  ON  THE  REMAINING   PERSONALITIES  WILL  APPEAR   IN   THE   MARCH  ISSUE 

98  .  Printed  in  the  U.  S.  A.  by  the  Art  Color  Printing  Company,  Dunellen,  N.  J. 


"IT  WAS  HARRY'S  SISTER  — (SHE  HAS  THE  MOST  GORGEOUS  BLONDE 
HAIR)-WHO  TIPPED  ME  OFF  TO  WHAT  WAS  WRONG  .  .  .  WITH  ME  !" 


SYLVIA,  YOUR  HA  IP  IS  AWFULLY 
DRAB  AND  LUSTRELESS-IT'S  MOUSEY/ 
AND  HARRY  JUST  LOVES  BEAUTIFUL  HAIR. 
WHY  DON'T  YOU  USE  MARCHAND'S  TOO  % 


'  BUT  I  THOUGHT  |4)  ~  jit 
 -  """  ~"ILP  / /  Vv 


NONSENSE/ MAROHAND'S IS  SIMPLY  WONDERFUL 
FOR  DARKENING  BLONDES, BROWNETTES  AND 
BRUNETTES  TOO  I  THE  RESULTS  DEPEND  ON  THE 
AMOUNT  YOU  USE.  BY  USING  A  UTTLE  MARCHAND'S 
YOU  CAN  RINSE  GLORIOUS  HIGHLIGHTS  INTO  BROWN 
HAIR.  OR,  BY  USING  MORE  YOU  CAN  LIGHTEN 
DARKENING  BLONDE  HAIR,  JUST  A  SHADE  KTA  TIME. 

 /^C~ 


i'll  get 
marchand's  l" 

R/GHT  NOW! 


"THAT  NIGHT  I  really  won  Harry!" 


"NEXT  WEEK,  at  the  club  tlance,  Harry  danced  all  evening  with  me" 


MAROHAND'S  IS  JUST  GRAND.1 
THE  DIRECTIONS  ARE  SIMPLE 
AS  ABC.  AND  MY  HAIR  LOOKS 
SO  MUCH  NICER  ALREADY! 


MEN  LOVE 
GLAMOROUS 
HAIR,  DEAR 


*  1  >  Xa 


SYLVIA,  YOU  RE 
BEAUTIFUL  TONIGHT! 
FROM  NOW  ON  I  WANT 
EVERY  DATE  WITH  YOU 


mm 


mportant 

...IS  YOUR  BLONDE 
HAIR  TURNING  DARK? 

C*TAY  blonde  and  stay 
<3  attractive  with 
Marchand's.  Thousands 
of  beautiful  women  — 
Hj    many  of  your  friends  — 

III  have  found  this  the  ideal 

III 

|jj  method  of  offsetting  the 

|jj  darkening  of  blonde  hair. 


Marchands 

TO :  The  Charles  Marchand  Co. 
745  Fifth  Avenue.  New  York,  N.  Y. 

Please  send,  postage  prepaid,  regular  4  fl.  oz. 
bottle  of  Marchand's  Golden  Hair  Wash.  I  en- 
close 50>  (stamps  or  money  order). 

Name—  _ 

Street  

City—  State.  _ 

(PLEASE  PRINT)  MM-240 


......  .     1  ■ 


GOLDEN  HAIR  WASH 

|  Used  by  America's  Smartest  Women 

GET  MARCHAND'S  TODAY. . . 
HAVE  LOVELY  HAIR  TOMORROW 

(At  all  drug  or  department  stores, 
or,  if  unobtainable,  mail  coupon) 


At  left — ACTUAL  COLOR  PHOTO- 
GRAPH. James  Callis,  North 
Carolina  farmer,  shows  Miss 
Agnes  Williams — from 
near-by  farm  —  a  tobacc 
plant  in  flower,  from  the  fin 
crop  he  has  raised  by  U.  $ 
Government  methods. 


UNCLE  SAM  S 

new  ideas  helped  make 
tobacco  better  than  ever 

..and  Luckies  bought  the  top-notch  grades!" 
says  Luther  Herring,  12  years  a  buyer! 

Q.  "You  say  Uncle  Sam  helped  tobacco  farmers?" 

MR.  HERRING:  "Yes.  Even  though  crops  vary  with 
weather,  U.  S.  Government  methods  have  made 
tobacco  better  than  ever  during  the  past  few  years." 

Q.  "And  Luckies  get  this  better  tobacco?" 

MR.  H:  "Luckies  buy  the  finer  grades,  and  always  did." 

Q.  "That's  a  strong  statement." 

MR.  H:  "Well,  I  see  first  hand  that  they  buy  the 
prettier  lots  of  tobacco  on  the  warehouse  floor.  In 
fact,  that's  why  Luckies  are  the  2-to-l  favorite  with 
independent  tobacco  men.  And  that's  why  I've  smoked 
them  myself  for  21  years." 

Try  Luckies  for  a  week.  You'll  find  they're 
easy  on  your  throat — because  the  "Toasting" 
process  takes  out  certain  harsh  irritants 
found  inall  tobacco.  You'll  also  find  out  why- 

WITH  MEN  WHO  KNOW  TOBACCO  BEST- 
IT'S  LUCKIES  2  TO  1 


0g0 


More  pleasure,  more  smoking ...  all  in 
one  grand,  mild  cigarette. .. Camel!" 


n  recent  laboratory  tests,  Camels 
burned  25%  slower  than  the  average 
of  the  15  other  of  the  largest-selling 
brands  tested  —  slower  than  any  of 
them.  That  means,  on  the  average, 
a  smoking  plus  equal  to 


EXTRA  SMOKES 
PER  PACK! 


Above,  Mrs.  Malcolm  E.  McAlpin 
wearing  the  colorful  braided  wool 
jacket.  A  great  lover  of  winter 
sports— and  distinctly  an  expert- 
Mrs.  McAlpin  is  a  familiar  figure 
in  Sun  Valley.  And  in  her  own  New 
Jersey  country  home,  "Benalpin," 
she  leads  an  active  life  year'round. 
Ice-skating,  bob -sledding,  swim- 
ming—she enjoys  them  all. 


"'After  hours  of  fun  outdoors," 
she  says,  "I  love  to  sit  back  com- 
fortably—smoking Camels.  I  get 
more  pleasure  out  of  Camel  s  cool, 
delicate  taste.  And  with  Camels,  I 
never  tire  of  smoking.  They're 
slower -burning,  you  know  —  so 
much  milder.  As  for  any  effect 
upon  my  throat,  there  simply  isn't 
any — with  Camels!  " 


A  few  of  the  many  distinguished  women  who  prefer  the 
cigarette  of  slow-burning  costlier  tobaccos  —  Camel 

MRS'.  NICHOLAS  BIDDLE,  Philadelphia  .  MRS.  ALEXANDER  BLACK,  Los  Angeles 
MRS.  GAIL  BORDEN,  Chicago  .  MRS.  POWELL  CABOT,  Boston 
MRS.  THOMAS  M.  CARNEGIE,  Jr.,  Philadelphia 
RS.  J.  GARDNER  C00UDGE2nd,  Boston  .  MRS.  ANTHONY  J.  DREXEL3rd,  Philadelphia 
MRS.  CURTENIUS  GILLETTE,  Jr.,  NewYork 
MRS.  CHISWELL  DABNEY  LANGHORNE,  Virginia 
MRS.  NICHOLAS  GRIFFITH  PENNIMAN  III,  Baltimore  ,  MRS.  LOUIS  SWIFT.Jr.,  Chicago 
MRS.  KII.IAFN  M.  VAN  RENSSELAER,  Mew  York 


MORE 

MILDNESS,  COOLNESS,  AND 

FLAVOR  WITH 
SLOWER -BURNING  CAMELS 

Oopyritrht,   1940.  R.  J.  Reynolds  Tobucco  Co..  Winstun-Sak'm.  N.  C. 


MODERN  SCREEN 


Her  Pinafore  Frock  said  "Linger" 
but  her  Lovely  Smile  added  "For  Keeps"! 


•  Very  young  and  very 
feminine— a  crisp  navy 
taffeta  pinafore  frock  with 
white  organdy  guimpe. 


Your  smile  is  your  own  priceless  "exclusive" — 
Help  guard  it  with  Ipana  and  Massage! 


A DRESS  straight  out  of  Vogue  or  a  hat 
.  from  Harper's  glamorous  pages  can 
give  a  girl  the  proper  start.  But  there's  noth- 
ing like  a  lovely  smile  to  complete  the  jour- 
ney—straight into  a  man's  heart. 

For  not  even  a  "sixth  sense"  in  style  can 
win  for  the  girl  who  lets  her  smile  become 
dull  and  lifeless . .  .who  doesn't  take  proper 
care  of  her  teeth  and  gums . . .  who  ignores 
the  warning  of  "pink  tooth  brush." 

Take  a  leaf  out  of  her  book— and  profit 
from  it!  For  your  smile  is  you— lose  it  and 
you  lose  one  of  your  most  appealing  charms! 

Never  Ignore  "Pink  Tooth  Brush" 

If  your  tooth  brush  shows  a  tinge  of  "pink" 
— see  your  dentist!  It  may  mean  nothing  seri- 


ous—but find  out.  Very  likely,  his  verdict 
will  be  that  your  gums  need  exercise— need 
the  chewing  that  soft  foods  deny  them.  Like 
many  dentists,  he  may  advise  "the  healthful 
stimulation  of  Ipana  and  massage." 

For  Ipana  is  designed  not  only  to  clean 
the  teeth  but,  with  massage,  to  help  the 
gums.  Every  time  you  brush  your  teeth,  mas- 
sage a  little  extra  Ipana  onto  your  gums. 
Feel  that  wonderful  tang,  exclusive  with 
Ipana  and  massage.  It  is  pleasant  proof  of 
circulation  awakening  in  the  gum  tissues- 
stimulating  gums  — helping  to  make  them 
firmer,  healthier. 

Get  a  tube  of  economical  Ipana  today. 
See  what  Ipana  and  massage  can  do  to  add 
more  lustre,  more  charm  to  your  smile! 


IPANA  TOOTH  PASTE 


FEB  -2  I9M)     ©C1B   443329         MODERN  SCREEN 


mooERn 

Copyright,  1940,  by  the 

NOW  SHOWING 

A  BERNHARDT  IN  PIGTAILS 

— Dick  Pine    6 

IT'S  NO  FUN  KISSING 

— George  Benjamin    26 

DIETRICH  LURE 

— Irving  Wallace   28 

TWO  WEEKS— WITH  PAY 

— Ida  Zeitlin   30 

HIGH  SCHOOL  SIREN 

—Betty  Colfax    34 

WHY  CARY  GRANT  IS  HARD  TO  GET 

— James  Reid    36 

MASSEY  TAKES  MANHATTAN 

— Robert  Eichberg    38 

HAIRWAYS  TO  BEAUTY 

— Carol  Carter    44 

THE  PERVERSE  MR.  FLYNN! 

— Kay  Proctor    46 

HOLLYWOOD'S     DARING  EXPERI- 
MENT! 

— Richard  Chace   48 

A  FIELD  WHO  CONQUERED 

— Julia  Shawell    50 

WOEFUL  AND  WACKY 

— John  Franchey      60 

Cover  Vclent:n  =  ,  Courtesy 


SCREEN 

Dell  Publishing  Co.,  Inc. 

FEATURES 

MOVIE  REVIEWS 

Our  Ratings    8 

CHARTING  THE  STARS 

More  Biographical  Data   12 

BETTE'S  NEW  ENGLAND  FAVORITES 

Sunday  Night  Treats   14 

PORTRAIT  GALLERY 

For  Your  Album   19 

ON  LOCATION 

With  "Virginia  City"    32 

A  NIGHT  AT  ST.  MORITZ 

Hollywood's  Biggest  Party   40 

GOOD  NEWS 

Movie  Chatter    54 

CUPID  STRIKES 

Deanna  Durbin  and  Vaughn  Paul   58 

CROCHETED  CHIC 

Make  Your  Own   66 

MOVIE  SCOREBOARD 

General  Ratings    78 

A  DOLLAR  FOR  YOUR  THOUGHTS 

Prize   Letters    82 

OUR  PUZZLE  PAGE 

Movie  X-Word    88 

INFORMATION  DESK 

Ouestions  Answered   90 

ALL  JOKING  ASIDE 

Movie  Oddities    I06 

of  Norcross,  New  York  City. 


Vol.  20,  No.  4,  March,  1940.  Copyright,  1940,  by  the  Dell  Publishing  Co.,  Inc.,  149  Madison  Ave.,  New  York.  Published  monthly.  Office  of  publication  at  Washington  and 
South  Aves.,  Dunellen,  N.  J.  Single  copy  price  10c  in  U.  S.  and  Canada,-  subscription  price  $1.20  a  year,  foreign  subscription  $2.20  a  year.  Entered  as  second-class  matter, 
Sept.  18,  1930,  at  the  Postoffice,  Dunellen,  N.  J.,  under  Act  of  March  3,  1879.  Additional  second  class  entries  at  Seattle,  Wash.,-  San  Francisco,  Calif.;  Houston,  Texas;  Savannah, 
Ga.  and  New  Orleans,  La.    The  publishers  accept  no  responsibility  for  the  return  of  unsolicited  material.    Names  of  characters  used  in  stories  and  semi-fictional  matter  are 

fictitious.    If  the  name  of  any  living  person  is  used  it  is  purely  coincidence.    Trademark  No.  301773. 


WANT  THRILL-SOFT  HANDS? 

NO  matter  how  tough  the  weather  or  how  hard  you  work, 
you  can  have  the  soft  hands  that  thrill  a  man.  Use  Hinds 
Honey  and  Almond  Cream  to  ease  away  chapping— help  tone 
down  redness.  It's  extra-creamy,  extra-softening.  Coaxes  back 
the  softness  that  cold  weather  and  indoor  heat  take  away! 
A  grand  powder  base,  too— not  sticky.  Contains  Vitamins  A 
and  D.  $1,  504,  25<*,  and  10(*. . .  TRY  Hinds  Hand  Cream.  NEW! 
Quick-softening,  fragrant,  not  sticky.  In  jars,  lot  and  39*. 


Wednesday  Night's  Fun  Night  with 

BURNS  AND  ALLEN 

GRACIE  SAYS:  "I  USE  HINDS,  TOO!" 

Columbia  Network— Coast  to  Coast 
7:30-8:00  E.  S.T.  See  newspaper  radio  col- 
umns for  exact  time  on  your  local  station  i 


Chapping  •  Dryness 
Rough  skin,  elbows,  arms 

Weathered  skin 
Hangnails  •  Calloused  heels 
Powder  base  •  Body-rub 
After-shaving  lotion 

Copyright,  1940 
by  Lehn  &  Fink  Products 
Corp.,  Bloomfield,  N.  J. 


MODERN  SCREEN 


FRED  ASTAIRE 
ELEANOR  POWELL 


6* 


F 


9* 


There's  no  danger  of  little 


Miss  Weidler's  dramatic 


success  going  to  her  head— 


at  least  not  at  home 


When  Virginia  dawdles 
over  drying  the  dishes, 
her  brothers  soon  snap 
her  to.  "Cut  out  that 
movie  stuff!  Come  out 
from  behing  those  eye- 
lashes. We  know  you!" 
they  scoff. 


Always  conscious  of 
her  duty  as  an  actress, 
Virginia's  never  satis- 
fied with  herself.  Be- 
low, a  scene  from 
"Young  Tom  Edison"  in 
which  she  plays  Mickey 
Rooney's  sister. 


fl  BERnHARDT 
IH  PIGTAILS 


BY  DICK  PINE 


MRS.  WEIDLER  has  taken  charge  of  her 
youngest  daughter's  interviews  ever 
since  a  certain  interviewer  asked  Vir- 
ginia what  she  wanted  most  to  do,  and 
Virginia  answered,  "I  want  to  finish  this 
mystery  story,"  pointing  to  the  book  at 
her  side.  And  so  I  was  grateful  for  the 
presence  of  the  gracious,  cultivated  wo- 
man who  helped  me  through  my  ordeal, 
and  steered  me  away  from  equally  bro- 
midic  questions. 

Oh,  yes,  it  was  an  ordeal.  I  regarded 
the  little  moppet  with  apprehension,  not 
knowing  whether  to  pat  her  on  the  head, 
or  offer  her  a  lollipop.  I  don't  know 
about  children.  Virginia  is  about  four 
feet  four  inches  tall,  looks  about  eight 
or  nine,  and  weighs  sixty  pounds.  She 

6 


was  wearing  a  print  dress  with  panta- 
lettes (she  said  those  things  were  panta- 
lettes) and  she  had  solemn  eyes  and 
looped  up  pigtails.  She  had  just  come 
from  a  scene  with  Mickey  Rooney  in 
"Young  Tom  Edison,"  in  which  she  por- 
trays Edison's  little  sister,  Tannie.  She 
shook  hands,  dutifully,  and  said  politely 
that  she  was  glad  to  see  me.  And  I  was 
glad  I  hadn't  patted  her,  or  produced  a 
lollipop,  for  I  found  out  that  she  is  very 
touchy  about  her  age.  Whether  asked  or 
not  (I  didn't  ask  her)  she  tells  one, 
emphatically,  that  she  is  twelve,  and  it 
won't  be  too  soon  for  her  when  she  can 
admit  that  she's  thirteen!  I  suppose  the 
little  lady  will  outgrow  this  unique  trait, 
some  day.    After  all,  it  has  been  known. 


We  regarded  each  other  in  silence, 
until  I  remembered  that  I  had  to  give 
Modern  Screen  readers  some  idea  of 
Virginia  Weidler,  and  had  better  get  on 
with  it.  So  I  bleated  something  about 
did  she  go  to  school,  and  did  she  like  it. 
She  replied  patiently  (it  seemed  to  me) 
that  she  attended  the  Metro-Goldwyn- 
Mayer  school,  and  that  she  hated  lessons. 
Whereupon,  I  beamed  on  her,  approving- 
ly, and  it  isn't  often  I  beam  upon  chil- 
dren. She  almost  beamed  back  at  me.  She 
twinkled,  anyhow.  I  believe  Virginia  and 
I  could  get  along  very  well  together.  I 
began  to  think  of  what  else  to  ask  her. 
I  discarded  the  old,  "What  do  you  want 
to  do  when  you  grow  up?"  as  too  juve- 
nile a  cliche,   (Continued  on  page  80) 


MODERN  SCREEN 


One  Day  Soon 


they'll  all  be  saying 


ET'S  GO  SEE 


THE  FIGHTING  69th 


Let's  see  'THE  FIGHTING  69TH'!  Because  if  ever  a  movie  moved 
this  is  the  one!  There* ve  been  exciting  films  before  — but  not 
this  kind  of  excitement!  You've  laughedjoudly  and  long  in 
the  theatre  before,  but  never  louder  nor  longer  than  this  time. 
And  there  will  be  a  teardrop  too . . .  but  the  kind  of  tears  that 
bring  cheers  when  it's  over! 

Let's  see  THE  FIGHTING  69TH'  and  see  grand  screen  stars  like 
JIMMY  &  CAGNEY  and  PAT  *  O'BRIEN  and  GEORGE  &  BRENT  give 
to  their  parts  from  their  hearts;  for  of  all  the  roles  they've 
portrayed,  of  these  they'll  be  proudest  ever! 


Let's  see  'THE  FIGHTING  69TH' 

because  'The  Fighting  69th' 
brings  you  history's  heroes 
—the  story  of  their  glory, 
which,  once  seen,  no  girl  can 
help  but  cherish. 


JAMES  CAGNEY  -  PAT  O'BRIEN 
GEORGE  BRENT 

./THE  FIGHTING  69™' 

with 

JEFFREY  LYNN  "ALAN  HALE*  FRANK  McHUGH 

DENNIS  MORGAN  •  DICK  FORAN 
WILLIAM  LUNDIGAN  .  GUINN  "BIG  BOY"  WILLIAMS 
HENRY  O'NEILL  .  JOHN  LITEL 
Directed  by  WILLIAM  KEIGHLEY 

Original  Screen  Play  by  Norman  Reilly  Raine,  Fred  Niblo,  Jr., 
and  Dean  FranRlin  •  A  Warner  Bros.-Flrst  National  Picture 


A  new  Warner  Bros,  success 


[V 


MOVIE    REVIEWS    By  Lois  Svensmd 


****  Gone  With  the  Wind 

This  is  a  picture  of  such  magnificence  and  breath-taking 
beauty  that  it  must  be  seen — and  lived — to  be  truly  ap- 
preciated. 

The  picture  opens  on  the  gracious  and  lovely  world  of  the 
Old  South  before  the  Civil  War.    Then  follow  the  horrors  of 
the  war  and  the  struggles  of  the  heart-broken  survivors  to 
build  a  new  life  out  of  the  wreckage.    Throughout  this  se- 
quence of  events  runs  the  story  of  the  most  fascinating  group 
of  individuals  ever  imagined — Scarlett  O'Hara,  Rhett  Butler, 
Ashley  and  Melanie  Wilkes,  Mammy,  Aunt  Pittypat  and  the 
many  others  you  met  in  Margaret  Mitchell's  novel. 

Vivien  Leigh  is  a  superb  Scarlett,  leaving  no  doubt  as  to 
her  talent  and  overwhelming  beauty.    Clark  Gable  is  mag- 
nificent in  the  role  of  Rhett  Butler.    Olivia  de  Havilland  gives 
a  beautiful  and  flawless  performance  as  the  loving  Melanie, 
while  Leslie  Howard  makes  the  character  of  Ashley  Wilkes 
completely  believable.    Bidding  fair  to  steal  every  scene  in 
which  she  appears  is  Hattie  McDaniels  as  Mammy.  Harry 
Davenport,  Ona  Munson,  Laura  Hope  Crews,  besides  the 
numerous    others    of   the    cast,    deserve    countless  laurels. 
Laurels,  too,  are  due  the  exquisite  Technicolor,  remarkable 
photography,  music  and  screen  play.     Directed  by  Victor 
Fleming. — Metro-Goldzvyn-Mayer. 

(More  about  Vivien  Leigh  on  page  90) 


The  Light  That  Failed 

This  Rudyard  Kipling  classic  is  brought  to  the  screen  with 
a  strict  adherence  to  British  characterization  and  mood.  The 
splendid  presentation  of  its  dynamic  chain  of  tragic  events 
is  an  artistic  triumph. 

Ronald  Colman  is  splendid  as  the  war  correspondent  who 
becomes  a  painter.    Though  he  is  surrounded  by  a  cast  of 
real  actors,  never,  for  a  moment,  does  he  let  his  audience 
forget  the  pathetic  plight  of  a  man  so  strong,  so  full  of  the 
lust  for  life,  doomed  to  total  blindness  and  a  tragic  end.  Ida 
Lupino  as  the  shallow  and  tempestuous  model  gives  the  best 
portrayal  of  her  career.    When  she  gashes  the  final  and 
greatest  painting  of  the  near-blind  artist,  you  hate  and  con-, 
demn  her,  but  you  understand  her.     Walter  Huston  and 
Dudley  Digges  do  some  fine  acting  as  Colman's  loyal  friends, 
and  the  new  British  import,  Muriel  Angelus,  deserves  praise 
for  her  handling  of  the  difficult  role  of  Maisie. 

For  an  absorbing  evening  with  familiar  characters  from  a 
great  book,  we  recommend  "The  Light  That  Failed."  Holly- 
wood has  not  meddled  with  the  story;  you'll  find  it  true  to 
the  tale  you  remember.  Produced  and  directed  by  William 
Wellman. — Paramount. 

(Ronald  Colman's  biography  on  page  90) 


i^^k^k  Swanee  River 

A  beautiful  picture,  the  Technicolor  "Swanee  River"  will 
be  enjoyed  by  every  audience.    The  story  is  a  fascinating 
one,  recounting  the  life  of  the  great  early-American  composer, 
Stephen  Foster.    The  characterization  of  Stephen  Foster  has 
been  entrusted  to  Don  Ameche  and  in  this  reviewer's  opinion 
it  is  his  finest  portrayal  to  date.    At  all  times,  one  is  in  full 
sympathy  with  the  man  who  was  destined  for  fame  and 
fortune  but  whose  personal  weaknesses  hindered  his  greatest 
development,  as  well  as  his  happiness  and  that  of  his  family. 
In  the  role  of  Mrs.  Stephen  Foster,  Andrea  Leeds  gives  a  sur- 
prisingly appealing  and  competent  account  of  herself.  She 
is  lovely  to  look  at  in  the  crinolines  and  bonnets  of  the  pre- 
Civil  War  period. 

Stephen  Foster's  immortal  melodies,  "My  Old  Kentucky 
Home,"  "Swanee  River"  and  "Old  Black  Joe,"  are  a  vital 
part  of  the  picture.  Al  Jolson  is  excellent  as  the  minstrel  king 
who  puts  over  many  of  the  songs.  Felix  Bressart  gives  a 
meritorious  performance  and  the  Hall  Johnson  Choir  adds 
a  great  thrill  to  the  picture.  Directed  by  Sidney  Lanfield. — 
Twentieth  Century-Fox. 


(Additional  data  on  Andrea  Leeds  on  page  90) 


MODERN  SCREEN 


No  Job  for  Nancy 
but  a  big  Job  for  Mum 


Why  risk  underarm  odor — when  Mum  every  day 
so  surely  guards  your  charm? 


t/HH^-  Balalaika 

When  Nelson  Eddy,  a  prince  and 
leader  of  the  Cossacks,  swaggers  into 
the  Cafe  Balalaika,  he  finds  the  girl  who 
is  destined  to  change  his  life.  She's 
Ilona  Massey,  formerly  of  the  State 
Opera  in  Vienna,  making  her  stellar 
debut  as  the  cafe  singer  of  "Balalaika." 

Primarily  a  musical  film,  the  story  is 
of  secondary  importance.  Eddy's  rendi- 
tion of  the  "Volga  Boatman"  and  "Silent 
Night,  Holy  Night"  are  well  worth  the 
price  of  admission.  As  for  Ilona  Massey, 
she's  a  genuine  treat.  She  sings,  she  acts, 
and  there  are  few  who  can  surpass  her 
in  looks. 

In  the  supporting  roles,  Charlie  Rug- 
gles,  Frank  Morgan,  Lionel  Atwill,.  C. 
Aubrey  Smith  and  Joyce  Compton  con- 
tribute top  performances.  Concert  pianist 
Dalies  Frantz,  cast  as  a  brother  to  Ilona 
Massey,  merits  praise  for  both  his  dra- 
matic and  musical  talent.  Directed  by 
Reinhold  Schunzel.  —  Metro-Goldwyn- 
Mayer. 

ititit  Everything  Happens  at 
Night 

Sonja  Henie's  skating  takes  a  back  seat 
this  time  while  her  dramatic  ability  has 
a  little  heavier  workout  than  usual,  and 
the  result  is  a  short-changed  feeling 
since  the  little  Henie  is,  after  all,  tops  on 
skates. 

The  story  is  a  rather  frothy  version 
of  a  cops-and-robbers  thriller  with  the 
setting  in  Switzerland.  Robert  Cum- 
mings  and  Ray  Milland  are  reporters  for 
rival  newspapers  sent  to  a  little  Swiss 
town  to  search  for  a  famed  scientist  be- 
lieved by  the  world  to  be  dead.  Both 
reporters  fall  for  Sonja,  who  turns  out  to 
be  the  missing  man's  daughter,  and  each 
tries  to  outwit  the  other  in  getting  both 
the  girl  and  the  story. 

There's  one  skating  sequence  that  is 
one  of  the  most  beautiful  numbers  ever 
performed  by  the  skating  star;  she 
waltzes,  tangos  and  rhumbas  on  skates. 
Effective  supporting  roles  are  offered  by 
Maurice  Moscovich,  Leonid  Kinsky,  Alan 
Dinehart,  Fritz  Feld  and  others.  Di- 
rected by  Irving  Cummings. — 20th 
Century-Fox. 


Before  beginning  work  on  "Three 
Ch  eers  For  The  Irish,"  Rosemary  Lane 
took  off  for  New  York.    Clothes,  not 
beaux,  was  the  reason  she  gave. 


SHE  TRIES  SO  HARD  — goes  everywhere 
—but  somehow  for  Nancy  it's  a  brief 
"no  opening  now!"  For  business  is  busi- 
ness. And  it  never  helps  to  have  a  girl 
around  who  neglects  to  use  Mum! 

Constant  personal  daintiness  is  a  busi- 
ness asset ...  as  much  in  demand  as  cheer- 
fulness, ability,  and  speed.  Why  does  any 
girl  risk  it?  Why  don't  all  girls  play  safe 
with  Mum— every  single  day? 

For  it's  a  gamble  to  depend  on  a  bath 
alone  to  keep  you  fresh  and  sweet.  A  bath 
merely  removes  perspiration  that  is  past 
. . .  but  Mum  prevents  odor— keeps  you 
fresh  and  sweet  for  the  hours  to  come. 


More  business  girls  prefer  Mum  to  any 
other  deodorant.  Mum  is— 
QUICK!  A  daily  pat  under  this  arm,  un- 
der that,  and  through  the  longest  work- 
ing day  you  know  you're  fresh! 
HARMLESS!  Apply  Mum  after  dressing 
. . .  fabrics  are  safe.  Mum  has  the  Ameri- 
can Institute  of  Laundering  Seal  as  being 
harmless  to  any  dress.  Safe  for  skin,  too. 
LASTING!  Hours  after  your  bath  has 
faded,  Mum  still  keeps  underarms  sweet. 
And  Mum  does  not  stop  perspiration. 
Get  Mum  at  your  druggist's  today.  Be 
wise  in  business ...  be  sure  of  charm! 
Make  a  habit  of  Mum  every  day. 


WHY  MUM  IS  FIRST  CHOICE  WITH  BUSINESS  GIRLS 


I  KEEP  MUM  IN 
MY  DESK,  TOO.  I 
USE  IT  ANY  TIME 
BECAUSE  IT'S 
SAFE  FOR  SKIN 
AND  CLOTHING. 


 "^HH 

TO  HERSELF: 
AND  NOTHING  BEATS  MUM  1 
FOR  LASTING  CHARM.  JUST 
A  DAB  KEEPS  ME 


Important  to  You  — 

Thousands  of  women  use 
Mum  for  sanitary  napkins 
because  they  know  that  it's 
safe,  gentle.  Always  use 
Mum  this  way,  too. 


MUM  \ 


Mum 


TAKES  THE  ODOR  OUT  OF  PERSPIRATION 


MODERN  SCREEN 


HOW  THE 
TELEPHONES  ARE 
RINGING 

\    \  \ 

—to  tell  of  Tarn  pax! 


NO  BELTS 
NO  PINS 
NO  PADS 
NO  ODOR 


NO  WONDER  Tampax  is  trav- 
eling fast  and  Tampax  users 
growing.  In  addition  to  the  new 
converts  to  Tampax,  many  part- 
time  users  have  now  become  whole- 
time  users,  in  view  of  the  new  Super 
Tampax  size,  50%  more  absorbent  than  Regu- 
lar Tampax. 

Perfected  by  a  physician,  Tampax  is  worn 
internally  for  monthly  sanitary  protection.  The 
wearer  is  not  conscious  of  it,  but  can  keep  up  her 
regular  activities  without  fear  of  any  chafing, 
wrinkling  or  showing  of  a  "line."  No  odor 
can  form;  no  disposal  problems. 

Tampax  is  made  of  pure  surgical  cotton, 
hygienically  sealed  in  individual  containers, 
so  neat  and  ingenious  your  hands  never  touch 
the  Tampax  at  all!  Comfortable,  efficient, 
compact  to  carry  in  your  purse. 

Three  sizes:  Regular,  Super  and  Junior.  At 
drug  stores  and  notion  counters:  Introductory 
size  20tf ;  but  large  econ- 
omy package  saves  up 
to  25%. 

Accepted  for  Advertising  by 
the  Journal  of  the  American 
Medical  Association. 


MM-30-A 


TAMPAX  INCORPORATED 
New  Brunswick,  N.  J. 

Please  send  me  in  plain  wrapper  the  new  trial  package 
of  Tampax.  I  enclose  log  (stamps  or  silver)  to  cover  cost 
of  mailing.  Size  is  checked  below: 

(  )  REGULAR  (  )  SUPER  (  )  JUNIOR 
Name  _—  


kkk  The  Great  Victor  Herbert 

Just  as  the  Victor  Herbert  musical 
gems  brought  success  to  many  a  new- 
comer when  the  great  composer  lived, 
so  today  Mary  Martin,  Susanna  Foster 
and  Allan  Jones  have  the  same  good 
fortune  in  "The  Great  Victor  Herbert." 

Although  not  a  newcomer  to  movies, 
Allan  Jones  is  splendid  in  the  role  of  the 
matinee  idol.  When  the  story  opens  he 
is  the  reigning  star  of  the  Victor  Her- 
bert operettas.  He  discovers  the  ambi- 
tious Mary  Martin  and  makes  her  a  star. 
Her  popularity  surpasses  his  and  he 
gradually  fades  from  public  favor.  The 
picture  has  many  surprises,  the  greatest 
being  the  beauty  and  talent  of  Mary 
Martin.  But  sharing  her  success  is  fif- 
teen-year-old Susanna  Foster,  who  soars 
to  a  B  fiat  above  high  C  with  the  great- 
est of  ease,  and  also  proves  she  can  act. 

Since  the  story  is  not  intended  as  a 
biography,  Walter  Connolly's  role — that 
of  Victor  Herbert — is  a  small  one.  Lee 
Bowman,  John  Garrick,  Judith  Barrett 
and  Jerome  Cowan  are  the  supporting 
players.  Produced  and  directed  by  An- 
drew L.  Stone. — Paramount. 

~kk*k  Gulliver's  Travels 

The  famous  story  of  Gulliver's  adven- 
tures becomes  doubly  enjoyable  when 
brought  to  the  screen  by  animators  Max 
and  Dave  Fleischer.  Though  this  full- 
length  picturization  is  bound  to  be  com- 
pared with  its  predecessor,  "Snow 
White,"  it  should  be  pointed  out  that 
every  care  has  been  taken  to  make  it 
different  in  as  many  respects  as  possible. 
True,  there's  a  romance  between  the  en- 
chanting Lilliputian  princess  and  a  hand- 
some prince  from  Blefusco,  but  there 
the  similarity  ends. 

Jonathan  Swift's  story  of  the  ship- 
wrecked sailor,  Gulliver,  who  finds  him- 
self in  the  realm  of  little  people,  is  de- 
lightfully presented.  There's  a  timely 
message  in  the  story,  too,  as  the  amiable 
Gulliver  draws  attention  to  the  stupidity 
and  folly  of  people  going  to  war  to  settle 
their  squabbles.  In  this  particular  case, 
the  Lilliputians  and  the  Blefuscos  de- 
clare war  because  the  two  kings  can't 
reach  a  friendly  understanding  on  the 
particular  song  to  be  sung  at  the  wed- 
ding of  their  respective  daughter  and 
son.  The  character  of  Gabby,  the  night- 
watchman  and  busy-body  of  Lilliput,  is 
particularly    amusing    and  enjoyable. 


"Gulliver's  Travels"  is  a  colorful  and 
imaginative  picture  which  the  young  are 
certain  to  enjoy. — Paramount. 

kkk  Four  Wives 

A  sequel  to  "Four  Daughters,"  this 
picture  shows  the  four  girls  finally 
settled  down  to  domesticity,  though  not 
without  some  complications.  For  instance, 
sister  Rosemary  Lane  is  after  her  man — 
Eddie  Albert,  who  plays  the  role  of  a 
young  doctor.  But  the  good  doctor  isn't 
too  anxious  to  forsake  all  others  and  the 
combined  efforts  of  the  whole  family  are 
needed  to  bring  him  in  line.  Then  Pris- 
cilla  Lane  has  her  troubles.  Though  she 
is  all  set  to  marry  Jeffrey  Lynn,  the  ill- 
fated  Mickey  Borden  continues  to  haunt 
her. 

The  three  Lane  sisters  and  Gale  Page 
do  very  well  with  their  roles  as  the 
Lemp  daughters.  May  Robson,  as  always, 
gives  an  excellent  characterization  as  the 
soft-hearted,  sharp-tongued  aunt.  Frank 
McHugh  and  Dick  Foran  are  again  the 
husbands  of  Lola  and  Gale,  and  Claude 
Rains  is  the  girls'  father.  We  think  you'll 
have  lots  of  fun  seeing  this  group  to- 
gether once  more.  Directed  by  Michael 
Curtiz. — Warner  Brothers. 

Charlie  McCarthy, 
Detective 

Charlie  McCarthy,  as  slaphappy  a 
sleuth  as  ever  prowled  through  a  mys- 
tery, will  delight  his  legion  of  fans  in  this 
melodrama.  It's  pure  hokum,  pulled  in 
the  inimitable  Edgar  Bergen  style,  and 
as  such,  is  pleasing  entertainment. 

Charlie  further  enchants  his  audience 
by  singing  for  the  first  time  on  the 
screen.  Dressed  as  Sherlock  Holmes,  he 
renders  "I'm  Charlie  McCarthy,  Detec- 
tive" in  fine  style.  His  closest  competitor 
in  the  acting  field  is  his  dimwitted  coun- 
try cousin,  Mortimer  Snerd,  who  pops  up 
much  too  frequently  to  please  Charlie. 
There's  a  romantic  twist  to  the  picture 
which  motivates  Charlie's  detective 
duties,  and  these  roles  are  well  handled 
by  Constance  Moore,  Robert  Cummings 
and  John  Sutton. 

Cops  and  robbers  assignments  are 
taken  by  Louis  Calhern,  Harold  Huber 
and  Warren  Hymer,  and  good  sympa- 
thetic work  is  credited  to  Samuel  S. 
Hinds,  Ray  Turner  and  Edgar  Kennedy. 
Produced  and  directed  by  Frank  Tuttle. 
— Universal. 


That  Casanova 
of  Co  rvel,  irre- 
sistible Mickey 
Rooney,  is  a 
sorry  man  when 
girl  friend,  Ann 
Rutherford,  dis- 
covers he's  been 
two  or  three- 
timing  her  in 
their  newest 
screen  adven- 
ture, "Judge 
Hardy  and 
Son." 


MODERN  SCREEN 


1940  ^shutantt  'Bsooftjf  saM, : 

'Pond's  Rose  Shades  Give 
Skin  Lovely  New  Glamour 


New  Rose  Shades  are  "Glare-Proof". . .  Shine- 
resistant.  . .  reflect  only  the  softer,  pinker  rays 


***  The  Hunchback  of  Notre 
Dame 

If  you  are  looking  for  excitement  some 
evening,  take  in  "The  Hunchback  of 
Notre  Dame."  The  picture  teems  with 
the  grossest  cruelties,  miseries  and  hor- 
rors that  have  ever  been  screened. 
Masterly  direction,  however,  has  made 
the  period  it  deals  with  a  vivid  and  un- 
forgettable spectacle.  The  ignorance  and 
ugliness  is  sharply  contrasted  against 
the  background  of  the  great  Notre  Dame 
cathedral,  and  there  are  moments  of  ex- 
quisite beauty  in  the  characterization  of 
Esmeralda,  by  Maureen  O'Hara. 

Remarkable,  too,  are  the  magnificent 
mob  scenes  and  the  hordes  of  characters 
taking  part  in  them,  since  every  one  of 
them  is  a  credit  to  the  painstaking  ef- 
forts of  the  casting  department  and  the 
detailed  directorial  efforts.  As  the  Hunch- 
back, Charles  Laughton  is  as  repulsive 
as  the  combined  efforts  of  his  own 
artistry  and  that  of  make-up  man,  Perc 
Westmore,  can  make  him;  Walter  Hamp- 
den is  superb  in  the  role  of  the  Arch- 
bishop; Harry  Davenport,  as  King  Louis 
XI  gives  an  outstanding  account  of  him- 
self; Sir  Cedric  Hardwicke  is  a  convinc- 
ing high  justice,  and  Edmond  O'Brien's 
characterization  of  the  poet  was  capably 
handled.  Directed  by  William  Dieterle.— 
RKO. 

Judge  Hardy  and  Son 

The  Hardy  family  returns  to  the 
screen  in  a  story  that  will  hold  no  dis- 
appointments for  their  many  fans.  Andy 
(Mickey  Rooney)  has  his  usual  terrific 
troubles,  and  his  "man  to  man"  talks 
with  his  father  (Lewis  Stone)  are  more 
hilarious  than  ever.  Daughter  Cecilia 
Parker  has  her  share  of  problems  again, 
with  the  "kid  brother"  still  the  most  an- 
noying one.  But  there  is  a  new  and 
interesting  angle  to  this  story  which  the 
former  Hardy  pictures  did  not  have — 
that  of  a  great  sorrow  which  comes  to 
the  family  and  teaches  Andy  that  all  his 
little  grievances  and  worries  are  nothing 
compared  to  the  really  important  issues 
in  life.  This  part  of  the  plot  concerns 
itself  with  the  dangerous  illness  of  Mother 
Hardy  (Fay  Holden).  Even  sister  and 
brother  call  a  truce  and  admit  that  they 
really  think  well  of  each  other. 

Of  course,  Ann  Rutherford  is  in  the 
picture,  cuter  and  prettier 'n  ever  as 
Polly.  Oh  yes,  and  Andy  has  several 
other  girl  friends  to  complicate  his  life, 
too.  June  Preisser  is  one  and  Martha 
O'Driscoll  and  Margaret  Early  are  the 
other  "wimmin."  Maria  Ouspenskaya 
has  much  too  little  to  do  and  Henry 
Hull,  another  fine  actor,  comes  off  with  a 
very  poor  role,  also.  Directed  by  George 
B.  Seitz. — Metro-Goldwyn-Mayer. 

Des+ry  Rides  Again 

You  won't  go  wrong  on  this  picture, 
for  it's  uproarious  entertainment  from 
first  to  last.  A  lawless  western  town  is 
the  background  of  the  story,  with  Brian 
Donlevy  the  ruthless  king  of  the  outlaws, 
and  Marlene  Dietrich  the  dance  hall 
queen.  Into  this  explosive  situation 
comes  Destry  'James  Stewart,'  a  deputy 
sheriff  determined  to  bring  law  and 
order  without  toting  a  gun.  He's  aided 
by  Wash  Dimsdale  (Charles  Winninger), 
the  town  drunkard.  The  clean-up  drive 
is  as  bloodcurdling  as  anything  you'll  see 
in  many  a  moon. 

The  cast  is  excellent  in  every  respect, 
with  James  Stewart  doing  his  best  work 
to  date  and  Marlene  Dietrich  far  sur- 
(Continued  on  page  16) 


TN  THE  1940  GLAMOUR  SET,  "sen- 
J-  sational"  is  the  word  for  Pond's 
new  Rosy  Powders.  Debutante  "pret- 
ties" have  learned  that  even  bright 
night-club  lights  won't  cast  hard 
shadows  on  their  faces — with  one  of 


these  new  Rose  shades  that  reflect 
only  the  softer,  pinker  rays. 

Create  your  own  private  "sensa- 
tion"! Choose  the  Pond's  Rose  shade 
that  makes  your  skin  look  most  rav- 
ishing—  and  open  the  door  to  ro- 
mance! Pond's  Powder  comes  in  7 
lovely  shades  in       20#  and  55^  sizes. 

Or  send  for  free  samples  today  of  Pond's 
3  Rose  shades — Rose  Dawn,  Rose  Cream 
and  Rose  Brunette.  Pond's,  Dept.  9  MS-PC, 
Clinton,  Conn. 

Copyright,  1940,  Pond's  Extract  Company 


MODERN  SCREEN 


CHHRTIIl G  THE  STIRS 

Mm    Mm    II     Mt     M,     Mm     %M                M.    Mm    M\*              %M     M,    Mm    Mm  V 

Here  it  is!   The  second  half  of  the  biographical  chart  begun  in  our  February  issue 

SCREEN  NAME 

WVMbLII    11  H  III  b 

REAL  NAME 

Mknk    11  M  If  1  fa 

BIRTHPLACE 

Will  I  11  l  kH Wb 

BIRTHDATE 

HEIGHT 

WEIGHT 
it  ei  u  n  1 

C  1  CO 

11  AIR 

fiAin 

EfHIPATinil 
CUUuA  1 IUN 

Hodges, 
Joy 

Hodges, 
Frances 

Des  Moines, 
Iowa 

Jan.  29,  1916 

5'4" 

1 10 

Green 

Brown 

High 
School 

Holder), 
Fay 

Hammerston, 
Fay 

Birmingham, 
England 

Sept.  20,  1895 

5'3" 

120 

Brown 

Brown 

Private 
Schools 

Holden, 
William 

Beedle, 
William 

O'Fallon, 
Illinois 

Apr.  17,  1918 

6'0" 

165 

Blue 

Brown 

Pasadena  Jr. 
College 

Holt, 
Jack 

Holt,  Charles 
John 

Winchester, 
Virginia 

May  31,  1888 

6'0" 

180 

Brown 

Brown 

Va.  Military 
Institute 

Holt, 
Tim 

Holt,  Charles 
John,  Jr. 

Beverly  Hills, 
California 

Feb.  5,  1920 

5'l  1" 

165 

Brown 

Brown 

Culver  Mili- 

VWIT  CI       1  »  1  III 

tary  Academy 

Hope, 
Bob 

Hope,  Lester 
Townes 

London, 
England 

July  9,  1907 

5'  10" 

165 

Blue 

Brown 

Private 
Schools 

Hopkins, 
Miriam 

Hopkins, 
Miriam 

Bainbridge, 
Georgia 

Oct.  18,  1902 

5*3" 

102 

Blue 

Blonde 

Syracuse 
University 

Hopper, 
DeWolf 

Hopper, 
Wm.  DeWolf 

New  York, 
New  York 

Jan.  26,  1915 

6'3" 

185 

Green 

Brown 

Private 
School 

Horton, 
Edward  E. 

Horton, 
Edward  E. 

Brooklyn, 
New  York 

i    j              I  A       1  AAA 

Mar.  18,  1899 

6'0" 

190 

Hazel 

Brown 

Columbia 
University 

Howard, 
John 

Cox, 
John 

Cleveland, 
Ohio 

Apr.  14,  1913 

5' 10" 

150 

Blue 

Brown 

Private 
Schools 

Howard, 
Leslie 

Stainer, 
Leslie 

London, 
England 

Apr.  24,  1893 

5'  IOl/2" 

145 

Blue 

Blonde 

Dulwich 
College 

Hudson, 
Rochelle 

Hudson, 
Rochelle 

Claremore, 
Oklahoma 

Mar.  6,  1916 

S'4" 

100 

Grey 

Black 

High 
School 

Hull, 
Henry 

Hull, 
Henry 

Louisville, 
Kentucky 

Oct.  3,  1890 

b'0" 

155 

Brown 

Brown 

Columbia 
University 

Hull, 
Warren 

Hull, 
Warren 

Niagara  Falls, 
Nev  York 

Jan.  17,  1903 

5' II 1/2" 

162 

Blue 

Brown 

University  of 
Rochester 

Hunt, 
Marsha 

Hunt, 
Marsha 

Chicago, 
Illinois 

Oct.  17,  1917 

5'6" 

110 

Blue 

Brown 

Horace  Mann 
School 

'Hunter, 
Ian 

Hunter, 
Ian 

Cape  Town, 
South  Africa 

June  13,  1900 

6'0" 

195 

Grey 

Brown 

St.  Andrew's 
College 

Huston, 
Walter 

Huston, 
Walter 

Toronto, 
Canada 

Apr.  6,  1884 

6'0" 

180 

Hazel 

Brown 

Public 
School 

Jaynes, 
Betty 

Schultz, 
Betty  Jane 

Chicago, 
Illinois 

Feb.  12,  1921 

5'4" 

103 

Blue 

Blonde 

Studio 
School 

Jean, 
Gloria 

Schoonover, 
Gloria  Jean 

Buffalo, 
New  York 

Apr.  14,  1928 

4"  10" 

70 

Blue 

Brown 

Public 
School 

Jenkins, 
Allen 

McGonegal, 
Allen 

New  York, 
New  York 

Apr.  9,  1900 

5'IOl/2" 

150 

Brown 

Brown 

High 
School 

Johnson, 
Rita 

Johnson, 
Rita 

Worcester, 
Massachusetts 

Aug.  13,  1914 

5'4" 

no 

Blue 

Blonde 

High 
School 

Jones, 
Allan 

Jones, 
Allan 

Scranton, 
Pennsylvania 

Oct.  14,  1914 

6'0" 

175 

Brown 

Brown 

Syracuse 
University 

Jory, 
Victor 

Jory, 
Victor 

Dawson  City, 
Alaska 

Nov.  23,  1902 

61  H/2" 

190 

Brown 

Black 

University  of 
California 

(Continued  on  page  86) 


Now!  A  Great  New  Improvement  in 
Beauty  Soaps-ONLY  CAMAY  HAS  IT! 

Let  Camay  help  you  to  a  Lovelier  Skin  and  a 
More  Radiant  Complexion . . .  Look  for  these  Three  Beauty 
Cleansing  Advantages  in  the  New  Camay! 


We  tested  Camay  against  6  other  best-selling  toilet  soaps  and 
proved  its  three  amazing  advantages.  Now  Camay  actually 
brings  most  women  a  definite  promise  that  its  gentle,  thorough 
cleansing  will  help  them  to  a  lovelier,  more  appealing  skin. 


THOUSANDS  of  beautiful  women  — 
brides,  debutantes,  wives  and 
mothers— have  thanked  Camay  for  aid- 
ing them  to  a  lovelier  skin! 

And  now  Camay  is  actually  improved! 
You'll  know  it's  different  the  moment 
you  open  a  cake.  There's  a  new,  delight- 
ful, longer-lasting  fragrance  about  it 
that  you'll  love. 

The  Promise  of  a  Lovelier  Skin! 

Today,  Camay's  three  great,  beauty 
cleansing  advantages— more  abundant 
lather  in  a  short  time— greater  mildness 
—  new,  exciting  fragrance  — all  work  in 
harmony  to  help  give  you  new  charm 
and  allure. 

Yes  — now  Camay  actually  brings 
most  women  a  definite  promise  that  its 
gentle,  thorough  cleansing  will  help 


them  to  have  a  lovelier  skin  and  a  more 
radiant  complexion. 

Try  Improved  Camay,  now! 

Start  enjoying  the  advantages  of  new 
Camay  right  away.  Not  until  you  try  it 
on  your  own  skin  (a  3-cake  trial  will 
do)  can  you  realize  what  a  wonderful 
aid  to  beauty  this  new  Camay  is! 

Go  to  your  dealer.  Look  for  Camay 
in  the  same  yellow  and  green  wrapper. 
It's  cellophane  covered  for  freshness. 

Get  3  cakes  of  Camay.  Then  give 
Camay  every  test  you  can  think  of. 
Note  its  wonderful,  new,  longer-lasting 
fragrance.  Feel  how  your  skin  responds 
to  its  gentle,  beauty  cleansing  care! 

THE  BEAUTY  NEWS  OF  1940  IS 
THE  NEW  CAMAY! 


A  wonderful,  new  fragrance  that 
2  out  of  3  women  prefer! 

lb 


You'll  agree  with  the  hundreds 
of  women  whom  we  asked  to 
compare  Camay's  new  fragrance 
with  that  of  6  other  famous 
toilet  soaps.  Approximately  2 
out  of  3  women  voted  for 
Camay's  delightful  fragrance! 
It  lasts  in  the  cake  just  as  long 
as  there  is  a  bit  of  soap  left! 


Right,  famous  Boston 
Baked  Beans  and  Brown 
Bread  are  only  two  of 
the  "yummy"  sugges- 
tions Bette  Davis  has 
for  you.  Above,  her 
"special  treat"  ready 
in  the  kitchen,  Bette 
lights  the  candles  which 
give  that  cozy,  inti- 
mate touch  to  a  Sun- 
day night  supper  table. 


hew 


FAVORITES 


tesy  Br 


BY    MARJORIE  DE 


IT'S  FUN  asking  Bette  Davis  a  question.  She  always  has  such 
a  ready  answer  and  is  so  good  at  explaining  things.  For  in- 
stance, when  asked  about  her  preferences  in  the  food  line,  she 
replied,  "Why  not  just  ask  me.  what  part  of  the  country  I  come 
from?  That  will  automatically  answer  your  question  and  at 
the  same  time  give  you  a  pretty  good  idea  of  how  I  like  to  have 
my  favorite  dishes  prepared. 

"That  is  true  of n  most  people,  I  believe,"  she  went  on.  "We 
all  reflect  our  early  training,  in  our  choice  of  foods  as  well  as  in 
our  other  ideas.  Now  remember,  I'm  a  New  Englander.  So, 
although  I  occasionally  take  delight  in  having  an  East  Indian 
Curry,  a  Mexican  Chili,  or  a  Southern  Fried  Chicken,  still  my 
idea  of  a  perfect  dish  continues  to  be — yes,  you've  guessed  it — 
Boston  Baked  Beans  with  Brown  Bread." 

Bette,  I  learned,  often  serves  these  famous  dishes  from 
"down  East"  at  Sunday  night  supper  parties  given  for  a  few  of 
her  most  intimate  friends.  Complete  informality  characterizes 
these  gatherings.  The  simple  menu  is  in  keeping  with  the 
occasion  and  the  meal  is  one  that  the  charming  hostess  can 
serve  herself  without  bothering  to  have  any  servants  around. 

Besides  the  beans  and  brown  bread  already  mentioned,  there 
is  always  a  simple  salad,  served  in  individual  wooden  bowls 
right  along  with  the  main  course.  Cheese  and  condiments  are 
on  hand  so  that  everyone  can  help  himself.  The  main  course  is 
followed  by  a  rich  fruit  pie  or  a  hot  pudding.  In  cold  weather 
this  would  be,  quite  likely,  an  apple  Brown  Betty — rich  with 
raisins  in  our  star's  favored  version,  which  is  spelled  with  an 
"e"  to  do  her  honor. 

It's  easy  to  see  that  a  meal  such  as  this  presents  the  fewest 
possible  serving  difficulties  for  the  hostess.  No  wonder  Bette 
recommends  it  so  highly.  The  beans,  of  course,  cook  through- 
out the  day  and  require  little  or  no  last-minute  attention.  The 
recipe  follows.  If  you  haven't  planned  on  having  beans,  long 
enough  in  advance  to  make  a  whole  day's  baking  possible, 
you  can  still  use  the  popular  bean  pot,  and  convince  your 
guests  that  the  beans  are  home  baked,  by  following  the  direc- 
tions for  preparing  canned  beans. 

At  any  rate,  chances  are  you  will  probably  buy  the  brown 

14 


bread — traditional  accompaniment  of  baked  beans — in  cans. 
It's  so  easy  to  heat  and  serve,  that  way. 

The  salad,  in  Bette's  opinion,  should  consist  of  mixed  greens 
with  a  couple  of  cooked  vegetables  added,  since  there  is  no 
other  vegetable  dish.  Beets  and  peas  make  a  colorful  and  tasty 
combination  but  almost  any  left  -over  vegetables  may  be  used. 
A  fine,  tangy  French  dressing,  made  up  in  advance  but  added 
only  at  the  very  last  minute,  and  Bette's  individual  bowl  idea, 
will  assure  success  for  this  salad — especially  with  the  menfolk! 

The  dessert,  if  it's  to  be  the  Brown  Betty,  can  be  made  up  in 
the  morning  and  re-heated.    (Much  better  served  hot,  really!) 

And  there  you  have  it!  A  meal  of  New  England  inspiration, 
transplanted  to  California  by  Bette  Davis  and  now  ready  to 
delight  the  rest  of  us  the  country  over! 

BOSTON   BAKED  BEANS 

1  quart  pea  beans  Y2  cup  molasses 

V2  pound  fat  salt  pork  1    teaspoon  dry  mustard 

2  teaspoons  salt  1    cup  boiling  water 

1st  step:  Wash  beans  and  allow  them  to  soak  overnight  in 
cold  water  to  cover.  2nd  step:  In  the  morning,  drain  and  cover 
with  fresh  water.  Cook  slowly — just  below  the  boiling  point — 
until  skins  will  burst.  (This  is  determined  by  taking  a  few 
beans  on  a  spoon  and  blowing  on  them  gently.  When  skins  of 
these  beans  will  break  and  curl  back,  then  the  rest  of  the  beans 
are  sufficiently  cooked.)  3rd  step:  Fill  bean  pot  with  cooked 
beans.  Some  people  also  like  to  add  a  small  onion,  minced  fine, 
at  this  point.  Pour  boiling  water  over  the  salt  pork,  scrape  the 
rind  until  it  is  white,  then  score  deeply  at  half-inch  intervals. 
Press  pork  down  into  beans  so  that  only  the  rind  is  exposed. 
Combine  salt,  molasses  and  mustard.  Add  the  boiling  water. 
Pour  this  mixture  over  the  beans  and  add  enough  water  so 
that  beans  are  just  covered.  Cover  bean  pot  tightly  and  bake 
beans  in  slow  oven  (300°  F.)  for  8  hours.  If  necessary  add  a 
little  water  (boiling)  during  baking  period  so  that  beans  will 
not  get  too  dry.  Uncover  pot  during  last  hour  to  brown 
the  pork.     Serve   in  the  pot  in  which  they  were  cooked. 


MODERN  SCREEN 


Delicious  dishes  to  help  you 
make  your  Sunday  night  sup- 
pers memorable  occasions 


VEGETARIAN  BEANS 

(Excellent  for  Lenten  Fast  Days) 

After  the  beans  have  been  soaked 
overnight  (step  1,  on  opposite  page),  add 
1  cup  peanuts  tied  in  a  cheesecloth  bag. 
Gook  with  the  beans  (step  2)  so  that 
the  peanut  oil  will  take  the  place  of  the 
fat  of  the  salt  pork.  Remove  peanuts  from 
parboiled  beans,  proceed  with  3rd  step, 
omitting  pork  and  adding  an  extra  tea- 
spoon of  salt.  Or,  if  preferred,  peanuts 
may  be  cooked  and  baked  right  in  with 
the  beans. 

BAKED  CANNED  BEANS 

(For  a  "homemade"  effect,  in  a  short  time) 

Mix  a  large  can  of  beans  with  1  table- 
spoon minced  onion,  2  tablespoons  mo- 
lasses, 2  tablespoons  brown  sugar,  1% 
teaspoons  prepared  mustard.  Place  in 
bean  pot.  Bake,  uncovered,  in  moderate 
oven  (350°  F.)  45  minutes. 


BROWN  BETTE 


cup  seedless  raisins 
cups  sliced  apples 
cup  brown  sugar 
teaspoon  salt 
teaspoon  cinnamon 
grated  rind  of  1  lemon 
cups  stale  bread  crumbs 
cup  granulated  sugar 
cup  boiling  water 
tablespoons  butter 
tablespoons  lemon  juice 
Rinse  raisins  in  hot  water,  drain  and 
chop.   Combine  raisins  and  sliced  apples, 
add  brown  sugar,  salt,  cinnamon  and 
rind.    Mix  together  the  bread  crumbs 
and  granulated  sugar.    Put  one-third  of 
bread  mixture  in  greased  baking  dish. 
Top  with  one-half  of  the  apple  mixture. 
Add  half  of  remaining  crumb  mixture, 
then  all  the  remaining  apples.    Top  with 
remaining  crumbs.    Melt  3  tablespoons 
of  the  butter  in  the  boiling  water,  add 
lemon  juice  and  pour  over  contents  of 
baking  dish.    Dot  with  remaining  table- 
spoon of  butter.    Cover  and  bake  in  slow 
oven   (325°   F.)   40  minutes.  Uncover, 
raise  heat  to  moderate  (375°  F.)  and  con- 
tinue baking  15-20  minutes  longer,  or 
until  apples  are  tender  and  top  of  pud- 
ding is  well  browned.    Serve  hot  with 
Fluffy  Lemon  Sauce  or  whipped  cream. 

FLUFFY  LEMON  SAUCE 

1     tablespoon  cornstarch 

y2    cup  sugar 

1     cup  boiling  water 

1     tablespoon  butter 

\y<i  tablespoons  lemon  juice 

1     egg  white,  stiffly  beaten 

Combine  cornstarch  and  sugar.  Add 
boiling  water  slowly.  Cook  15  minutes 
in  top  of  double  boiler  over  boiling 
water,  stirring  constantly  until  thickened 
and  then,  occasionally.  Remove  from 
heat.  Add  butter  and  lemon  juice.  Stir 
until  blended.  Slowly  add  hot  mixture 
to  stiffly  beaten  egg  white,  stirring  vigor- 
ously. (Continued  on  page  100) 


'I'll  be  the  laughing  stock  of  the  town..." 


MARY:  Oh,  Mother,  why  did  that  snooty 
Mrs.  Palmer  have  to  drop  in  today !  Now 
it'll  be  all  over  town  that  even  my  tea 
napkins  look  so  gray,  they  aren't  fit  to 
be  seen ! 


MOTHER:  Lucky  I  dropped  in,  honey.  That 
soap  you're  using  is  so  weak-kneed  it 
doesn't  get  things  really  clean.  Come 
on — I'll  show  you  how  to  say  goodbye 
to  tattle-tale  gray. 


MOTHER:  There!  Just  hustle  home  and 
put  Fels-Naptha  to  work  with  its  richer 
golden  soap  and  busy,  dirt-loosening  nap- 
tha.  Use  the  bar  or  the  grand  new  chips. 
Either  way,  your  wash  will  be  so  sweet 
and  white,  you  won't  recognize  it! 


MARY:  Whe-e-e,  Mother!  I'll  say  your  tip 
about  Fels-Naptha  turned  the  tables! 
Mrs.  Palmer  came  to  tea  again  and  her 
eyes  simply  popped  when  she  saw  my 
snowy  linens.  And  she  ended  by  asking 
Tom  and  me  to  a  party! 


Now— Fels-Naptha  brings  you  2  grand  ways 
to  banish  "Tattle-Tale  Gray" 


Use  Fels-Naptha  Soap  Chips — wherever  you've  been  using 
box-soap.  They  speed  washing  machines — because  they're 
HUSKIER— not  puffed  up  with  air  like  flimsy,  sneezy  pow- 
ders. And  they  whip  up  the  creamiest  suds  ever — because 
they  now  hold  a  marvelous  new  suds-builder! 


Use  the  Fels-Naptha  bar  for  bar-soap  jobs  —  and 
get  the  extra  help  of  richer  golden  soap  combined 
with  gentle  napthal  Together,  these  two  cleaners 
make  the  grimiest,  greasiest  dirt  let  go — without 
hard  rubbing!  They  get  clothes  so  white,  they  fairly 
sparkle  in  the  sun! 


COPR.  IS40,  F  ELS  a  CO. 


MODERN  SCREEN 


Have  Soft,  Smooth,  Tempting  Tangee  Lips. 

Only  in  Tangee  Lipstick  will  you  find  the 
"magic"  Tangee  Color  Change  Principle 
and  the  exclusive  Tangee  smoothness! 
Orange  in  the  stick,  Tangee  changes  on 
your  lips ...  to  the  very  shade  of  rose  or 
red  most  flattering  to  you.  Tangee  isn't 
"paint".. .doesn't  coat  your  lips  with  heavy, 
greasy  color. ..won't  smear  or  blur. ..helps 
prevent  chapping.  Try  Tangee  today  and 
see  how  much  prettier  and  more  attractive 
you  look ! 


Try  Tangee  Rouge 
to  Match.  For  fas- 
cinating, natural- 
looking  color  in 
your  cheeks  there's 
nothin  g  like  Tan  gee 
Rouge,  Compact 
or  Creme. 


Tangee  "Under- 
glo  iv"  Powder. 
Also  contains  the 
famous  Tangee 
Color  Principle,  to 
give  your  skin  that 
delicate  rosy  "un- 
derglow". 


WHEN  YOU  WANT  MORE  VIVID   MAKE-UP,  use 

Theatrical — Tangee's  brilliant  new  red  shade. 


T|  World's  Most  Famous  lipstick 
ENDS  THAT  PAINTED  LOOK 


USE  THIS  VALUABLE  COUPON 

The  George  W.  Lult  Company,  417  Fifth  Ave., 
New  York  City  .  .  .  Please  rush  "Miracle  Make- 
up Set"  of  sample  Tangee  Lipsticks  and  Rouge 
in  both  Natural  and  Theatrical  shades.  Also 
Pace  Powder.  I  enclose  lOtf  (stamps  or  coin). 
(15#  in  Canada.) 

Check  Shade  of  Powder  Desired: 

□  Peach  □  Light  Rachel  □  Flesh 

□  Rachel  □  Dark  Rachel  □  Tan 


Name- 


Frintl 


MOVIE  REVIEWS 

(Continued  jrom  page  11) 


passing  anything  she  has  done  on  the 
screen.  Winninger  gives  a  superb  char- 
acterization of  W.  Dimsdale  while  Brian 
Donlevy  leaves  nothing  to  be  desired  in 
his  portrayal  of  the  crook  de  luxe. 
Mischa  Auer,  a  mad  Russian  with  a 
frustrated  cowboy  complex,  has  many 
hilarious  scenes  while  Una  Merkel,  his 
nagging  spouse,  does  a  grand  job  as 
usual.  Allen  Jenkins,  Warren  Hymer 
and  Billy  Gilbert  are  stand-outs  in 
minor  roles.  Directed  by  George  Mar- 
shall . — Univ  ersal. 

^Hk-  Joe  and  Ethel  Turp  Call  on 
the  President 

You'll  want  to  meet  Joe  and  Ethel 
Turp,  for  two  more  lovable  and  warmly 
human  people  would  be  hard  to  find. 
When  their  postman  is  arrested,  the 
Turps'  loyalty  is  so  aroused  that  they 
decide  to  call  on  the  President  to  plead 
for  a  pardon.  So  you  see,  there's  no 
stopping  this  couple. 

Ann  Sothern  is  Mrs.  Turp  and  Wil- 
liam Gargan  becomes  Joe.  Both  players 
have  only  mediocre  material  with  which 
to  make  their  characterizations  hold  in- 
terest, and  they  do  100%  jobs.  Much  of 
the  story  deals  with  the  past  life  of  Jim, 
the  postman,  as  recounted  by  Mr.  and 
Mrs.  Turp  to  the  President.  As  Jim,  Wal- 
ter Brennan  shows  his  usual  excellent  un- 
derstanding of  a  role,  while  Marsha  Hunt 
deserves  considerable  credit  for  the  good 
work  she  does  as  Jim's  former  sweetheart. 
Lewis  Stone  gives  a  completely  satisfac- 
tory portrayal  of  the  President  and  Tom 
Neal  and  Don  Costello  contribute  some 
high  spots  to  the  picture.  Directed  by 
Howard  Hawks. — Metro-Goldwyn-Mayer. 

The  Cisco  Kid  and  the  Lady 

Cesar  Romero  takes  up  where  Warner 
Baxter  left  off  in  the  role  of  the  colorful 
Cisco  Kid,  and  gallops  his  way  into  an 
exceptionally  favorable  characterization. 
If  the  story  had  measured  up  to  Romero's 
contribution,  "The  Cisco  Kid  and  the 
Lady"  would  have  been  a  fine  show. 


Working  with  Romero  in  his  benev- 
olent bad  deeds  is  the  very  amusing 
Chris-Pin  Martin,  who  manages  to  keep 
every  scene  on  the  funny  side.  But 
stealing  thunder  from  both  Romero  and 
Martin  is  an  engaging  baby  named 
Gloria  Ann  White.  The  Cisco  Kid  and 
his  cohort  find  baby  Gloria  alone  on  the 
desert  after  bandits  have  murdered  her 
father.  They  take  her  to  town  with 
them,  turn  her  over  to  Marjorie  Weav- 
er's care,  then  find  that  they  can't  stay 
away  from  either  the  baby  or  Marjorie. 
The  Cisco  Kid  sees  to  it  that  the  baby 
gets  back  her  share  of  the  gold  mine 
stolen  by  the  murdering  bandits,  then 
rides  off  with  Chris-Pin  to  other  ad- 
ventures. 

Trailing  with  him,  however,  is  beau- 
tiful Virginia  Field.  Her  clever  portrayal 
of  a  dance  hall  queen  will  no  doubt  be 
continued  in  the  next  of  this  series. 
Other  scene  stealers  are  Robert  Barrat 
and  Harry  Green.  Directed  by  Herbert 
I.  Leeds. — 20th  Century-Fox. 

**  Raffles 

Theatregoers  have  been  familiar  with 
the  story  of  "Raffles"  since  the  time  of 
the  first  World  War,  and  except  for  a 
new  cast  this  picture  does  not  differ 
from  former  screen  presentations.  How- 
ever, it  has  an  excellent  cast.  David 
Niven  is  entirely  satisfactory  in  the  role 
of  the  suave  and  fearless  Raffles  who 
delights  in  baffling  Scotland  Yard  with 
his  exploits.  Undoubtedly,  Niven  is 
worth  the  price  of  anyone's  theatre 
ticket  when  he's  good  and  here  he  is 
very  good,  indeed.  Olivia  de  Havilland, 
sister  of  Raffles'  pal  and  inevitably  Raf- 
fles' sweetheart,  is  lovely  to  look  at  and 
gives  a  very  competent  performance. 

Dame  May  Whitty,  however,  is  the 
real  scene-stealer  in  the  picture.  When 
that  talented  and  charming  lady  is  on 
the  screen,  every  other  player  fades  into 
the  background.  Dudley  Digges  as  In- 
spector Mackenzie  provides  some  high- 
spots  in  the  entertainment,  while  E.  E. 
Clive  gives  a  grand  account  of  himself. 
Directed  by  Sam  Wood. — Samuel  Gold- 
wyn  Production  for  United  Artists. 


Street- 
City — 


-MM30     j  After  her  cal 


on  the  President  in 
with  John  Carroll 


"Joe  and  Ethel  Turp,"  Ann  Sothern  visits  Africa 
in  their  latest — "Congo  Maisie." 


A  Doctor  Tells 

THE  INTIMATE  SECRETS 
OF  A  PRIVATE  NURSE 

The  first  authentic,  "inside" 
revelation  of  the  cloistered, 
code-bound  world  of  woman's 
most  intimate  profession  — 
probing  deeply  and  dramati- 
cally the  souls  of  those  bitter 
women  who  know  men  too 
well,  yet  must  somehow  find 
love  in  the  midst  of  terror,  toil 
and  disillusionment. 


THE  WORLD- 
FAMOUS  AUTHOR 
OF  "THE  CITADEL" 

Bares  the  Heartache 
and  Despair  of  Women 
the  World  Calls  Callous 

in  a  story  even  more  search- 
ing and  absorbing  than  his 
first  great  success — made 
trebly  vivid  and  exciting  by 
three  brilliant  stars. 


/carole|  i 

^/ombard 

A     |  BRIAN 

Aherne 


Hi  ANNE  1 

ohirl 


ey 


Viqil  In  TMe  NiqetJ 

From  the  Brilliant  New  Novel  by  A.  J.  C RO N I N 


With  JULIEN  MITCHELL  •  ROB'T  COOTE 
BRENDA  FORBES  •  PETER  CUSHING 
Produced  and  Directed  by  GEORGE  STEVENS 

PANDRO  S.  BERMAN  In  Charge  of  Production 
Screen  Play  by  Fred  Guiol  •   P.  J.  Wolfson  •   Rowland  Leigh 

RKO  RADIO  PICTURE 


MODERN  SCREEN 


spited  V> 


V 


ce 


BRENDA  JOYCE 

ANDY  DEVIMF 
FRITZ  FEtD 


\\'k  4 


ate,: 


(A 


a 


Spectacular  entertainment  from  the  producer  and  director  of  "In  Old  Chicago' 
"Alexander's  Ragtime  Band",  "Stanley  and  Livingstone",  "Jesse  James"! 


22 


ONLY  RUDYARD  KIPLING  COULD 
WRITE  SUCH  A  ROMANCE... 

ONLY  RONALD  COLMAN  COULD 
PLAY  SUCH  A  ROLE! 


Laugh,  you  little  fool, 
laugh. ..for  I'm  giving 
you  something  you've 
never  had  before  .  .  . 
A  soul. ..on  canvas!" 


o  those  who  believe  in  romance,  Paramount  dedicates 
this  glorious  film  re-creation  of  Kipling's  never-to-be- 
forgotten  story  of  Dick  Heldar,  artist,  adventurer, 
gentleman  unafraid.  For  this  is  romance,  the  romance  of 
far  places,  Abu-Hamed,  Khartoum,  Port  Said,  London, 
and  of  the  men  who  fought  for  glory  beneath  the 
desert  sun  .  .  .  but  more  than  that  .  .  .  the  romance 
of  that  strange  wilderness  which  is  the  heart  of  man. 


A  Paramount  Picture  with 

WALTER  HUSTON 

Ida  Lupino  •  Muriel  Angelus  •  Dudley  Digges 

Produced  and  Directed  by  WILLIAM  A.  WELLMAN 
Screen  Play  by  Robert  Carson 
Based  on  the  Novel  by  Rudyard  Kipling 


25 


i  ! 


"Claude+te  believes  in  realism.  She 
likes  to  be  held  the  way  a  man  really 
in   love   with   her  would   hold  her." 


ik  no  run 


And  Fred  MacMurray  should 
know -he's  made  love  to  ^ 
such  glamorous  beauties 
as  Colbert  Lombard,  Dunne, 
Bennett  and  Carroll 


BY  GEORGE  BENJAMIN 


Here's  the  One-Take  MacMurray  in 
a  clinch  with  Carole  Lombard. 
This   shouldn't  be   hard  to  take! 


"Madeleine  Carroll  is  a  bit  remote 
between  scenes.  But  she  isn't  that 
way  when  the  camera  starts  turning." 


Love  scenes,  to  Irene  Dunne,  are 
ali  in  the  day's  work.  Her  ap- 
proach   is   business-like,    says  Fred. 


THE  GIRL  Fred  MacMurray  really  loves  has  never  seen 
him  make  a  love  scene.  He  won't  let  her  watch. 

She  made  one  of  her  rare  visits  to  the  studio  a  few 
months  ago,  to  see  a  friend.  During  the  visit,  she  men- 
tioned the  fact  that  she  had  never  been  on  a  set.  "What 
have  you  been  waiting  for — an  engraved  invitation?"  de- 
manded the  surprised  friend.  "Come  on,  I'll  take  you 
down  to  Fred's  set."  Lillian  Lamont  MacMurray  shook 
her  head.  "Any  set  but  that,"  she  said.  And  she  meant  it. 

Lillian  explained,  "If,  by  any  chance,  he  should  be  doing 
a  love  scene,  and  he  found  out  I  was  anywhere  around — 
well,  he  just  wouldn't  be  any  good  to  Paramount  for  a 
week.  And  he'd  never  forgive  me.  He  knows  that  I  know 
how  self-conscious  he  is  about  his  movie  kisses." 

To  see  Fred  on  the  screen,  you  would  never  suspect 
him  of  agonizing  through  his  love  scenes.  He  may  some- 
times build  up  to  the  Big  Moment,  or  Clinch  (as  it  is 
called  in  Hollywood) ,  with  a  certain  amount  of  embarrass- 
ment, but  not  always.  Whenever  the  embarrassment  does 
appear,  it  is  entirely  in  keeping  with  the  character  he  is 
playing.  And  every  time  the  Big  Moment  does  arrive,  he 
looks  as  if  he  enjoys  taking  the  heroine — invariably  a 
pretty  parcel  of  femininity — in  his  arms  and  kissing  her 
soundly.  You  wouldn't  suspect  that  his  enjoyment  is  the 
well-this-is-finally-over  kind. 

With  every  new  picture,  he  asks  to  do  the  love  scenes 
first.  It  isn't  that  he  can't  wait  to  do  them — that  he  has  a 
Don  Juan  or  Casanova  streak.  He  has  no  urge  to  give  an 
attractive  woman  ideas  about  his  romantic  possibilities 
on  first  meeting.  He  makes  the  same  request  even  if  the 
lady  is  an  old  friend.  He  wants  those  scenes  over  with, 
finished,  out  of  the  way.  They  haunt  him,  if  they're  ahead 
of  him. 

This  is  a  strange  complex  for  a  top-ranking  male  star 
to  have.  No  other  Hollywood  male,  particularly  one  pop- 
ular with  women,  has  such  an  affliction. 

Part  of  Fred's  trouble  is  that  he  is  sadly  deficient  in 
actor's  ego.  Even  after  five  years  of  fan  mail,  he  doesn't 
harbor  any  illusions  about  his  ability  to  sway  the  emotions 
of  the  opposite  sex.  "I'm  in  Hollywood  by  accident,"  he 
says.  "A  lucky  accident.  What  I  don't  know  about  acting 
would  fill  a  dozen  books.  I'm  just  fortunate  that  the  folks 
like  me  as  I  am.  My  only  chance  of  remaining,  as  I  see 
it,  is  to  stay  natural." 

,  That's  what  he  has  against  love  scenes.  They  don't  let 
him  feel  natural. 

He  grew  up  in  Kankakee,  Illinois,  and  in  a  small  town, 
everybody  knows  your  business,  unless  you're  on  guard 
to  keep  it  to  yourself.  Fred,  who  vaguely  resented  curi- 
osity about  why  his  mother  and  father  had  parted,  and 
how  he  and  his  mother  managed  to  get  along,  became 
close-mouthed  very  young.   And  he  also  became  very  un- 


demonstrative— the  better  to  keep  people  at  a  safe  distance. 

Six  feet  three  in  his  teens,  he  was  taller  than  any  of  his 
pals,  and  towered  over  girls.  He  vaguely  resented  that, 
too.  It  made  him  conspicuous,  and  this  made  him  uncom- 
fortable. It  wasn't  any  different  when  he  and  his  saxo- 
phone joined  the  California  Collegians,  and  the  leader 
called  on  all  the  boys  to  do  solo  stuff.  Every  time  Fred  did 
a  bit  of  soloing,  he  was  so  unstrung  that  the  leader  couldn't 
call  on  him  again  for  three  weeks.  He's  still  like  that.  He 
has  made  exactly  one  personal  appearance.  But  that  one, 
he  says  with  feeling,  shortened  his  life  ten  years. 

When  you  realize  the  permanence  of  Fred's  self-con- 
sciousness, and  the  habitual  proportions  of  his  reticence, 
you  can  begin  to  appreciate  his  dread  of  love  scenes.  Even 
though  he  has  been  making  them  for  five  years,  and  with 
actresses  whom  other  men  dream  of  holding  in  their  arms. 

HIS  EMBARRASSMENT  isn't  as  visible  on  a  set  as  it 
used  to  be.  He  has  learned  how  to  cover  it  up  a  bit.  But 
it's  still  there.  His  approach  to  love  scenes  today  is  still 
the  approach  of  a  normal,  natural  chap  whose  mother 
didn't  bring  him  up  to  be  a  co-star  of  glamour  girls. 

In  this  respect,  he  is  unique.  He  is  the  one  male  star 
capable  of  giving  men  who  have  never  acted  in  their  fives 
an  idea  of  what  it's  like  to  get  up  in  front  of  that  camera, 
with  fifty  or  sixty  studio  workers  watching  you,  and  make 
love  to  world-famous  beauties.  And,  incidentally,  he  can 
also  give  the  average  man  an  idea  of  how  the  beauties 
react. 

Where  love-making  was  concerned,  Fred  was  distinctly 
an  amateur  when  Paramount  pushed  him  into  the  role 
of  Claudette  Colbert's  suitor  in  "The  Gilded  Lily."  They 
told  him,  "You'd  better  be  good,  because  this  is  your 
big  chance." 

"How  would  you  feel,  if  you  were  given  an  assignment 
like  that,  when  you  had  never  made  love  to  anybody 
publicly  before?"  asks  Fred. 

"I'll  tell  you  how  you'd  feel.  Scared.  Scared  stiff.  For 
approximately  one-half  second,  you  might  feel  flattered. 
It  isn't  everybody  who  gets  the  chance  to  hold  Claudette 
Colbert  close.  But  the  next  half-second,  you'd  feel  like 
the  condemned  man,  just  after  the  hearty  meal.  Petrified 
with  anticipation.  You'd  suddenly  realize  you  had  just 
one  thing  to  look  ahead  to.  Your  finish." 

That's  how  Fred  felt. 

"Claudette  was  small  and  poised.  I  was  tall  and  gawky. 
She  knew,  from  years  of  acting  experience,  how  to  express 
emotion.  I  hadn't  had  any  practice  whatsoever,  with  an 
audience  watching  me.  Up  until  then,  it  had  all  been 
done  with  mirrors — and  even  that  made  me  self-conscious. 
I  was  going  to  stack  up  as  pretty  clumsy,  compared  to 
other  leading  men  that  she'd  had.  (Continued  on  page  85) 


27 


LURE 


You've  seen  it  work  on  the  screen,  but 


now  Marlene  reveals  just  what  she  has 


BY  IRVING  WALLACE 


DIETRICH  was  angry. 

It  wasn't  ordinary  anger.  She  didn't  throw  anything, 
not  even  a  tantrum.  It  was  like  Vesuvius,  holding  back 
its  rage,  seething.  It  began  slowly,  Dietrich's  anger  did, 
until  her  eyes  sparked  and  her  slender  body  stiffened. 

She  puffed  her  imported  cigarette  once,  twice,  quick- 
ly, and  from  behind  the  smoke  screen,  let  blast: 

"You  have  come  here  to  write  a  story  about  how 
Dietrich  has  changed.  You  think,  just  because  I  played 
a  tough  night-club  girl  in  'Destry  Rides  Again,'  and 
because  I  threw  myself  into  the  part  and  worked  hard 
— that  now  I  am  different.  Well,  I  am  sick  of  the  non- 
sense. I'm  going  to  give  you  something  to  write — 
the  truth!" 

She  leaned  forward.  Strands  of  hair  fell  over  her 
eyes.  She  didn't  mind.  With  great  intensity,  she  spoke: 

"I  have  not  changed.  Not  one  single  bit!  Even  if  I 
wanted  to,  I  wouldn't  know  how.  I'm  not  enough  the 
actress  for  that.  I  have  not  departed  from  my  old  roles. 
My  characterization  in  'Destry'  wasn't  so  startling  and 
unusual  as  it's  been  played  up  to  be.  Merely  a  throw- 
back to  my  German  film,  'The  Blue  Angel.' 

"I  will  be  utterly  frank  with  you.  Wherever  I  go, 
whatever  magazine  I  pick  up  to  read.  I  learn,  'Dietrich 
is  now  different.  A  new  person.'  And  then  I  pinch 
myself,  and  find  I  am  exactly  the  same  as  always, 
physically  and  mentally.  I  think  I  should  know  better 
than  anyone  alive  that  I  haven't  changed.  And  believe 
me,  I  have  told  writers  that,  and  critics,  everyone — but 
no,  they  decide  that  since  I  sang  and  brawled  in  'Des- 
try,' I  must  be  a  new  Dietrich.  They  don't  print  what 
I  really  say.  They  need  an  angle  for  their  stories,  so 
they  write  about  the  transformed  Dietrich." 

"Okay,"  I  said.  "You  haven't  changed  a  bit.  But  can 
you  account  for  this — that  visitors  to  your  set,  during 
the  making  of  'Destry,'  reported  you  were  friendlier 
than  ever,  less  temperamental  and  were  trying  harder? 
How  come?" 

Marlene  crushed  out  her  cigarette.  "Oh  no,  no,  that's 
not  so.  In  all  the  pictures  I've  made,  I've  always  been 
the  same.  Can't  people  understand  one  thing — that  I 
am  human,  that  I  have  good  days  and  bad  days?  I 
admit,  in  the  past,  there  were  times  when  I  knew  I 
didn't  have  good  pictures,  and  I  was  in  a  poor  temper. 
When  you're  disturbed,  you  can't  wear  a  joking  mask. 
At  least  I  never  could.  But  when  I  worked  in  'Destry,' 
I  liked  the  script.  I  knew  it  was  a  good  show.   It  put 


Men  have  been  important  in  Dietrich's  life. 
Above  is  Director  Josef  von  Sternberg,  whose 
wife   once    called    Marlene    a  love-pira+e. 

me  in  a  fine  humor,  and  I  felt  like  laughing  and  talking. 
Do  you  understand?" 

Marlene  Dietrich  paused,  came  up  for  air,  and  then 
sank  back  on  the  sofa  with  a  sigh.  I  sat  a  trifle  para- 
lyzed and  a  little  jarred.  All  publicity  and  gossip,  in 
wake  of  the  sexsational  'Destry'  convinced  me  that  a 
new  Dietrich  was  being  born — a  Dietrich  who,  inspired 
by  her  bawdy  portrait  of  Frenchy  and  her  own  recent 
American  citizenship,  had  acquired  the  star-spangled 
manner — sans  makeup,  accent,  slink  and  continental 
mystery. 

Ten  minutes  earlier,  I  had  walked  into  the  living- 
room  of  her  bungalow,  situated  in  the  rear  of  the  Bev- 
erly Hills  Hotel,  certain  I  would  find  a  Dietrich  who 
had  shed  her  glamour,  and  who  was  about  as  mys- 
terious and  exotic  as  your  Aunt  Sadie. 

I  WAS  early  for  the  interview.  I  studied  her  room.  It 
was  bright  afternoon,  and  the  sun  sent  dusky  shafts 
down  on  an  end-table  where  lay  an  open  German  lan- 
gauge  book  and  an  astrology  guide.  On  the  mantelpiece 
was  a  cheap  two-bit  copy  of  Steinbeck's  "Pastures  of 
Heaven,"  and  bookmarked  in  the  center,  Hemingway's 
"Fifth  Column  and  Other  Stories."  And  then  Dietrich 
came  into  the  room. 

She  didn't  have  much  make-up  on,  and  her  copper- 
colored  hair  was  mussed.  She  wore  wrinkled  brown 
suede  trousers  topped  by  a  white  silk  blouse  and  a 
yellow  sleeveless  suede  jacket.  And  I  am  here  to  report 
to  all  citizens  and  patriots,  that  Marlene  Dietrich  looked 
like  an  improved  carbon  of  Venus  De  Milo.  I  decided 
on  the  spot  that  she  was  the  only  human  on  earth  who 
could  really  look  glamorous  without  make-up. 

She  was  the  same  Dietrich  who  had  come  to  Holly- 
wood a  decade  ago  for  "Morocco,"  and  taught  Amer- 
icans the  true  meaning  of  glamour.  I  knew  the  lady 
hadn't  changed,  and  that  all  the  inky-fingered  lads  were 
hoaxing  the  public. 

Yes,  slowly  I  began  to  understand,  because  Marlene 
was  speaking  in  such  throaty  and  energetic  defense  of 
herself,  and  with  such  conviction,  I  began  to  see  for 
the  first  time  that  maybe — well — maybe  everyone  had 
her  wrong.  That  sounds  ordinary.  And  a  trifle  banal. 
But  it  answers  a  lot  of  items  about  Marlene. 

I  inquired  about  her  future. 

"I  am  signed  for  two  more  pictures  at  Universal," 
she  explained.   "I'll  take  any  (Continued  on  page  68) 


28 


ff 


\ 


I'M  GOING  home  for  Christmas,"  the  girl  in  pub- 
licity had  told  Melvyn  Douglas.  "Saved  my  vaca- 
tion. That  gives  me  two  whole  weeks,  with  pay,  to 
spend  visiting  the  folks." 
"Wish  I  could  get  two  weeks  without  pay,"  grum- 
bled Melvyn  hopelessly. 

And  behind  that  mournful  statement  lies  the  fact 
that  he  hasn't  had  a  real  breathing  spell  in  five  years — 
not  since  the  Douglas  stock  started  leaping  up  the  movie 
exchange. 

Now  girls  in  publicity  think  in  terms  of  publicity.  That's 
what  they're  paid  for.   They  pounce  on  any  observation 


Mel  Douglas  has  no 
time  for  prettying  up. 
It's  not  unusual  to 
meet  him  at  a  Bowl 
concert  or  a  neigh- 
borhood movie  clad 
iust  as  he  is  here  on 
lis  own  front  porch. 


more  casual  than  "good  morning."  The  familiar  calculat- 
ing gleam  entered  this  one's  eye.  "Sounds  as  if  it  might 
make  a  funny  story,"  said  she. 
"Excruciating,"  Douglas  agreed. 

Which  explains  why  one  day  I  decided  to  mount  the 
Hollywood  hill  that  leads  to  the  Douglas  home.  Melvyn's 
house  is  large  and  white  and  sprawls  over  the  hilltop. 
There  are  porches,  patios  and  windows  open  to  the  sun. 
Before  it  was  built,  the  future  householder  indicated  spots 
where  he  wanted  walls  knocked  out  to  make  room  for 
the  many  windows. 

"Look,"  said  the  architect  finally,  "you  want  the  house 
to  stand,  don't  you?"  - 

"Not  if  it  shuts  me  in,"  said  Douglas,  and 
knocked  out  another  wall.  Five  minutes  from 
the  center  of  a  mad  town,  the  house  gives  the 
impression  of  living  alone  with  the  air  and  sky, 
and  liking  it. 

When  I  walked  in,  Douglas  was  in  the  living- 
room.  The  radio  was  tuned  to  a  news  broadcast. 
War  dispatches,  horrible,  unreal,  were  coming 
from  the  loud-speaker. 

"And  you  want  me  to  babble  about  vacations 
or  something?"  he  inquired. 

I  meekly  pointed  out  that  he  hadn't  stopped 
making  pictures,  that  therefore  he  couldn't 


logically  reject  what  went  with  it.  Being  a  just  man,  he 
agreed,  "If  you  don't  mind  waiting  till  this  broadcast  is 
over.  It's  hard  to  think  of  anything  else  just  now.  We 
stayed  up  listening  till  four  this  morning." 

It  has  been  charged  that  Hollywood  is  aware  of  world 
events  chiefly  as  they  affect  Hollywood's  pocketbook,  that 
Hitler  and  Stalin  are  important,  but  less  important  than 
last  night's  preview.  If  there  is  truth  in  the  charge,  it's  a 
truth  with  exceptions,  one  of  the  more  notable  exceptions 
being  Mr.  Douglas. 

The  broadcaster  said,  "Good-by,  everybody."  Douglas 
turned  the  knob  and  sat  down.  "Okay.  I  haven't  had  a 
vacation  in  five  years.  Kids  are  going  out  to  be  slaugh- 
tered, and  I  haven't  had — l<~ok,  are  you  sure  you  want  to 
go  on  with  this?" 

"They  said  it  was  a  funny  story,"  I  offered,  feeling  like 
Nero  while  Rome  burned.  "All .  about  you  leaping  for 
Paris,  kissing  your  wife  'hello'  and  'good-by,'  and  catching 
the  next  boat  back — " 

"Oh,  that?  All  right,  let's  be  funny  if  it  kills  us.  That 
happened  two  years  ago  last  summer.  Helen  was  going 
abroad  for  some  singing  engagements.  I  was  working  in 
"Angel." 

At  noon  one  day,  Ernst  Lubitsch,  the  director,  said, 
"That's  all." 

"What  do  you  mean,  that's  all?"  asked  his  leading  man 


carefully.  "Can  it  be,  you  won  t  be  needing  me  anymore?" 
"That's  all.  We're  finished." 

"Let  me  get  this  straight.  I'm  dismissed.  I  can  go  away. 
I  can  leave  town — " 

Lubitsch  took  his  cigar  out  of  his  mouth.  "Good-by,"  he 
said  distinctly. 

Douglas  dashed  home.  His  wife  was  flying  east  that 
afternoon  to  sail  on  the  Queen  Mary.  She  found  him  in 
his  bedroom,  chucking  shirts  into  a  suitcase.  "I'm  going  to 
Europe  with  you,"  he  announced. 

Together  they  planed  to  New  York  and  boarded  a  ship 
headed  for  France.  A  few  days  later,  early  in  the  morning, 
the  ship  docked  at  Cherbourg.  In  their  eagerness  to 
glimpse  the  foreign  shores,  they  hadn't  even  dozed  the 
night  before.  Douglas  settled  himself  for  a  nap  on  the 
train  to  Paris,  but  found  that  he  couldn't  sleep.  His  eyes 
simply  wouldn't  stay  shut. 

They  reached  Paris  at  two  in  the  afternoon.  "Bed,"  said 
Helen.  "Nothing  doing,"  said  her  husband.  Common  sense 
finally  prevailed,  and  they  slept  till  six.  Then  they  called 
some  friends,  dined  at  one  of  their  favorite  restaurants, 
went  to  the  theatre  and  stayed  up  half  the  night  talking. 
Next  day  they  cut  short  a  visit  to  the  Exposition  in  order 
to  take  a  long  walk  through  the  city.  They  met  more 
friends,  dined  at  another  of  their  favorite  restaurants,  saw 
another  show  and  didn't  go  to  (Continued  on  page  98) 


TWO  WEEKS — WITH  Pfl¥ 


Even  Joe  the  Office  Boy  gets  that  much— but  Melvyn 
Douglas  isn't  as  lucky.  Mel  hasn't  had  a  vacation 
in  the  last  five  years  and  with  his  variety  of 
activities,  probably  won't  have  one  for  the  next  ten 


IDA  ZEITLIN 


THE  BROTHERS  WARNER  are  still  building  the  West. 
Having  placed  Dodge  City,  Kansas,  on  the  map,  they  are 
continuing  their  push  to  the  Pacific  with  a  stop-over  at 
Virginia  City,  Nevada.  Once  more,  handsome  Errol  Flynn 
leads  the  parade  and,  proving  that  sage  producers  will  not 
let  a  good  cast  die,  five  of  his  "Dodge  City"  playmates 
again  stand  by  his  side. 

With  typical  Hollywood  casualness,  Hungarian  Director 
Michael  Curtiz  took  his  company  to  Arizona  for  the  shoot- 
ing of  this  epic  of  Nevada.  It  was  the  largest  production 
unit  ever  sent  out  of  the  film  capital  and  included  six 
passenger  buses,  ten  limousines,  twenty  trucks  and  enough 
horses  for  a  season  at  Tijuana.  Along  with  the  live  stock 
and  the  motorized  brigade  went  the  entire  directorial  staff, 
the  camera  crew,  the  make-up  artists, •hairdressers,  elec- 
tricians, carpenters,  grips,  property  men,  wardrobe  men, 


horse  wranglers  and  a  couple  of  hundred  extras.  Reck- 
oning conservatively,  the  expense  of  the  location  trip  ran 
to  approximately  $13,000  a  day. 

All  outdoor  scenes  were  filmed  on  a  Navajo  Indian  Res- 
ervation, about  sixty-five  miles  from  the  city  of  Flagstaff, 
where  the  company  was  staying.  In  order  to  travel  that 
distance  every  day  and  still  do  a  good  eight-hour  stint  for 
Warner  Bros.,  almost  everyone  had  to  roll  off  his  mattress 
at  5  A.M.  Flagstaff  is  not  a  latitudinal  kin  of  Los  Angeles 
and  the  transplanted  movie  folk,  accustomed  to  caressing 
warmth,  shivered  pathetically  in  the  bitter-cold  Arizona 
dawn.  Having  arrived  at  the  scene  of  their  day's  work, 
they  huddled  around  bonfires  while  husky  men  set  up  the 
equipment,  and  awaited  Curtiz's  "start  shooting"  call 
which  usually  came  at  the  heathenish  hour  of  8  A.M. 
These  pictures  were  taken  after  they  had  thawed  out. 


Jane  Withers  was 
once  known  as  Dixie's 
Dainty  Dewdrop — but 
that  was  before  she 
bounced  up  and  be- 
came Movietown's 
Modern  Miracl'e. 


BY  BET 


TWELVE  HUNDRED  beloved  dolls  and  several  dozen  live 
pets  still  have  their  place  in  the  changing  scheme  of  Jane 
Withers'  life.  But  in  her  consciousness  has  awakened  the 
significance  of  newly  important  things — the  charm  of  her 
own  perfume  cabinet,  the  art  of  the  hairdresser's  salon, 
the  delight  of  flattering  party  dresses,  the  pleasure  of 
skating  and  dancing  and  eating  ice  cream  sodas  with  boys 
her  own  age. 

The  new  Jane  Withers — three  inches  taller  and  twelve 
pounds  lighter  than  she  was  a  year  ago — spread  her  velvet 
skirt  about  her  and  sat  on  the  edge  of  a  deep  divan  in 
her  living-room. 

With  the  air  of  a  duchess,  she  remarked  enthusiasti- 
cally, "I  shall  go  on  acting  in  pictures  for  years — I  hope — 
and  then  when  I've  finished  with  that,  I  should  like  to 
design  costumes  and  write." 

Concerning  the  writing,  a  short  story  is  already  sim- 
mering in  the  alert  Withers  mind.  She  wanted  to  talk 
about  it.  "I  believe  I  shall  dictate  that  to  my  secretary," 
she  remarked  with  adult  composure. 

Jo- Jo,  her  secretary  and  friend,  beamed  acceptance  of 
the  probable  task.  At  that,  Jane  most  likely  will  write 
the  story  some  day — and  sell  it,  too.  She  gets  what  she 
wants  because  she  makes  things  happen  for  herself. 

Jane  is  the  important  pivot  of  her  own  personal  world. 
The  California  home  of  the  Withers  in  Westwood  Village 
evolves  around  her.  Her  mother,  who  has  been  the  con- 
stant guiding  star  of  her  screen  career,  lives  only  for  Jane. 
She's  with  her  continuously.  Walter  Withers  sticks  to  his 
wholesale  furniture  business  and  declines  to  be  known 
as  a  movie  star's  father.  But  he,  like  his  wife,  Jo- Jo  and 
the  servants,  knows  that  the  most  important  problem  in 
his  home  is  keeping  Jane  contented  and  happy  there  for 
the  next  several  years. 

Mrs.  Withers  has  two  definite  hopes  for  her  famous  off- 
spring: First,  that  for  a  while  at  least  she  won't  grow  any 
taller  than  her  present  five  feet,  three  and  a  half  inches. 
That  would  be  disconcerting  in  the  present  movie  plans 
outlined  for  Jane.  The  second  is  that  when  Jane  really 
grows  up  to  a  marriageable  age,  she'll  wait  long  enough 
to  be  sure  of  her  choice  and  take  someone  with  whom 
she  can  make  marriage  last  a  lifetime. 

Jane  and  her  family  wanted  a  South  American  cruise 
this  year.  World  conditions  altered  that.  So  instead,  she 
made  a  personal  appearance  tour  over  the  country — earn- 
ing money,  instead  of  spending  it. 

A  few  months  ago,  Jane  appeared  as  the  star  attraction 
of  a  Food  Show  in  Boston.  Twice  a  day  she  sang,  danced 
and  gave  her  clever  impersonations  of  other  stars.  As  one 
of  the  side  events  that  week,  she  was  the  guest  of  honor 
at  a  large  gathering  of  a  girls'  club  in  the  poorer  section 
of  the  city.  One  little  girl,  a  member  of  the  club,  had 
been  assigned  to  make  the  speech  introducing  Jane.  The 


Lost  at  the  threshold  of  adolescence:  a  pudgy,  round-faced,  baby-banged  moppet! 
What's  more,  she  ll  never  be  found-but  in  her  place  is  a  tall,  attractive  . .  . 


in 


youngster  stood  up,  shaking  with  stage  fright.  Her  eyes 
bulged  in  panic.  She  opened  her  trembling  hps  but  no 
words  came. 

Quickly,  Jane  rose  and  put  her  arm  around  the  other 
girl.  "I  think  we  both  want  to  say  the  same  things," 
Jane  told  her  in  a  quiet,  friendly  voice.  "Let's  say 
them  together." 

Jane,  with  utter  lack  of  self-consciousness,  started  talk- 
ing to  the  hundreds  of  girls  before  her.  In  the  back  of 
the  hall,  Mrs.  Withers  and  Jo-Jo  listened  with  amazement, 
tears  streaming  down  their  cheeks.  Though  they've  been 
with  her  in  every  step  of  her  success,  they've  never  ceased 
to  wonder  at  Jane's  assurance  and  poise.  They  never 
coach  her.  They  don't  even  know  what  she'll  say,  but 
they  do  know  it  will  be  good.  Jane's  never  failed  them  yet. 

On  the  closing  night  of  the  Food  Show,  Jane  did  her 
act  before  21,000  people.  She  was  calm,  self-assured  as 
usual.  That  was  until  she  started  her  words  of  farewell. 
Then  she  was  a  little  girl,  sad  at  the  thought  of  parting 
from  anything  that  had  given  her  delight.  Tears  were  in 
her  eyes,  but  her  thoughts  were  smoothly  expressed. 
Only  those  up  front  could  see  the  tears.  But  later,  in 
her  dressing-room,  babyish  sobs  came  and  she  pro- 
tested, "I  like  it  here;  I  don't  want  to  leave." 

WITH  THE  attitude  of  youth  which  passes  over  sad 
moments  quickly,  Jane  in  talking  about  the  Boston  visit 
remembered  only  the  pleasant  things.  Her  very  mobile 
little  face  reflected  her  quickly  changing  moods.  Conver- 
sation about  her  career  brought  to  her  voice  a  sureness, 
an  earnestness.  And  then  just  when  the  impression  that 
Jane  had  outgrown  her  childhood  was  complete,  she 
proudly  exhibited  some  dolls  newly  acquired  in  New 
York.  She  still  finds  pleasure  in  little  girl  things.  But 
on  that  New  York  visit  she  bought  compacts  for  her 
seven  girl  friends.  A  year  ago  she'd  have  gone  shop- 
ping for  live  turtles  or  pen-knives. 

From  dolls  and  dogs  to  thoughts  of  work,  the  Withers 
moods  flow  like  quicksilver.  With  a  new  Marie  An- 
toinette doll  in  her  hand,  she  recalled  having  seen  Car- 
men Miranda  in  "Streets  of  Paris."  And,  as  though  she 
were  merely  repeating  a  lesson  in  Spanish,  she  did  an 
impersonation  of  the  zippy  "Souz  American"  meteor 
that  would  make  the  efforts  of  older  imitators  pathetic. 
She  has  a  gift  of  mimicry  that  emphasizes  the  gestures 
and  affectations  of  everyone  with  whom  she  has  worked 
or  whom  she  has  seen.  It's  only  when  Jane  cleverly 
assumes  the  personality  of  a  well-known  figure  that  you 
realize  certain  characteristics  you  hadn't  noticed  before. 

A  year  ago,  a  fat  little  Jane  Withers  would  have 
bounced  into  the  living-room.  Her  bangs  would  have 
been  disarranged,  her  denim  slacks  soiled  and  on  her 
hands  and  face  would  have  been  the  marks  of  playful 


pets.  Things  are  different  now.  She  wore  a  "junior 
miss"  frock  of  brown  velvet  skirt  and  plaid  blouse.  Her 
nails  were  immaculate,  her  hair  softly  drawn  back  from 
her  forehead  and  waved.  There  was  (sssh!)  the  faint 
trace  of  talcum  powder  on  her  nose. 

"I've  got  a  new  formal,"  she  said  casually.  The  "for- 
mal" proved  to  be  a  billowing  white  taffeta  skirt  with 
a  red  velvet  military  jacket,  all  trimmed  in  tiny  gold 
buttons.  And  low  in  the  back! 

That's  what  her  thirteenth  birthday  and  a  natural 
slenderizing  process  did  for  Jane.  "Stop  Red  is  my  fa- 
vorite color — oh,  yes,  and  I  like  royal  blue,  too,"  she  re- 
marked. Jane  Withers'  getting  enthusiastic  about  clothes 
is  a  phenomenon  on  the  Twentieth  Century-Fox  lot. 

Millions  of  little  girls  envy  Jane  Withers.  They,  and 
their  elders,  flock  in  hordes  for  a  glimpse  wherever  she 
appears.  Jane  has  a  young  idol,  too.  It's  the  Princess 
Elizabeth  of  England. 

"Have  you  seen  her?"  Jane  asks  everybody  who  has 
ever  been  to  London.  "How  does  she  look  in  person? 
What  is  her  voice  like?  What  are  her  hobbies?  I'd  give 
anything  just  to  meet  her  close  up.  I  want  to  go  to  Lon- 
don, especially  to  see  Princess  Elizabeth  and  her  sister." 
Heroine-worship  hasn't  passed  little  Miss  Withers  by. 

The  peppy  little  gold  mine  in  the  Withers  menage  has 
two  more  years  to  go  on  her  seven-year  contract.  But 
the  plans  of  the  movie  makers  cover  three  years  beyond 
that.  She  has  four  pictures  scheduled  for  the  next  few 
years.  She  is  now  making  "Shooting  High"  with  Gene 
Autry.  Her  most  recent  release  is  "High  School"  in 
which  she  plays  a  freshman. 

Jane  really  is  a  freshman  in  her  own  school.  She's  the 
only  pupil.  Miss  Vizard,  her  teacher,  goes  where  Jane 
goes — on  the  set,  to  her  home,  on  personal  appearance 
tours.  While  Jane  was  holidaying  in  New  York  she  en- 
joyed the  luxury  of  her  morning  class  in  bed.  That  was 
because  she  went  to  evening  performances  at  the  New 
York  theatres.  It  doesn't  happen  often.  History  is  her 
favorite  subject.  She  "eats  up"  the  records  of  famous 
women  and  has  a  doll  for  every  historical  heroine. 

Until  recently  the  young  star  never  liked  any  but 
swing  music.  Now  her  school  work  includes  classical 
compositions  and  she's  keeping  a  scrap  book  of  her  fa- 
vorite pieces.  She  loves  the  Strauss  waltzes,  and  "Loh- 
engrin" is  her  best-loved  opera.  Her  instruction  also 
includes  sewing  and  cooking,  but  Jane's  idea  of  really 
concocting  something  delectable  is  shaking  up  ice  cream 
sodas  behind  her  newly  acquired  soda  fountain. 

The  fountain  is  in  the  recreation  room  of  Jane's  new 
apartment  over  the  Withers'  California  ranch  house.  The 
charming  "diggings"  are  her  parents'  concession  to  the 
fact  that  Jane  is  growing  up  and  needs  a  place  of  her 
own.  The  house  was  formerly  a  (Continued  on  page  79) 


UIHV  CHRV  CRODT  IS  HARD 


WHEN  CARY  GRANT  and  Phyllis  Brooks  called  off  their 
wedding  plans,  the  gossips  looked  wise  and  said,  "We 
could  have  told  you  so.    Cary  is  hard  to  get." 

This  was  a  bit  unfair  to  Phyllis.  It  carried  the  implica- 
tion that,  since  she  was  less  famous  than  Cary,  she  must 
have  been  the  pursuer  and  that  he  must  have  wearied  of 
being  pursued. 

The  accepted  version  of  how  their  romance  began 
doesn't  encourage  such  an  implication.  Phyllis,  who  used 
to  be  a  model  in  New  York,  had  a  girl  friend  of  those  days 
visiting  her  in  1937.  The  friend  assumed  that  Phyllis 
knew  all  the  stars  and  said,  "There's  one  star  I'd  par- 
ticularly like  to  meet — Cary  Grant."  Phyllis,  then  playing 
only  small  roles,  was  enjoying  her  friend's  mild  awe.  She 
said  obligingly,  "I'll  fix  it  for  you." 

At  the  time,  she  was  going  with  Michael  Brooke,  better 
known  as  the  Earl  of  Warwick.  She  thought  that  he,  be- 
ing English,  would  know  Cary  and  told  him  of  the  spot 
she  was  in.  Amused,  he  took  the  two  girls  out  to  the 
Grant  beach  house  the  next  Sunday.  (It's  always  "open 
house"  there  on  Sunday.)  The  Earl  said  to  Cary,  "Of 
course,  you  know  Phyllis  Brooks."  Cary,  who  had  never 
seen  her  before,  took  a  good  look  and  said  warmly,  "Hello. 
How  are  you?" 

Her  girl  friend,  properly  impressed  and  properly  grate- 
ful for  her  own  introduction  to  Cary,  babbled  afterward, 
"He's  even  better-looking  than  on  the  screen.  I'd  like  to 
see  more  of  him."  Phyllis,  who  felt  much  the  same  way 
but  had  no  hope  of  a  second  meeting,  said  nothing. 

A  few  evenings  later  the  two  girls  were  at  a  night  club. 
The  other  girl  soon  spotted  Cary  at  a  table  not  too  far 
away.  With  the  courage  of  the  star-smitten,  she  went 
over  to  speak  to  him.  They  had  several  minutes'  con- 
versation, which  climaxed  with  Cary's  saying,  "I'd  like 
to  take  your  friend  to  the  premiere  tomorrow  night.  Think 
she'd  go?" 

That  must  have  been  a  blow  to  the  visitor.  But,  gamely, 
she  smiled,  "I  don't  know.   Why  don't  you  just  ask  her?" 

He  did.  They  went  to  the 
opening  together.  And,  after 
that,  they  became  such  constant 
companions  that  everybody  said 
it  must  be  love.  Everybody,  that 
is,  except  Cary  and  Phyllis.  They 
wouldn't  talk. 

Cary  didn't  have  to  talk  to  con- 
vince Hollywood  that  he  had 
marrying  ideas.  Why  else  should 
he  be  so  attentive  to  a  girl  who 
wasn't  a  star?  Or  why  should  he 
go  so  steadily  with  any  girl  when, 
ever  since  his  brief  first  marriage, 
he  had  been  so  intent  on  avoiding 
romantic  entanglements?    Up  to 

now,  he  had  scattered  his  dates  far  and  wide  and  often. 

There  were  those  who  suspected  Phyllis  of  doing  the 
courting  to  further  her  career.  These  suspicions,  how- 
ever, didn't  make  sense.  Wary  Cary  is  too  smart  to  be 
anybody's  stepping  stone.  He  is  too  much  on  his  guard 
to  get  involved  in  any  situation  not  of  his  own  choosing. 

From  the  conviction  that  he  had  marrying  ideas,  the 
gossips  graduated  to  the  notion  that  he  had  secretly  carried 
them  out.  He  denied  this,  but  he  didn't  stop  dating 
Phyllis.  That  looked  like  a  tacit  admission  that,  this  time, 
he  wasn't  running  away  from  "serious  romance"  rumors. 

Last  summer,  Phyllis  went  to  England  to  make  a  pic- 
ture. As  soon  as  he  finished  "In  Name  Only,"  he  rushed 
over,  in  the  face  of  war  threats,  to  show  her  around.  That 
didn't  make  him  look  like  the  pursued. 

He  was  in  such  a  hurry  to  join  her  that  columnists,  try- 
ing hard  to  out- scoop  each  other,  predicted  when  and 


Phyllis  Brooks,  25,  a 
one-time  photogra- 
phers' model,  was 
top  girl  in  Cary's 
life  for  two  fun-filled 
years.  Since  they 
split,  both  have 
been  making  a  fine 
show  of  not  caring. 


where  wedding  bells  would  ring  abroad.  The  columnists 
were  wrong.  One  of  them  confidentially  stated  that  the 
only  reason  for  the  delay  was  that  Cary  wanted  to  be 
married  in  America,  since  he  was  going  to  become  an 
American  citizen.  When  he  and  Phyllis  returned,  Cary 
had  nothing  to  say  about  that,  particularly  with  his  native 
England  facing  the  possibility  of  needing  every  man  it 
could  muster.  But  he  did  tell  reporters  that  he  and  Phyllis 
would  be  married  "sometime  in  the  Fall,"  when  picture 
commitments  permitted. 

Instead,  came  Fall,  and  they  called  the  whole  thing  off. 
Neither  would  tell  why. 

Then  an  ironic  thing  happened.  The  ex-lovebirds,  who 
had  decided  they  didn't  want  to  see  each  other  any  more, 
had  to  face  the  possibility  of  not  being  able  to  avoid  each 
other.  Just  about  the  time  Cary  appeared  on  the  lot  to 
make  "My  Favorite  Wife"  with  Irene  Dunne,  RKO  signed 
Phyllis  to  a  contract.  Press-agents,  having  visions  of  some 
day  writing  a  story  about  how  the  studio  had  uncon- 
sciously play  match-maker,  asked  Phyllis  if  there  wasn't 
a  chance  of  a  reconciliation.  She  shook  her  head.  She 
was  going  to  be  too  busy  with  her  career.  She  was  tired 
of  marking  time  on  the  screen. 

Proximity  has  been  known  to  do  wondrous  things.  It 
may  draw  Cary  and  Phyllis  together  again.  And,  again, 
it  may  not. 

Meanwhile,  the  gossips  might  consider  the  possibility 
that  Phylhs,  not  Cary,  might  have  been  the  one  who  broke 
away.  She  also  has  a  large  supply  of  independence,  She 
had  to  have  that  to  appeal  to  Cary  in  the  first  place. 
People  are  unconsciously  attracted  to  those  in  whom  they 
see  their  own  traits  reflected. 

There  is  no  question  about  Cary's  independence — though 
it  is  of  a  strange  sort.  It  isn't  the  positive  kind.  He  doesn't 
go  around  being  the  strenuous  Free  Soul.  He  is  anything 
but  an  egotistical  blow-hard.  He  simply  makes  a  point 
of  being  elusive. 

His  artful  dodging  isn't  confined  (Continued  on  page  73) 


36 


TO  GET 


With  women  to  the  right  of 
him  and  women  to  the  left 
of  him,  the  elusive  Mr.  Grant 
has  his  own  good  reasons 
for  going  forward  alone 


BY 

JAMES  REID 


He's  been  Wary  Cary  since 
his  marriage  to  Virginia 
Cherrill  didn't  jell.  Their  di- 
vorce came  through  several 
years  ago.  Can  it  be  that 
he    still    bears    the  scar? 


Phyllis'  lack  of  movie  success 
placed  her  at  a  constant  dis- 
advantage.  Gossips  fre- 
quently inferred  that  she  was 
pursuing  Cary  in  order  to 
further  her  own  career. 


37 


IMSSH  TAKES  iimnii 


Extra!  The  tough  little 
island  falls  helplessly  before 
Nonas  barrage  of  charm 


BY  ROBERT  EICHBERG 


As  though  her  beauty  and 
brains  were  insufficient,  llona 
Massey's  make-up  is  packed 
with  more  honesty  than  any 
one    woman    should  have. 


IT  ISN'T  often  that  hard-boiled  New 
York  critics  and  columnists  go  off  the 
deep  end,  but  that's  what  they  did  for 
the  little  Hungarian  girl  who,  but  a  few 
years  ago,  was  being  fired  from  a  job 
in  a  Budapest  stocking  shop  as  "the 
world's  worst  salesgirl."  In  fact,  one 
writer,  who  saw  her  visiting  a  night 
club,  said,  "She  looks  as  though  she 
had  just  arrived  from  Fairyland;" 
another  said,  "She  talks  like  Garbo," 
while  still  a  third  thought  her  "as  beau- 
tiful as  Madeleine  Carroll,  as  alluring 
as  Marlene  Dietrich." 

"Flapdoodle,"  muttered  your  re- 
porter. "No  one  can  be  that  wonder- 
ful. But  maybe — " 

Accordingly,  at  5:30  one  evening, 
filled  with  scepticism,  he  rang  the  bell 
of  Ilona  Massey's  apartment  at  the 
Sherry-Netherlands.  The  door  was 
opened  not  by  a  maid,  but  by  an  en- 
trancing blonde  who  smiled  exquisite- 
ly and  shook  hands  with  a  good,  hearty 
grip. 

That  handshake  was  the  tip-off  on 
Miss  Massey.  She's  just  like  that;  real 
people.  In  fact,  she's  so  doggone  regu- 
lar that  you  lose  all  sight  of  her  truly 
amazing  beauty  when  you  talk  to  her. 
She's  full  of  sparkle,  of  life,  of  a  fresh, 
young  enthusiasm  that  makes  you  an 
old  friend  after  she  has  talked  to  you 
for  two  minutes. 

Now,  there  are  plenty  of  stars — 
especially  those  who,  like  her,  have 
recently  attained  stardom — who  feel 
their  own  importance,  and  are  inclined 
to  be  a  trifle  reticent  about  their  unro- 
mantic  beginnings.  Not  Ilona,  though; 
she's  just  as  willing  to  talk  about  her 
tough  times  as  she  is  about  her  phe-/^ 
nomenal  success.  More  willing,  for 
she  has  a  bubbling  humor  that  enables 
her  to  get  a  laugh  out  of  her  troubles. 
And  she  still  has  a  touch  of  wonder- 
ment that  people  like  her  and  are  nice 
to  her! 

Speaking  her  recently  acquired  En- 


glish with  just  enough  trace  of  an  ac- 
cent to  make  it  utterly  captivating,  and 
using  her  hands  and  shoulders  to  em- 
phasize her  words  in  Continental 
fashion,  Ilona  will  discuss  any  and 
every  subject  you  want  to  bring  up. 
In  fact,  she's  so  frank  that  M-G-M's 
press  department  is  in  a  mild  dither 
lest  she  say  something  that  might  harm 
her  "box  office  appeal" — as  though 
anything  could. 

We  started  off,  mildly  enough,  with 
a  slight  discussion  of  where  she  had 
been  during  her  trip  to  New  York.  She 
had  been  taken  to  the  famous  "21"  for 
dinner.  She  had  wanted  to  go  there 
because  she  had  heard  of  its  roast  wild 
boar,  a  dish  which  she  claims  lives  up 
to  its  advance  notices,  tasting  much 
like  ham,  but  better.  She  was  mildly 
regretful  that  she  did  not  dare  let  her- 
self eat  more  of  it.  "I'm  always  on  a 
diet,"  she  explained. 

FROM  there,  she  had  gone  to  Madison 
Square  Garden,  to  see  some  amateurs 
boxing  for  sweet  charity.  "I  was  in- 
terested in  only  one  of  those  bouts," 
she  said.  "I  was — how  do  you  say  it — 
rooting  for  one  of  the  little  boys.  He 
is  a  printer  when  he  isn't  boxing,  and 
I  was  interested  because  my  father  was 
a  printer." 

That  mention  of  her  father  got  us 
started  on  her  early  youth.  She  re- 
members when  that  one-time  big, 
strong  man  returned  to  Budapest  from 
a  Russian  concentration  camp,  where 
he  had  been  a  prisoner  of  war.  Siberia 
had  broken  his  health.  Ilona,  too,  was 
recently  returned  to  Hungary.  For 
her  own  safety,  she  had  been  sent  to 
Holland  with  a  lot  of  other  children, 
but  she  had  missed  her  mother  so  much 
that  after  a  few  months  she  was  sent 
back  home.  The  memory  of  this  part 
of  her  life  is  still  painful.  She  hurries 
over  it  as  much  as  possible.  She  doesn't 
like  to  think  of  the  days  when  the 


family  had  to  stand  in  line  for  five 
hours  in  the  cold  dawn,  waiting  for  the 
day's  meagre  supply  of  food  to  keep 
life  in  their  bodies,  which  shivered 
under  ersatz  clothing. 

But  that  look  of  sadness  leaves  her 
face  when  she  talks  about  other  things, 
such  as  her  love  for  singing  and  danc- 
ing. "My  mother  tells  me  (of  course 
I  cannot  remember,  myself),"  she  said, 
"that  I  tried  to  dance  before  I  could 
walk.  She  says  I  would  sit  on  the 
floor  and  cry  for  a  towel  or  a  piece 
of  old  rag,  and  then  wave  it  over  my 
head,  like  this."  She  illustrated  with 
a  napkin,  for  we  were  having  tea  by 
this  time,  and  your  reporter  was  sud- 
denly reminded  of  "Morocco,"  and 
Dietrich  with  the  drapery  streaming 
behind  her.  And  this  girl  captured 
that  grace  and  beauty  with  a  common 
napkin! 

After  the  war,  her  father's  impaired 
health  cut  down  his  earning  capacity. 
Ilona,  as  she  grew,  wanted  to  help — • 
and  had  enough  good,  common  sense 
to  realize  that  she  needed  an  educa- 
tion. So  she  studied  like  mad,  and 
passed  her  four  years  of  high  school 
work  in  two. 

She  has  some  amusing  memories  of 
these  school  days — even  claims  she 
was  the  homeliest  kid  in  school.  When 
you  express  your  utter  unbelief  of  such 
a  statement,  she  tells  you,  as  proof, 
that  the  teachers  would  never  let  her 
appear  in  any  of  the  class  plays.  "They 
thought  I  wouldn't  be  any  good,  and 
they  were  probably  right,"  she  says. 

Although  money  wasn't  at  all  plenti- 
ful in  the  Hajmassey  (that's  her  real 
name;  it's  pronounced  "Hi!  Massey!") 
family,  there  were  still  a  few  pennies 
for  the  movies — a  very  few  pennies. 
"In  Hungary,"  Ilona  explained,  "there 
is  a  different  system.  The  best  seats 
are  in  the  middle  of  the  house,  and  as 
you  get  nearer  the  front,  where  you 
have  to  tip    (Continued  on  page  103) 


Lana  Turner,  below,  was  one  of  thirty-five 
beauties  who  acted  as  cigarette  girls  at 
Ouida  Rathbone's  huge  party  for  a  Holly- 
wood charity.  Lana  sold  her  wares  at  one 
dollar  the  pack.  Right,  the  Fred  MacMur- 
rays  arrive  with  Director  Leslie  Fenton  and 
his  actress-wife,  Ann  Dvorak. 


y 


Left,  Louis  Hayward 
leans  over  his  roast 
beef  to  chin  with 
Wendy  Barrie.  Like 
many  of  the  girls, 
Wendy  dressed  to 
match  the  parry's 
Swiss  theme. 


Ty  Power  and  Anna- 
bella  forgot  to  buy 
tickets  in  advance. 
They  were  admitted, 
but  couldn't  get  any 
food.  That's  Phyllis 
Brooks  acting  as 
checkroom  girl. 


Roz  Russell  looked  like 
one  of  the  figures  that 
runs  round  a  weather- 
vane.  Her  fellow 
bachelorettes  out- 
numbered the  unmar- 
ried men  more  than 
two  to  one. 


Ann  Sheridan,  right, 
pauses  between  her 
sale  of  kisses  for  a 
word  with  Ida  Lupino. 
Ann's  contribution  to 
charity  was  one  of 
the  evening's  prime 
delights. 


i 


n  RIGHT  HI  ST.  mORITZ 


$9,980  .  .  .  $9,990  .  .  .  $10,000!"  gurgled  Ouida  (Mrs.  Basil) 
Rathbone,  as  she  patted  the  last  ten-spot  into  place. 
Wasn't  it  a  lovely  evening?" 
Mrs.  Rathbone  was  guilty  of  understatement.  It  had  been 
a  terrific  evening.  But  her  comment  was  none  the  less 
praiseworthy  because  the  pile  of  greenbacks  she  happily 
fondled  was  not  slated  for  her  personal  money  bags.  In- 
stead, her  arithmetic  completed,  she  wrapped  the  bills 
neatly  and  without  a  whimper  turned  them  over  to  Ann 
Lehr.  Ann  Lehr  is  Hollywood's  Lady  Bountiful  and  the 
head  of  an  organization  which  administers  aid  to  the  town's 
needy.  Rather  than  knock  on  doors  and  beg  for  handouts, 
she  and  Ouida  had  conceived  the  idea  of  a  mammoth  party 
designed  to  give  the  movie  folk  a  high  time  while  shaking 
them  free  of  some  cash.  One  thousand  guests  at  ten  dollars 
a  head  did  the  trick. 

Now,  Ouida  Rathbone  has  even  more  imagination  than 
the  men  who  devise  her  husband's  make-up,  and  her  party- 


giving  talents  make  Elsa  Maxwell's  wilt  like  a  buttercup. 
The  natural  outcome  of  such  gifts  had  to  be  a  bang-up 
shindig — and  that's  just  what  her  friends  at  the  Beverly 
Hills  Hotel  got  for  their  money. 

Advance  publicity  advised  that  the  party  was  to  have 
the  character  of  an  evening  in  an  Alpine  village,  and  the 
curious  who  buzzed  around  the  hotel  were  amazed  to  see 
a  miniature  winter  resort  rising  on  a  Beverly  Hills  lawn. 
Certainly,  a  glistening  skating  rink,  a  thrill-a-minute 
toboggan  slide  and  perilous  ski  jumps  are  not  sights  which 
daily  greet  the  eyes  of  Movietown's  citizens.  But  we  told 
you  Ouida  was  marvelous.  With  little  trouble,  she  had 
enlisted  the  support  of  five  major  film  studios,  a  costumer, 
a  publicist,  several  florists  and  dozens  of  society  and  movie 
women  who  all  worked  like  fury  for  a  month. 

When  the  wonderland  was  finally  whipped  up,  the 
servants  of  charity  discovered  they'd  made  a  horrible  mis- 
take.   The  weather  man,  like  (Continued  on  next  page) 


41 


Hollywood  big-wigs  turn  out  en  masse  for 
sweet  charity  and  the  year's  best  party 

Sleeping  Beauty's  thirteenth  godmother,  had  not  been  con- 
sulted. His  revenge  was  the  obvious  one — a  rainstorm. 
The  morning  of  the  affair  the  drops  began  to  slide  along 
the  ice  and  snow,  and  by  late  afternoon  $7,000  worth  of 
scenery  had  dissolved  into  mud  puddles. 

The  washout  discouraged  no  one.  Eye-filling  and  radiant, 
the  celebrities  trooped  in — Dunne,  Morison,  Del  Rio,  Bryan, 
the  George  Murphys,  the  Brian  Ahernes,  Olivia  de  Havil- 
land,  Ray  Milland,  et  aL  For  the  most  part,  the  list  of 
arrivals  was  made  up  of  all  those  names  which  do  not 
appear  in  the  local  telephone  directory  .  .  .  that  is,  all  the 
important  ones.  Since  Ouida's  entertainment  had  not  been 
limited  to  outdoor  sports,  there  was  still  a  variety  of  ways 
for  everyone  to  forget  his  day's  labors.  In  the  ballroom  a 
swing  band  gave  out  with  the  hottest  in  popular  music, 
gaudy  booths  displayed  souvenirs  at  knockout  prices,  and 
champagne  flowed  like  water. 

An  indecent  number  of  the  stars  disdained  these  di- 
versions for  the  livelier  pastime  of  gambling.  Stopping 
just  long  enough  to  shed  their  wraps,  they  made  a  rapid- 
fire  dash  to  the  game  room  and  soon  had  the  chips  clicking 
merrily.  Suddenly,  exactly  as  in  the  movies,  in  strode 
the  cops.  "Break  it  up,  boys,"  they  ordered.  And  with  all 
the  authority  of  a  producer,  they  shooed  your  favorites 
onto  the  dance  floor  and  watched  them  take  up  more 
innocent  and  strictly  legal  recreation. 

At  about  2  A.  M.,  when  the  party  began  to  break  up,  our 
photographer  tactfully  refrained  from  taking  any  pictures. 
All  about  him  he  saw  not  visions  of  loveliness  and  sartorial 
elegance,  but  sadly  bedraggled  men  and  women  who,  after 
an  evening  of  wrestling  with  tremendous  mobs,  were  be- 
ginning to  have  thoughts  which  were  just  slightly  un- 
charitable. 

'But  $10,000!"  said  Ouida.  "It  really  was  a  lovely  party!" 


Bette  Davis,  as  re- 
axed  as  a  time 
bomb,  sits  in  a  cor- 
ner and  watches  the 
crowds  dance  past. 


.  Loretta  Young  regally  steps  from  her  car 
and  joins  the  folks  on  the  curb,  Ann  Sothern, 
Designer  Bernard  Newman  and  Roger  Pryor. 

2.  Orson  Welles,  who  has  glamour  minus,  sups 
with  Lili  Damita.  However,  we  see  no  pos- 
sibilities of  a  romance  between  these  two. 

3.  Allan  Jones  and  Irene  Hervey  tucked  their 
three  youngsters  into  bed  before  stepping  out 
with  Ronald  Burla  and  his  wife,  Una  Merkel. 


Margaret  Sullavan 
wields  the  paint  be- 
fore getting  up  to 
d  a  n  c  e  — without 
shoes, "  mind  you! 


Forrest  Tucker  lends 
a  hand  to  Helen 
Parrish.  Their  skat- 
ing  togs  were 
just  "in  hopes." 


f  5 


4.  Cary  Grant  seemed  grim  as  he  appeared  with 
sweet-faced  Fay  Wray.   He  and  Phyllis  Brooks  skill- 
fully ducked  each  other  all  evening. 

5.  Joan  Crawford,  who  came  on  the  arm  of  Cesar 
Romero,  exhibited  a  valuable  ring  she  had  just  re- 
ceived from  her  very  good  friend,  Franchot  Tone. 

6.  In  her  next  picture  Kay  Francis  will  portray  Deanna 
Durbin's  mother,  but  she  could  pass  for  a  debbie  as 

she  strolls  with  Louis  Bromfield. 

7.  Binnie  Barnes  and  Mike  Frankovitch  have  fun  exam- 
ining a  doll  house.    They'll  marry  in  September,  the 

day  after  Mike's  divorce  becomes  final. 


WANT  TO  pull  yourself  out  of  the  post-Winter, 
pre-Spring  doldrums?  Then  give  a  thought  to 
your  hair.  Is  it  shining  and  luxuriant  or  is  it 
dull  and  thin?  Does  your  present  coiffure  "do 
something"  for  you,  or  is  it  the  wornout  rem- 
nants of  a  hair-do  that  was  becoming  to  you 
three  years  ago?  Then  let's  do  something  about  it! 

Think  of  your  face  as  a  picture,  your  hair  as 
the  frame  that  sets  off  or  ruins  that  picture.  How 
far  do  you  suppose  Ann  Sheridan,  Paulette  God- 
dard,  Hedy  Lamarr,  Dorothy  Lamour,  or  any 
other  movie  favorite  would  have  gotten  if  she 
hadn't  had  soft  and  lustrous  hair?  How  many 
girls  in  your  own  set  could  be  ten  times  more 
attractive  than  they  are  if  they  would  only  "do 
something"  about  theirs? 

A  new  coiffure  will  work  wonders  for  you,  but 
first  of  all  remember  that  beautiful  and  healthy 
hair  will  look  well  whether  you  wear  it  up  or 
down,  straight  or  curled.  Hair  beauty  begins  with 
hair  quality. 

Hair  is  of  a  sturdy  horny  structure,  derived 
from  the  skin  and  consisting  of  layers  upon  layers 
of  infinitesimal  cells.  When  normal  and  not  "dam- 
aged" by  dyes,  bleaches  or  repeated  permanent 
waves,  it  is  extremely  elastic.  In  fact,  it  will 
stretch  as  much  as  half  an  inch  when  pulled. 
Normal  hair  is  neither  dry  nor  oily  and,  of  course, 
does  not  have  dandruff.  Its  health  and  beauty 
depend  primarily  on  your  own  good  health,  active 
circulation  and  a  loose,  well -cushioned  scalp. 
But  close  runners-up  are  cleanliness,  stimulation 
by  brushing  and  massage,  and  also  the  correct  use 


of  tonics,  lubricants  and  other  important  aids  to 
good  grooming. 

Illness,  undernourishment,  shock,  nervousness, 
insufficient  sleep,  lack  of  fresh  air  and  exercise  all 
take  their  toll  on  lovely  locks.  However,  the  care 
you  give  your  hair  locally  has  a  tremendous  effect 
on  its  beauty  and  general  condition. 

First  comes  stimulation.  A  tight,  thin,  immov- 
able scalp  chokes  out  nourishment  and  literally 
starves  your  hair.  To  grow  shining  tresses, scalps 
must  be  loose.  If  yours  is  not,  go  to  work  on  it 
right  now  with  massage,  regular  brushing  and 
combing.  Knead  your  scalp  every  day  with  your 
fingers  until  you  can  feel  the  blood  surging 
through  it.  Massage  the  base  of  your  neck  in  the 
back  where  tired  nerves  become  tangled,  and  rub 
crosswise  across  your  shoulders  to  release  the 
congestion  caused  by  poor  posture  and  insufficient 
exercise.  Now  massage  all  over  your  scalp,  be- 
ginning at  the  hair  line  and  working  in  toward  the  [ 
center.  Repeat  this  regularly  every  day  and  you'll; 
be  amazed  at  the  improvement  in  the  appearance 
of  your  hair — to  say  nothing  of  the  benefits  to 
your  nervous  system  in  general.  For  tight  scalps 
indicate  taut  nerves  that  must  be  helped  to 
relax. 

Besides  the  scalp,  your  hair  itself  needs  to  be 
exercised.  A  strong,  firm,  long-bristled  brush  or 
two  should  be  on  every  dressing  table — and  not 
for  ornament,  but  for  daily  use.  Brush  your  hair 
upward  and  outward,  away  from,  your  scalp,  never 
downward  or  against  the  head.  Soft  bristles  aren't! 
strong  enough  to  do  any  (Continued  on  page  62) 


Want  to  change  your  coiffure?    Then  read  these  tips  from  Hollywood 


Up  hair-do's  require 
perfect  features. 


Evening  ornaments 
add  sophistication. 


Up  front,  down  back, 
soft  and  flattering. 


IT'S  A  crying  shame  they  don't  pay  Errol  Flynn  for  his 
master  talent  for  getting  in  people's  hair;  he'd  be  a  very 
rich  young  man  if  they  did. 

The  dictionary  may  define  perverse  as  "the  disposition 
to  thwart  or  annoy,"  but  out  here  the  mere  name  of  Flynn 
adds  up  to  the  same  thing.  He  takes  an  unholy  delight  in 
upsetting  routine,  defying  rules,  smashing  precedents,  and 
pinning  tin  ears  on  constituted  authority.  He  does  exactly 
what  a  young  man  should  not  do  if  he  wants  to  get  along 
in  Hollywood. 

The  amazing  thing  is  the  way  he  gets  away  with  it. 
Anyone  else  who  tried  some  of  his  tricks  would  be 
booted  out'  of  Hollywood  and  the  picture  business  in  double 
quick  time  with  a  broken  neck  and  a  couple  of  black  eyes 
among  his  souvenirs.  Yet  Errol  somehow  manages  to  bowl 
blithely  along  to  ever  mounting  success  and  popularity. 
Blast  him  as  they  may  and  heap  curses  on  his  head,  the 
ladies  and  gentlemen  of  the  films  go  right  on  forgiving  his 
constant  sniping  at  their  dignity,  patience  and  vanity.  And 
they  come  back  for  more.  They  never  fail  to  get  it;  his 
generosity  in  that  respect  is  awesome! 

Nor  is  the  perverse  Mr.  Flynn  any  respecter  of  persons. 
Big  fry  and  small  fry  are  all  the  same  to  him.  He'd  just  as 
soon  (and  usually  rather)  give  his  bosses  triple-bill  head- 
aches by  his  cussed  contrariness  and  drive  producers  half 
crazy  with  his  unpredictable  antics  as  annoy  a  prop  boy. 
What's  the  difference,  he  figures;  it's  all  in  fun  anyway. 

There,  I  think,  is  the  secret  of  how  and  why  he  gets 
away  with  it.  For  although  his  little  plots  may  be  coldly 
calculated  or  brilliantly  spontaneous,  they  never  are  delib- 
erately malicious  or  cruel.  There  is  an  impish,  mischie- 
vous quality  about  them,  a  certain  joyous  abandon,  which 
defies  real  or  lasting  anger.  You  want  to  kiss  him  or  kill 
him — but  you  don't  want  him  to  stop  playing  in  your  back 
yard.  It  would  be  so  deadly  dull  without  him.  Then,  too, 
he  cooks  up  his  plots  with  such  delightful  imagination  and 
carries  them  out  with  such  devilish  charm.  It's  an  irre- 
sistible combination. 

Errol  honestly  doesn't  know  what  drives  him  to  "thwart" 
and  "annoy"  people  the  way  he  does,  by  being  late  for 
appointments,  doing  a  disappearing  act,  making  a  pal  of  a 
man  who  gets  on  everyone's  nerves,  showing  up  for  a 


formal  dinner  in  a  sack  suit,  telling  you  he's  going  one  place 
and  ending  up  in  another,  or  leveling  on  the  vulnerable 
spots  of  big  shots  and  stuffed  shirts.  All  he  knows  is  that 
he'd  rather  bedevil  the  daylight  out  of  someone  than  eat — 
and  he  enjoys  eating. 

"I  guess  I  just  want  to  see  what  will  happen,"  he  tried 
to  explain.  "It's  like  sticking  a  pin  into  a  balloon.  You 
know  it's  going  to  pop,  but  you  don't  know  when  or  how. 
The  fun  comes  in  finding  out." 

It  was  his  mother  who  first  voiced  the  opinion  in  which 
Hollywood  later  was  to  concur  with  all  its  heart:  "Per- 
versity, thy  name  is  Flynn!"  She  still  complains  bitterly 
about  one  memorable  example  of  it. 

When  he  was  a  boy,  she  endeavored  to  teach  him  to  be 
unselfish  about  his  possessions  and  to  share  his  toys  with 
other  little  boys  who  had  none.  Dutifully,  Errol  parted 
with  them.  One  day  she  came  home  to  find  her  gold 
dressing  table  set  missing  from  its  usual  place. 

"Errol,  have  you  seen  my  toilet  articles?"  she  asked. 

"Yes,  mother,"  he  answered  promptly.  "You  said  we 
ought  to  share  what  we  have  with  others,  so  I  gave  them 
to  the  other  ladies  on  the  street  who  didn't  have  any." 

LILI  DAMITA,  his  pepperpot  wife,  is  his  favorite  target 
for  perverse  stunts,  probably  because  she  flies  into  such 
spectacular  and  hence  satisfactory  rages  when  he  per- 
petrates them.  Why  she  didn't  scalp  him  one  night  in  New 
York  will  ever  remain  a  mystery;  he  certainly  invited  it. 

On  a  certain  Thursday  afternoon  he  casually  mentioned 
that  two  of  his  very  old  and  very  dear  girl  friends  were 
arriving  from  Ireland  on  Saturday.  All  day  Friday  he 
continued  the  build-up,  speaking  of  their  beauty,  their 
charm  and  sweetness,  and  of  his  eagerness  to  see  them 
again.  By  deft  hints  he  intimated  they  had  been  childhood 
sweethearts,  that  a  bit  of  his  heart  still  belonged  to  them. 
The  tempestuous  Lili  was  goaded  beyond  endurance. 

"Rivals,  are  they?"  she  stormed.  "You  bring  them 
around  to  meet  me  and  we  shall  see!    I'll  show  them!" 

"I'll  do  just  that,"  Errol  promised.  "They'll  want  to  get 
a  good  look  at  you,  too.  They  never  could  understand  how 
I  came  to  marry  a  French  girl." 

An  hour  was  set  for  late  Saturday.  Three  hours  before 
the  appointment  Lili  began  her  toilet,  taking  infinite  pains 
with  her  make-up  and  coiffure.  She  tried  on  gown  after 
gown,  viewing  them  critically  and  then  discarding  them  as 
inadequate  for  the  important  occasion.  Finally  she  decided 
upon  a  ravishing  Schiaparelli  which  she  had  been  saving 
for  a  great  event.  Groomed  within  an  inch  of  her  life  she 
swept  imperiously  down  to  meet  her  overseas  rivals. 
With  a  low  bow,  Errol  presented  them. 

"My  dear,  may  I  present  Miss  O'Reilley  and  Miss 
O'Shaughnessy?"  he  asked. 

Lili  froze  in  her  tracks.    The  ex-sweethearts  from  Erin 

The  Flynns  look  peaceful 
here,  but  the  pots  and 
pans  fly  when  Errol  plays 
a  prank  on  Lili 


t 


ft 


turned  out  to  .be  two  colored  entertainers  Errol  had 
hired  for  the  gag  from  a  Harlem  night  club! 

Discovering  that  Miriam  Hopkins'  pet  aversion 
was  meeting  strangers  was  all  Errol  needed  to  stage 
a  Roman  holiday  when  the  "Virginia  City"  com- 
pany was  on  location  recently  in  Flagstaff,  Arizona. 
With  fiendish  delight  he  rounded  up  all  available 
bores  and  personally  conducted  them  to.  Miriam. 

"Miss  Hopkins,"  he  would  say,  "I  want  you  to 
meet  a  little  girl  who  got  through  high  school  in 
three  years"  or  "I  want  you  to  meet  Mr.  Smith, 
who  climbed  the  highest  mountain  in  Arizona  in  six 
days"  or  "I  want  you  to  meet  Mrs.  Billingsgate  who 
won  the  state  quilting  championship  in  1912." 

Then  after  making  the  introductions,  he  would 
calmly  stroll  away  on  some  phony  pretext,  leaving 
poor  Miriam  boiling  mad  and  hopelessly  stranded 
with  a  tongue-tied  stranger.  She  would  have  to 
converse  politely  with  the  person  or  lose  a  loyal  fan. 

It  was  on  that  same"  location  trip  he  drove  the 
twenty-five  miles  from  Flagstaff  to  the  Grand  Can- 
yon where  he  charged  his  $2.00  dinner  to  the  studio. 
He  had  plenty  of  money  in  his  pocket  to  pay  the 
check;  he  charged  it  only  to  give  the  boys  in  the 
bookkeeping  department  something  to  worry  about. 

Two  years  ago  sheer  perversity  sent  him  to  Spain, 
where  he  almost  got  his  head  blown  off,  and  had 
the  Spanish  officials  and  Warner  Brothers  in  an 
uproar.  He  didn't  really  want  to  see  Spain  until 
well-meaning  friends  insisted  it  was  no  place  for 
him.  He  didn't  particularly  want  to  go  out  on  the 
street  that  night,  when  fragments  from  an  exploding 
bomb  knocked  him  unconscious,  until  a  rule  was 
posted  specifically  forbidding  foreigners  to  be  out 
after  8  p.m.  But  when  they  said  he  shouldn't  and 
couldn't — he  would  and  did.  It  was  as  simple  a 
matter  as  that. 

Recently  Errol  was  on  the  receiving  end  of  a 
critical  blast  about  his  carelessness  in  applying 
make-up.  He  answered  it  in  typical  Flynn  fashion. 
After  renting  a  costume  he  spent  three  hours  let- 
ting one  of  the  Westmores  apply  a  special  make-up. 
Then  masquerading  as  a  haughty  old  dowager  of 
sixty,  he  successfully  crashed  the  lingerie  depart- 
ment of  the  fashionable  Bullock's- Wilshire  store! 
The  barbed  point  of  the  escapade  was  not  lost 
upon  the  self-appointed  critics,  you  can  bet. 

It  is  a  happy  day  for  Flynn  when 
he  (Continued  on  page  75) 


Competing  with  Damifa 
in  Flynn's  affections  is 
his  dog,  Arno,  who 
snootily  ignores  every- 
one but  his  master. 


ft*?*0 


Jim  Casey,  played  by  John 
Carradine,  is  the  amazing 
self-ordained  preacher. 


Grandpa  (Charley  Grape- 
win),  foul-tongued  and  ob- 
scene,   but   'pved   by  all. 


Rosasharn  (Dorris  Bowdon), 
daughter  and  innocent 
sacrifice  to  the  elements. 


Pa  Joad  (Russell  Simpson) 
is  the  father  of  the  vic- 
timized family  of  Okies. 


"The  Grapes  of  Wrath"  emerges  as  a  startling  challenge  to  Hollywood's  courage 


BY  RICHARD  CHACE 


NO  ONE  can  estimate,  yet,  just  what  impact  it  will  have 
on  that  incalculably  large  audience  that  has  been  waiting 
for  it  since  late  last  summer.    Contrary  to  all  those  dis- 
turbing rumors  that  persisted  right  up  to  the  last  day  of 
shooting,  "The  Grapes  of  Wrath"  is  now  ready  for  release. 
I  say  that  no  one  can  yet  gauge  its  force,  for  the  end  is 
a  dark,  well-kept  secret.    All  along  the  line,  this  secret 
has  been  zealously  guarded  by  Twentieth  Century-Fox, 
and  even  the  cast  were  not  given  the  final  pages  of 
the  script  until  the  day  of  the  shooting. 
Incidentally,  Darryl  F.  Zanuck  bought  the  book  for 
$73,000  a  few  days  before  its  publication.    This  was 
something  of  a  tribute  to  his  astuteness,  for  who 
could  have  foreseen,  then,  that  this  story  of  a  migrant 
family  was  to  become  the  best  seller  it  did — and 
was  to  remain  so  for  nearly  a  year?   The  only  con- 
nection author  John  Steinbeck  had  with  the  picture, 
besides  giving  it  his  unconditional  blessing,  was  to 
okay  the  final  script.    However,  Nunnally  Johnson, 
who  adapted  the  story  to  the  screen,  kept  close  to 
the  tragic  spirit  of  the  book.    Practically  every 
word  of  the  dialogue  was  taken  bodily  from  the 
original  and  you  will  be  hearing  Steinbeck's  own 
biting  words  throughout. 

The  book,  a  terrific  indictment  of  shocking  con- 
ditions that  cry  out  for  solution,  was  invaluable 
in  raising  the  problem  of  an  inarticulate  peo- 
ple and  in  turning  popular  sympathy  their 
way.  It  remains  now  for  the  picture  to  crys- 
tallize  that   sympathy    into   action,    for  the 
appeal  of  the  screen  is  bound  to  be  more  im- 
passioned than  that  of  the  printed  page.  To 
see  the  Joads,  leaving  their  dust-ridden  home 
in  Oklahoma,  slowly  but  hopefully  crossing 
desert  and  mountain  range  to  the  promised 
land  of  California,  and  then  to  see  them 
face  new  and  heartbreaking  disillusion- 
ment, will  create  a  mood  no  audience  can 
ever  forget. 

Knowing  all  this,  the  studio  went  to  great 
lengths  to  make  the  picture  vivid  without 
overdoing  it.  First,  it  acquired  the  ser- 
vices of  Tom  Collins,  Superintendent  of 
the  U.  S.  Farm  Security  Administration 
and  head  of  all  the  federal  camps  for 
migrant  workers  in  California.    He  is 
the  "Tom"  to  whom  the  book  is  dedi- 
cated and,  as  technical  adviser,  saw 
to  it  that  no  jarring  note  was  allowed 
to  destroy  the  reality  of  the  back- 


ground. The  research  department  hopped  into  action  as 
soon  as  the  book  was  purchased,  collecting  all  available 
material  even  remotely  pertaining  to  the  Dust  Bowl  and 
the  migrant  problem.  Every  reference  in  the  dialogue, 
every  situation  touched  upon  in  the  picture,  appears  some- 
where in  the  record.  Although  the  action  may  seem  vio- 
lent at  times,  even  occasionally  overdrawn,  actually  the 
reverse  is  the  case.  The  truth  had  to  be  modified,  toned 
down,  to  make  the  story  credible  to  a  public  unaware  of 
the  true  situation. 

In  their  search  for  authenticity,  Twentieth  Century-Fox 
sent  a  corps  of  cameramen  out  to  certain  parts  of  Okla- 
homa and  Kansas  for  background  shots.  They  spent  three 
weeks  on  the  trip,  filming  the  Dust  Bowl  and  shooting 
scenes  along  Highway  66,  the  route  of  the  migrants. 
Everywhere,  the  book  was  so  vigorously  denounced  that 
to  avoid  interference  and  adverse  comment,  the  men  were 
obliged  to  paint  out  the  studio's  name  on  the  sound  trucks. 
Whenever  people  asked  questions  the  cameramen  said  they 
were  making  a  picture  called  "Highway  66." 

ON  THEIR  return  trip,  they  picked  up  an  actual  migrant 
family  who  were  just  setting  out  from  Sallisaw,  Oklahoma, 
for  Stockton,  California,  and  put  them  on  the  company 
payroll,  thus  getting  some  first-hand  shots  of  the  whole 
thing  from  beginning  to  end.  The  old  jalopy  these  people 
had  piled  themselves  into  broke  down  three  times  en 
route,  but  they  managed  somehow  to  get  to  California. 
The  cameramen  reported  back  to  the  studio  with  25,000 
feet  of  film. 

All  this  before  the  actual  casting  began.  At  first  it  was 
rumored  Spencer  Tracy  would  play  Tom  Joad,  but  Henry 
Fonda  was  obviously  the  man  from  the  start.  He  had 
read  the  story  long  before  he  was  considered  for  a  role 
and  the  plight  of  the  Joads  made  a  lasting  impression  on 
him.  He  interested  himself  in  various  organizations  on 
behalf  of  the  "Okies"  and  ended  by  taking  on  a  migrant 
family  of  four  as  caretakers  of  his  San  Diego  ranch.  When 
he  was  finally  assigned  to  the  role  of  Tom,  he  felt  he  had 
before  him  the  greatest  opportunity  of  his  career  and 
eagerly  threw  his  heart  and  soul  into  the  part. 

Beulah  Bondi  was  among  those  considered  for  the  diffi- 
cult role  of  Ma  Joad,  the  courageous  woman  around  whom 
so  much  of  the  action  is  played.  But  she,  though  a  splen- 
did performer,  was  felt  to  lack  the  physical  build.  So 
Jane  Darwell,  simple,  warm,  maternal,  with  an  earthy 
quality  all  her  own,  was  selected.  Miss  Darwell  steeped 
herself  in  the  part  to  such  an  extent  that  anyone  seeing 
her  on  the  lot  in  costume  would  believe  her  to  be  the 
work- weary  mother  of  a  typical  (Continued  on  page  71) 

/  49 


FIELD 


Betty  Field,  who's  twenty-two,  has  had 
eight  years  of  the  acting  game. 

BETTY'S  THE  attractive  girl  next  door  who  was 
stagestruck  as  far  back  as  she  can  remember. 
You  know — the  one  who  did  something  about 
it.  She  also  had  a  mama  who  showed  her  where 
the  stage  door  was  and  then  let  her  do  her  own 
knocking.  When  Betty  first  crossed  its  threshold, 
her  knees  were  wobbly  and  her  voice  wouldn't 
come  past  the  lump  in  her  throat.  She's  been 
that  way  ever  since,  and  she  hopes  the  fright 
angle  is  permanent.  It's  so  good  for  her. 

At  an  age  when  some  girls  are  still  in  the  col- 
lege which  Betty  never  attended,  the  promising 
young  actress  has  a  long-term  film  contract.  But 
even  the  coveted  paper  doesn't  make  Betty  feel 
secure.  She  went  to  Hollywood  several  months 
ago  on  a  one-picture  arrangement  to  appear  in 
"What  a  Life"  with  Jackie  Cooper.  When  Para- 
mount needed  another  link  in  its  Golden  Circle 
of  new  faces,  they  sent  Betty  to  the  studio  pho- 
tographer. 

And  that's  about  all  the  attention  the  young 
actress  received.    Hollywood  let  her  alone.  She 


wifen't  invited  to  dress  up  for  openings,  and 
parties  got  along  beautifully  without  her.  Even 
thefctudio  press  department  didn't  bother  about 
interviews.  To  them  she  was  just  a  pretty  prop 
for  young  Cooper.  That  is,  until  "What  a  Life" 
was -completed  and  viewed.  Then  the  moguls 
opened  their  eyes  and  got  out  their  pens.  Betty 
signed  her  signature. 

Before  the  social  side  of  the  cinema  citadel  had 
a  chance  to  catch  up  with  her,  Betty  was  loaned 
out  to  United  Artists  for  "Of  Mice  and  Men." 
After  that,  she  returned  to  the  home  lot  and  was 
cast  again  with  Jackie  Cooper  in  "Seventeen." 

The  third  picture  clinched  things  for  Miss 
Field.  Only  she  wouldn't  believe  it.  She  put 
the  conti-act  in  a  safety  deposit  box  and  took  a 
train  for  New  York.  She  wasn't  in  town  a  week 
when  she  got  the  lead  in  Elmer  Rice's  new  play. 
She  was  in  a  dizzy  whirl,  getting  ready  for  re- 
hearsals and  discussing  new  movie  parts  with 
her  picture  bosses. 

But  Betty  took  time  out  to  buy  a  lot  of  new 
clothes  that  she  hadn't  been  able  to  afford  before. 
She  even  splurged  on  a  fur  coat. 

To  Betty,  shopping  was  a  new  adventure  be- 
cause, for  the  first  time,  she  could  really  select 
dresses  that  were  becoming,  instead  of  those  on 
which  the  price  tags  were  right.  She  remembers 
a  few  years  ago,  trudging  ajl  over  Fourteenth 
Street,  New  York's  famous  bargain  row,  hunting 
vainly  for  a  dinner  gown  she  needed  in  a  stock 
company  play.  She  had  thirteen  dollars  to  spend 
on  the  creation,  and  the  garments  at  that  price 
seemed  to  have  been  made  for  girls  who  weren't 
like  Betty  at  all.  In  a  paper,  she  read  an  adver- 
tisement about  a  small  shop  that  specialized  in 
evening  dresses.  It  was  owned  by  a  fashionable 
designer  who  demands  top  prices  for  her  artistic 
efforts,  but  Betty  didn't  know  that  at  the  time. 
She  walked  into  the  place  and  asked  to  see  eve- 
ning clothes.  Clutching  her  thirteen  dollars,  she 
hoped  there'd  be  something  heavenly  in  white. 

The  designer  brought  out  sketches. 

"Oh,  I  want  something  ready-made,"  stuttered 
Miss  Field  with  embarrassment.  The  designer 
explained  that  her  things  were  made  especially 
to  suit  the  personality  of  the  wearer. 

"For  how  much?"  Betty  wanted  to  know. 

"From  $200,"  was  the  fateful  answer. 

"I  guess  I'm  in  the  wrong  place,"  Betty  blurted 
out  and  fled. 

Betty  Field  is  a  real-life  character  out  of 
"Stage  Door."  She  hasn't  the  breath-taking 
beauty  that  wows  audiences  nor  the  sort  of 
glamour  that  sometimes  takes  a  girl  into  high 


For  a  while  it  looked  as  though  Betty's  career  was  to  be  a  series  of  dressing- 
room  sitdowns,  but  she  mustered  her  forces  and  defeated  the  jinx 


•o,   —  "ie 

without  having  to  worry.  She  also 
has  brains  and,  so  far,  she's  used 
them  well.  She's  twenty-two  years 
old  and  looks  younger,  so  young 
that  she  was  ideal  to  team  with 
sixteen-year-old  Jackie  Cooper. 

A  product  of  Boston,  Betty  left 
that  city  at  an  early  age.  Her  fam- 
ily moved  around  quite  a  bit.  She 
was  even  a  pupil  in  Puerto  Rico 
for  a  brief  time.  But  it  was  when 
her  mother  moved  to  Morristown, 
New  Jersey,  that  Betty  had  her 
chance. 

On  her  father's  side,  Betty  is  of  old 
American  stock.  Cyrus  Field,  who 
laid  the  first  Atlantic  cable,  be- 
longs on  that  particular  tree.  But 
Betty's  mother,  once  named  Kath- 
erine  Kearney,  is  Irish,  and  from 
her  Betty  inherited  an  apprecia- 
tion of  the  theatre  and  a  thirst  for 
adventure. 

While  Betty  was  a  New  Jersey 
high  school  student,  her  mother 
and  she  were  devotees  of  Saturday 
matinees  at  the  Rowland  G.  Ed- 
wards' stock  company  productions 
in  Newark.  Betty  wasn't  satisfied 
to  be  in  the  audience.  She  wanted 
to  be  on  the  stage.  She  wrote  let- 
ters and  letters  to  the  company 
secretary,  begging  for  a  chance, 
until  persistence  had  its  reward. 
Betty  was  only  fourteen,  but  she 
was  to  be  an  actress,  at  last.  That's 
when  the  halls  of  learning  lost  one 
of  their  number. 

Betty's  first  speaking  role  was  in 
a  revival  of  "The  Shanghai  Ges- 
ture," with  Florence  Reed  as  the 
guest  star.  Her  whole  part  con- 
sisted of  running  onto  the  stage, 
hearing  Miss  Reed  say  to  her, 
"Well,  my  dear,  and  how  are  you 
today?"  and  then  smiling  and  re- 
plying, "I'm  wonderful,  thank 
you."        (Continued  on  page  96) 


BY  JULIA 
SHAWELL 


«4 


In  "Seventeen"  Betty  Held 
is  a  cute  little  city  number 
who  pays  a  visit  to  Jackie 
Cooper's  hometown.  When 
he  falls  head-over-heels  for 
the  fickle  lady,  she  spurns  his 
ardent  courting  and  fills  Mr. 
Cooper's  young  life  with  woe. 


The  man  with  the  collar-ad  tea-  This  beaming  member  of  the  sil-  Ray   Milland   and   his   Missus   step  out 

tures  is  Alan  Curtis.  His  divorce  ver  fox  contingent  is  Lynn  Bari.  on     maid's     night     off.       Ray,  whose 

is  in  the  offing  so  maybe  Sonja  But  why  Husband  Walter  Kane  career   has   been   varied,    is    an  expert 

Henie  will  talk  wedding   bells.  looks  the  other  way  beats  us.  marksman,     horseman     and  aviator. 


Lew  Ayres  sits  in  a  dream  and, 
judging  from  her  shoulder  piece, 
Greer  Garson  sits  in  a  draft  as 
they  dine  at  the  Florentine  Room. 


The  wags  are  calling  Ken  Murray 
a  cradle-snatcher  since  he  began 
dating  Nancy  Kelly.  We  caught 
them  sharing  a  bottle  at  Hugo's. 


Doug,  Jr.,  siicks  close  to  his  wife  and 
to  the  nifty  sparklers  on  her  chest. 
Considering  Mr.  Fairbanks'  left  hook, 
Mrs.   F.   need  not  fear  jewel  collectors. 


Judy  Garland  and  Jackie  Cooper  Adolphe   Menjou   exhibits   what  Alice    Faye    congratulates    Rudy  Vallee 

show  plenty  of  teeth  while  whirl-  the  well-dressed  man  will  escort.  on    his    new   directorship    with  Republic 

ing.     They're   a   cute  couple —  Observe   the  diamond  stuck  at  Pictures.      Rudy's    also    been  putting 

but  where's  that  guy  Rooney?  the  part  of  Hedy  Lamarr's  hair.  on   a   swell   show  at   the   Victor  Hugo. 


52 


Marjorie  Weaver,  John  Garfield  and  Sid- 
ney Fox  dine  together  at  the  Beverly  Hills 
Hotel.  .  Marjorie's  black  velvet  dinner 
dress  has  little  puffed  sleeves  of  ermine. 


Robert  Shaw,'  a  newcomer  who 
has  not  yet  hit  the  gong, 
goes  dancing  with  that  suc- 
cessful   Texan,    Linda  Darnell. 


Vic  Orsatti,  the  little  man 
who's  everywhere,  adds  Brenda 
Joyce  to  his  impressive  list 
of     feminine  companions. 


When  the  Arrowhead  Springs  Hotel 
opened,  Gail  Patrick,  of  the  lovely  shoul- 
ders, and  her  - hubby,  Bob  Cobb  of  the 
Brown    Derby,    enjoyed   being  present 


When  Marie  Wilson  returned  to 
Hollywood  after  a  successful  per- 
sonal appearance  tour,  Director 
Nick  Grinde's  eyes  shone  again. 


Charles  Laughton,  looking 
very  fetching,  enjoys  a  laugh 
at  a  Guild  broadcast.  Jean 
Hersholt    doesn't    catch  on. 


The  surprise  romance  of  George  Raft 
and  Norma  Shearer  is  still  very  much  ,  of 
an  item.  They  say  George  has  even 
gone  in  for  conservative  clothes  of  late. 


Producer  J.  Walter  Ruben  and 
Virginia  Bruce  do  some  table 
traveling  at  La  Conga.  They 
have  had  a  second  anniversary 


Joan  Blondell  and  Dick  Pow- 
ell are  in  the  Hollywood 
social  scene  again  now  that 
Dick's   p. a.   tour  is  finished. 


Bing  Crosby,  Paulette  Goddard,  Bob  Hope 
and  Ruby  Keeler — excellent  golfers  all — 
settled  the  matter  of  skill  in  a  recent 
doubles  match.     Ruby  and   Bob  won. 


Frances  Longford  and  Jon  Hall 
have  parked  their  bright  red 
Packard  at  the  curb  and  are 
seen  entering  Victor  Hugo's. 


Merle  and  Alexander  Korda 
had  fun  at  the  Brown  Derby 
before  the  bespectacled  pro- 
ducer   left  for  England. 


53 


POWELL'S  PARADE 

Although  it  wasn't  on  the  program,  William 
Powell  led  a  gala  parade  down  Holly- 
wood Boulevard  the  other  night.  The  star 
tried  to  drive  his  car  across  the  "main 
stem"  just  before  an  American  Legion 
parade  started,  but  was  stopped  by  the 
crowd  of  people  waiting  for  the  event.  Pow- 
ell honked  until  an  officer  came  over,  then 
explained  that  he  had  to  get  through  some- 
how. The  officer  managed  to  clear  a  spot 
for  him,  but  before  Powell  could  get  across 
the  street  the  procession  of  Legionnaires  was 
upon  him.  Unruffled,  the  debonair  Powell 
turned  right,  led  the  parade  the  length  of  the 
boulevard,  waving  and  nodding  as  he  went, 
and  proceeded  merrily  on  his  way  when  he 
reached  the  end  of  the  parade's  route. 

POPULAR  ROZ 

Rosalind  Russell  would  cinch  any  popular- 
ity contest  among  studio  workers.  No  mat- 
ter in  what  picture  or  studio  she  works,  Roz 
has  everyone  raving  about  what  "a  grand 
girl  that  Russell  is."  Rosalind's  explanation 
of  it  is  very  simple.  "Certainly  I'm  nice  to 
people  I  meet,  and  those  with  whom  I  work. 
Why  shouldn't  I  be?  After  all,  it's  the  way 
my  mother  and  father  raised  me.  They  told 
all  of  us  that  whatever  we  did  reflected  on 
them." 

STORK  DEPT. 

Billy  Burke  becomes  a  grandmaw  in  the 
spring,  when  Patricia  Ziegfeld  Stephenson 
becomes  a  mama  .  .  .  Geraldine  Fitzgerald 
Lindsay-Hogg  will  welcome  a  bambino  in 
May  .  .  .  Mr.  and  Mrs.  Arthur  Lake  deny 
those  rumors  of  a  blessed  event,  but  Arthur 
will  be  a  proud  new  father  in  the  next 
"Blondie"  picture.  .  .  .  Mr.  and  Mrs.  Wayne 
Morris  claim  that  the  new  son  is  so  wonder- 
ful they're  all  ready  for  a  dozen  more  .  .  . 
Wally  Beery 's  adopted  another  beautiful 
baby,  nine-months-old  Phyllis  Ann  .  .  .  Mr. 
and  Mrs.  Bing  Crosby  are  sooooo  happy  over 
the  prospects  of  what  they  hope  will  be  baby 
sister  for  their  four  sons. 

MIKE  FRIGHT 

For  perfect  poise  in  front  of  the.  camera,  you 
can't  beat  Joan  Crawford.  But  in  front  of  a 
mike  she's  different.  The  director  of  the 
"Gulf  Screen  Guild  Theatre"  became  so  jit- 
tery himself  after  watching  the  star  at  her 
first  guest  appearance  on  the  program  that 


he  decided  something  should  be  done  to  re-' 
lieve  the  strain  for  both  of  them  the  next 
time.  When  Miss  Crawford  showed  up  for 
the  rehearsal,  there  was  a  chair  in  front  of 
the  mike  so  she  could  hold  onto  it.  It  was 
nailed  to  the  floor! 

WHAT,  NO  ASH-TRAY? 

On  the  way  home  from  the  dealer's  in  their 
new  streamlined  car,  Carole  Lombard  lit  a 
cigarette  and  absent-mindedly  flicked  the 
ashes  on  the  car  floor.  "On  account  of  this 
being  a  brand  new  car,  darling,"  Clark 
finally  said,  "would  you  mind  using  the  ash- 
tray?" "Why,  sure,"  said  his  amiable 
spouse.  "But  where  IS  the  ash-tray?" 
Together  they  punched,  pulled  and  poked  at 
every  gadget  on  the  magnificent  chromium 
dashboard.  "Now,  may  I  make  a  sugges- 
tion?" asked  Mrs.  Gable.  "How  about  the 
book  of  instructions?"  So  Gable  drew  the 
car  up  to  the  curb  and  sheepishly  perused 
the  explanatory  pamphlet  until  he  found  men- 
tion of  an  ash-tray  and  its  approximate 
location  in  the  car's  gleaming  interior. 

SHIRLEY'S  DEBUT 

When  Mrs.  Temple  picked  up  Shirley  the 
other  day  after  school,  her  daughter  came 
running  out  to  the  car  wildly  excited.  "What 
do  you  think?"  she  said  breathlessly.  "The 
most  wonderful  thing  has  happened!"  Her 
mother  tried  to  calm  Shirley,  but  the  child 
didn't  wait  to  catch  a  breath  before  telling 
the  great  news.  Her  schoolmates  were 
going  to  put  on  a  play,  and  she,  Shirley,  had 
been  given  a  role!  "There  are  seventeen 
lines,  but  I  think  I'll  be  all  right,  don't  you?" 
she  asked  anxiously.  Shirley,  you  know, 
has  been  enrolled  at  the  Westlake  School 
for  Girls,  because  her  mother  thinks  she 
should  have  at  least  a  few  of  the  experi- 
ences of  other  children  her  age. 


TWENTY-FIVE  POUNDS 
TOO  MANY 

Though  Bette  Davis  hasn't  started  work  on 
any  picture  since  returning  to  Hollywood, 
don't  think  for  a  minute  she's  just  lazing 
around.  The  star's  hard  at  work  every  day 
trying  to  lose  those  twenty-five  pounds 
gained  on  her  eastern  vacation.  Says  the 
extra  weight  made  her  feel  fine,  but  nearly 
caused  six  executives  to  swoon  the  first  day 
she  appeared  on  the  lot.  "Evidently,"  sighs 
Bette,  "I'm  the  type  that's  at  my  best  when 
exhausted." 

ICE  SKATING 

Ice  skating  is  the  most  popular  sport  among 
the  movie  colony  today.  The  tropical  Gar- 
dens Ice  Rink,  a  palm-fringed  outdoor  rink  in 
Westwood  Hills,  is  the  favorite  spot  for  their 
tumbles.  Wayne  Morris  appears  there  every 
morning,  with  Bubbles  cheering  from  the  side- 
lines. Ann  Sheridan  with  Cesar  Romero  and 
Nancy  Kelly  with  Edmond  O'Brien  are  regu- 
lar Wednesday  and  Friday  evening  patrons. 
But  the  stellar  attraction  of  the  rink  is  Me- 
linda  Markey,  the  four-year-old  daughter  of 
Joan  Bennett  and  Gene  Markey.  It's  Mr. 
Markey  who  escorts  this  charmer  to  the 
rinks,  because,  as  Melinda  explains,  "Mother 
can't  stand  up  as  good  as  me." 


GARBO  LOVES! 

Latest  lowdown  on  Garbo  romances:  The 
Swedish  star  pooh-poohs  romantic  rumors 
linking  her  with  Dr.  Gaylord  Hauser  or 
George  Brent.  Her  true  love  is  a  new  star, 
that  scene-stealer  from  "Pinocchio."  His 
name — Jimmy  Cricket.  His  headquarters — 
Walt  Disney  Studios,  Hollywood,  California. 


It  keeps  our  Hollywood 


editor  busy  "snooping"  for 
you,  but  here  she  is  with 
the  latest  on  the  film  folk 


ALONG  SUNSET  STRIP 


A  carload  of  tourists  parked  in  front  of  the 
Cock  'n'  Bull  for  hours  waiting  to  catch  a 
glimpse  of  Garbo  "because  they  heard  she 
ate  there"  .  .  .  George  Raft  a  freguent  visitor 
to  his  tailor's  shop,  since  dating  Norma 
Shearer  means  more  and  better  looking 
clothes  .  .  .  Lana  Turner  not  heeding  a  stop 


light,  then  halting  traffic  in  the  middle  of 
the  intersection,  and  smiling  her  way  out 
of  the  mixup.  .  .  .  Robert  Taylor  breezing 
along  in  the  sunshine  with  the  top  of  his 
roadster  down,  and  smiling  as  if  he's  very- 
happy.  Incidentally,  Bob  certainly  enjoyed 
the  vacation  he  was  given  after  "Remem- 
ber?" .  .  .  Mary  Carlisle  tripping  into  the 
Raikes  studio  for  her  daily  vocal  lesson. 


ROYAL  RECEPTION 

No  warmer  reception  was  ever  accorded 
visiting  royalty  than  that  given  Charles 
Boyer  and  Pat  Paterson  on  their  return  to 
Hollywood.  They're  houseguests  of  the 
Tyrone  Powers  until  their  own  home  is 
ready  for  occupancy.  Most  delighted  person 
in  Hollywood,  though,  is  Mrs.  Adelaide 
Reaume,  Tyrone's  grandmother.  She,  too,  is 
a  guest  at  the  Powers'  home  on  her  first  trip 
to  Hollywood.  Mrs.  Reaume  makes  no 
bones  about  the  fact  that  Charles  Boyer  is 
her  favorite  actor — "outside  the  immediate 
family,  of  course." 

CLOUD  OVER  OLIVIER 

There's  a  dark  cloud  over  the  happiness  of 
Vivien  Leigh  and  Laurence  Olivier,  in  spite 
of  the  fact  that  wedding  bells  are  due  to 
ring  any  moment  and  that  both  have  had 
as  many  honors  heaped  on  them  of  late  as 
it  is  possible  to  get  in  Hollywood.  At  any 
moment,  Olivier  may  be  called  back  to 
England  for  active  service.  The  actor  refused 
to  explain  the  English  regimental  tie  he  was 
wearing  the  other  night  when  he  and  Vivien 
were    found    dining    at    the    Victor  Hugo. 

55 


ALL'S  WELL 


WHEW! 


ROMANCES  AND  REBOUNDS 


Hedy  Lamarr's  back  at  Metro  without  that 
raise  in  pay,  so  everything's  quiet  on  the 
Metro  front.  There  were  rumors  that  Spen- 
cer Tracy  would  raise  strenuous  objections 
when  he  learned  that  the  ill-fated  "I  Take 
This  Woman"  would  again  go  before  the 
cameras  for  intensive  retakes.  But  on  hear- 
ing that  he  was  to  report  for  work  on  the 
picture,  Tracy's  only  answer  was  a  weary: 
"Okay.  But  why  not  'I  Retake  This 
Woman'?" 

LEW'S  DATE-BOOK 

Lew  Ayres'  date-book  is  enough  to  make  any 
young  man  green  with  envy.  Patricia  Mor- 
ison  is  a  frequent  companion  of  Lew's  at 
the  night-spots.  Ginger  Rogers  is  occasion- 
ally spotted  with  him  at  a  restaurant,  and 
red-headed  Greer  Garson  has  looked  veddy, 


JACK  BENNY 


veddy  interested  in  what  Mr.  Ayres  has  been 
telling  her  as  they  dined  tete-a-tete  at  the 
Brown  Derby  every  night  the  past  week. 
Helen  Gilbert's  name,  however,  doesn't  grace 
the  Ayres'  date-book  any  more.  When 
Helen  separated  from  her  husband,  Mischa 
Bakaleinikoff,  Lew  took  first  place  in  her 
life.  When  Helen  definitely  decided  on  a 
divorce  and  began  looking  around  for  an 
attorney,  someone  suggested  a  lawyer  by 
the  name  of  Milton  Golden.  Helen  met  Mr. 
Golden,  promptly  gave  him  the  case — and 
her  heart  along  with  it. 

THE  NEW  DIETRICH 

When  Marlene  Dietrich  visited  the  Para- 
mount lot  the  other  day,  she  arrived  just  at 
noon.  Before  proceeding  to  her  appoint- 
ment in  the  executives'  building,  the  star, 
asked  her  chauffeur  to  drop  her  at  the 
commissary.  The  new  commissary  has  been 
built  since  Dietrich's  Paramount  days,  so 
the  star  wandered  in  the  wrong  entrance 
and  found  herself  in  the  lunch-room  section 
— a  line  of  counters  devoted  to  speed  rather 
than  splurge.  Dietrich  looked  lost  for  a 
moment  but  then  climbed  onto  a  stool,  looked 
at  what  the  overalled  workman  next  to  her 
was  eating  and  called  to  the  waitress  be- 
hind the  counter,  "One  of  the  same,  please." 

56 


Do  you  know  any  woman  who  would  turn 
down  the  chance  to  make  ninety  thousand 
honest  dollars  in  her  spare  time?  Garbo's 
a  woman  who  can  do  it  without  flinching. 
In  the  past  few  weeks,  she  refused  to  make 
a  $25,000  radio  appearance,  refused  $15,000 
for  a  week's  personal  appearance  in  a 
New  York  theatre,  and  $50,000  was  turned 
down  by  the  lady  for  her  signature  on  a 
ghost-written  story.  And  did  someone  say 
all  women  are  sisters  under  the  skin? 

CONGRATULATIONS,  GALE 

Gale  Page  is  one  of  the  busiest  girls  in  town, 
between  NBC  broadcasts,  picture  work  and 
the  new  class  in  which  she's  enrolled  at 
U.C.L.A.  It's  a  course  in  Greek  literature,  of 
all  things.  "I'm  proud  of  the  strides  I've 
made  in  my  career,"  Gale  admits,  "but 
nothing  has  given  me  such  confidence  to 
date  as  the  fact  that  I've  attended  eighteen 
lectures  on  Greek  lit  and  haven't  fallen 
asleep  once." 

WHICH  BOY  FRIEND,  DOTTIE? 

On  the  set  of  "Road  to  Singapore"  Dorothy 
Lamour's  been  all  hands  and  needles  be- 
tween every  scene.  Dottie's  just  taken  up 
knitting  and  admits  that  the  object  on  which 
she's  lavishing  all  her  spare  time  is  a 
man's  sweater.  She's  even  having  lunch 
served  on  the  set  so  no  time  will  be  lost 
on  her  knitting  and  unraveling.  But  to 
date  no  one  has  been  able  to  find  out  for 
whom  the  sweater  is  intended.  "Just  a 
boy  friend,"  says  Dorothy.  Since  the  La- 
mour  boy  friends  are  legion,  that  clue  was 
considered  hopeless. 


{.  1 

OLIVIA  DE  HAVILLAND 

WOW,  DEANNAl 

Ever  heard  of  a  $2000  piece  of  candy?  Well, 
Universal  studio  has.  The  other  day  on  the 
set,  the  director  noticed  that  Deanna's  jaw 
was  moving — rhythmically,  but  still  moving 
— in  a  romantic  close-up.  "You're  supposed 
to  look  dreamy,  Deanna,"  he  said,  "so  how 
about  parking  the  gum?"  "It  isn't  gum," 
was  the  star's  answer.  "It's  a  caramel  and 
I  intend  to  finish  it."  And  so  she  did — 
while  some  forty  co-workers  stood  by  and 
production  costs  soared  merrily  up. 


Cesar  Romero  had  a  squabble  with  Ann 
Sheridan  because  his  studio  told  him  he 
was  supposed  to  take  Loretta  Young  to  a 
preview  and  party.  He's  forgetting  his 
broken  heart  by  taking  Loretta,  Joan  Craw- 
ford and  Ginger  Rogers  on  dancing  dates  .  .  . 
Lee  Bowman  has  fallen  head  over  heels  for 
Irina  Baronova,  the  new  MGM  dancing  star 
.  .  .  Corbina  Wright,  Jr.  is  getting  a  rush  from 
Bruce  Cabot  these  days  .  .  .  Mickey  Rooney 
swears  he  never  was  as  seriousuly  in  love 
as  he  is  with  the  pretty  little  Abbott  dancer, 
Dolly  Thon  .  .  .  Eddie  Albert,  who  used  to 
thrill  Jane  Bryan,  is  now  concentrating  on 
Rosemary  Lane  .  .  .  Randolph  Scott  is  now 
seriously  interested  in  Eleanor  Powell,  and 
'tis  rumored  that  Eleanor  is  equally  inter- 
ested. .  .  .  Vic  Orsatti  is  escorting  Ruth 
Hussey  to  the  night  clubs,  and  seems  to  be 
forgetting  Marjorie  Weaver  .  .  .  Edna  Best 
is  really  heading  for  that  Reno  divorce  from 
Herbert  Marshall,  but  soon,  and  her  plans 
immediately  following  the  divorce  include 
marriage  to  agent  Nat  Woolf  .  .  .  Virginia 
Field  and  Richard  Greene  are  still  ponder- 
ing over  blue  prints  of  the  house  into 
which  they'll  move  immediately  following 
those  planned  wedding  bells. 

JACKIE'S  [AM  SESSIONS 

There  are  plenty  of  moans  in  the  younger 
set  since  Jackie  Cooper  discontinued  his 
"jam"  sessions.  Jackie's  mother  has  taken 
him  to  Palm  Springs  for  a  vacation,  so  the 
famous  orchestra  which  supplied  music 
for  many  of  the '  "hops"  attended  by  the 
youngsters,  has  been  broken  up.  Bonita 
Granville,  Freddie  Bartholomew,  the  Mauch 
Twins,  Judy  Garland,  Mickey  Rooney  and 
Helen  Parrish  drew  up  a  petition  and  sent 
it  to  Mrs.  Cooper,  begging  her  to  let  Jackie 
come  back  as  soon  as  possible.  The  gang 
doesn't  care  for  the  substitute  music  of  Rudy 
Vallee,  Phil  Harris  and  other  orchestras. 

AT  FARMER'S  MARKET 

Harold  Lloyd,  alone  on  a  household  shop- 
ping tour,  downing  a  big  dish  of  chocolate 
ice  cream  at  Gills  Ice  Cream  stand  .  .  . 
Lucille  Gleason  telling  her  friends  she's  out 
to  restock  the  family  vegetable  supply,  then 
buying  so  many  flowers  that  she  can't  carry 


GENE  AUTRY 


even  one  carrot  .  .  .  Mrs.  Sam  Goldwyn 
buying  artichokes,  because  Mr.  Sam  is  very 
partial  to  them  .  .  .  Mr.  and  Mrs.  Noah 
Beery  having  early  morning  coffee  and 
doughnuts  at  Mannings  .  .  .  Gail  Patrick 
and  her  secretary  wandering  around  at 
lunch  time  with  a  sandwich  in  one  hand 
and  candied  apples  in  the  other  .  .  .  June 
Collyer  Erwin  and  young  Master  Stuart 
Erwin  buying  Papa  Stu  an  ice  cream  cone. 

ANDY  SHOWS  'EM 

While  "Buck  Benny  Rides  Again"  was 
being  filmed  Andy  Devine  took  so  much 
ribbing  from  the  Murriel  Abbott  dancers  that 
one  day  he  said,  "Okay,  girls.  I  may  be 
hefty  but  I'm  light  as  a  feather  on  my  feet." 
To  prove  it,  he  went  into  the  front  line  of 
their  next  rehearsal.  The  truth  is  that  Andy 
did  very  well — for  the  five  minutes  he 
lasted.  After  that,  he  dropped  into  a  chair 
and  called  for  a  chocolate  malted  milk  and 
a  three-decker  sandwich  to  revive  him. 

HE'S  AT  IT  AGAIN 

If  Rochester  begins  reiterating  his  oft-ex- 
pressed intention  of  terminating  his  connec- 
tion with  Jack  Benny,  don't  be  surprised. 
Life  as  Benny's  stooge  has  reached  an  un- 
pleasant impasse  for  Rochester.  It  was  bad 
enough  playing  nursemaid  to  an  imaginary 
polar  bear  and  submitting  to  the  grunts  and 
growls  of  Mel  Blanc,  the  cartoon  voice  who 
impersonates  Carmichael  on  the  air.  But 


DOROTHY  LAMOUR 


now  Rochester  has  learned  'that  he  must 
cavort  before  the  camera  with  a  real  fur- 
bearing  beast  in  Benny's  new  picture. 
When  Rochester  discovered  that  the  bear 
had  arrived  at  the  studio,  he  turned  as 
white  as  his  new  playmate's  fur.  And  un- 
less the  new  Carmichael  has  his  finger- 
nails manicured  every  morning — under 
Rochester's  supervision — Mr.  Benny  is  apt 
to  have  an  abdicating  butler. 

IT'S  INFORMAL  AT  THE  GABLES 

Carole  Lombard  admitted  the  other  day  that 
her  attempt  to  keep  life  on  a  strictly  informal 
basis  at  the  Gable-Lombard  ranch  has  been 
carried  a  bit  too  far.    Nowadays  when  she 


calls  home  and  asks  to  speak  to  Mr.  G., 
the  maid  cups  her  hand  over  the  mouthpiece 
and  yodels  to  the  butler,  "Hey,  tell  Paw 
that  Maw's  on  the  phone!" 

THE  AUTRYS 

Gene  Autry  is  in  love  with  one  of  the 
prettiest  women  in  Hollywood — and  her 
name  is  Mrs.  Gene  Autry.  You  don't  read 
about  them  being  "Hollywood's  Happiest" 
for  the  main  and  simple  reason  that  no 
one  considers  them  a  part  of  Hollywood,  in 
spite  of  Gene  corralling  the  biggest  amount 
of  fan  mail  in  town.  The  Autrys  long  ago 
decided  that  Hollywood  parties  weren't  half 
as  much  fun  as  a  barbecue  at  their  ranch, 
with  the  guest  list  comprised  of  cowboys  and 
their  girls  and  wives. 


NO  TRESPASSING 

Priscilla  Lane  has  been  eyeing  the  fine 
tennis  court  adjoining  the  producers'  build- 
ing at  Warners  for  a  long  time.  She  never 
saw  anyone  make  use  of  it,  but  didn't  quite 
have  the  nerve  to  ask  if  she  could  get  in 
a  daily  game  or  two  on  producers'  property. 
Finally  one  day  she  gathered  her  courage 
in  hand  and  marched  into  the  building. 
"Could  you  tell  me,"  she  asked  the  girl  at 
the  switchboard,  "if  you  ever  knew  any- 
one to  use  that  tennis  court  at  the  side  of  the 
building?"  "Sure,  I  knew  a  guy  who  used 
it,"  said  the  girl,  "but  he  was  fired  next 
day."    Priscilla  changed  her  mind! 

SHORT  SHOTS  ' 

Sandra  and  Ronnie,  pride  and  joy  of  the 
Gracie  Allen-George  Burns  household,  are 
now  sporting  new  coiffures  designed  by 
themselves.  They  were  left  alone  one  morn- 
ing in  their  play-room,  and  found  Mama 
Gracie's  manicure  scissors  .  .  .  The  beard 
Orson  Welles  is  shaving  for  his  new  picture 
hasn't  been  touched  since  December,  1938, 
and  he  says  he  really  grew  the  thing  for 
the  publicity  ...  In  "Young  Tom  Edison," 
Mickey  Rooney  does  the  Morse  code  himself 
because  it's  so  easy  for  the  fans  to  tell  from 
his  finger  movements  whether  he's  really 
tapping  or  not  .  .  .  Richard  Barthelmess' 
seventeen-year-old  daughter,  Mary  Hay,  has 
her  eyes  on  a  screen  career  .  .  .  Ted  Healy's 


SHIRLEY  TEMPLE 


widow,  Betty,  is  opening  a  dude  ranch  at 
Victorville  .  .  .  Nigel  Bruce  has  lost  twenty- 
three  pounds,  and  now  the  studio  is  worry- 
ing over  whether  Sherlock  Holmes  will  be 
able  to  find  his  Watson  in  the  usual  shadows 
of  the  mystery  pictures  .  .  .  Paulette  God- 
dard  had  a  terrific  siege  of  stage  fright  the 
morning  she  matched  with  Bing  Crosby  in  a 
golf  tournament  against  Ruby  Keeler  and 
Bob  Hope.  The  3000  fans  couldn't  get  in- 
terested in  anybody  but  Paulette  .  .  .  Jane 
Bryan  learned  that  Austrian  accent  for 
"We  Are  Not  Alone"  in  one  day  .  .  .  Mar- 
lene  Dietrich  is  tired  of  being  driven  around 
by  her  chauffeur,  and'  is  taking  driving 
lessons  .  .  .  Sonja  Henie  positively  refuses  to 
go  brunette  for  any  film  roles  .  .  .  Brian 
Donlevy  has  a  clause  in  his  new  contract 
that  says  he  doesn't  have  to  die  "yellow" 
in  future  roles.  "Yes,  I'll  die,  but  honor- 
ably," says  Donlevy  .  .  .  Shirley  Temple's 
making  her  studio  do  some  serious  think- 
ing. She's  growing  up  so  fast  that  a  new 
type  of  story  is  needed.  She's  not  a  has- 
been  at  ten  years  old,  and  the  studio  is 
going  to  make  sure  she  doesn't  become  one 
.  .  .  Virginia  Weidler  is  writing  a  new  song 
which  her  brother  is  putting  to  music.  Title — 
"I  Hold  My  Breath  and  Get  Blue  in  the 
Face"  .  .  .  Anita  Louise  says,  "Hands  off 
my  harp,"  and  insists  on  personally  pack- 
ing and  unpacking  the  six-foot  instrument 
even  when  on  personal  appearance  tours. 

DID] A  KNOW 

That  Lon  Chaney,  Jr.,  who  plays  Lennie  in 
"Of  Mice  and  Men,"  owns  a  poultry  and 
rabbit  market  .  .  .  That  Ann  Sheridan  takes 
a  bicycle  ride  every  day  to  exercise  that 
famous  "oomph"  .  .  .  That  Mr.  and  Mrs. 
Edgar  Kennedy  are  plotting  a  road  tour  of 
"Romeo  and  Juliet"  and  are  going  to  play  it 
as  straight  as  the  fans  will  allow  .  .  .  That 
Eddie  Norris  spends  every  available  min- 
ute in  his  private  plane  .  .  .  That  Slapsie 
Maxie  Rosenbloom,  whose  middle  name  is 
Everett,  is  writing  a  book  on  life  in  Holly- 
wood .  .  .  That  Binnie  Barnes'  real  name  is 
plain  Gittell  Enoyce  .  .  .  And  that  Tyrone 
Power  once  worked  as  a  drug  store  clerk 
.  .  .  That  Don  Ameche  can  concoct  the  fan- 
ciest dish  of  spaghetti  in  all  Hollywood  .  .  . 
That  Marlene  Dietrich  went  to  her  first 
American  football  game  when  U.S.C.  played 
U.C.L.A.     She    (Continued  on  page  101) 

57 


CUPID  STRIKES 

THOUSANDS  of  men  watched  their  dreams  shat- 
ter with  the  marriage  of  Hedy  Lamarr — but  that 
amount  is  insignificant  compared  with  the  number 
who  could  cheerfully  slit  the  throat  of  youthful 
Vaughn  Paul.  Vaughn,  of  course,  is  the  twenty- 
three-year-older  who  has  won  wide  but  unwel- 
come fame  by  becoming  Deanna  Durbin's  fiance. 
By  profession  he  is  an  assistant  director  on  the 
Universal  lot;  by  accident,  the  object  of  more 
publicity  than  a  man  with  three  thumbs. 

Vaughn  first  met  Deanna  when  the  studio  as- 
signed him  to  one  of  her  pictures.  He  was  fresh 
out  of  the  University  of  Southern  California  at 
the  time  and  determined  to  be  a  success — yet  it 
may  be  truthfully  said  that  going  with  a  movie 
star  is  not  his  way  of  "getting  there."  Rather,  it 
has  been  Deanna  who's  been  taking  the  initiative 
in  their  romance.  When  she  discovered  she  "had 
a  case  on  that  Mr.  Paul,"  she  behaved  so  unlike 
her  usual  reserved  self  that  "Mr.  Paul"  finally 
had  to  become  aware  of  her  as  an  alluring  young 
woman.  Even  now  she  makes  no  bones  about  her 
feelings.  On  the  nights  Vaughn  works  late,  she 
goes  down  to  the  set  and  waits  for  him  as  a  dutiful 
sweetheart  should.  When  he's  finished,  they  tear 
away  in  his  car  (or  hers — they  have  identical 
models)  and  take  in  a  movie  at  some  second-rate 
theatre.  If  he's  too  tired,  they  go  back  to  the 
Durbin  house  and  just  sit  and  talk.  Since  they 
recently  bought  property  on  which  to  build  their 
own  home,  there's  no  dearth  of  conversation. 

Deanna  and  her  beau  seldom  join  the  cafe  set 
because  Vaughn  hates  flash  bulbs  exploding  in  his 
face.  But  as  a  screen  star's  husband,  that's  just 
one  of  the  inconveniences  he'll  have  to  endure. 
At  the  studio,  he  and  Deanna  are  on  distinctly 
different  planes.  Her  success  is  achieved;  he's  still 
at  the  bottom  of  the  ladder.  Her  salary  is  stagger- 
ing; his  looks  like  pin  money  beside  it. 

It's  an  upside-down  situation,  but  love's  a  funny 
thing.  We're  still  betting  that  the  Vaughn  Pauls 
become  Hollywood's  most  happily  wedded  pair! 


$1,600,000.  Will  her 
wealth  be  a  stumbling 
block    to    marital    bliss?  ,< 


Miss  Margaret  Riddle, 

attractive  young 
daughter  of  Mrs. 
Henry  C.  Biddle  of 
Philadelphia,  enjoys 
one  of  society's  smart 
indoor  polo  matches. 


The  younger  social  set 

loves  skiing.  To  Margaret,  a 
"spill"  is  just  part  of  the  fun, 
and  she  has  a  good  laugh  at 
her  companion's  expense. 


After  an  exciting  summer  in 

Europe,  Margaret  is  now  back 
in  the  whirl  of  sub-deb  gaiety. 
Season's  high  spots  are  exclu- 
sive Saturday  Evening  dances. 


BOTH 
CHEER  THE 
SKIN  CARE 


QUESTION  TO  MISS  BIDDLE: 

Miss  Biddle,  does  a  girl  looking  for- 
ward to  her  thrilling  debut  year  take 
any  special  care  of  her  complexion? 

ANSWER:  "Oh,  a  good,  regular 
beauty  routine  is  terribly  important! 
I  use  both  Pond's  Creams  every 
day  of  my  life — Pond's  Cold  Cream 
to  cleanse  and  soften  my  skin  night 
and  morning,  and  freshen  it  during 
the  day.  It's  all  wrong  to  put  new 
make-up  on  top  of  old,  so  I  always 
give  my  skin  a  good  Pond's  cleansing 
before  fresh  make-up." 

QUESTION:  Doesn't  an  afternoon  of 
skiing  make  your  skin  rough  and 
difficult  to  powder? 

ANSWER:  "No,  it  really  doesn't. 
You  see,  I  spread  a  film  of  Pond's 
Vanishing  Cream  over  my  skin  before 
going  outside — for  protection.  When 
I  come  in,  I  use  Vanishing  Cream 
again.  It  smooths  little  roughnesses 
right  away — gives  my  skin  a  soft 
finish  that  takes  powder  divinelyl" 


QUESTION  TO  MISS  BOARMAN: 

What  does  a  good  complexion  mean 
to  a  high-school  girl,  Miss  Boarman? 

ANSWER:  "It  means  plenty!  No 
inferiority  complex — and  loads  more 
fun!  And  it's  so  easy  to  help  keep 
your  skin  in  good  condition!  Pond's 
2  Creams  seem  to  be  all  I  need — 
Pond's  Cold  Cream  to  make  my 
skin  clean  and  fresh  looking, 
and  Pond's  Vanishing  Cream  to 
smooth  it  for  powder." 

QUESTION:  Miss  Boarman,  your 
make-up  looks  as  fresh  as  if  you 
were  just  starting  out  for  a  dance, 
instead  of  just  going  home! 
How  do  you  do  it? 

ANSWER:  "I  have  a  system!  Before 
even  touching  a  powder  puff, 
I  cleanse  and  soften  my  skin  with 
Pond's  Cold  Cream.  After  that, 
I  smooth  on  Pond's  Vanishing 
Cream  for  make-up  foundation. 
Then  comes  powder.  It  goes  on 
like  velvet  and  clings  for  ages!" 


Why  should  Phyllis  worry  about 
General  Chemistry  and  English 
themes  when  Brenchbrook  Pond 
is  frozen  over  and  she  got  new 
hockeys  for  Christmas? 


With  the  last  strains  of  "Home 
Sweet  Home"  at  the  DeMolay 
"formal,"  Phyllis  and  her  date 
hurry  to  be  "first  come,  first 
served"  at  Pal's  Cabin. 


Miss  Phyllis  Boarman 

is  a  much-dated  senior 
at  East  Orange  High 
School  in  N.  J.  School 
basketball  games  are 
social  as  well  as 
athletic  get-togethersl 


POND'S 


SEND  F°R 
TRIM 
BEAUTY 
KIT 


Name_ 
Street- 
City  


POND'S,  Dept.  9MS~CVC,Clinlon>  Conu. 
Rush  special  tube  of  Pond's  Cold  Cream, 
enough  for  9  treatments,  with  generous 
samples  of  Pond's  Vanishing  Cream, 
Pond's  Liquefying  Cream  (quicker-melting 
cleansing  cream)  and  5  different  shades  of 
Pond's  Face  Powder,  I  enclose  10£  to 
cover  postage  and  packing. 


„Siair 


Copyright,  1940,  Pond's  Extract  Company 


WOEFUL 
HAD 
UlflCKY 

BY  JOHN  FRANCHEY 


Sad-eyed  but  full  of  tricks — 
that's  Mayor  Mischa  Auer 

THOSE  DOLEFUL  eyes  of  Mischa  Auer, 
so  conspicuous  by  their  contrast  to  the 
hilarious  shenanigans  he's  always  pulling 
off,  are  no  actor's  triumph.  He  deserves 
no  credit.  Life  gave  them  to  him.  They 
mirror  his  personal  history.  They  reflect 
war,  work  and  woe. 

In  his  last  picture,  "Destry  Rides 
Again,"  he  set  even  the  hard-bitten  critics 
in  the  aisles  with  his  buffooneries  as  a 
transplanted  Cossack  who  had  migrated 
without  rhyme  or  reason  to  a  western 
town  where  he  undertook  a  spot  of  hoss- 
wrangling.  A  Russian  cowboy  he  was,  as 
fantastic  as  a  seance  of  rug-cutting  in  a 
cathedral  or  Tony  Galento  in  the  role  of  a 
ballerina. 

Funny?   Of  course.   But  ironic,  too. 

It  so  happens  that  Mischa  Auer  is  a 
Russian  expatriate,  a  scion  of  what  he 
likes  to  call,  with  typical  modesty,  "the 
petty  nobility."  And  his  real  name  is 
Mischa  Simonowich  Ounskowski.  His 
father,  a  commander  of  a  destroyer  in  the 
Imperial  Russian  fleet,  went  down  with 
his  ship  in  a  skirmish  with  one  of  the 
Mikado's  men-of-war  during  the  Russo- 
Japanese  campaign. 

He  was  four  when  his  renowned  grand- 
father, Leopold  Auer,  the  outstanding 
violin  virtuoso  of  this  century  and  the 
teacher  of  Zimbalist,  Elman  and  Heifetz, 
to  name  a  few,  took  him  under  his  wing. 
When  a  fiddle  was  thrust  in  his  hands, 
he  stared  at  it  ruefully.  He  made  a  clean 
break  of  it.  There  just  wasn't  the  im- 
mortal urge  within  him,  he  told  his  great 
kinsman.  Grandpa  Auer  took  it  very 
hard. 

What  he  did  have  was  a  passion  for  the 
theatre.  As  a  little  shaver  he  used  to 
haunt  the  back  stages  of  the  theatres  at  St. 
Petersburg,  entranced  with  it  all. 

The  Revolution  broke  with  all  its  sud- 
den fury  and  it  became  high  time  to  think 
of  self-preservation.  Caught  in  the  mael- 
strom, he  was  shipped  with  several  hun- 
dred other  boys  of  his  age  and  social 
status  to  a  forlorn  town  in  Siberia,  pre- 
sumably to  learn  how  to  become  a  true 
Communist. 

It  was  a  miserable  journey,  four  thou- 
sand miles  across  the  steppes  in  coaches 
that  offered  only  wooden  benches  on 
which  to  sleep.  Once  arrived  at  land's 
end,  they  were  dumped  out  and  forgotten. 

Here  he  discovered  how  relentless  life 
can  really  be.  Faced  with  starvation,  he 
learned  to  ignore  the  proprieties.  To- 
gether with  his  friends  he  formed  a  roving 


An  inimitable  harlequin,  Mad 
Hamlet  Mischa  always  has  his 
fingers  in  some  bit  of  mischief. 


band  equipped  with  knapsacks.  They 
trudged  from  farmhouse  to  farmhouse 
begging,  in  the  name  of  God's  mercy 
even  a  hard  crust.  It  wasn't  easy.  Poverty 
reigned  over  the  whole  countryside. 
When  they  couldn't  beg  food,  they  stole 
it — just  enough  to  keep  themselves  alive. 

After  two  years,  they  were  shuttled 
back  to  St.  Petersburg.  Some  had 
perished.  Mischa  Auer  had  become  a 
starveling  gnome,  and  the  mournful  look 
had  made  its  first  appearance. 

Worse  misfortune  was  yet  to  dog  him. 
Now  the  dread  OGPU,  the  political  secret 
service  arm,  outlawed  all  those  suspected 
of  having  sympathetic  leanings  toward 
the  old  regime.  The  Auers  were  on  the 
list  scheduled  for  immediate  liquidation. 
One  jump  ahead  of  arrest  and  oblivion, 
Auer  and  his  mother  fled.  It  was  a  heart- 
rending trek  they  made,  mother  and  son, 
forging  their  way  South  to  the  Black  Sea, 
fighting  plague  and  hunger,  and  eventu- 
ally reaching  Constantinople  then  under 
the  protection  of  the  Union  Jack. 

Here  his  mother  was  attacked  by  typhus 
and  died.  And  here  she  was  buried  in  a 
Greek  Orthodox  cemetery  overlooking 
the  harbor.  A  boy  of  fifteen,  he  was  now 
left  to  shift  for  himself.  In  time  he  beat 
his  way  into  Italy  where  he  hunted  out  a 
family  friend  who  provided  him  with  the 
address  of  grandfather  Leopold,  now  in 
the  United  States.  Soon  help  was  on  its 
way.  The  wanderer  set  sail  for  America, 
a  wistful  shadow  of  a  boy  who  had  com- 
pressed an  eternity  into  his  fifteen  years. 

Under  his  grandfather's  protection,  he 
picked  up  the  life  thread.  He  was  sent 
to  the  famous  Ethical  Culture  School.  His 
record  here  is  less  than  average.  He  had 
no  inclination  for  studies.  His  mind  was 
alive  only  with  dying.  He  could  not  es- 
cape the  recollections  of  things  he  had 
seen  and  heard. 

All  concerned  worked  feverishly  to 
salvage  the  shattered  soul  in  the  under- 
nourished body.  It  was  slow  work.  But 
by  the  time  he  was  seventeen,  noticeable 
progress  was  apparent.  Came  the  day 
when  he  remembered  his  former  passion 
for  the  theatre.  He  decided  to  see  what 
it  had  to  offer  him  here  in  America. 

Not  much,  at  first.  But  he  persisted. 
Mere  disinterest  and  rebuffs  were  nothing 
to  him.  He  wouldn't  be  downed.  Finally 
Dudley  Digges,  just  for  his  own  amuse- 
ment, presented  him  with  a  small  role, 
that  of  an  old  man,  in  a  mob  scene. 

This  slight    (Continued  on  page  76) 


Mischa  Simonowich  Ounskowski 
— ahem — is  a  scion  of  what  he 
calls  Russia's  "petty  nobility." 


The  "photog's  delight"  with  his 
wife.  How  feels  the  Missus 
about  his  clowning?  She  loves  it! 


Mr.  A.  campaigned  for  him- 
self with  hammer  and  tongs. 
He's  Mayor  of  Universal  City. 


60 


MODERN  SCREEN 


APPROVES  THE 


COLORS 


Paris  openings  forecast  the  big  news  in 
feminine  fashion  .  .  .  Cutex  nail  shades 
forecast  the  big  news  in  fingertip  chic! 

In  Paris  new  Cutex  nail  tones  are 
checked  against  the  latest  color  news. 

Wear  Cutex  and  your  nails  are  as  glamor- 
ous as  your  Paris-inspired  frocks! 


PERFECTS  THE 


WEAR 


From  the  Cutex  Sand  Machine  a  steady 
stream  of  sand  falls  on  a  glass  plate 
coated  with  Cutex  Polish  .  .  .  much  harsher  treat- 
ment than  you  give  your  nails  in  daily  wear. 


J/lXja/is    In  the  Cute? 

tfjtr'*'     Salon  Polish 


Cutex  Immersion  Test,  Cutex 
1  withstands  for  long  periods 
the  destructive  action  of  salt  water  and  of  hot  water 
containing  strong  household  cleaning  preparations. 


The  Cutex  Sun  Lamp  is  used  to  test 
sun-fast  qualities.  You  can  expose 
Cutex  to  brilliant  summer  sun  for  days,  and  it  will 
"take  it"  without  fading  or  changing  color. 


GUTEX  gives  you  tops  in  style  and  wear 
in  the  new  Cutex  Salon  Polish! 
The  new  Cutex  GADABOUT  is  a  gay,  dash- 
ing red-rose  red.  The  new  Cutex  CEDAR- 
WOOD  is  a  young,  mauvy  pink.  Both  are 
perfect  foils  for  the  new  colors  featured  at 
the  Midseason  openings. 

GUARANTEED  TO  WEAR  LONGER 

Try  Cutex  GADABOUT  and  CEDARWOOD 
—at  our  risk!  If  they  don't  wear  better  than 
any  polish  you've  ever  worn,  simply  return 
the  bottle  to  us.  We  will  cheerfully  refund 
your  original  purchase  price.  (Offer  good 
for  1940  only.)  See  all  the  smart  Cutex 
shades  today— at  any  toilet-goods  counter. 

Northam  Warren,  191  Hudson  St.,  New  York,  N.  Y. 


HIJINKS-True  red-red. 
GADABOUT—  A  gay 
rosy  red. 

OLD  ROSE  — Rich,  flat- 
tering rose. 


CEDARWOOD  — Light- 
er— soft,  mauvy  rose. 
CAMEO— Fragile  mauve- 
tinted  rambler  pink. 
HEATHER-Grape-rose. 


NEW  CUTEX 


61 


MODERN  SCREEN 


PREVENT 
CHAPPING 

with  the  Skin  Softener 
that  gives  you 

COSTLIEST  INGREDIENTS* 
SAVES  YOU  MONEY 


** 


*1  Italian  Balm  contains  costliest  in- 
gredients used  in  any  of  the  most  pop- 
ular nationally- advertised  brands. 

**2  ONE  DROP  is  ample  for  both  hands, 
per  application.  More  is  wasteful. 

3  Less  than  5%  alcohol.  Cannot  dry 
the  skin. 

4  Promotes  healing  —  counteracts 
drying  effect  of  hard  water,  harsh 
skin  cleansers,  severe  weather. 

5  Accepted  for  advertising  in  the 
Journal  of  the  American  Medical 
Association. 

Priced  at  1O0,  200,  350,  6O0  and  $1.00 
a  bottle  — at  toilet  goods  counters. 


Over  90  Million  Bottles  Sold 


HAIRWAYS  TO  BEAUTY 

(Continued  from  page  45) 


good  and  wire  ones  may  scratch  or  in- 
jure your  scalp  so  a  simple  good  quality, 
medium  bristle  is  your  best  investment. 

Beginning  at  the  hair  line  in  front, 
brush  all  around  in  a  complete  circle. 
Then  divide  your  hair  into  one  inch  rows 
and  brush  each  one  thoroughly  on  both 
sides.  To  properly  polish,  clean  and 
exercise  each  single  shaft,  your  brush 
must  be  turned  so  as  to  pull  every  hair 
through  to  the  very  end.  Go  over  your 
entire  head  this  way  until  every  inch 
has  been  covered. 

Brushes  should  be  kept  immaculately 
clean.  Wash  them  in  warm  soap  suds 
and  dry  them  in  sun  or  fresh  air  when 
possible.  Alternate  brushing  with  comb- 
ing if  you  want  to.  A  wide-toothed 
comb  is  best  for  wet  or  tangled  hair,  a 
finer  one  for  cleaning  and  arranging  it. 
See  that  there  are  no  sharp  edges  to  the 
comb  teeth  if  you  don't  want  broken 
hair  or  injured  scalp. 

Now  for  the  important  business  of 
hair  cleanliness.  Keep  your  hair  clean 
whether  that  means  shampooing  it  every 
few  days  or  every  few  weeks.  Much 
depends  upon  the  season  and  the  climate 
in  which  you  live.  Girls  who  live  by  the 
lens  in  Hollywood  often  have  to  wash 
theirs  every  two  or  three  days,  yet  where 
have  you  ever  seen  lovelier,  more  ra- 
diant tresses?  On  the  other  hand,  if  your 
hair  is  dry  or  brittle,  or  if  you  live  in  a 
clean  location,  your  hair  should  not  need 
such  frequent  shampooing.  You  are  the 
best  judge  of  this. 

Brushing,  special  tonics  and  dry  sham- 
poos are  perfect  between-time  measures 
for  you  with  dry  hair.  But  you  girls 
with  oily  crowning  glories  remember 
this  brushing  is  just  as  important  for 
you  as  for  anybody  else,  for  brushing 
coaxes  and  encourages  your  hair  toward 
normalcy,  no  matter  in  which  direction 
it  tends  to  excess.  Brushing  also  polishes 
off  dust,  perspiration  and  the  dead  skin 
which  collects  faster  on  oily  than  on 
other  types  of  hair. 

OIL  shampoos  are  very  good  for  dry 
hair.  Heat  a  bottle  of  oil,  apply  it 
with  a  bit  of  cotton,  rubbing  well  into 
your  scalp,  then  leave  it  on  as  long  as 
convenient,  twenty  minutes,  an  hour,  or 
all  night  if  you  can.  (And  keep  a  bright 
kerchief,  a  yard  of  pretty  colored  veil- 
ing or  a  snood  handy  to  make  yourself 
presentable  while  you're  beautifying.  In 
these  days  of  inexpensive  chain  store 
prices  and  beautifully  styled  merchan- 
dise, there's  no  excuse  for  looking  like 
an  old  hag  in  an  oily  towel.  It  isn't  good 
for  your  morale — or  anybody  else's.) 
Just  before  the  shampoo,  wring  out  a 
clean  towel  in  hot  water,  wrap  it  around 
your  head  and  let  it  steam  for  five  or  ten 
minutes.  This  finishes  the  treatment. 

From  here  on,  a  shampoo  is  the  same 
no  matter  what  type  of  hair  you  have. 
A  mild,  liquid  soap  and  warm  soft  water 
is  the  ideal  combination.  If  possible,  use 
a  spray  or,  better  still,  get  right  under 
your  bath  shower.  After  wetting  your 
hair  well,  pour  on  liquid  shampoo  as 
directed  on  the  bottle.  With  the  cushions 
of  your  fingers  work  this  in  thoroughly. 
Now  rinse  and  repeat  the  shampoo.  This 
time  pay  special  attention  to  the  ends  of 
your  hair,  rubbing  them  carefully 
through  your  fingers.  If  your  hair  is  dry 
or  normal,  twice  through  will  be  enough. 
If  it's  very  oily  a  third  shampoo  and 
rinse  may  help.  But  whichever  it  is, 
make  that  last  rinse  a  thorough  one. 


Remove  every  trace  of  soap  or  stickiness. 
Lift  your  hair,  rinse  it  underneath  as 
well  as  on  top,  and  continue  this  until 
it's  so  clean  it  whistles. 

And  now  is  your  time  for  a  vegetable 
rinse  to  bring  out  the  sheen  and  high- 
lights, and  to  add  life  to  overworked 
tresses.  There  are  many  excellent  and 
perfectly  harmless  rinses  that  add  ever 
so  much  to  the  appearance  of  your  hair 
without  in  any  way  harming  ft  Of 
course,  they  all  wash  out  and  have  to  be 
renewed  with  each  shampoo  but  that  is  a 
simple  matter.  One  excellent  rinse  is  al- 
ready being  used  by  millions  of  women. 
It  accentuates  the  lustre  of  your  hair  and 
makes  it  sparkle  with  lively  lights.  It 
won't  stain  or  rub  off  either,  and  it's  both 
safe  and  easy  to  apply.  We  know  a  lot  of 
girls  who  wouldn't  wash  their  hair  with- 
out using  this  efficient  preparation,  for  it 
is  not  only  pure  and  safe  but  adds  so 
much  to  their  appearance. 

T""\RY  your  hair  in  the  sun  and  air  if  you 
can,  separating  and  shaking  it  out 
in  your  fingers.  Then,  with  clean  comb 
and  brush,  stroke  it  upward .  and  out 
to  let  the  air  get  through  it.  Hot  air  is 
not  good  for  hair  so,  if  you  must  use  a 
dryer  keep  it  at  a  medium  temperature. 

If  you  just  "can't  do  a  thing  with  your 
hair",  we  know  the  very  preparation  you 
need — a  certain  hair  oil  that  has  been 
used  by  Hollywood  studio  experts  for 
years  to  keep  the  stars'  hair  lustrously 
vital  and  abundant  looking.  This  hair  and 
scalp  conditioner  contains  a  balanced 
blend  of  rich  animal  oils  and  toning  in- 
gredients which,  almost  instantly,  gives 
your  hair  a  beautiful  sheen,  softness  and 
appearance  of  sparkling  life.  If  you  want 
to  have  lustrous  locks,  soft,  clean  and 
manageable,  you  owe  it  to  yourself  to 
massage  your  scalp  and  treat  your  hair 
regularly  to  this  stimulating,  time  proven 
hair  conditioner. 

It  won't  be  long  before  the  permanent 
wave  season  sets  in  and  it's  none  too 
early  now  to  start  conditioning  your  hair 
in  anticipation.  Even  the  most  expert 
operator  is  handicapped  if  you  take  him 
a  head  of  hair  that  is  too  dry,  too  oily, 
overworked,  worn  out  or  in  any  other 
way  unhealthy.  To  get  good  results  from 
a  permanent,  your  hair  must  be  in  good 
condition  to  start  with.  For  this  the  old 
brushing  routine  we  mentoned  a  while 
ago  is  vastly  helpful.  A  hundred  strokes 
a  day  is  a  small  price  to  pay  for  a 
glamorous  mane  of  radiant  hair.  Daily 
massage  is  an  important  pre-permanent 
conditioner  too.  Then,  twice  a  week  for 
a  couple  of  months  give  yourself  a  series 
of  oil  packs.  These  are  practically 
"musts"  if  your  hair  is  dry  or  brittle. 
Follow  the  instructions  given  earlier  for 
an  oil  shampoo. 

Just  before  your  permanent,  have  all 
the  old  brittle  ends  cut  off.  And,  if  you 
don't  need  a  complete  wave,  by  all  means 
don't  have  one.  Often  the  back  and  sides 
are  sufficient.  That  will  give  your  hair 
a  longer  rest  in  which  to  regain  its 
natural  sheen  and  elasticity.  After  you've 
done  your  very  best,  trust  yourself  to  a 
good  operator.  But  insist  that  a  test 
curl  be  made  every  time  you  have  a 
new  permanent,  for  the  condition  of  your 
hair  is  constantly  changing. 

Now,  a  few  notes  on  coiffures  and  hair 
styling.  Nothing  is  better  for  giving  you 
a  "lift,"  a  new  sense  of  confidence,  a 
fresh  interest  in  yourself  and  the  world 
(Continued  on  page  64) 


MODERN  SCREEN 


Use  cosmetics  all  you 
like—but  don't  risk 
Cosmetic  Skin 


Try  Loretta  Young's  ACTIVE- 
LATHER  FACIALS  for  30  days! 
Clever  women  everywhere  find 
this  wise,  gentle  care  really  works 
— helps  guard  against  the  dull- 
ness, little  blemishes,  enlarged 
pores  that  mean  Cosmetic  Skin. 
Use  Lux  Toilet  Soap  during  the 
day  for  a  quick  freshener,  and 
at  night  to  give  skin  the  pro- 
tection of  perfect  cleansing 
—  protection  it  needs  to  stay 
lovely.  Begin  your  ACTIVE- 
LATHER  FACIALS  now !  For 
extra  economy,  buy  3  cakes. 


want  to  have  smooth, 
soft  skin.  So  don't  fail  to 
remove  dust,  dirt,  stale  cosmetics 
thoroughly — don't  risk  Cosmetic 
Skin.  Use  Lux  Toilet  Soap  regularly. 


63 


MODERN  SCREEN 


DURA-GLOSS 


Yours!— the  poise  and  calm  assurance  of 
good  taste  that  comes  from  knowing  that 
your  fingernails  are  "the  last  word"— with 
Dura-Gloss!  Overnight,  millions  of 
women,  enraptured  with  its  gem-hard, 
brilliant  lustre,  have  switched  to  this  new, 
this  different  polish,  Dura-Gloss!  And  to 
Dura-Gloss'  new  efficient  polish  remover, 
too!  At  all  cosmetic  counters,  Dura-Gloss 
is  only  10  cents!  Made  only  of  the  finest- 
no  harsh  ingredients. 


Choose  your  color  by  the 

FINGERNAIL 
CAP 


Only  Dura-Gloss  has 
it!  New  "fingernail 
cap"— coated  with  the 
polish  that's  in  the  bot- 
tle. Shows  exact  shade. 
Banishes  guesswork, 
disappointment. 


10c 


Lorr  Laboratories, 
Paterson,  New  Jersey 


in  general  than  to  look  in  a  mirror  and 
discover  unsuspected  possibilities  in  your 
face,  revealed  for  the  first  time  by  a 
new,  becoming  hair-do.  It  will  often 
change  your  whole  outlook  on  life. 
There's  just  one  caution  we'd  like  to 
make,  and  that  is:  In  changing  your  hair 
style,  don't  try  to  change  your  type.  In 
following  a  new  coiffure,  don't  "lift"  it 
"as  is"  from  the  pages  of  a  magazine  or 
the  picture  of  your  favorite  star  now 
showing  at  your  neighborhood  movie 
theatre.  Ginger  Rogers'  or  Arm  Sher- 
idan's beautiful  hair-do's  may  be  perfect 
for  them  but  nine  times  out  of  ten  must 
be  considerably  modified  for  anybody 
else,  no  matter  who  she  is. 

HERE  are  a  few  style  hints  which  may 
be  considered  for  what  they're 
worth.  There  is  a  noticeable  trend  to- 
ward sanity  and  moderation  in  all  the 
new  hair-do's.  That  clean,  shining,  well- 
brushed  look  coupled  with  skillful  ar- 
rangement is  more  important  now  than 
either  careless,  fly-away  styles  or  over- 
intricate  coiffures.  The  tendency  toward 
soft,  swirling  waves,  kept  short  enough  to 
fit  the  contour  of  your  head,  still  has 
many  smart  followers.  (No  shingled  edges, 
of  course.   They  went  out  years  ago.) 

Ears  have  become  more  important. 
Waves  may  fall  lightly  over  ear  tops  but 
lobes  at  least  should  show.  Some  young 
folks,  for  a  long  time  to  come,  will  un- 
doubtedly be  devoted  to  shoulder  length 
bobs,  whether  in  page  boy  style  or  loose, 
soft  curls,  for  these  form  a  perfect  frame 
for  smooth,  young  faces.  Of  course  it 
was  never  right  for  the  older,  less- 
cameo-faced  lassies.  Up-off-the-forehead 
hair-do's  with  sculptured  front  curls  and 
a  down,  chignon  effect  behind,  is  an- 
other style  that  is  still  good  and  that 
promises  to  last. 

Blondes  can  and  should  wear  their  hair 
softer  and  somewhat  longer  than  bru- 
nettes. Otherwise  no  flattering  frame  is 
apparent.  Dark-haired  girls,  because  of 
the  contrast  between  hair  and  skin,  can 
wear  shorter,  more  severe  hair-do's.  By 
all  means,  though,  preserve  a  simple, 
clearly  defined,  well  groomed  look  if 
you're  a  decided  brunette.  Anything  else 
on  your  type  looks  downright  frowzy. 
Brownettes  and  redheads  have  consid- 
erably more  latitude  than  either  of  the 
more  definite  types. 

Whatever  your  type,  after  dressing  your 
hair,  take  a  hand  mirror  and  examine 
it  critically  from  all  angles,  especially  at 
the  sides  and  back.  Just  because  you 
don't  see  the  back  of  your  head,  don't 
forget  how  many  other  people  have  to 
look  at  it.  When  you're  sure  that  your 
hair  is  the  right  length  and  dressed  in  the 
style  most  becoming  to  both  your  face  and 
figure — then  take  another  look.  Will  it 
stay  that  way?  In  these  days  of  remark- 
able hair  gadgets  for  every  conceivable 
purpose,  don't  overlook  the  versatility  of 
those  adaptable  little  bob  pins.  Used  in 
the  right  way,  with  artful  care,  nothing 
can  quite  take  their  place.  But  be  sure 
that  you  tuck  them  securely  under  your 
waves  and  curls.  Don't  have  them  stick- 
ing out  like  stiff  little  clamps  or  braces. 
They  weren't  made  to  be  used  that  way 


and  your  hair  wasn't  made  to  be  treated 
so.  Nail  head  decorations  are  fine  on 
tooled  leather  but  not  on  coiffures.  Hair 
should  look  smooth  and  soft  and  casual, 
never  stiff  nor  set  nor  sheathed  in  steel. 

Try  concealing  your  bob  pins  and  see 
the  difference  in  your  whole  appearance. 
When  stray  wisps  or  unruly  ends  need  a 
little  special  persuasion,  have  you  ever 
tried  dampening  them  slightly,  then  roll- 
ing them  up  on  bob  pins?  Many  of  the 
stars  in  Hollywood  practice  this  trick  and 
find  it  gives  just  the  right  amount  of  soft, 
natural-looking  curl. 

A  word  here  about  hair  in  relation  to 
face  shapes:  If  yours  is  an  ideal  oval, 
like  Ilona  Massey's  or  Bette  Davis',  keep 
your  coiffure  simple.  Center  parts  will 
become  you,  but  not  low  parts,  deep  dips 
or  bangs.  If  your  face  is  long,  like  Rose- 
mary Lane's  or  Frances  Dee's;  soft,  loose 
waves  will  flatter  you.  Don't  ever  at- 
tempt high  hair-do's  or  middle  parts. 

Round-faced  girls  like  Marjorie  Wea- 
ver, for  example,  should  keep  any  full- 
ness above  the  ears,  and  taper  the  hair 
line  in  toward  the  lower  face.  Always 
keep  your  forehead  clear  and  don't  try 
tight,  harsh  waves.  If  your  chin  is  nar- 
row and  your  forehead  broad,  center 
your  hair  interest  low,  in  loose,  soft 
waves.  Don't  wear  high  hair-do's  and 
don't  center  your  part. 

Diamond  -  faced  girls,  like  Merle 
Oberon,  need  to  add  width  at  the  fore- 
head. Hair  carried  up  and  off  the  face 
is  best  for  girls  with  these  interesting 
lines.  If  your  face  is  squarish  like  Joan 
Crawford's,  try  a  diagonal  part,  not  too 
low,  with  wide,  soft  lines.  No  bangs  or 
heavy  dips  for  you.  No  tight  small  curls, 
and  never  straight,  harsh  hair  lines. 

There,  does  that  answer  some  of  your 
questions?  We  sincerely  hope  so.  We 
could  go  on  and  on,  but  we  think  this 
will  be  enough  to  start  you  on  the  right 
track.  The  only  way  to  hair  beauty  is 
hair  quality  achieved  through  constant 
conditioning.  Will  yours  be  a  crown  of 
glory,  or  just  a  sad,  dejected  mop? 


AS  we've  been  saying  throughout  this 
article,  all  the  curls,  and  bangs  in 
the  world  won't  do  you  any  good  if  your 
hair  itself  doesn't  shine  with  life  and 
cleanliness.  What  kind  of  shampoo  do 
you  use?  Does  it  soften  while  it  cleanses, 
and  does  it  lubricate  and  polish  every 
single  hair  shaft,  leaving  your  hair 
lustrous  and  uninjured?  It  should — and 
we  know  a  shampoo  that  does  all  these 
things,  besides  cleansing  away  dirt  and 
loose  dandruff  flakes  that  have  accumu- 
lated around  the  hair  base.  What's  more, 
this  shampoo  leaves  your  scalp  free  to 
breathe,  allowing  the  oil  glands  and  hair 
cells  a  chance  to  perform  their  normal 
functions  efficiently.  It  practically  gives 
an  oil  treatment  at  the  same  time  that  it 
cleanses,  too.  This  shampoo  is  non-lath- 
ering and  rinses  out  quickly  and  com- 
pletely, leaving  no  gummy  film  to  dim 
the  lustre  of  your  locks.  Your  hair  be- 
comes beautifully  manageable  and,  if 
you  don't  find  all  this  true,  you're  pro- 
tected by  a  money-back  guarantee. 
Could  anything  be  fairer  than  that? 


WE'RE  SORRY... 

That  "Socially  Yours,"  the  Hollywood  Who's  Who  which  we 
promised  you,  could  not  be  included  this  month.  However, 
this  feature  will  appear  in  an  early  issue  of  Modern  Screen. 


MODERN  SCREEN 


Is  GRIT  in  your  face  powder 
robbinq  you  of  your  loveliness  7" 


Unpopularity  doesn't  just  happen!  And  no 
one  thing  takes  away  from  your  charm  as  much 
as  a  face  powder  that  won't  cling  smoothly— 
that  gives  you  a  "powdery  look"  because  it  con- 
tains grit!  Why  not  find  out  about  your  powder? 


Right  in  your  own  teeth  you  have  a  testing 
laboratory!  Grind  your  teeth  slowly  over  a 
pinch  of  your  present  powder  (be  sure  they 
are  even)  and  your  teeth  will  detect  for  you 
the  slightest  possible  trace  of  grit!  But . . . 


What  an  amazing  difference  in  Lady  Esther 
Face  Powder!  This  superfine  powder  is  free 
from  all  suspicion  of  coarseness  or  grit!  When 
you  smooth  it  on  your  face,  your  skin  takes  on 
a  luminous,  satiny  look  ...  a  new  loveliness! 


When  you  make  your  entrance  at  a  party, 
how  wonderful  to  make  it  confidently!  You  can 
— if  you  use  Lady  Esther  Face  Powder!  For  no 
longer  need  you  be  a  slave  to  your  powder  puff. 
Put  on  Lady  Esther  Face  Powder  at  8  o'clock . . . 


And  at  midnight  — after  the  gayest  evening  .  .  .  your  skin  will  still  look  exquisitely  lovely F 
So  today,  send  for  samples  of  all  ten  shades  of  my  face  powder,  at  my  expense.  See  for  your- 
self that  this  superfine  powder  contains  not  a  single  trace  of  grit . . .  goes  on  smoothly.  And  you 
can  find  your  lucky  shade,  too  . . .  the  one  shade  of  Lady  Esther  Face  Powder  that  will  flatter 
you  most . .  .  that  will  make  you  look  years  younger  than  you  really  are! 


Try  the  famous  Lady  Esther  "Bite-Test 


Test  your  Face  Powder!  Place  a  pinch 
of  your  powder  between  your  teeth. 
Make  sure  your  teeth  are  even,  then 
grind  them  slowly  upon  the  powder. 
Don't  be  shocked  if  your  teeth  find  grit! 

Now,  brush  away  every  trace  of  this 
powder  and  the  grit  it  might  contain, 
and  repeat  the  test  with  Lady  Esther 
Face  Powder.  "Vbur  teeth  will  quickly  tell 
you  that  my  face  powder  contains  no 
trace  of  coarseness  or  grit!  "You'll  find  it 
never  gives  you  a  harsh,  flaky,  "pow- 


dery" look  . . .  but  makes  your  skin  look 
satin-smooth  .  .  .  flatters  your  beauty. 

Find  your  Lucky  Shade,  too!  For  the 

wrong  shade  of  face  powder  can  make 
you  look  older.  So  send  today  for  all  ten 
thrilling  new  shades  of  Lady  Esther  Face 
Powder,  at  my  expense.  Try  them  all . . . 
don't  skip  even  one.  For  the  powder 
shade  you  never  thought  you  could  wear 
may  be  the  one  right  shade  for  your  skin 
—luckiest  for  you! 


★  10  shades  FREE!  * 


(  You  can  paste  this  on  a  penny  postcard) 

Lady  Esther,  (53) 
7110  West  65 th  Street,  Chicago,  111. 
Please  send  me  FREE  AND  POSTPAID  your 
10  new  shades  of  face  powder,  also  a  tube 
of  your  Four  Purpose  Face  Cream. 


// you  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont. 


65 


Skin  wonderfully  smooth  ...  a  face  vibrantly 
youthful  ...  a  complexion  that  is  loveliness 
itself. . .  color,  delicately  subtle  . . .  lips  vivid, 
alluring.  That's  glamour  . .  .  every  woman's 
bid  for  exciting  romance. 

For  more  than  100  years  many  of  Europe's 
proudest  beauties  have  looked  to  the  Varady 
family  for  guidance  to  enchanting  charm.  Now 
the  famous  Varady  secrets  are  brought  to  you  in 
these  five  basic  essentials  for  beauty  andmakeup. 

Ask  for  Varady's  All -Purpose  Cream,  Oil 
of  Youth,  Face  Powder,  Blending  Rouge, 
and  Lipstick.  Use  them  and  experience  a  new 
thrill  in  charm.  For  sale  at  all  cosmetic  counters. 


COSMETICS,  INC.,  Merchandise  Mart,  Chicago 


MODERN  SCREEN 


No.  1206 — Above,  femininely 
tailored,  with  tucks  and  collar. 

No.  1205  — Left,  snug-fitting, ! 
lacy — best  of  all,  inexpensive. 

C CROCHET  is  up  in  style  news!  And  no 
■*  wonder!  Treating  it  as  a  fabric,  the 
Paris  designers  have  tailored  and  tucked 
it  into  the  most  attractive  blouses  we've 
ever  seen.  They're  clicking  with  four 
stars  everywhere,  because  they're  not 
only  inexpensive  but  also  easy  to  make 
and  simple  to  launder. 

The  one  at  the  top  can  be  worn  as  a 
tuck-in  or  overblouse  for  it  has  a  fitted 
waistline.  Its  soft,  trim  lines  make  it  a 
perfect  mate  for  your  pet  suit.  The-  snug, 
lacy  blouse  in  the  center  is  trimmed  with 
crochet-covered  buttons  down  the  front. 
Lovely  in  white  mercerized  cotton,  it  is 
also  smart  in  ecru  or  a  color  that  blends 
with  your  outfit. 

At  the  bottom,  we  have  a  dream  of  a 
bolero  and  bag  set!  It's  made  of  pastel 
variegated  cotton  thread  crocheted  in  a 
loop  stitch  and  is  perfect  over  an  evening 
dress  any  time  of  year. 

*     *  * 

Ready,  get  set,  go!  Fill  in  and  send  us 
the  coupon  below  and  you  will  receive, 
absolutely  free,  instructions  for  making 
any  or  all  of  these  smart  designs. 


ANN  WILLS,  Modern  Screen 

149  Madison  Avenue,  New  York,  N.  Y. 

Kindly  send,  at  no  cost  to  me: 

Directions  for  No.  1206  

Directions  for  No.  1205  

Directions  for  No.  1210  

I  enclose  a  stamped,  self-addressed  (large) 
envelope. 

Name  

Address  '  -  

City  State  

Check  one  or  more  designs  and  please  print  name 
and  address  plainly. 


No.  1210— Left,  youthful  bolero 
and  cunning  bag  that  matches. 


66 


MODERN  SCREEN 


GOODBYE 


DANDRUFF 


The  Truth  About 
Soap  Shampoos 


1  This  photograph 
shows  germs  and  dand- 
ruff scattered,  but  not 
removed,  by  ordinary 
soap  shampoo. 


JL  All  germs,  dandruff 
and  other  foreign  mat- 
ter completely  destroy- 
ed and  removed  by 
Fitch  Shampoo. 


Soap 
Shampoo 


lAVE  HAIR  that  sparkles  with  health  and  beauty!  Keep  your  scalp  free 
from  dandruff!  It's  easy  ...  if  you  use  Fitch's  Dandruff  Remover  Shampoo 
—  for  the  first  application  removes  all  traces  of  dandruff.  Fitch  Shampoo 
first  dissolves  all  dandruff  (even  down  in  the  hair  openings)  and  then  washes 
it  away.  No  long  treatments  ...  no  uncertainty!  You  are  assured  of  a 
scalp  that  is  free  from  dandruff,  when  you  use  Fitch  Shampoo.  The  Fitch 
guarantee  to  remove  dandruff  instantly,  or  refund  your  purchase  price,  is 
backed  by  one  of  the  world's  largest  insurance  firms.  Fitch  Shampoo  rinses 
clean  in  either  hard  or  soft  water  .  .  .  leaves  no  beauty-dulling  film  on  the 
hair.  No  special  after-rinses  needed. 

RECONDITIONS  AS  IT  CLEANSES 

Fitch  Shampoo  gives  the  scalp  a  deep,  basic  cleansing  .  .  .  penetrating  each 
tiny  hair  opening.  Thus  it  reconditions  as  It  cleanses,  and  helps  normalize 
hair  that  is  too  dry  or  too  oily.  Leaves  hair  sparkling  clean,  all  its  rich, 
natural  color  revealed.  Equally  good  for  all  shades  of  hair.  Try  it  today! 
Get  a  bottle  of  Fitch  Shampoo  at  your  drug  counter,  or  have  professional 
applications  at  the  barber  or  beauty  shop. 

THE  F.  W.  FITCH  CO.,  Des  Moines,  Iowa  •  Bayonne,  N.  J.  •  Toronto,  Canada 

#  After  and  between  Fitch  Shampoos, 
Ideal  Hair  Tonic  is  the  ideal  prepara- 
tion  to  stimulate  the  hair  roots  and  give 
new  life,  luster  and  beauty  to  your  hair. 


DANDRUFF  REMOVER  SHAMPOO 


LISTEN  TO  THE  FITCH  BANDWAGON,  presenting  your  favorite 
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67 


MODERN  SCREEN 


The  action  of  Ex-Lax  is  thorough,  yet 
gentle!  No  shock.  No  strain.  No 
weakening  after-effects.  Just  an  easy, 
comfortable  bowel  movement  that 
brings  blessed  relief.  Try  Ex-Lax 
next  time  you  need  a  laxative.  It's 
good  for  every  member  of  the  family. 

m  and  25* 


DIETRICH  LURE 

{Continued  from  page  29) 


roles  they  give  me,  from  a  countess  to 
a  scrub-woman,  provided  the  stories  are 
good.  Despite  what  others  say,  I  have 
no  set  ideas  on  the  parts  I  desire  to 
play.  Most  other  actresses,  I  know,  do 
possess  firm  ideas.  But  I'm  not  built  that 
way." 

She  brushed  the  hair  from  her  eyes, 
and  smiled.  "Joe  Pasternak,  my  producer 
at  Universal,  is  a  charming  man.  I  trust 
him  implicitly  because  he  knows  what 
he  is  doing.  He  has,  more  than  anyone 
I  have  ever  met,  an  instinct  for  the  right 
thing.  I  want  to  cooperate.  That  is  the 
only  way  to  make  a  movie.  You  have 
to  work  with  your  producer,  director  and 
fellow  actors.  I  know  this.  You  can't  suc- 
ceed alone.  Some  try.  But  they  usually 
fail.  A  person,  alone,  cannot  acquire  per- 
spective." 

I  mumbled  some  question  concerning 
her  present  ambitions.  I  asked,  "Now  that 
your  latest  show  is  box  office,  and  you're 
on  top,  do  you  have  any  special  ambi- 
tion?" 

Her  reply  was  trigger-quick.  "I  have 
no  ambition  at  all.  No  goal.  I  don't  want 
to  sound  dull,  but  that's  the  way  it  is. 
No  one  has  ever  bothered  to  ask  me 
before.  And  now  that  you  have,  this  is 
my  answer — Never  in  my  entire  life  have 
I  planned  a  single  thing  ahead.  I  wouldn't 
want  my  life  that  way,  always  fighting 
toward  something.  I  never  even  desired 
to  be  famous.  Never.  When  I  landed  in 
pictures,  I  wanted  good  parts.  That's  all. 
I've  gone  with  the  current,  flexibly,  with- 
out rigid  aims  in  mind.  This  is  not  the 
new  Dietrich  talking.  This  is  just  the  real 
Dietrich." 

SHE  paused,  nibbled  on  her  cigarette 
holder  and  said,  "However,  I  recall 
there  was  one  thing  I  did  want,  achingly, 
for  nine  long  years.  To  be  an  American 
citizen.  And  that  came  true  recently.  I 
feel  proud  to  be  an  American,  at  last. 
But  frankly,  I  did  not  feel  safe.  And  I 
still  don't.  One  can't  shut  the  European 
war  and  the  sorrow  over  there  out  of 
one's  mind.  It's  all  too  big,  too  inclusive. 
Being  an  American  doesn't  make  me  feel 
that  now  at  last  I  belong.  I  cannot  feel 
safe  when  people  everywhere  are  suffer- 
ing, and  the  sensitive  are  weighted  with 
moral  worry.  Many  of  my  friends  are  in 
France  and  in  Germany.  It  pains  me 
deeply  to  see  them  suffer." 

The  phone  rang.  It  was  a  good  punctu- 
ation point.  Someone  was  calling  Marlene 
for  a  date.  She  replied  in  German  that 
she  already  had  an  engagement  for  the 
evening.  She  argued  over  the  phone. 

And  as  all  this  went  on,  I  sank  back 
on  the  sofa,  lit  my  briar,  watched  Diet- 
rich curled  in  the  armchair  across  the 
room  and  reflected  on  what  a  long  way 
that  strange  German  girl  had  come. 

As  I  heard  her  voice,  and  her  husky 
laugh,  there  was  a  drumming  in  my  ears 
and  the  years  were  rolling  back.  She 
was  born  in  Weimar,  when  Germany  had 
a  Kaiser,  in  1904  and  her  name,  at  first, 
was  Mary  Magdalene  von  Losch.  This 
later  became  Marlene  by  combining  the 
first  part  of  her  first  name  and  the  latter 
part  of  her  middle  name. 

Her  father,  a  Prussian  lieutenant,  was 
killed  on  the  Russian  front  in  1915.  In 
remembering  this,  I  realized,  suddenly, 
why  Marlene  had  been  so  disturbed  by 
the  European  situation  when  we'd  dis- 
cussed it. 

Her  entire  dramatic  training  had  been 
obtained  in  Berlin,  after  the  war,  at  Max 


Reinhardt's  school.  She  toiled  as  an  extra 
in  German  UFA  films  to  get  money  for 
that  school. 

As  an  extra,  she  also  got  her  break. 
She  was  one  of  the  hundreds  in  a  mob 
scene.  A  husky,  blonde,  assistant  director 
named  Rudolf  Sieber  spotted  her,  ex- 
tracted her  from  the  mob,  handed  her 
a  lorgnette  and  told  her  to  play  a  bit. 
That  lorgnette  changed  Marlene's  life. 
The  glass  reflected  a  spot  of  light  on 
the  camera  lens.  Technicians  forgot  to 
take  this  out.  When  the  picture  was 
shown,  the  reflection  drew  attention  to 
Marlene's  natural  beauty — and  she  was 
on  her  way.  A  few  months  later,  she 
married  handsome  Mr.  Sieber.  In  1925, 
they  had  a  girl,  christened  Maria. 

BUT  now,  across  the  room,  Marlene  had 
placed  the  receiver  on  the  telephone 
hook  and  was  coming  back  to  the  sofa. 
I  dismissed  my  thoughts  of  the  long-ago 
and  returned  to  the  delightful  reality  of 
our  conversation. 

I  decided  to  ask  Marlene  a  provocative 
question.  I  was  probing  for  a  hidden 
chapter  in  her  life,  so  I  inquired,  "What 
person  taught  you  the  most,  about  how 
to  act  and  how  to  live?" 

Her  answer  came  sharp  and  certain. 
"Josef  von  Sternberg."  Then,  without 
pausing,  "He  was  the  only  person  who 
ever  taught  me  anything.  He  taught  me 
all  I  know.  Absolutely  all — mainly  how 
to  produce  and  transmit  my  real  self.  I 
owe  no  human  being  more.  I'll  tell  you 
a  secret.  I  didn't  originally  come  to  Holly- 
wood because  it  was  fascinating.  Berlin 
and  Paris  were  as  attractive.  I  came  to 
Hollywood  because  Josef  von  Sternberg 
wanted  me  to.  He  sent  for  me  to  come. 
If  he  had  been  in  Australia,  believe  me,  I 
would  have  gone  to  Australia!" 

She  reclined  on  the  sofa,  silent — and 
I  tried,  in  some  psychic  way,  to  imagine 
what  she  was  recalling.  What  had  the 
magic  name — von  Sternberg — conjured 
up?  Maybe  she  was  remembering  the 
night  she  was  a  guest  star  at  the  Berliner 
Theatre,  and  von  Sternberg,  the  mighty 
mite,  saw  her,  went  backstage.  He  was 
planning  a  picture  to  be  entitled  "The 
Blue  Angel."  He  wanted  a  woman  with 
beautiful  legs  to  play  opposite  Emil  Jan- 
nings.  He  signed  Marlene  Dietrich.  In 
1931,  the  Dietrich  thighs,  torso  and  talent 
were  on  display  in  "The  Blue  Angel." 
It  was  a  sensation.  Von  Sternberg  went 
to  the  United  States.  He  brought  Marlene 
with  him.  He  worked  hard  with  her. 
Transformed  her  from  a  frail,  awkward 
girl,  touched  with  beauty,  to  a  suave 
full-grown  woman.  For  twelve  hours  a 
day  he  hammered  her,  playing  Svengali 
to  her  Trilby,  forcing  her  to  do  single 
"takes"  more  than  a  dozen  times  over. 
Sitting  with  Marlene,  I  remembered 
(Continued  on  page  70) 


STAR  ADDRESS  LIST 

Send  a  stamped,  self-addressed  envelope 
today  for  a  new  list  of  Hollywood  stars 
with  their  correct  studio  addresses.  It 
is  a  convenient  size  to  handle  or  keep 
in  a  scrap-book.  To  receive  a  list,  all 
you  have  to  do  is  write  to  us  and  ask 
for  it,  enclosing  a  large,  self-addressed 
and  stamped  envelope.  Don't  forget 
that  last  item,  as  no  request  can  be 
complied  with  otherwise.  Please  send 
requests  to  Information  Desk,  Modern 
Screen,  149  Madison  Ave.,  New  York,  N.Y. 


MODERN  SCREEN 


We  four  Westmore  brothers  plan  make-up  to 
bring  out  every  bit  of  a  star's  natural  beauty 
. . .  for  the  screen  in  four  big  film  studios,  and 
in  our  Hollywood  salon,  where  the  stars  often 
drop  in  for  make-up  before  social  engagements. 


BUD  WESTMORE  SAYS:  Avoid  theatrical  effects  —  just  as  we  do 
in  Hollywood— B RING  OUT  YOUR  NATURAL 

( —  with  WESTMORE  COSMETICS 


currently  starring  in  the  20th 
Century-Fox  picture,  "Little 
Old  New  York." 


The  very  basis  of  our  technique  is  House  of  West- 
more  Foundation  Cream— the  result  of  research  on 
which  the  Hollywood  studios  have  spent  thousands 
of  dollars  and  employed  countless  feet  of  test  film. 

Used  for  glam- 
ouron  the  screen, 
it  can  give  you 
glamour  every 
day! 


All  House  of  Westmore 
Cosmetics  are  color- 
keyed  to  the  foundation 
cream,  which  comes  in 
four  tones,  one  of  which  matches  your  skin.  There 
are  powder  to  blend,  cake  rouge,  cream  rouge,  lip- 
stick, eye-shadow— as  well  as  double-whipped  cleans- 
ing cream.  Now  at  drug  and  department  stores. 
Large  sizes  only  50$.  Smaller  sizes  at  variety  stores. 


In  a  "close-up"  of  your  own,  wouldn't  you 
like  to  be  sure  your  make-up  was  flawless  as 
a  picture  star's?  Then  start  your  make-up, 
as  many  stars  do,  with  House  of  Westmore 
Foundation  Cream,  in  glamorous  tones,  per- 
fect for  day  or  evening  light— lasts  all  day! 


Look  at  your  freshly  washed  facein  a  strong 
light.  Are  there  shadows,  tiny  differences  of 
tone?  Smooth  these  over  with  Westmore's 
skin-tinted,  non-drying  foundation  cream. 
Now  look!  A  beautiful  even  tone  is  cre- 
ated that  makes  you  look  your  loveliest! 


HOUSE  OF  WESTMORE,  INC. 
730  Fifth  Avenue,  New  York  City 

Please  send  me  Perc  Westmore's  Make-up  Guide, 
for  which  I  enclose  25c. 


City_ 


69 


MODERN  SCREEN 


n  -/EAR?  AGO  ?» 


*T*YREX  OVENWARE 

TRICES WERE 
TUWCE920%w50% 

■jfc  Good  news  travels  slowly.  We  dis- 
cover that  7  out  of  10  women  don't 
know  that  2  years  ago  we  reduced  all 
Pyrex  Ovenv._re  prices  30%  to  50%. 
Corning  Glass  Works,  Corning,  N.  Y. 


JUST  WHAT  you've  been  looking  for.  Six  of  AAA 
these  handy  Pyrex  cups  in  a  cute  little  pack-    \  U  y 
age.  For  custards,  desserts,  storage, dozens  WW 
of  uses,  and  only  


PYREX  PIE  PLATE!  u}4" 
size  35c;  10}^"  size  30c; 
9%"  size  25c ;  8W 
size  (serves  five) 
now  only 


REFRIGERATOR  DISHES 

with  flat  covers.  Handy 
foroven  and  table  Af*A 
use.  6"  square,  3" 
deep  45c  ;  2"  deep  W  W 


ROUND  OPEN  BAKERS  OVAL  CASSEROLE  with 

for  meat  pies,  baked  ap-  knob  cover  for  scalloped 

pies.  1  to  3  Quart   apj,  potatoes  &  scores 

sizes,  35c  to  65c;   /TT  of  other  dishes, 

quart  size  only  fcW  1  quart  size  only 


50< 


 ' 

OBLONG  UTILITY 

dish  for  cakes,  corn 
breads,  and  other 
treats.  Convenient 
glass  handles. \%y% 
size65cents; 
1 0  Yi "  size 
now  only 


50* 


that  von  Sternberg  was  the  only  man  she 
ever  permitted  to  correct  her  in  public. 
And  he,  at  times,  was  brutal  in  his  frank- 
ness. But  it  was  under  him  that  she 
earned  $200,000  for  making  "Garden  of 
Allah."  A  fabulous  and  record  sum. 

Today,  the  two  men  who  found  her, 
nursed  her  to  success,  are  down.  Her  hus- 
band, Sieber,  is  unemployed  and  in  New 
York.  Von  Sternberg,  her  teacher,  dwells 
in  the  valley,  above  Hollywood,  obscure. 
Marlene  Dietrich  alone,  ahead  of  them 
both,  has  come  back  today  to  a  new  fame, 
a  brighter  future  and  many  tomorrows. 

I  asked  about  her  daughter,  Maria. 

"She's  fifteen  now,"  said  Marlene.  "I 
have  no  plans  for  her  future.  I  couldn't 
make  any  if  I  wanted  to,  because  she's 
utterly  American,  so  independent."  Mar- 
lene went  to  the  piano,  took  down  a 
picture  of  Maria  on  a  bicycle.  "Look, 
here  she  is.  A  pretty  child,  don't  you 
think?  But  I've  had  so  much  trouble 
with  her.  That's  the  way  with  a  child, 
I  suppose.  From  the  day  of  her  birth, 
illness,  kidnapping — worry,  worry,  worry. 
That's  life." 

/^\UR  conversation  jumped  from  topic 
to  topic,  like  a  busy  Mexican 
bean.  We  discussed,  with  detachment, 
Marlene's  underpinnings.  She  said, 
"Frankly,  I  have  never  exploited  my  legs. 
When  a  part  required  I  show  my  legs, 
I  did.  Never  for  any  other  reason.  They 
have  not  helped  or  hindered  me.  But  I 
suppose  nice   legs   are  a  good  thing." 

It  was  getting  late.  And  there  was  one 
more  thing.  In  my  pocket,  on  a  slip  of 
paper,  was  the  report  of  a  prominent 
movieland  psychologist  who  had  studied 
Marlene  Dietrich's  life.  I  had  asked  him 
for  some  "inside  dope"  on  what  made 
Marlene  tick,  and  he  had  given  it  to  me. 
Now,  with  Dietrich  relaxed,  I  fished  into 
my  pocket,  took  out  the  slip,  told  her 
what  I  had,  and  then  read  it  to  her. 
Here  is  what  I  read — 

"Miss  Dietrich  is  psychologically  in- 
teresting. Her  early  ambition  to  become 
a  violinist  was  thwarted  by  an  accident. 
But  she  wanted  to  become  famous,  so 
she  turned  to  acting.  To  gain  ease,  she 
began  staging  situations  in  her  private 
life.  Do  you  know  why  Dietrich  wears 
men's  clothes?  To  hide  an  inferiority 
complex  fostered  by  a  girlhood  of  hard- 
ships and  privations.  Do  you  know  why 


Dietrich  appears  in  night  clubs  with  sev- 
eral escorts?  It  is  an  inner  expression  of 
her  yearning  for  security." 

I  stopped  reading.  Glanced  at  Dietrich. 
Her  face  was  an  exclamation  point.  If 
she  had  been  fed  bombs  for  lunch,  she 
couldn't  have  been  nearer  blowing  up. 

"It's  wrong,  all  wrong!"  she  exploded. 
"That  psychologist  is  as  inaccurate  as 
everyone  else  about  me.  For  instance, 
that  nonsense  he  writes  about  men's 
clothes  hiding  my  so-called  inferiority 
complex — dear  me!  Listen,  I  wear  trous- 
ers and  slacks  and  shirts  because  I  find 
them  more  comfortable  than  anything 
else.  And  for  no  other  psychological  rea- 
son. 

"And  furthermore,  am  I  the  only  wo- 
man ever  to  go  out  to  night  clubs  with 
several  escorts?  Was  that  to  hide  my 
inner  yearning  for  security?  How  silly! 
Why,  I  have  never,  never  had  a  mo- 
ment's desire  for  security.  I  think  se- 
curity is  stale  and  awful.  An  artist,  pre- 
suming that  I  am  one,  has  too  much 
imagination  to  worry  about  security. 
Why,  if  I  had  ever  desired  security,  I 
wouldn't  have  become  an  actress.  I'd  have 
taken  some  other  job,  a  steady,  certain 
job,  and  worked  until  I  was  sixty,  and 
then  lived  on  the  savings  until  I  died. 
But,  God,  that's  not  the  life  I've  lived 
or  desired!" 

I  was  on  my  feet.  I  had  asked  a  mil- 
lion questions.  There  was  still  time  for 
one  more.  "If  you  had  it  all  to  do  over 
again,  Marlene,  what  mistakes  would  you 
avoid?" 

Her  reply  came  clear.  "None.  I  would 
do  exactly  the  same  thing  over  again.  I 
would  take  the  very  same  risks,  the  same 
crazy  chances,  the  same  blows.  Because 
I  don't  believe  in  playing  safe.  And  I'm 
not  confessing  this  for  publicity,  but  be- 
cause I'm  entirely  sincere." 

We  were  near  the  door.  I  stood  across 
from  her,  and  I  looked  into  her  eyes, 
briefly.  They  were  deep  blue — and  hon- 
est. 

"Thanks,  Marlene,"  I  said.  "You  were 
swell." 

"I  just  had  to  get  it  all  off  my  chest," 
she  said. 

I  walked  away.  I  was  singing,  not  out 
loud,  but  in  my  head.  I  had  seen  the  real 
Dietrich.  And  I'm  here  to  shout  it  to  the 
world.  She's  okay.  A  right  guy.  And 
she's  going  to  be  around  a  long,  long  time! 


Meet  Peter  B. 
Good,  baby  star 
of  "Brother  Rat 
and  a  Baby." 
He's  making 
friends  with  Far 
Away  Tassabelle, 
one  of  the  canine 
aristocrats  of 
Hollywood. 


70 


MODERN  SCREEN 


HOLLYWOOD'S  DARING 
EXPERIMENT 

(Continued  from  page  49) 


"Okie"  family.  In  fact,  they  have  just 
hung  a  portrait  of  Jane  as  Ma  on  the 
walls  of  the  Capitol  in  Jefferson  City, 
Missouri,  her  home  state.  A  clause  in 
the  contract  she  signed  for  the  role  gave 
the  studio  the  right  to  pass  on  any  other 
parts  she  might  take  during  the  next 
few  months.  As  a  result,  she  has  al- 
ready had  to  turn  down  three  offers  be- 
lieved by  the  studio  to  be  beneath  the 
dignity  of  Ma. 

The  only  member  of  the  cast  who  was 
really  sure  of  her  part  from  the  begin- 
ning was  Dorris  Bowdon,  the  girl  who 
did  so  well  in  "Young  Mr.  Lincoln."  As 
soon  as  Zanuck  bought  the  book,  he 
associated  her  with  Rose  of  Sharon,  or 
Rosasharn,  as  her  family  call  her.  Nun- 
nally  Johnson,  too,  felt  that  she  was  the 
one  for  the  role.  In  fact,  the  only  oppo- 
sition seems  to  have  come  from  her  own 
mother  who,  back  home  in  Memphis, 
Tennessee,  disapproved  of  her  daughter's 
connection  with  such  an  unpleasant  tale. 

Whenever  possible,  "Okies"  themselves 
were  selected  for  minor  parts  and  those 
who  were  hired  spread  the  good  news 
back  at  the  camps.  The  result  was  a 
flood  of  job-hunters  at  the  studio  gates 
and  in  the  end  it  was  necessary  to  an- 
nounce that  no  more  "Okies"  could  be 
used.  Deeply  interested  in  this  picture 
which  was  being  made  about  themselves, 
they  wrote,  individually  and  in  groups, 
to  the  studio,  advising  and  suggesting. 
They  were  especially  concerned  about 
who  was  to  play  Rosasharn,  and  wanted 
not  a  Hollywood  glamour  girl,  but  one 
who  had  been  hungry  and  suffered  as 
they  had. 

THE  costumes,  mainly  overalls  and 
coarse  blue  shirts  for  the  men  and 
mother  hubbards  or  cheap  ginghams  for 
the  women,  had  to  be  picked  up  from 
the  local  Salvation  Army  or  purchased 
direct  from  the  migrant  camps  at  Bak- 
ersfield  or  Stockton.  Nothing  new,  noth- 
ing made  up  at  the  studio,  would  do. 
Clothes  had  to  be  worn  and  old,  tattered 
and  roughly  patched  together  again, 
for  people  long  used  to  poverty.  Denied 
even  stockings,  Jane  Darwell  went  about 
for  six  weeks  in  an  over-sized  pair  of 
men's  shoes.  Sometimes  she  and  Dorris 
had  to  go  completely  unshod  and  found 
it  painful  and  unnerving,  to  stand  before 
the  cameras  while  chickens  curiously 
pecked  at  their  bare  toes.  The  use  of 
make-up,  too,  was  out.  Even  the  youth- 
ful Rosasharn  was  untouched  by  lipstick 
and  rouge. 

The  men  grew  more  than  a  little 
stubbly  about  the  chin,  for  they  were 
allowed  to  shave  only  when  the  script 
finally  brought  the  Joads  to  a  govern- 
ment camp.  But  Henry  Fonda  did  have 
his  hair  cut  before  production  began. 
His  last  three  pictures,  "Jesse  James," 
"Young  Mr.  Lincoln"  and  "Drums  Along 
the  Mohawk,"  called  for  a  long  crop  that 
curled  prettily  at  his  neck.  Now,  at  last, 
to  his  obvious  satisfaction,  his  hair  is 
short  again.  It's  so  short,  in  fact,  that 
he  sports  a  tell-tale  strip  of  white  skin 
between  his  scalp  and  sun-burned  skin 
— a  characteristic  of  those  who  cut  their 
own  hair — and  do  it  to  last. 

During  the  course  of  production,  the 
company  made  several  brief  location 
trips.  The  action  that  was  supposed  to 
have  taken  place  around  Bakersfield  was 
actually  filmed  there.  The  company  also 


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Woodbury  Beauty  Consultant 

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Name  


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71 


MODERN  SCREEN 


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72 


spent  a  day  or  two  at  Needles,  Arizona, 
where  the  men  folk  strip  and  go  swim- 
ming as  they  cross  the  line  into  Cali- 
fornia. Henry  Fonda  and  the  others 
found  the  Colorado  River  rather  icy  and 
their  teeth  chattered  almost  audibly  be- 
fore the  takes  were  completed. 

Although  there  were  few  really  hu- 
morous interludes  in  the  making  of  the 
picture,  trivial  occurrences  helped  ease 
the  prevailing  tension  on  the  set.  Once 
a  broken  fender  threatened  to  hold 
things  up  for  a  while.  On  that  eventful 
day,  Henry  Fonda  stood  on  the  fender  of 
an  already  over-burdened  1923  car,  load- 
ing a  mattress  onto  the  top. 

HE  was  right  in  the  midst  of  his  lines 
when  the  fender  suddenly  gave  way, 
bringing  with  it  Henry,  mattress  and  all. 
The  prop  man  rushed  up,  frantic  and 
impatient.  "That  blasted  car  just  won't 
stick  together!"  he  cried,  and  began  a 
hasty  repair  job.  But  John  Ford,  the 
director,  stopped  him,  "Don't  bother 
about  fixing  it.  It'll  take  too  long.  We'll 
just  move  around  to  the  fender  on  the 
other  side."  He  added,  with  a  wry  grin, 
"It's  one  down  and  three  to  go." 

There  was  also  the  time  at  a  roadside 
camp  when  the  Joads  arrive  ■  weary  and 
dust-covered,  to  spend  the  night.  Before 
turning  in,  the  men  of  the  family  get 
together  with  the  others  at  the  camp  for 
a  song  or  two. 

Much  to  the  amusement  of  the  others, 
Fonda  was  called  upon  to  do  a  couple  of 
verses  from  an  old  Arkansas  melody, 
"Eleven  Cent  Cotton  And  Forty  Cent 
Meat,"  without  accompaniment.  He  had 
never  sung  on  the  screen  and  it  took 
more  than  a  little  coaching  and  encour- 
agement from  Ford  who,  incidentally,  isn't 
any  singer  himself.  When  finally,  in  des- 
peration, Ford  demonstrated  how  it 
should  go,  the  smiles  of  the  company 
broke  into  open  laughter.  In  the  end, 
Fonda  managed,  with  more  vim  than 
ability,  to  get  his  song  across.  Eddie 
Quillan,  who  plays  Rosasharn's  young 
husband  and  who  once  sang  in  vaude- 
ville, did  several  stanzas  from  another 
ballad  written  by  one  of  the  "Okies"  who 
has  a  part  in  the  picture. 

In  his  off -moments  Fonda  could,  as 
usual,  be  found  somewhere  near  the  elec- 
tricians, helping  them  hook  up  cables, 
puttering  around  at  this  little  thing  or 
that.  He  used  to  be  a  trouble-shooter  for 
the  telephone  company  and  when  he  has 
nothing  better  to  do,  still  likes  to  fiddle 
around  with  the  various  gadgets  only  an 
electrician  can  understand.  Speaking  of 
Fonda,  one  of  the  incongruous  sights, 
when  the  company  moved  from  one  set 


to  another  across  the  studio  lot,  was  that 
handsome  Packard  of  his  winding  up  at 
the  end  of  the  long  line  of  wheezing, 
broken-down  jalopies. 

These  daily  incidents  are  interesting 
and  fun  to  think  about  later,  but  the 
company's  single  enthusiasm,  their  will- 
ingness to  pitch  in  and  Work  steadily  so 
that  the  shooting  could  be  finished  days 
ahead  of  schedule,  is  the  important  fact 
in  any  story  about  "The  Grapes  Of 
Wrath."  Although  it  was  a  large  and 
expensive  production,  John  Ford  wasted 
little  time.  A  man  of  few  words,  he 
carefully  rehearses  a  scene  two  or  three 
times,  then  shoots  it  so  that  it  stays  shot. 

Occasionally  he  may  redo  it  to  alter 
a  line  or  change  some  detail  as,  for  ex- 
ample, the  time  he  substituted  his  own 
battered  hat  for  the  old  hat  worn  by  one 
of  the  "Okies."  He  found  his  cast,  most 
of  whom  he  had  worked  with  many 
times  before,  easy  to  handle  and  co- 
operative. John  Carradine  was  the  only 
one  who  hadn't  read  the  book.  So  great  is 
Cairadine's  personal  respect  for  Ford's 
direction  that  he  wished  his  portrayal  of 
Casy,  the  preacher,  to  be  marred  by  no 
previous  conception  of  his  own. 

As  you  have  probably  read,  there  was 
a  constant  undercurrent  of  opposition  to 
the  filming  of  the  picture,  but  no  actual 
damage  was  done  to  halt  production. 
However,  certain  influential  powers  in 
the  state  such  as  big  land  companies,  and 
fruit-growing  combines  and  the  banks 
that  finance  the  movies,  did  what  they 
could  to  make  things  difficult.  Rumors 
are  still  going  around  that  the  picture 
will  be  sold  by  Twentieth  Century-Fox 
at  a  neat  profit  and  then  simply  shelved, 
for  there  is  no  doubt  that  the  public  will 
be  aroused  to  action  when  the  film  is 
released.  The  various  location  trips  were 
kept  as  secret  as  army  manoeuvers  and 
the  finished  product  could  not  be  pre- 
viewed in  California,  so  bitter  are  the 
natives  of  that  state.  Pressure  was  con- 
stantly brought  to  bear  on  long-suffering 
Tom  Collins.  Deputations  of  people  even 
came  to  the  studio  to  see  him. 

And  now,  after  all  the  excitement,  the 
whispered  rumors,  the  constant  threats 
from  numerous  sources,  Hollywood's 
daring  experiment  is  ready.  Filmed  to 
the  letter,  unabridged,  straightforward 
and  unafraid  at  every  point,  "The  Grapes 
Of  Wrath"  is  the  mightiest  social  docu- 
ment ever  to  reach  the  screen.  Every- 
thing possible  has  been  done  to  make 
a  great  picture  out  of  living  material. 
Now  the  work  is  finished.  It's  up  to  you, 
the  movie-goer,  to  speak  the  final  word 
that  will  or  will  not  mark  this  picture 
the  forerunner  of  a  brave  new  cycle. 


Jane  Wyma  n 
and  Ronald 
Reagan  discuss 
plans  for  their 
appro  aching 
marriage.  Ron- 
ald gifted  Jane 
with  a  52-karat 
amethyst  which 
is  his  birthstone. 
The  bride-to-be 
was  formerly  the 
wife  of  Myron 
Futterman, 
wealthy  manu- 
facturer of  New 
York. 


MODERN  SCREEN 


WHY  CARY  GRANT  IS 
HARD  TO  GET 

(Continued  from  page  37) 


to  affairs  of  the  heart.  Glamour  girls  may 
find  him  invulnerable  to  their  charms, 
but  producers  also  find  him  hard  to  get, 
even  for  choice  roles.  Press  agents  find 
him  hard  to  persuade,  even  in  the  in- 
terests of  publicity.  Writers  find  him 
hard  to  interview.  Autograph  hounds 
find  him  hard  to  catch.  Co-workers  find 
him  hard  to  know. 

Why?  When  he  first  arrived  in  Holly- 
wood, he  wasn't  this  way.  He  was  will- 
ing to  take  whatever  roles  were  tossed 
in  his  direction.  Anything  press  agents 
wanted  to  write  about  him  was  all  right 
with  Cary.  He  talked  freely  to  inter- 
viewers. He  struck  up  new  friendships 
on  every  set.  He  was  eager  to  accept 
party  invitations  for  any  night  in  the 
week.   He  wasn't  afraid  of  pretty  girls. 

What  has  changed  him,  made  him  hard 
to  get?  One  of  his  closer  friends  has  an 
odd  explanation.  This  friend  said  re- 
cently, "Cary's  a  queer  bird — especially 
for  Hollywood.  Success  has  brought  out 
the  inferiority  complex  in  him.  When  he 
was  unknown,  struggling  to  get  along,  he 
couldn't  afford  to  be  self-conscious  about 
anything.  Now  that  he's  a  star,  and  the 
struggle  is  pretty  much  over,  he's  more 
like  himself.  He's  self-conscious  about 
everything." 

THERE  is  evidence  to  support  this  con- 
tention. Cary  himself,  in  off-guard 
moments,  has  shown  he  is  cursed  with 
self-consciousness.  For  one  thing,  he 
hates  make-up,  which  he  has  to  wear  to 
cover  a  heavy  beard.  To  put  it  on,  he 
has  to  look  at  his  own  face  in  detail.  He 
doesn't  like  that.  For  the  same  reason, 
he  hates  to  buy  hats.  To  hear  him  tell 
it,  you'd  think  there  isn't  a  hat  in  the 
world  suited  to  his  particular  face.  If 
you'll  notice,  you  usually  see  him  bare- 
headed, both  off  and  on  the  screen. 

Then  there  is  this  revealing  tale  from 
his  early  theatre  days.  He  was  supposed 
to  vanish  through  a  stage  floor  by 
courtesy  of  a  trap-door.  He  mistimed 
his  disappearance  and  the  door  came 
down  on  his  neck.  He  howled  with  pain 
and  the  audience  howled  with  laughter. 
They  never  knew  that,  Cary  couldn't 
sleep  for  a  week  afterward,  his  embar- 
rassment was  so  great.  He  was  unaware 
that  everybody  else  had  forgotten  the 
incident  five  minutes  after  it  happened. 

Once,  in  talking  about  Katharine  Hep- 
burn, he  said  that  he  could  never  be 
grateful  enough  to  her  for  letting  him 
play  the  cockney  sharpster  in  "Sylvia 
Scarlett,"  because  that  role  took  him  out 
of  straight  romantic  leads.  He  went 
through  agonies  of  embarrassment,  play- 
ing suitor  to  sirens.  It  wasn't  bashfulness 
with  him.  It  was  plain  discomfort.  The 
discomfort  of  an  ex-knockabout  come- 
dian suddenly  called  upon  to  pose  as  a 
Great  Lover. 

He  tried  to  talk  his  way  out  of  those 
romantic  leads,  but  that  didn't  work. 
He  might  still  be  playing  them  if  he 
hadn't  finally  saved  enough  money  to 
buy  his  way  out  of  his  contract  and  to 
finance  a  wait  for  less  sticky  roles. 

It  isn't  any  accident  that  he  is  a  free- 
lance player  today.  Self-consciousness 
drove  him  to  be  one.  It  isn't  mere  hap- 
penstance that  he  has  made  his  biggest 
hits  playing  embarrassed  men.  Those 
parts  came  natural  to  him.  Nor  is  it  any 
wonder  that  he's  a  difficult  star  for  a 
producer  to  sign — especially  if  the  pro- 


" Glory,  I  never  saw  such  discontented  birds!  You  give  'em  a  whole  pan  of  feed  and 
they  still  stand  around  complaining.  Hey  you  over  there,  don't  you  know  it's  bad 
manners  to  chirp  with  your  mouth  full?.  .  .Who,  you?  Yes,  you!" 


"Ouch!  Ho-alp!  This  one's  a  pecker.  Biting  the  hand  that  feeds  you,  eh?. .  .You 
know,  I  believe  they've  got  chafes  or  something.  Well,  I  bit  a  few  people  myself 
the  time  I  was  chafed.  Where's  that  Johnson's  Baby  Powder?" 


"Ah-h-h!  What  powder!  . . .  softer  than  my  skin  or  your  down!  Chafes  and  prickles 
haven't  a  chance.  No  shoving  now,  you  fellows  .  .  .  line  forms  on  the  right.  All  those 
who  want  a  sprinkle  of  soft,  velvety  Johnson's  say  peep!" 


"No  wonder  babies  love  Johnson's  Baby  Pow- 
der! Such  soft,  fine  talc  .  . .  and  it  costs  so  little 
to  keep  a  baby  happy  with  Johnson's!" 


JOHNSON'S 
BABY  POWDER 

Johnson  6t  Johnson,  New  Brunswick,  N.  J. 

73 


MODERN  SCREEN 


3  Reasons  Why 
Women  Insist  on 


7HEKOTEX 
TAMPON 


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of  insertion  is  necessary! 


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I  enclose  10c  for  trial  supply  of  FIBS,  the  Kotex 
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Name  

Address  

City   State   

74 


ducer  wants  him  to  do  much  public 
love-making. 

He  has  been  in  America  so  long  that 
he  talks  and  behaves  like  an  American, 
but  underneath  he  is  still  an  Englishman. 
It  just  isn't  in  him  to  relish  being  pas- 
sionate in  public.  He'll  earn  his  living 
as  an  actor  some  other  way,  thank  you. 

That  also  helps  to  explain  why  press 
agents  find  him  difficult.  He  finds  press 
agents  difficult.  They  are  behind  most 
of  the  romance  gossip  that  the  column- 
ists print.  They  want  to  sell  any  unmar- 
ried male  star  to  the  public  as  a  super- 
romantic.  And  Cary  doesn't  want 
anybody  selling  him  as  that,  when  he  is 
trying  to  sell  himself  as  something  else. 

I^OR  the  same  reason,  he  dodges  inter - 
*■  viewers  as  much  as  he  can  and,  when 
a  scattered  few  finally  corner  him,  he 
won't  talk  about  the  subject  they  want 
him  to  discuss — his  love-life.  It  would 
tickle  the  ego  of  many  an  actor  to  be 
considered  an  authority  on  things  ro- 
mantic. It  bothers  Cary.  Here  he  is, 
trying  to  get  the  public  to  think  of  him 
in  terms  of  amusing  entertainment  and 
people  ask  him  about  women! 

When  he  does  give  interviews,  he 
peppers  them  with  wisecracks — many  at 
his  own  expense.  Between  scenes,  on  a 
set,  he  kids  with  co-workers.  It's  all  a 
defense  mechanism.  He  makes  it  hard 
to  know  Cary  Grant  except  as  an  actor 
with  a  sense  of  humor.  But  he  doesn't 
want  to  be  known  as  anything  else. 

He  blows  himself  down  as  a  romantic 
actor,  the  better  to  build  himself  up  as 
a  character  actor.  His  self-consciousness 
in  those  love-making  leads  made  him 
see  one  thing  he  might  have  overlooked 
if  he  had  enjoyed  them.  Namely:  Ro- 
mantic actors  don't  last;  character  actors 
do.  He  wants  to  last. 

Once  you  give  him  credit  for  being 
serious  about  being  an  amusing  charac- 
ter actor,  you  can  understand  why  he 
might  be  hard  to  get  for  straight  love 
stories — either  on  the  screen  or  off. 

But  this  doesn't  quite  explain  Cary. 
He  isn't  the  kind  to  let  his  career  dictate 
his  private  life.  He's  a  little  too  inde- 
pendent for  that. 

What,  then,  is  the  reason  for  his  artful 
dodging  of  any  "serious  romance" 
rumors  for  the  past  five  years,  with  the 
single  exception  of  those  linking  him 
with  Phyllis  Brooks? 

Another  friend,  a  cynic  of  sorts,  gave 
a  guess.  "Once  you  fall  and  get  hurt, 
you  watch  your  step."  He  was  alluding 
to  Cary's  first  marriage. 

Practically  the  first  time  Cary  saw  Vir- 
ginia Cherrill,  he  decided,  impulsively, 
that  he  didn't  need  to  look  any  further 
for  The  One  Girl.    He  fell  head  over 


heels  in  love.  He  didn't  ask  himself  if 
they  could  be  happy  together  for  life. 
At  that  time,  he  believed  in  hunches.  A 
hunch  told  him  that  he  couldn't  be  happy 
with  any  other  girl.  He  courted  her  in 
whirlwind  fashion,  his  heart  on  his 
sleeve.  When  she  went  abroad  on  a  va- 
cation trip,  he  followed.  He  persuaded 
her  to  marry  him  in  London,  in  Feb- 
ruary, 1934. 

Then,  when  the  honeymoon  was  over 
and  they  had  to  settle  down  to  everyday 
living,  they  began  to  discover  that  love 
alone  couldn't  make  a  marriage  work. 
Something  else  was  necessary.  For  want 
of  a  better  word,  let's  call  it  companion- 
ship. They  didn't  have  it.  Before  a  year 
was  up,  both  wanted  a  divorce. 

The  unhappiness  of  that  year  left  Cary 
with  emotional  scars.  A  deep  abiding 
distrust  of  his  impulses.  A  fear  of  fall- 
ing in  love  again.  A  determination  never 
to  marry  again  until  he  found  com- 
panionship— the  time-tested  kind. 

He  didn't  turn  woman-hater.  He  did 
turn  wary  of  himself.  He  sought  safety 
in  numbers.  He  scattered  his  dinner  and 
dancing  dates,  looked  at  several  girls  at 
once  to  avoid  becoming  seriously  in- 
terested in  any  one  of  them.  The  ego  of 
most  of  the  girls  couldn't  stand  the  com- 
petition. Before  Cary  could  find  out  if 
any  of  them  had  companionship  possi- 
bilities, they  were  encouraging  more 
demonstrative  suitors. 

TO  make  sure  he  wouldn't  do  any- 
thing romantically  rash  out  of  lone- 
liness, he  talked  Randolph  Scott,  a  pal 
of  his  from  'way  back,  into  sharing  liv- 
ing quarters  with  him.  That  was  five 
years  ago.  (They're  still  sharing  quar- 
ters, which  says  volumes  for  Cary's  own 
talent  for  companionability.) 

When  Cary  met  Phyllis,  he  discov- 
ered that  she  didn't  expect  him  to  fall 
in  love  after  looking  at  her  twice.  She 
was  quite  willing  to  be  a  dining  and 
dancing  partner  with  no  expectations  of 
anything  except  companionship.  He 
stopped  his  restless  scanning  of  the  ranks 
of  the  bachelor  girls,  and  started  going 
everywhere  with  Phyllis. 

They  went  together  more  than  two 
years,  long  enough  to  satisfy  even  Cary's 
idea  of  a  time-test  of  companionship. 
He  said  as  much  in  admitting  last  sum- 
mer that  they  had  wedding  plans. 

What  spoiled  those  plans,  only  Cary 
and  Phyllis  know.  All  that  anybody  else 
knows  is  that,  since  they  parted,  Cary 
has  been  more  elusive  than  ever. 

Perhaps  they  will  reconcile.  But,  if 
they  don't,  he  has  perfected  his  "hard  to 
get"  technique  to  the  point  that,  this 
time,  if  he  has  any  scars,  nobody  is  go- 
ing to  see  them. 


Jeanette  Mac- 
Donald  fakes 
Nelson  Eddy 
and  Producer- 
Director  Robert 
Z.  Leonard 
under  her  ample 
taffeta  wings  as 
they  "sit  out"  a 
scene'  on  the 
"New  Moon" 
set. 


MODERN  SCREEN 


THE  PERVERSE 
MR.  FLYNN 

(Continued  from  page  47) 


can  baffle  and  annoy  his  victim  at  the 
same  time.  He  chortled  for  days  over 
the  bewildering  predicament  in  which  he 
placed  a  publicity  man  who  had  been 
sent  ahead  to  arrange  the  premiere  of 
"Dodge  City"  in  Iowa.  A  thousand  and 
one  details  were  harassing  the  chap  when 
he  received  a  wire  from  Hollywood 
signed  by  the  head  of  his  department. 

"Flynn  arriving  Tuesday,"  it  read. 
"Have  town's  five  most  beautiful  girls  in 
black  tights  on  trapeze  bar  at  station  to 
meet  him.  Imperative." 

Smelling  a  gag  but  not  sure  of  it, 
since  the  tricks  of  the  exploitation  trade 
can  be  screwy  indeed,  the  chap  spent 
three  frantic  days  trying  fo  fulfill  the 
strange  commission.  He  finally  rounded 
up  the  girls  and  the  black  tights  but 
couldn't  find  a  trapeze  in  the  whole  of 
Iowa.  Thus  stymied,  he  wired  his  boss 
for  further  instructions,  stating:  "Have 
girls  and  black  tights  but  no  trapeze. 
What  shall  I  do?" 

That  let  the  cat  out  of  the  bag  for 
Flynn  had  sent  the  original  wire. 

Recently  he  took  a  sly  poke  at  the  con- 
ceit of  many  of  his  fellow  actors  who 
think  the  public  will  go  to  any  length 
to  bask  in  the  glorious  warmth  of 
personal  contact  with  the  great  and 
near-great  of  Hollywood.  A  carefully 
boxed  and  business-like  ad  appeared  in 
one  of  the  trade  papers  asking  stars  to 
register  at  a  certain  address.  They  would 
be  well  paid,  it  stated,  for  permitting 
eastern  tourists  to  California  to  meet 
and  entertain  them. 

Flynn  wasn't  at  all  surprised  at  the 
number  of  answers  he  received  to  his 
ad.  Nonplussed,  however,  as  to  what 
to  do  with  them,  he  finally  directed  all 
queries  to  the  home  of  John  Carradine, 
a  dignified  and  modest  actor  whom  he 
had  never  even  met! 

MORE  recently  he  took  an  open  dig  at 
Orson  Welles,  the  strange  and  cocky 
youngster  who  has  come  to  Hollywood 
to  teach  the  boys  and  girls  how  to  make 
moving  pictures.  The  town's  experts 
have  been  aiming  at  him  for  weeks  but 
I  doubt  if  anyone  has  succeeded  in  get- 
ting under  his  skin  as  thoroughly  as 
Errol.  Or  with  as  little  effort. 

Despite  his  youth,  or  perhaps  because 
of  it,  Welles  affects  a  startlingly  black 
and  full  beard  which  tapers  from  his 
pudgy  face  into  a  tweakable  fine  point. 
The  other  day  another  Flynn-inspired 
ad  appeared  in  the  trade  paper  which  is 
the  Bible  of  the  industry.  This  one  was 
signed  the  "Anti-Muff-Dwellers  of 
America"  and  flatly  demanded  that 
Welles  stay  away  from  Chasen's  (his  fa- 
vorite Hollywood  restaurant)  on  Thurs- 
days (cook's  night  off). 

Hollywood  chuckled  appreciatively  at 
the  rib  but  it  roared  with  delight  the 
following  Thursday  when  Flynn  and  his 
orony,  Big  Boy  Williams,  showed  up  at 
Chasen's  behind  exaggerated  black  muff 
beards  and  sat  throughout  the  dinner 
hour  solemnly  shaking  their  heads  at 
Welles  and  then  at  each  other! 

But  mad  as  you  get  at  Errol,  you  have 
to  admit  one  thing:  He  can  take  it  as 
well  as  dish  it  out!  And  with  good  grace. 
Flynn  worships  his  Schnauser,  called 
Arno,  an  independent  and  rather  inso- 
lent dog  who  pays  not  the  slightest  at- 
tention to  anyone  but  Flynn.  Now  dogs 
of  any  size  or  breed  have  long  been  for- 


"I'M  FED  UP  ON  THE  WAY  YOU'VE  BEEN  BULLYING 
LITTLE  HARRY!" 


I.  HUSBAND:  Who's  bullying  him?  I'm  only 
trying  to  make  him  take  this  stuff  like  a  man. 
WIFE:  But  he's  not  a  man.  And  making  a 
child  take  a  medicine  he  doesn't  like  can 
do  more  harm  than  good. 


2.  HUSBAND:  Where'd  you  study  medicine? 
WIFE:  That's  not  funny.  I  told  you  I  was 
going  to  talk  to  the  doctor.  He  said  forcing 
a  child  to  take  a  bad-tasting  laxative  can 
shock  his  entire  nervous  system. 


3.  HUSBAND:  Are  you  kidding? 
WIFE:  This  is  nothing  to  kid  about.  Babies 
should  get  a  good-tasting  laxative,  but  NOT 
one  made  for  adults.  After  all,  an  adult's 
laxative,  even  in  smaller  doses,  can  be  much 
too  irritating  for  a  child's  tender  system. 


4.  HUSBAND:  What  can  we  give  him? 
WIFE:  Give  him  Fletcher's  Castoria,  the 
laxative  made  ESPECIALLY  for  babies  and 
little  children.  It  won't  upset  a  baby's  stom- 
ach because  it  works  mostly  in  the  lower 
bowel  and  it  doesn't  form  a  habit. 


5.  HUSBAND:  Seems  safe  enough  to  try,  all 
right. 

WIFE:  And  how!  You  couldn't  find  a  harsh 
"adult"  drug  in  Fletcher's  Castoria.  It's 
pure  as  can  be  and  really  safe! 


6.  HUSBAND:  Fine.  But  how  does  it  taste? 
That's  what  started  the  argument. 
WIFE:  Here's  where  it  ends.  Children  love 
Fletcher's  Castoria's  wonderful  taste.  Just 
see  him  take  it  down!  It's  one  laxative  you 
never  need  force  on  a  child! 


(%aAjtf&z^l  CASTORIA 

The  modern  — SAFE  — laxative  made  especially  for  children 


75 


MODERN  SCREEN 


\  /-         Stuck  at  a  bridge 

party  with  a  real  ex- 
pert —  it  was  grim.  Not 
y        one  smile  did  he  break  all 
evening  —  till  I  fished  out  my 
package  of  Beeman's.  "Ah ! "  says 
he,  with  a  longing  look,  "Beeman's, 
the  ace  of  flavors!"  So  what  could  I  do 
but  offer  him  some? 

"Thanks!"  he  said,  looking  happy  for 
the  first  time.  "I  can't  pass  a  flavor  like 
Beeman's!  It's  got  a  freshness,  a  tempt- 
ing tang,  that  scores  with  me  and  scores 
big!  Honors  to  you,  partner  — you  hold 
the  tops  in  fine  flavor!"— That  cheered 
me  up  — and  darned  if  we  didn't  win 
first  prize!  , 


bidden  the  sound  stages  of  Warners  since 
one  innocent  bark  might  prove  a  grave 
and  costly  accident.  Characteristically, 
Flynn  chucked  the  rule  in  the  ash  can; 
where  he  went,  there  went  Arno. 

Worrying  over  what  might  happen 
gave  Al  Alleborn,  the  unit  manager  on 
Flynn's  pictures,  the  heebie-jeebies. 
Arno  was  the  bane  of  his  existence.  It 
therefore  amused  Flynn  to  present  Arno, 
in  a  red  bow  and  a  bunch  of  mistletoe, 


encouragement  was  enough  to  show  him 
he  was  headed  right.  He  worked  up  to 
stage  manager,  also  under  Digges.  Then 
he  landed  the  juvenile  lead  in  Suder- 
mann's  "Magda."  In  due  time  the  com- 
pany landed  in  Hollywood.  Here  the 
movie  bug  bit  him.  He  chucked  over- 
board the  legitimate  stage. 

If  the  stage  was  tough  to  crack,  the 
movies  were  doubly  tough.  The  studios 
wouldn't  even  let  him  play  an  extra. 
Once,  he  will  tell  you,  a  director  tossed 
him  out  of  a  Russian  sequence  because 
he  didn't  look  like  a  real  Russian. 

He  did  everything  while  waiting  for 
the  magnificoes  to  see  the  light.  He  even 
rounded  up  a  bunch  of  musicians  and 
headed  a  jazz  band,  available  for  a 
modest  fee  for  dances. 

IT  was  Director  Frank  Tuttle  who  dis- 
covered him.  He  thought  the  sad-eyed 
Russian  was  wonderful.  In  fact,  he  man- 
aged to  find  a  spot  for  him  in  every 
one  of  his  productions.  Before  long  the 
melancholy  one  became  a  figure  in  the 
film  colony.  He  got  bids  right  and  left 
but  only  when  they  needed  despicable- 
looking  villains  who'd  blackjack  one- 
armed  widows  and  swipe  their  pitiful 
savings. 

In  vain  did  he  protest  that  his  dish 
was  comedy.  No  one  seemed  to  care. 
Not  until  Gregory  La  Cava,  assigned  to 
direct  "My  Man  Godfrey,"  happened  to 
recall  some  of  Mischa's  high  jinks  at  a 
party  years  before,  in  which  he  had 
hung  from  the  chandeliers  in  the  char- 
acter of  a  gorilla.  La  Cava  felt  that 
maybe  this  identical  insanity  would 
bolster  the  Godfrey  saga.  He  took  a 
chance,  gave  Auer  a  try.  The  waif  pulled 
out  all  the  stops.  The  fans  howled,  and 
at  long  last  he  who  got  slapped  was 
definitely  in. 

At  thirty- four,  wacky  and  woeful, 
Mischa  Auer  sits  atop  his  own  peculiar 
Olympus  contemplating  the  world  be- 
neath. An  inimitable  harlequin,  never- 
theless he  has  a  curiously  humble  philos- 
ophy about  success.  He  simply  figures 
he  was  lucky. 

Regarding  his  acting  talent,  a  gift 
which  some  critic  has  been  bold  enough 
to  hail  in  print  as  "an  incomparable 
genius  for  mirth  and  merriment  in  a 
minor  key"  he  is  more  curious  still.  He 
regards  Mischa  Auer  as  a  "ham."  His 
explanation  is  child-like,  very  brief  and 
simple. 

"I  got  some  parts  in  shows  and  finally 
came  to  be  a  pretty  good  ham.  There 
was  nothing  to  it.  In  time  I  got  out  to 
Hollywood  and  eventually  they  went  for 
my  stuff.  What  I  can  do  is  just  damned 
foolishness,  but  I'm  crazy  about  pic- 
tures." 

Outside  of  adding  a  few  pounds  to 
his  frame  and  shooting  same  over  four- 
teen inches  skyward  (he  is  now  six  feet 
two)  the  years  have  brought  little  no- 


to  Al  as  a  gag  Christmas  present.  Un- 
expectedly, he  accepted  the  gift  and  car- 
ried Arno  home.  Three  bleak  and  mis- 
erable days  passed  before  Al  decided  the 
brash  Mr.  Flynn  had  been  punished 
sufficiently,  and  returned  the  dog  to  his 
lonesome  master. 

But  not  once  in  those  three  days  of 
anguish  was  there  so  much  as  one  peep 
out  of  Errol.  He  took  his  medicine  like 
a  man. 


ticeable  change  to  the  boy  who  fled 
from  Russia.  Today  he's  as  mournful- 
looking  as  ever,  a  streamlined,  rapid- 
talking,  mad  Hamlet  who  hides  his 
thoughts  deep  inside  of  him. 

For  all  this  interior  gloom,  the  Auer 
is  a  geyser  of  gags,  antics  and  mummery. 
On  the  set  he's  a  volcano  whose  humor 
literally  stops  the  show.  Cameramen, 
directors,  script  girls — one  touch  of 
Auer's  laughter  makes  the  whole  set  kin. 
When  he  played  with  Baby  Sandy  in 
"Unexpected  Father,"  he  had  the  little 
shaver  gurgling  all  day,  so  much  so  that 
at  night  there  was  strange  wailing  in 
B.  S.'s  nursery.  She  missed  this  wonder- 
ful buffoon. 

No  single  individual  is  more  liked  in 
Hollywood  than  Auer.  He's  the  life  of 
every  gathering  he  attends,  his  baleful 
eyes  providing  such  amazing  counter- 
point to  the  high  jinks  he's  always  per- 
petrating. Photographers  covering  the 
swanky  premieres  at  Grauman's  Chinese 
Theatre  in  Hollywood  never  tire  of  ex- 
ploding their  flash  bulbs  at  him.  Just  to 
be  a  pal  he'll  push  a  peanut  down  the 
block  with  his  nose,  or  walk  a  tight  rope 
dressed  in  a  hooped  skirt. 

"All  you  have  to  do  is  ask  the  guy," 
a  picture-taking  admirer  of  Mischa's 
explains. 

Hostesses  implore  him  to  come  to  their 
parties  and  fall  on  his  neck  out  of  grati- 
tude when  he  departs.  He  never  makes 
an  entrance.  Actually,  it's  an  invasion. 

This  general  popularity  is  attested  to 
by  his  political  triumph  of  summer  last. 
All  of  a  sudden  he  up  and  ran  for  mayor 
of  Universal  City  against  Hugh  Herbert 
and  Joy  Hodges.  He  pranced  home  the 
winner.  Out  of  sportsmanship  he  made 
la  Hodges  the  Chief  of  Police  and  then 
began  worrying  about  funds  to  build  a 
jail  large  enough  to  house  the  crime 
wave  that  was  sure  to  result  from  this 
selection. 

BEING  Alcalde  of  Universal  City  is  his 
pride  and  joy.  He  loves  to  talk  of  the 
Utopia  he's  "going  to  make"  of  the  little 
community.  He  bustles  around  sporting 
the  most  outlandish  badge  of  office  you 
ever  saw.  He'll  unbutton  his  coat  at  the 
drop  of  a  hint  so  as  to  show  it  to  people. 

He's  the  interviewers'  delight.  He 
makes  it  his  business  to  astonish  them 
by  hook  or  crook.  He'll  put  on  a  show, 
if  he  hcs  to. 

"Auer  may  never  inspire  the  press,  but 
he'll  never  bore  them,"  he  told  a  para- 
grapher. 

Once  when  he  was  being  interviewed 
he  decided  on  the  spur  of  the  moment 
to  ring  up  his  grandmother,  Mrs.  Leo- 
pold Auer.  She  kept  him  on  the  phone 
for  almost  an  hour,  while  he  groaned  in 
his  helplessness.  When  another  writer, 
a  lady  this  time,  burst  in  she  almost 
jumped  out  of  her  girdle.  There  was 
Mischa  lying  under  the  desk,  tie  akimbo 


WOEFUL  AND  WACKY 

(Continued  from  page  60) 


MODERN  SCR 


and  feet  sprawled  over  the  radiator,  and 
spouting  Russian  at  his  relative  lickety- 
split.  The  reporters  looked  at  each  other 
in  amazement  and  wondered  when  the 
man  with  the  straight  jacket  was  com- 
ing for  his  charge. 

These  same  journalists  get  little  infor- 
mation out  of  Mayor  Auer.  He's  too 
busy  entertaining  them.  If  he  does  do 
any  serious  talking,  he  steers  the  con- 
versation into  the  channel  of  the  camera 
art,  his  favorite  hobby.  Then,  what  has 
started  out  as  an  inspection  of  the  Auer 
life  and  personality  degenerates  into  a 
volcanic  monologue  on  the  respective 
merits  of  the  different  kinds  of  film,  a 
new  filter  that's  just  hit  the  market  or, 
maybe,  a  nifty  developing  solution 
dreamed  up  by  one  of  his  cronies  who 
has  the  same  hobby. 

The  thought  of  an  elf  as  a  husband  is 
inclined  to  take  your  breath  away,  but 
married  he  is.  To  a  lovely  non-actress, 
nee  Norma  Tillmann.  He  has  a  son  and 
heir  named  Anthony,  of  whom  he  never 
tires  of  talking.  They're  pals,  father  and 
son.  Every  now  and  then  he  and 
Anthony  take  a  long  walk,  climb  atop  a 
little  green  hill  and  there  Auer  pere 
chants  wild  Slavic  songs  to  the  accom- 
paniment of  a  Russian  balalaika. 

AT  home  he's  a  housewife's  delight — 
ready  to  tackle  anything  from  dish- 
washing to  beating  the  rug,  if  need  be. 
He's  designed  the  wall-paper  for  his 
present  home  and  equipped  it  with 
knick-knacks  of  his  own  creation. 

In  matters  of  dress  he's  as  careful  as 
a  debutante  dreaming  of  her  coming-out 
party.  Which  is  why  he's  one  of  the 
slickest  figures  in  any  formal  gathering. 
He  loves  evening  dress.  No  one  in  Holly- 
wood looks  jauntier  in  a  white  tie. 

His  hobby  may  be  cameras  and  pic- 
ture-taking but  his  passion  is  restrained 
roistering  with  fellow  members  of  the 
old  regime — and  Hollywood  has  many  of 
them.  He  and  his  playmates  assemble 
at  regular  intervals  dressed  to  the  hilt. 
They  dine  sumptuously  and  then  begin 
to  tell  sad  stories  of  the  deaths  of  kings 
and  princes.  They  toast  the  glory  that 
•was  old  Raw-shya  far  into  the  night. 
Tears  flow  like  rain  upon  the  town  when 
these  sentimentalists  start  to  relive  the 
olden  days. 

When  it  gets  threeish,  the  man  with 
the  baleful  eyes  straightens  himself  to 
his  stiffest,  clicks  his  heels,  salutes  and 
departs.  Tomorrow  is  another  day  and 
somewhere  on  the  Universal  lot  Baby 
Sandy  may  be  waiting  for  a  camera  ren- 
dezvous with  her  goofy  parent. 


The  latest  addition  to  Wallace  Beery's 
family  is  nine-months-old  Phyllis  Ann. 
She  joins  Carol  Ann,  eight,  another 
adopted   member  of  the  household. 


There's  a 

among  i 


You  can  dance  into  the  wee  he 
look  lovely  with  Woodbury  Fat 


3.  You'll  love  the  way  Woodbury  stays 

on,  too  .  .  .  giving  you  a  smooth,  satiny 
finish  for  many  extra  hours  . . .  endinp 
unlovely  "shiny  nose".  Woodbury  is  th 
only  popular  face  powder  guarante 
"germ -free "—free  of  those  impu. 
that  may  aggravate  the  skin  and  ca 
excessive  oiliness.  Woodbury  never  ca' 
streaks  or  wears  "shiny".  It  gives  you 
nattering  finish  that  "stays  put"  througi 
an  evening  of  dancing  or  a  day  of  sports. 


Fr. 

Try  i. 
free.  Bt 
in  Ame, 
will  drar 
Woodbu 


WOODBURY  POWDER 

SHADES  THAT   DRAMATIZE  YOUR  SKIN 


(PASTE  Oh 

John  H.  Wot 
(In  Canada,  j 
Please  send 
Woodbury  F- 
ion  and  beai 
generous  tui 

Name  


Address  _ 


)ERN  SCREEN 


VIE  SCOREBOARD 


(200  pictures  rated  this  month) 


ble  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
■s  the  average  rating  oi  our  critic  and  the  authoritative  newspaper 
country.  means  very  good;  3-^-,  good;  2"^-,  fair;  poor. 

3  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Darkened 

,  Lustrous! 

e  full,  radiant 
shampoo  that 
.t  the  lustrous. 
*s  that  can  make 
his  amazing  new 
^e  and  is  abso- 
-p  hair  lighter. 
Fine  for  chil- 
d  at  all  stores. 


General 
Rating 

es(20th  Cent.-Fox). .  3* 

  2* 

(Columbia)   3  -Ar 

ever  (M-G-M). . .  .C  3* 

i-M)   3* 

,  C  3* 

,  C  3V2* 

  2* 

  3* 

intury-Fox)   3* 

(Mayflower)  3Vz* 

mount)  C  3-fc 

(Columbia)   2* 

-G-M)   2* 

Up  Baby  (Columbia)   2* 

Vacation  (Columbia)   2* 

d's  Bride  (Paramount)   2* 

(Universal)  2Vz* 

nes  (Republic)   2* 

-,ident  (M-G-M)   2* 

  2* 

nary,  The  (Paramount)   3Vi* 

at  Treasure  Island  (20th  Century-Fox)  2* 

in  T.eno  (20th  Century-Fox)  C  2V2* 

s.arthy,  (Universal)  ■  ■  •  •  |* 

d  and  the  Lady,  The  (20th  Century-Fox)  2* 

Jver  Europe  (Columbia)  iVz'k 

uard  (Columbia)   2* 

Co-ed  (M-G-M)  2V2* 

.ers  Courageous  (Warners)   3* 

the  Bookies  Wept,  The  (RKO)   §★ 

time  Wife  (20th  Century-Fox)   3* 

ith  of  a  Champion  (Paramount)   ,1 

itry  Rides  Again  (Universal)   3* 

puted  Passage  (Paramount)  3* 

jms  Along  the  Mohawk  (20th  Century-Fox)..  3* 

'St  Be  My  Destiny  (Warners)  2V2* 

ch  Dawn  I  Die  (Warners)   3* 

.liiabeth  and  Essex  (Warners)   ** 

Escape,  The  (20th  Century-Fox)  2V2* 

Espionage  Agent  (Warners)  2V2* 

Eternally  Yours  (United  Artists).....   ..2V2* 

Everything  Happens  at  Night  (20th  Century-Fox)  3* 

Everything's  on  Ice  (RKO)   2* 

Fast  and  Furious  (M-G-M)   2-* 

Fifth  Avenue  Girl  (RKO)   3* 

First  Love  (Universal)  

Five  Came  Back  (RKO)   3* 

Flight  at  Midnight  (Republic)   2* 

lying  Deuces  (RKO)   2* 

-jrgotten  Woman,  The  (Universal)   2* 

<ur  Feathers  (United  Artists)  Wzir 

jr  Wives  (Warners)   3* 

ntier  Marshal  (20th  Century-Fox)  2'^* 

'  Confession  (RKO)   2* 

vonimo  (Paramount)  '  |t£ 

from  Rio  (Monogram)   2* 

t    Boy   (Columbia)   3  + 

'ith  the  Wind  (M-G-M)  ••  4* 

/e  Mr.  Chips  (M-G-M)  C  A-k 

Girls  Go  To  Paris  (Columbia)  2V2* 

Allen  Murder  Case  (Paramount)  2'/2* 

Victor  Herbert,  The  (Paramount)   3* 

yer's   Travels   (Paramount)  C  3* 

.waiian  Nights  (Universal)   2* 

leaven  With  a  Barbed  Wire  Fence  (20th  Cen.-Fox)    2  ★ 

Hell 's  Kitchen  (Warners)   ■  2 V2  ★ 

Here  I  Am  a  Stranger  (20th  Century-Fox)  2V2* 

Heroes  In  Blue  (Monogram)   2* 

Indianapolis  Speedway  (Warners)  2V2* 

In  Name  Only  (RKO). ...... ....  3%* 

Intermezzo,  A  Love  Story  (United  Artists)  •  ■  3* 

Invitation  to  Happiness  (Paramount)  C  3* 

Irish  Luck  (Monogram)  2/?i 

I  Stole  a  Million  (Universal)  •   3* 

It  Could  Happen  to  You  (20th  Century-Fox)   2* 

Jamaica  Inn  (Paramount)  •  •  •  •  •  •  •    3  •* 

Jones  Family  in  Hollywood  (20th  Century-Fox)  C     3  ■* 

Juarez  (Warners)  •■  ■••  ••  |* 

Mudge  Hardy  and  Son  (M-G-M)  C  3* 

Kid  From  Kokomo,  The  (Warners)   2* 

Kid  Nightingale  (Warners)   £★ 

Lady  of  the  Tropics  (M-G-M)   2* 

Light  That  Failed,  The  (Paramount)   3  ★ 

Little   Accident  (Universal)  2 4? 

Magnificent  Fraud  (Paramount)  „,2£ 

Main  Street  Lawyer  (Republic)  2'/2* 

Maisie  (M-G-M)   3* 

Man  About  Town  (Paramount)   3* 

Man  in  the  Iron  Mask  (United  Artists)  ■  •  ,  3  * 

Marx  Bros,  at  the  Circus  (M-G-M)  C  2V?* 

Meet  Dr.  Christian  (RKO)  2V2* 


Picture  General 

Rating 

Mickey,  the  Kid  (Republic)   2  * 

Midnight  (Paramount)   3  + 

Mikado,  The  (Universal)  C  3* 

Million  Dollar  Legs  (Paramount)   2*- 

Miracles  For  Sale  (M-G-M)  2V2* 

Missing  Daughters  (Columbia)   2tIt 

Missing  Evidence  (Universal)   3  -A- 

Mr.  Moto  Takes  a  Vacation  (20th  Century-Fox)  C     2  ★ 

Mr.  Smith  Goes  to  Washington  (Columbia)   4-k 

Mr.  Wong  in  Chinatown  (Monogram)   2* 

Mutiny  on  the  Blackhawk  (Universal)   2* 

Naughty  But  Nice  (Warners)   2* 

Nick  Carter,  Master  Detective  (M-G-M)   3* 

The  Night  of  Nights  (Paramount)  2V2* 

Ninotchka   (M-G-M)   4* 

No  Place  To  Go  (Warners)   2* 

North  of  Yukon  (Columbia)   2* 

Nurse  Edith  Cavell  (RKO)   4* 

Oklahoma  Frontier  (Universal)   2-k 

Oklahoma  Kid,  The  (Warners)   3* 

Old  Maid,  The  (Warners)   4* 

On  Borrowed  Time  (M-G-M)   3* 

On  Dress  Parade  (Warners)   2* 

One  Hour  to  Live  (Universal)   2  Ik- 
s') ,000  a  Touchdown  (Paramount)   2* 

On  Your  Toes  (Warners)  2V2* 

Our  Leading  Citizen  (Paramount)  2'  2  * 

*Our  Neighbors — The  Carters  (Paramount)   1  -k 

Pack  Up  Your  Troubles  (20th  Century-Fox)  2V2* 

Pride  of  the  Blue  Grass  (Warners)  2V2* 

Quick  Millions  (20th  Century-Fox)  C  2* 

*Raffles  (United  Artists)   2* 

Rains  Came,  The  (20th  Century-Fox)   3* 

Range  War  (Paramount)   2* 

Real  Glory,  The  (United  Artists)   2* 

Remember?  (M-G-M)  2V2* 

Reno  (Universal)   2* 

Rio  (Universal)  ZVz* 

Roaring  Twenties,  The  (Warners)   3-fr 

Rulers  of  the  Sea  (Paramount)  3V2~k 

Sabotage  (Republic)  2V2* 

Second  Fiddle  (20th  Century-Fox)  C  3* 

Secrets  of  Dr.  Kildare  (M-G-M)   3* 

She  Married  a  Cop  (Republic)   2* 

6,000  Enemies  (M-G-M)  2y2# 

Smashing  the  Money  Ring  (Warners)  2V2* 

SOS— Tidal  Wave  (Republic)   2* 

Spellbinder,  The  (RKO)   2* 

Spirit  of  Culver,  The  (Universal)  C  2V2* 

Stagecoach  (United  Artists)   4* 

Stanley  and  Livingstone  (20th  Century-Fox)  3V2* 

Star  Maker,  The  (Paramount)  C  2V2* 

Stolen  Life  (Paramount)  2Vi* 

Stop,  Look  and  Love  (20th  Century-h^x,   2* 

Stranger  From  Texas  (Columbia)  2V2* 

Stronger  Than  Desire  (M-G-M)  2V2* 

Sun  Never  Sets,  The  (Universal)   2  + 

Susannah  of  the  Mounties  (20th  Century-Fox).  .C  3* 

*Swanee  River  (20th  Century-Fox)   3* 

Tarzan  Finds  a  Son  (M-G-M)  C  2V2* 

Television  Spy  (Paramount)  2y2* 

That's  Right,  You're  Wrong  (RKO)  C  3* 

These  Glamour  Girls  (M-G-M)  2V?* 

They  All  Come  Out  (M-G-M)  2V2* 

They  Asked  For  It  (Universal)   2* 

They  Shall  Have  Music  (United  Artists)  C  3V2* 

Those  High  Grey  Walls  (Columbia)  I-2'/** 

Three  Smart  Girls  Grow  Up  (Universal)  C  3* 

Three  Sons  (RKO)   3* 

Thunder  Afloat  (M-G-M)  y*Y?* 

Too  Busy  To  Work  (20th  Century-Fox)  C  2V2* 

Torchy  Plays  With  Dynamite  (Warners)  2V2* 

Tower  of  London  (Universal)   2* 

Tropic  Fury  (Universal)  -  •  •  •   2* 

20,000  Men  a  Year  (20th  Century-Fox)   3* 

Two  Bright  Boys  (Universal)   2* 

U-Boat  29  (Columbia)  „,3i 

Undercover  Doctor  (Paramount)  -  •2V2* 

Underpup,  The  (Universal)  C  3* 

Unexpected  Father  (Universal)  „2T 

Union  Pacific  (Paramount)  ?/?  ? 

Wall  St.  Cowboy  (Republic)  2V2* 

Waterfront  (Warners)   2* 

We  Are  Not  Alone  (Warners)  3 4* 

What  a  Life  (Paramount)   3* 

When   Tomorrow  Comes  (Universal)  

Winter  Carnival  (United  Artists)  ••21/2  ★ 

Wizard  of  Oz,  The  (M-G-M)  C  4* 

Wolf  Call  (Monogram)   2* 

Woman  Is  the  Judge  (Columbia)   2* 

Women,  The  (M-G-M)   ■• 

You  Can't  Get  Away  With  Murder  (Warners) ..  2>/2  ★ 
Young  Mr.  Lincoln  (20th  Century-Fox)  C  3>/2* 


MODERN  SCREEN 


HIGH  SCHOOL  SIREN 

(Continued  from  page  35) 


one-story  building  with  nine  rooms,  and 
now  Jane's  apartment  perches  majesti- 
cally atop  it.  The  bedroom  is  a  melody 
of  soft  pastels.  In  the  game  room  are 
all  the  things  youngsters  love. 

Away  from  the  main  building  is  the 
playhouse  where  Jane's  collections — 
dolls,  stamps,  knives  and  pennants — are 
kept.  There's  also  a  guest  apartment 
and,  on  the  main  floor,  dressing-rooms 
for  boys  and  girls.  Last  year,  Jane's  par- 
ents gave  her  a  swimming  pool  and 
there,  through  the  warm  months,  she 
spends  her  leisure  hours  with  young 
friends.  There  are  even  barbecue  ovens 
for  roasting  hot  dogs.  These  are  all  part 
of  the  scheme  to  make  Jane  happy  at 
home,  since  she  isn't  permitted  to  go 
out  much  with  other  girls.  She  can  have 
crowds  at  all  reasonable  times  in  her 
own  domain.  Every  Saturday  night,  she's 
at  the  movies,  and  she  thrills  at  every- 
thing from  Spencer  Tracy  in  an  historic 
role  to  Mr.  Autry  riding  the  plains. 

ON  the  grounds  are  her  six  dogs.  Blue 
Boy,  an  English  sheep  dog,  is  one 
of  the  specially  favored.  She  has  two 
pointers  which  Leo  Carrillo  gave  her,  a 
Pekinese  named  Suzie-Q,  a  Chihuahua 
and  a  Spitz.  She  has  all  sorts  of  cats 
from  a  red  Persian  named  Blinker  to  a 
tortoise-shell  she  calls  Jitterbug.  Then 
there  are  parrots,  rabbits,  pheasants,  red 
squirrels  and  turtles.  She  even  had  goats 
until  the  neighbors  complained. 

Jane  was  born  in  Atlanta,  Georgia,  and 
was  acting  on  the  stage  when  she  was 
three  years  old.  Seven  years  ago  mama 
and  daughter  entrained  for  California, 
reassured  by  Father  Withers  that  at  least 
they  would  eat,  because  he  would  send 
them  money  every  week. 

For  two  years  they  knocked  at  the 
studio  gates,  begging  for  screen  tests. 
In  that  period,  they  pocketed  their  pride 
and  compromised  temporarily  with  extra 
parts,  which  came  none  too  often  at  first. 

"That  extra  work  was  grand  for  me," 
Jane  remembers.  "It  taught  me  a  lot 
and  I'm  grateful  for  it.". 

Later,  Jane  appeared  in  radio  skits  in 
Los  Angeles.  Then  one  day  Mrs.  Withers 
heard  that  Fox  was  testing  children  for 
the  second  lead  in  Shirley  Temple's 
"Bright  Eyes."  They  weren't  deterred  by 
the  fact  that  two  hundred  girls  had  al- 
ready been  tested.  Jane  and  her  mother 
managed  an  audience  with  Jim  Ryan, 
the  casting  director.  Before  he  could 
protest,  Jane  went  into  her  impersona- 
tions. She  did  them  for  bigger  exec- 
utives that  same  day  at  Mr.  Ryan's 
request,  and  was  signed  for  the  part 
without  facing  a  test  camera.  Until  the 
first  shots  were  taken,  mother  and 
daughter  lived  in  mortal  terror  that  Jane 
might  not  screen  well. 

Before  the  picture  had  been  completed, 
she  was  signed  to  a  seven-year  contract. 
The  rest  is  movie  history.  Her  income 
would  make  a  piker  out  of  some  indus- 
trial moguls  today,  and  her  popularity  is 
something  for  adult  stars  to  envy. 

Recently  a  blue  note  crept  into  the 
Withers  career,  and  $75,000  flew  out  the 
window.  That  was  the  figure  offered 
Jane  by  a  cereal  company  for  twenty- 
six  weeks  on  the  radio.  The  producers 
decided  it  wasn't  a  good  idea  and  Jane 
couldn't  accept. 

"Do  you  always  enjoy  your  work?" 
Jane  was  asked. 

"What  work?"  she  answered.  "You 
mean  acting?   Oh,  that — it's  wonderful!" 


"Get  12  SHADES-FREE-of 
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79 


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MODERN  SCREEN 


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5.  Arrid  has  been  awarded  the 
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A  BERNHARDT  IN  PIGTAILS 

(Continued  from  page  6) 


and  lapsed  into  unhappy  silence.  She 
rescued  me,  bless  her  heart. 

"We've  made  a  swimming  pool,"  she 
announced,  gravely. 

"Who's  we?"  I  asked  in  my  best  un- 
Chesterfieldian  English. 

"My  brothers  and  sisters  and  I.  It's 
thirty-six  feet  by  eighteen.  It  cost  sey- 
enty-two  dollars.  Everybody  told  us  it 
would  collapse  right  away,  but  it  hasn't. 
You  know,  swimming  pools  are  awfully 
expensive  things, — the  ones  that  don't 
collapse."  She  seemed  to  feel  at  home 
on  this  subject,  even  if  I  didn't.  But  I'm 
sure  she  felt  she  was  putting  me  at  my 
ease.  And  so  she  was.  I  felt  much  better. 
"We  did  a  great  deal  of  digging,  and  we 
bought  things  second  hand,  like  bricks, 
and  one  of  my  brothers  found  a  used 
electric  pump.  We  swim  in  it  almost 
every  day." 

"In  the  pump?"  I  asked,  thoughtlessly. 

Virginia  looked  at  me  with  pity  in  her 
eyes.  I  didn't  blame  her.  I  hastened 
to  reclaim  myself,  and  kept  her  on  out- 
door activities. 

"Well,"  she  went  on,  forgivingly,  "we 
have  five  horses,  and  I  love  to  ride.  And 
I  like  to  play  volley-ball,  football  and 
baseball.  And  I  have  a  bicycle,  too,  .and 
when  .  .  .  ."  At  this  .point,  a  smiling 
lady  put  her  head  through  the  door. 
The  sparkle  went  out  of  Virginia's  eyes. 
She  turned  to  me.  "I've  got  to  go.  to  my 
class  now,",  she  murmured,  miserably, 
and  as  I  watched  the  little  pantalettes 
follow  the  teacher,  I  felt  a  surge  of  re- 
sentment against  the  Board  of  Education 
which  insisted  upon  such  things.  Her 
mother  smiled  at  me. 

"I  wish  I  could  get  her  more  interested 
in  her  school  work,"  she  told  me,  not 
plaintively,  but  calmly.  "I  tried  giving 
her  lessons  on  the  violoncello,  but  she 
didn't  show  any  more  enthusiasm,  for 
music  than  she  does  for  her  school 
work."  I  would  have  sympathized  with 
Mrs.  Weidler  if  she  had  looked  as  though 
she  wanted  to  be  sympathized  with.  But 


she  didn't.  She  didn't  seem  at  all  wor- 
ried. She  seemed  to  feel  that  every- 
thing was  working  out  all  right. 

"What  are  her  other  enthusiasms,  apart 
from  swimming  pools,  games,  and 
things?"  I  asked. 

"I  think  her  greatest  enthusiasm  is 
acting.  She  wants  to  become  a  really 
great  actress.  When  it  comes  .to  acting, 
she  is  never  satisfied  with  herself.  She 
is  always  moaning,  'Oh,  if  only  I  could 
do  that  over  again,  I  know  I  could  do  it 
better.'  Well,  maybe  she  will  be  a  great 
actress.  Who  knows?  She  was  tremen- 
dously thrilled  when  she  was  allowed  to 
curl  her  hair  as  Norma  Shearer's  daugh- 
ter in  "The  Women."  Her  looped-up 
pigtails  had  become,  more  or  less,  a 
trade-mark,  and  here  she  is,  today, 
working  once  more  with  her  trade-mark. 
But  I've  heard  no  word  of  regret.  It's 
part  of  'the  role,'  and  'the  role'  is  as  im- 
portant to  Virginia  as  a  first  party  dress 
to  another  little  girl.  It  transcends  trifles 
like  pigtails." 

I BEGAN  to  think  Virginia  was  too  good 
to  be  true,  despite  her  aversion  to 
readin',  'ritin',  and  'rithmetic.  I  think 
all  children  must  misbehave  sometimes, 
and  when  you  consider  that  little  Vir- 
ginia made  her  picture  debut  at  the  age 
of  two,  with  John  Barrymore  in  "Moby 
Dick,"  and  has  left  behind  her  a  whole 
string  of  successful  parts,  you  must  for- 
give me  if  I  tried  to  find  out  what  kind 
of  a  little  girl  she  was  to  live  with. 

There  are,  it  appears,  six  young  Weid- 
lers,  ranging  in  age  from  twelve  (Vir- 
ginia) to  twenty.  They  all  live  with  their 
mother,  a  former  European  opera  star, 
in  a  small  white  ranch  house,  surrounded 
by  two  acres  of  fruit  and  nut  trees  (and 
the  aforementioned  swimming  pool  with 
electric  pump.)  There  are  no  servants. 
Yes,  you  heard  me  the  first  time;  there 
are  no  servants.  I  thought,  at  first,  that 
I  hadn't  heard  aright.  For  after  all,  this 
is  Hollywood,  and  Virginia  is  doing  fairly 


Tayton's 


Paw  and  Maw 
Gable  just  don't 
like  to  be  sepa- 
rated. When 
Clark  was  plan- 
ning a  short  fly- 
ing trip,  the  stu- 
dio asked  Carole 
to  stay  home.  But 
that's  Mrs.  G. 
seated  beside 
her  husband  in 
the  plane!  They 
recently  an- 
nounced that  if 
any  little  Gables 
appear  on  the 
scene,  they  will 
be  their  own  and 
not  adopted 
children. 


80 


MODERN  SCREEN 


well  in  pictures,  to  put  it  conservatively. 

Anyhow,  the  children  take  care  of 
the  house,  the  garden,  and  the  live  stock. 
Each  has  his  or  her  appointed  tasks. 
There  is  a  head  gardener,  a  master  of  the 
house,  a  cook,  a  second  maid,  and  so 
forth.  I  suppose  Mrs.  Weidler  could  be 
called  a  major-domo.  Virginia,  it  devel- 
ops, is  the  second  maid.  She  takes  care 
of  her  own  room,  dusts  the  living-room, 
and  dries  the  dishes.  She  doesn't  like  it 
a  bit  better  than  she  likes  her  lessons  at 
M-G-M  or  playing  scales  on  the  violon- 
cello. But  that's  her  job.  And  when  she 
dawdles  (as  she  often  does)  she  is 
treated  to  the  dread  but  well-known 
sound  of  the  raspberry.  "Yah!"  her 
brothers  and  sisters  shrill,  as  only 
brothers  and  sisters  can.  "Cut  out  that 
movie  stuff!  Come  out  from  behind  those 
eyelashes.  We  know  you!"  So  Virginia 
dries  the  dishes.    And  dusts. 

I  think  I  love  Virginia. 

THE  live  stock  on  the  "ranch"  con- 
sists of  the  five  saddle  horses,  three 
dogs  (two  thoroughbreds — a  Great  Dane 
and  an  Irish  Setter,  and  a  mutt  which 
looks  like  nothing  in  particular)  and  a 
rooster  named,  strangely  enough,  Mary- 
lin-Madeline,  who  hates  to  be  separated 
from  the  dogs.  "He's  a  strange  rooster," 
Virginia  confided  to  me  later.  "He 
doesn't  crow,  and  he's  always  pecking 
on  the  door,  wanting  to  come  inside  with 
the  dogs  and  the  rest  of  us,  and  he  looks 
puzzled  when  he  can't." 

I  asked  Mrs.  Weidler  to  tell  me  about 
how  Virginia  reacted  to  the  attention  of 
her  fans  when  she  went  out  in  public. 

"For  a  long  time,  she  was  painfully 
shy,"  Mrs.  Weidler  told  me.  "She  would 
enter  a  theatre  hiding  behind  my  skirts, 
for  all  the  world  like  a  baby  chick  run- 
ning to  its  mother  when  it  has  seen  a 
cat.  The  rest  of  the  family  would  troop 
in,  looking  cocky.  Stories  began  to  get 
about  that  Virginia  was  a  silly  little  girl 
who  was  playing  shy  because  success 
had  gone  to  her  head.  The  fact  was  that 
she  was  frightened  stiff  and  didn't  have 
enough  poise  to  hide  it. 

"She  has  conquered  that  now  and  she 
can  walk  in  with  her  head  up  and  even 
manage  to  smile  at  the  crowds — although 
I  must  admit  that  she  turns  a  most  un- 
becoming shade  of  pale  green,  even  now. 
The  sequel  to  all  this  is.  .  .  ."  Mrs.  Weid- 
ler paused  to  twinkle,  "her  brothers  and 
sisters  won't  enter  a  theatre  with  her 
any  more.  They  say,  with  great  disgust, 
'Everyone  knows  the  kid.  And  it's  all  so 
silly.  Virginia,  you  can  just  go  to  the 
show  with  someone  else.  We  want  a 
little  peace.'  You  see,"  Mrs.  W.  wound 
up,  "there  isn't  much  danger  of  Virginia 
getting  a  big  head — at  least  not  at  home." 


7/k/  a. 
SPARKLING  GLASS  OF 

Alka-Seltzer 

Alka-Seltzer  relieves  headaches  fast  be- 
cause its  analgesic  pain  relieving  proper- 
ties are  in  complete  solution  when  you 
drink  it— ready  to  start  work  quickly.  For 
quick,  pleasant  relief  from  headache  misery 
be  wise— take  Alka-Seltzer. 

AT  ALL  DRUG  STORES 


On  the  far  side  of  the  big  outdoor  set, 
which  was  a  replica  of  part  of  an  Amer- 
ican village  of  the  1850's,  the  little  ruffled 
pantalettes  twinkled  and  the  pigtails 
bobbed.  Virginia  had  finished  a  lesson 
and  was  hurrying  back.  But  the  bogeys, 
the  "still  men,"  snatched  her  before  she 
could  reach  us.  There  was  a  "layout"  to 
be  taken, '  with  a  rural  background. 
Watching  the  proceedings,  I  began  to 
realize  what  a  true  trouper  this  wisp  of 
a  child  is. 

She  posed  in  an  old  fashioned  buggy, 
holding  the  lines  over  a  placid,  fat  horse. 
She  was  very  solemn  until  the  photog- 
rapher called  "Ready!"  Then  she  gave 
him  a  smile  as  professionally  brilliant  as 
anything  a  Norma  Shearer  could  have 
achieved.  I  almost  laughed  aloud  at  the 
expertness  of  this  pig-tailed  tyke.  When 
she  posed  with  a  monumental  bicycle, 
she  begged  to  be  allowed  to  try  to  ride 
it.  It  would  have  taxed  the  muscles  of 
Tony  Galento.  She  cheerfully  wielded 
a  small  hammer  on  an  anvil  in  the  vil- 
lage blacksmith  shop,  turning  the  expert 
smile  on  at  exactly  the  right  moment. 
Work  was  disrupted  for  everyone  when 
she  discovered  that  she  could  play  a  gay 
little  tune  by  tapping  the  hammer  on 
various  available  surfaces. 

(I  whispered  to  her  mother  just  here 
that  perhaps  the  xylophone  would  be 
Virginia's  instrument.  Her  mother  re- 
plied, quite  seriously,  that  she  hadn't 
thought  of  that  but  that  maybe  I  had 
something  there.  ...  If  Virginia  turns  out 
to  be  a  xylophone  player  in  some  future 
picture,  please  don't  forget  I  told  you! 

DUT  Virginia's  real  moment  came  when 
U  they  asked  her  to  pose  with  an  old 
fashioned  coffee  mill  on  the  platform  in 
front  of  the  general  store.  It  was  a  real 
mill  and  it  worked,  and  the  little  Weidler 
found  a  bag  of  peanuts  which  she  joy- 
ously ground  to  a  fine  powder  while  the 
photographers  snapped  and  flashed  like 
everything. 

The  real  little  girl,  you  see,  is  all 
child.  Fascinated  with  a  new  toy,  inter- 
ested in  any  novelty.  But  the  actress  is 
there,  too.  Conscious  of  her  duty,  try- 
ing hard  to  do  that  duty  intelligently, 
anxious  to  give  her  best  to  the  job  at 
hand.  A  funny  little  tyke.  A  Bernhardt 
in  pigtails. 

I  don't  know  whether  Virginia  knows 
it  or  even  whether  her  placid  mother 
knows  it,  but  M-G-M  thinks  it  has 
starring  material  in  this  round-eyed 
child.  She  is  being  carefully  groomed, 
gently  developed,  deftly  handled,  all  ac- 
cording to  well-formulated  plans  in  the 
big  Front  Office,  to  the  end  that  there 
may  be  a  new  little  girl  star  in  pictures 
before  the  end  of  1940.   Wait  and  see! 


MODERN  SCREEN 


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A  Permanent,  Please! 

Garbo's  "Ninotchka"  was  such  a  smart- 
ly turned  out  comedy  that  why  she 
wasn't  as  well  turned  out  still  remains 
a  mystery  to  me.  It  was  all  right  for  her 
to  be  unbecomingly  dressed  at  the  begin- 
ning of  the  picture,  but  why,  when  she 
did  blossom  forth,  wasn't  something  done 
about  her  hair?  I  heard  many  people 
around  me  at  the  theatre  grumbling 
about  the  same  thing. 

When  she  could  look  so  lovely  with 
her  hair  curled  and  waved  softly  in 
a  long  bob,  it  is  a  crime  to  have  to 
see  her  with  a  long,  straggly,  straight 
coiffure  (?)  throughout  a  whole  picture. 
What's  glamorous  about  that?  Nothing! 
I  thought  Hollywood  was  the  land  of 
beauty  and  hair-style  experts.  So  they 
concentrate  on  Ina  Claire's  hair  through- 
out the  picture,  and  leave  Garbo,  the 
star,  looking  as  though  she  needed  a 
permanent! 

Anyway,  it  was  great  fun  to  see  her  in 
a  picture  worthy  of  her  sense  of  humor 
and  talents.  Let's  hope  her  next  is  as 
clever,  and  that  the  coiffure  artists  give 
her  a  much-needed  break! — Jean  Wood, 
Oakland,  Calif. 

Candid  Criticism 

I  rise  in  indignation  to  avow  and  to 
declare 

That  these  candid -camera  maniacs  are 

getting  in  my  hair; 
Their  so-called  works  of  art  appear  in 

every  magazine, 
And  the  way  those  guys  de-glamorize 

the  ladies  of  the  screen! 


I  thought  all  movie  heroines  were  lovely 
as  a  dream 

Till  these  lens-lads  gave  us  the  low- 
down — that  Stars  aren't  what  they 
seem. 

The  candid  camera  gives  us  proof  we 
simply  can't  deny — 

My  glamour  queen  has  bow  legs  and  I 
know  the  lens  can't  lie; 

The  ladies  I  once  looked  upon  with  wist- 
ful envious  sigh, 

I  find,  in  off-guard  moments,  are  e'en 
as  you  and  I. 

— Willie  Mae  Jackson,  Columbia,  Tenn. 


One-Role  Kelly 


I  object  to  putting  an  actress  in  a  single 
type  of  role  to  the  exclusion  of  all  others. 
The  girl  in  question  is  Nancy  Kelly,  the 
actress  I  consider  on  the  road  to  great- 
ness exceeded  only  by  Bette  Davis,  Helen 
Hayes  and  Katherine  Cornell. 

Miss  Kelly  is  a  real  actress,  that  is  cer- 
tain. More  than  that,  she  is  one  whose 
emotions  come  from  the  heart,  not  the 
mind — from  this  real  and  poignant  thing 
called  life,  not  merely  from  an  author's 
pen. 

Yet  I  think  the  studio  is  making  a 
big  mistake  to  cast  her  in  dramatic 
parts  alone.  After  all,  she  is  still  young, 
and  she  is  alive  to  the  interests  and  pas- 
sions of  youth.  She  should  be  allowed  to 
play  light  comedy  and  purely  romantic 
roles,  as  well.  It  is  wrong  to  age  her  before 
her  years,  worse  still  to  type  her  as  a  one- 
role  actress.  She  is  a  beautiful  girl  who 
should  be  allowed  to  be  herself,  to  laugh, 
and  love  her  way  into  her  audience's 
heart.— Jack  Miller,  Oak  Park,  111. 


82 


MODERN  SCREEN 


^^^^^ 


THOUGHTS 

prizes  given  each  month! 


There's  Much  In  a  Name 

In  fairness  to  the  supporting  cast  of 
pictures  I  think  that,  after  the  screen 
story  is  finished,  the  list  of  players  should 
be  repeated.  Many  times  there's  been 
some  marvelous  acting  by  a  bit  player 
whose  name  I'll  never  know.  I  think  we 
often  give  credit  to  the  stars  when  it 
was  really  a  "little  miss  nobody"  who 
put  the  show  over. 

You  know  how  a  machine  wheel  re- 
volves around  and  around.  The  little 
gadgets  responsible  for  the  turning  of  the 
wheel  are  somewhere  in  the  background, 
out  of  our  view.  So  it  is  with  bit  players. 
Perhaps,  if  we  knew  their  names,  we 
could  sort  of  make  our  own  "discov- 
eries."— Jeanne  A.  Coggins,  Upper  Darby, 
Penna. 

Fair  Enough 

Thank  you  M-G-M  for  "The  Women." 
Personally,  I  think  it  drew  more  women 
than  men.  When  I  saw  the  picture,  the 
theatre  was  packed  with  women.  Curios- 
ity, of  course!  The  men  more  or  less 
thought  they  knew  us  without  seeing  it. 
Rosalind  Russell  surely  stole  the  show. 
I  sat  on  edge  during  the  entire  picture, 
waiting  for  her  appearances. 

Now,  M-G-M,  if  you  want  to  please 
the  women  tremendously,  why  not  give 
us,  "The  Men?"  Most  men  try  to  con- 
vince us  they  never  think  of  women, 
much  less  talk  about  them  to  each  other. 
We  know  better,  and  so  do  you.  It  will 
draw  every  wife,  husband  and  sweet- 
heart. Come  on  M-G-M,  please! — Mary 
Fansler,  Knoxville,  Tenn. 


wlINIT 

for  the 

BATH 


wish  a  cupful  or  more  of 
Linit  in  your  tub  of  warm  water 
— step  in — and  relax  for  fifteen 
minutes.  You  will  find  yourself 
enjoying  this  delightful  Linit 
Bath.  It  gives  the  body  the feeling 
of  being  rejreshed  and  rested. 
And  the  cost  of  Linit  is  trifling. 


MASK 

frnthl  FACE 


BATH 


MODERN  SCREEN 


THIS  HAS 
BEEN  EASY 


FOR  28 
YEARS 


28  years  ago,  a  powdered  chemical 
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Just  sprinkle  in  a  little  of  this  odor- 
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lain glistens.  Even  the  hidden  trap  is 
cleaned.  Sani-Flush  cannot  injure 
plumbing  connections.  (Also  effective 
for  cleaning  out  automobile  radiators.) 
See  directions  on  can.  Sold  by  grocery, 
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10c  and  25c  sizes.  The  Hygienic  Prod- 
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Sam-Flush 

CLEANS  TOILET  BOWLS 
WITHOUT  SCOURING 


High  School  Course 

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Many  Finish  in  2  Years 


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War  Films 

Your  January  issue  carried  a  reader's 
viewpoint  on  war  films.  I'd  like  to  an- 
swer that  letter. 

I  think  Hollywood  is  doing  the  right 
thing  by  showing  war  films.  If  we  had 
always  kept  the  true  picture  of  things 
before  us,  sentiment  would  now  have 
had  war  whipped  at  its  own  game. 

I  was  just  a  youngster  during  the 
World  War,  and  due  to  all  the  glorious 
things  I  learned  about  war — in  speeches, 
song  and  story — I  thought  it  would  be 
great  stuff  to  wear  a  uniform,  carry  a 
gun  and  fight  for  glory.  I  wasn't  shown 
torn  bodies,  blinded  eyes,  diseased  forms, 
the  creeping  death  of  gas,  and  the  in- 
sane minds  of  men  who  knew  the  horror. 
I,  and  men  everywhere,  felt  the  poison 
of  the  propaganda  seep  into  our  systems 
and  then  suddenly  we,  too,  were  shout- 
ing, flag-waving  lunatics  in  the  mael- 
strom. 

Now  we  know  better.  Realism  of  mod- 
ern thought  in  story  and  film  shows 
us  Truth.  Enough  of  that  and  some 
day  war  will  become  the  outlaw  it 
should  be.  Yes,  Hollywood  certainly  is 
doing  the  right  thing  in  showing  us 
what  we  should  fear  so  we  can  take  steps 
to  ward  it  off. 

Maybe  it  wouldn't  be  so  pleasant  to 
see  Lew  Ayres  shot  down  by  a  ma- 
chine gun;  but  even  so,  you  know  it's 
only  a  story.  In  real  warfare,  it  might 
be  your  boy  or  mine. — Clyde  J.  Ogden, 
Martins  Ferry,  Ohio. 

Pet  Peeves 

When  I  attend  a  movie  play 
These  are  the  pests  I  want  to  slay: 
The  girlies  who  attend  the  shows 
To  talk  about  their  latest  beaux; 
The  one  who  saw  the  show  twice  through 
And  tells  you  what  everyone's  going  to 
do; 

The  giggly  little  star-eyed  dear 
Who  pops  her  gum  right  in  your  ear; 
The  man  who  hums  all  through  a  song — 
He  ought  to  get  the  Major's  gong! 
The  pest  who  wriggles  like  a  worm 
And  blocks  your  view  at  every  turn; 
The  girl  with  Fiji  Island  hair 
(Thank  goodness  for  the  heads  grown 
bare!) 

The  kid  with  gooey  Jollipop 
Who  parks  it  in  your  curly  mop; 
The  ice  cream  smackers,  candy  crunch- 
ers, 

Popcorn  crackers,  peanut  munchers. 
Please  tar  and  feather  all  these  bores — 
And  don't  forget  the  man  who  snores! 

— Cora  May  Preble,  Compton,  Cal. 

Here's  To  Youth! 

Let  Hollywood  concoct  all  of  the 
socially  significant  sagas  and  elaborate 
extravaganzas  it  can  afford,  I'll  still  con- 
tend that  the  often  "under-publicized" 
films  that  gayly  portray  youth  at  its  mer- 
riest really  provide  the  best  entertain- 
ment. 

After  all,  youth  must  have  its  fling,  and 
a  picture  that  portrays  the  young  things 
as  they  really  are,  is  as  priceless  as  the 
rarest  gem.  In  this  supposedly  wonder- 
ful world  of  ours,  why  should  all  the 
modern  screen  fare  be  devoted  to  the 
struggles  and  hardships  of  life,  omitting 
all  its  gayety?  Everyday  troubles  are 
abundant  enough  without  accentuating 
them  on  the  screen. 

And  what  cinematic  years  these  are 
for  the  younger  generation!  With  such 
a  variety  of  youthful,  vibrant  personali- 
ties as  Judy  Garland,  Mickey  Rooney, 
Deanna  Durbin,  Robert  Stack,  Ann 
Rutherford,  Lana  Turner,  and  others  to 


carry  you  gayly  through  a  mad- cap  mix- 
up  of  first  loves  and  college  romances, 
you  just  can't  become  bored — that  is,  if 
you've  ever  been  young,  yourself. 

So  here's  to  youth  and  wholesome  en- 
tertainment!— Chan  Clarkson,  Portland, 
Ore. 

Drums  Along  the  Mohawk 

Two  weeks  have  passed  and  I'm  still 
thinking  of  "Drums  Along  The  Mohawk." 
It  impressed  me  so  greatly  because  it 
was  true  to  fact.  I  have  seen  and  en- 
joyed many  historical  pictures,  but  this 
one  I  lived. 

I  actually  felt  cold  and  tired  when  the 
couple  arrived  at  their  cabin  (for  once 
the  heroine's  hair  really  looked  a  mess). 
The  light  and  humorous  parts  made  this 
serious  story  seem  even  more  realistic. 
As  a  study  of  early  American  furniture 
alone,  it  would  be  worth  seeing  again. 

I  think  people  welcome  the  historical 
pictures,  as  they  not  only  offer  good  en- 
tertainment but  a  better  understanding 
and  appreciation  of  life  today.  Seeing 
the  struggles  of  the  past  makes  the  prob- 
lems of  this  age  mean  a  great  deal  more. 
—Mrs.  Don  E.  Sears,  Ashland,  Ore. 

That  Turner  Girl 

I  was  getting  so  fed  up  with  glamour 
girls  that  sometimes  I  was  tempted  to  do 
like  the  ostrich  and  bury  my  head  in 
the  sand.  But  I'll  have  to  eat  my  threat 
now  because  I've  been  jolted  out  of  my 
boredom  by  a  pretty  lass  who  has,  be- 
sides beauty  and  talent,  an  exhilarating 
freshness  that  comes  from  within.  Her 
name  is  Lana  Turner  and  if  ever  a  star 
deserves  orchids,  she's  one. 

She  has  glamour  but  it's  the  youthful, 
natural  type  (Allah  be  praised)  and  not 
the  heavy-lidded,  slinky  type. 

The  top  of  the  ladder  of  fame  shouldn't 
be  far  away  for  lovely  Lana  Turner.  She 
positively  sparkles! — Mrs.  Sterling  Pel- 
frey,  Frankfort,  Ky. 


WRITE  A  LETTER- 
WIN  A  PRIZE 

So  you've  just  left  a  movie  and  are 
bursting  to  tell  the  world  about  it! 
Fans,  take  pen  and  paper  and  speak 
your  piece!  Was  it  the  best  one 
you've  ever  seen?  Was  it  the  poorest 
you've  ever  sat  through?  Did  some 
newcomer  give  you  the  thrill  of  "dis- 
covering a  star?"  Was  it  a  supporting 
role  of  a  veteran  that  entranced  you? 
All  the  fans  in  the  country  are  curious 
to  know  what  you're  thinking.  You 
have  your  favorites  and  pet  peeves 
and  so  have  they.  They'll  argue  with 
you.  but  that's  the  fun!  Then,  too, 
there's  the  chance  of  winning  a  $1.00 
prize  awarded  each  month  to  ten 
writers  of  the  most  original  and  in- 
teresting letters.  Just  one  thing — we 
expect  you  to  play  fair  with  us  and 
not  copy  or  adapt  letters  or  poems  al- 
ready published.  This  is  plagiarism 
and  will  be  prosecuted  as  such.  Send 
your  letter  or  poem  to:  A  Dollar  For 
Your  Thoughts,  Modern  Screen,  149 
Madison    Ave.,    New    York,    N.  Y. 


84 


IT'S  NO  FUN 
KISSING 

(Continued  from  page  27) 


"I  wasn't  afraid  of  the  other  scenes. 
The  character  I  was  playing  was  a  pretty 
average  guy,  who  did  pretty  average 
things.  If  I  was  myself  as  much  as 
possible,  I  might  look  natural  enough 
to  get  by.  But  the  love  scenes  scared  me 
stiff.  I  couldn't  see  myself  looking  nat- 
ural in  those. 

"Director  Wesley  Ruggles  began  to 
give  up  hope,  too,  after  about  the  fifth 
take  on  the  first  one.  He  said,  'Let's  try 
it  sitting  down  on  a  bench,  instead  of 
standing  up.'  That  helped  a  little;  I 
didn't  feel  so  overgrown,  sitting  down. 
But  I  still  didn't  know  what  to  do  with 
my  hands.  He  sent  out  for  some  popcorn 
and  told  me  to  dive  into  it.  Maybe  you 
remember  the  scene.  I  proposed  to 
Claudette  between  mouthfuls  of  popcorn. 

"It  turned  out  all  right.  I've  taken  a 
cue  from  that.  I've  eaten  my  way 
through  love  scenes  ever  since,  any  time 
I  could.  If  I  can  hold  hands  with  the 
heroine  across  a  table,  I  can  be  sure  of 
one  thing — nobody  can  see  my  knees 
shaking." 

HE'S  kidding,  saying  his  self-con- 
sciousness, now,  is  the  knee -shak- 
ing kind.  But  it's  still  pretty  bad.  Do 
the  glamour  girls  make  it  so  difficult  to 
relax  in  their  company? 

"The  girls  don't  make  life  difficult.  I 
get  along  with  them  all  right.  The  only 
person  I've  ever  had  trouble  with  is 
myself.  This  guy  MacMurray  just  won't 
let  me  enjoy  getting  emotional  in  public. 
Even  though  I'm  paid  right  handsomely 
for  it,  it's  no  fun  kissing — on  the  screen. 

"Of  course,"  Fred  adds,  "some  of  the 
girls  make  life  easier  than  others.  Claud- 
ette, for  example.  I  went  into  those  first 
love  scenes,  frozen  with  fright.  She  went 
to  the  trouble  of  trying  to  thaw  me  out. 
It  probably  would  have  been  simpler  to 
get  a  new  leading  man — one,  for  exam- 
ple, who  knew  where  to  place  his  hands 
in  an  embrace,  without  being  shown.  To 
give  you  an  idea  of  how  practically 
hopeless  I  was,  she  started  one  rehearsal 
by  giving  me  a  good-natured  shake. 
'Fred,'  she  said,  'you've  got  to  give  more. 
You're  in  the  movies  now.'  I  don't  know 
if  I  did  any  acting  or  not.  But  with 
Claudette  putting  so  much  feeling  into 
the  scenes,  I  at  least  did  some  reacting. 

"Claudette  believes  in  realism.  She 
likes  to  be  held  the  way  a  man  really  in 
love  with  her  would  hold  her.  Some  of 
the  other  girls — I  won't  mention  names — 
are  cooler  in  the  clinches.  They're 
worrying  more  about  their  wardrobe 
than  they  are  about  realism.  Either  way 
is  all  right  with  me — just  so  long  as  I 
get  it  over  with  in  one  take.  I'm  One- 
Take-MacMurray,  if  possible,  when  it 
comes  to  love  scenes." 

"Kissing  Joan  Bennett  is  something 
like  kissing  your  first  girl.  You  don't 
crush  her  in  your  arms.  You're  gentle 
with  her.  She  brings  out  the  protective 
instinct.  Maybe  intentionally;  maybe 
not;  I  don't  know.  All  I  know  is  that 
she  is  inclined  to  be  passive.  Between 
scenes,  she  knits  by  the  hour.  And  when 
you  hold  her  in  your  arms,  you  have 
the  feeling  that  she's  hoping  she  can  get 
back  to  her  knitting  soon. 

"Katharine  Hepburn  is  supposed  to  be 
difficult  to  work  with.  I  didn't  find  her 
difficult.  I  simply  found  her  more  ana- 
lytical than  any  other  star  I've  worked 
(Continued  on  page  94) 


a  ^tej&4\  Qui  , . . 


...  at  winter  sports  who  bundles  up  in  clothes  as  thick 
as  a  mattress!  Those  who  know  wear  outfits  that  aren't 
hampering. . .choose  clothes  expertly  designed  to 
protect,  without  being  bulky ! 

For  the  same  reason,  girls  who  know  choose  Kotex 
sanitary  napkins.  Made  in  soft,  smooth  folds  (with 
more  material  where  needed  .  .  .  less  in  the  non-effec- 
tive portions  of  the  pad),  the  New  Kotex  is  naturally 
less  bulky  than  pads  made  with  loose,  wadded  fillers. 
Less  apt  to  chafe,  too . . .  for  Kotex  is  entirely  sheathed 
in  cotton,  before  it's  wrapped  in  gauze! 


V 
Y'i 


To  guard  pearls  and  pins  — some 
smart  person  designed  the  modern  safety 
clasp ...  m 

And  to  guard  your  peace  of  mind,  the 
makers  of  Kotex  now  put  a  moisture- 
resistant  panel  between  the  soft  folds  of 
every  Kotex  pad!  Then  ...  to  eliminate 
tell-tale  bulges . . .  Kotex  gives  you  tapered, 
pressed  ends!  Think!  ...  No  thick,  stubby 
ends  to  make  embarrassing  outlines! 
Kotex  ends  are  invisible  (and  patented)! 


Kotex*  comes  in  3  sizes,  too!  Super 
—  Regular— Junior.  Kotex  is  the  only  dis- 
posable sanitary  napkin  that  offers  you  a 
choice  of  3  different  sizes!  (So  you  may 
vary  the  size  pad  according  to  each  day's 
needs!)  .  .  .  All  3  sizes  have  soft,  folded 
centers  .  .  .  flat,  tapered  ends  . . .  and 
moisture -resistant  "safety  panels."  All  3 
sizes  sell  for  the  same  low  price! 


FEEL  ITS  NEW  SOFTNESS 
PROVE  ITS  NEW  SAFETY 
COMPARE  ITS  NEW,  FLATTER  ENDS 


MODERN  SCREEN 


(Continued  from  page  12) 


SCREEN  NAME 

nrm    m  a  rip 

REAL  NAME 

ninTiim  a  or 

BIRTHPLACE 

BIRTHDATE 

HEIGHT  WEIGHT  EYES 

HAIR  EDUCATION 

Joyce,  Brenda 

Graftina  Leabo 

Kansas  City,  Mo. 

Feb. 

25, 

1916 

5'  4" 

112 

Brown  Blonde  Univ.  of  So.  California 

Karlofi,  Boris 

Charles  Pratt 

Dulwich,  England 

Nov. 

23, 

1887 

6'  0" 

175 

Grey 

Brown  King's  College,  Eng. 

Kelly,  Nancy 

Nancy  Kelly 

Lowell,  Mass. 

Mar. 

25, 

1921 

5'  5" 

113 

Brown  Brown  Private  Schools 

Kelly,  Patsy 

Veronica  Kelly 

Brooklyn,  N.  Y. 

Jan. 

12, 

1910 

5'  4" 

134 

Brown  Brown  St.  Patrick's  School 

Kelly,  Paul 

Paul  Kelly 

Brooklyn,  N.  Y. 

Aug. 

9, 

1902 

5'  11" 

165 

Brown  Brown  Public  School 

Kent,  Robert 

Robert  Blackley 

Hartford,  Conn. 

Dec. 

3, 

1912 

6'  0" 

170 

Blue 

Brown  High  School 

Kibbee,  Guy 

Guy  Kibbee 

El  Paso,  Texas 

Mar. 

6, 

1883 

5'  10" 

200 

Grey 

Grey     Public  School 

Kilburn,  Terry 

Terry  Kilburn 

London,  England 

Nov. 

25, 

1926 

4'  8" 

95 

Grey 

Brown  Studio  School 

Korjus,  Miliza 

Miliza  Korjus 

Warsaw,  Poland 

Aug. 

18, 

1902 

5'  8" 

130 

Blue 

Blonde  Private  Schools 

Kruger,  Otto 

Otto  Kruger 

Toledo,  Ohio 

Sept. 

6, 

1885 

5' 9" 

130 

Grey 

Brown  Univ.  of  Michigan 

Lake,  Arthur 

Arthur  Silverlake 

Corbin,  Kentucky 

Apr.  17, 

1914 

6'  0" 

169 

Blue 

Brown  Private  Tutors 

Lamarr,  Hedy 

Hedwig  Kiesler 

Vienna,  Austria 

Nov. 

9, 

1915 

5' 7" 

130 

Blue 

Black    Private  Schools 

Lamour,  Dorothy 

Dorothy  Slaton 

New  Orleans,  La. 

Dec. 

10, 

1914 

5'  5" 

117 

Grey 

Black    High  School 

Lane,  Lola 

Dorothy  Mullican 

Macy,  Indiana 

May 

22, 

1912 

5'  3" 

117 

Violet 

Brown  Simpson  College 

Lane,  Priscilla 

Priscilla  Mullican 

Indianola,  Iowa 

June  12, 

1917 

5'  2y2" 

102 

Blue 

Blonde  High  School 

Lane,  Rosemary 

Rosemary  Mullican 

Indianola,  Iowa 

Apr. 

4, 

1916 

5'  4" 

106 

Violet 

Blonde  Simpson  College 

Laughton,  Charles 

Charles  Laughton 

Scarborough,  Eng. 

July 

1, 

1899 

5'  10%' 

190 

Grey 

Brown  Royal  Academy 

Lederer,  Francis 

Frantesek  Ornstein 

Prague,  Czech. 

Nov. 

6, 

1906 

6'  0" 

170 

Brown  Brown  Prague  Academy 

Lee,  Carolyn 

Carolyn  Copp 

Columbus,  Ohio 

June 

5, 

1935 

3' 21/2" 

36 

Hazel 

Brown 

Leeds,  Andrea 

Antoinette  Lees 

Butte,  Montana 

Aug. 

18, 

1914 

5'  4" 

112 

Brown 

Brown  Univ.  of  California 

Leigh,  Vivien 

Vivien  Hartley 

Darjeeling,  India 

Nov. 

5, 

1913 

5'  3" 

102 

Green 

Brown  Private  Schools 

Linden,  Eric 

Eric  Linden 

New  York,  N.  Y. 

Sept.  15, 

1909 

5'  9" 

140 

Brown 

Brown  Columbia  University 

Lindsay,  Margaret 

Margaret  Kies 

Dubuque,  Iowa 

Sept. 

9, 

1910 

5' 5" 

110 

Hazel 

Brown  National  Park  Sem. 

Litel,  John 

John  Litel 

Albany,  Wis. 

Dec. 

10, 

1894 

5'  11" 

180 

Hazel 

Brown  Univ.  of  Pennsylvania 

Livingston,  Bob 

Robert  Randall 

Quincy,  111. 

Dec. 

8, 

1908 

6'  0" 

180 

Green 

Black    High  School 

Lockwood,  Margaret  Margaret  Lockwood 

Karachi,  India 

Sept.  15, 

1914 

5'  51/2" 

121 

Green 

Brown  Royal  Academy 

Logan,  Ella 

Ella  Logan 

Glasgow,  Scotland 

Mar. 

6, 

1913 

5'  0" 

105 

Brown 

Black    Public  School 

Lombard,  Carole 

Jane  Peters 

Fort  Wayne,  Ind. 

Oct. 

6, 

1909 

5'  41/2" 

112 

Blue 

Blonde  High  School 

Lorre,  Peter 

Peter  Lorre 

Rosenberg,  Hungary 

June  26, 

1904 

5' 5"  . 

160 

Brown  Brown  High  School 

Louise,  Anita 

Anita  Louise  Fremalt 

New  York,  N.  Y. 

Jan. 

9, 

1915 

5'  31/2" 

106 

Blue 

Blonde  Private  School 

Lowe,  Edmund 

Edmund  Lowe 

San  Jose,  Cal. 

Mar. 

3, 

1895 

6'  0" 

165 

Blue 

Brown  Santa  Clara  Univ. 

Loy,  Myrna 

Myrna  Williams 

Helena,  Montana 

Aug. 

2, 

1905 

5' 6" 

110 

Green 

Titian   Private  Schools 

Lugosi,  Bela 

Bela  Lugosi  Blasko 

Lugos,  Hungary 

Oct. 

20, 

1888 

5'1" 

167 

Grey 

Brown  Private  School 

Lukas,  Paul 

Paul  Lukas 

Budapest,  Hungary 

May  26, 

1891 

6'  2" 

182 

Brown 

Brown  Colleges  in  Hungary 

Lundigan,  William 

William  Lundigan 

Syracuse,  New  York 

June  12, 

1914 

6'  2" 

170 

Blue 

Brown  Syracuse  University 

Lupino,  Ida 

Ida  Lupino 

Brixton,  England 

Jan. 

1, 

1914 

5'  6" 

110 

Violet 

Blonde  Royal  Academy 

Lynn,  Jeffrey 

Ragnar  Godfrey  Lind 

Auburn,  Mass. 

Feb. 

16, 

1909 

6'  0" 

158 

Blue 

Brown  Bates  College 

Lynn,  Leni 

Angelina  Ciofani 

Waterbury,  Conn. 

May 

3, 

1925 

5'  1" 

100 

Brown 

Brown  High  School 

Lys,  Lya 

Natalia  Lescht 

Berlin,  Germany 

May 

18, 

1913 

5'  4" 

108 

Blue 

Blonde  Sorbonne  Lyceum 

MacDonald,  Jeanette 

Jeanette  MacDonald 

Philadelphia,  Pa. 

June 

18, 

1907 

5'  5" 

120 

Green 

Red      Public  School 

MacMurray,  Fred 

Fred  MacMurray 

Kankakee,  111. 

Aug. 

30, 

1908 

6'  31/2" 

185 

Brown 

Brown  Carroll  College 

Mahan,  Billy 

William  Mahan 

Port  Townsend,  Wash.  July 

9, 

1930 

4'  y2" 

48i/2 

Blue 

Blonde  Public  School 

March,  Fredric 

Frederick  Bickel 

Racine,  Wis. 

Aug. 

31, 

1897 

6'  0" 

175" 

Brown 

Brown  Univ.  of  Wisconsin 

Marshall,  Brenda 

Ardis  Ankerson 

Isl.  of  Negros,  Phil.  lis 

Sept.  29, 

1915 

5'  3" 

108 

Hazel 

Brown  Texas  State  College 

Marshall,  Herbert 

Herbert  Marshall 

London,  England 

May 

23, 

1893 

5'  10" 

155 

Brown  Black    St.  Mary's  College 

Martin,  Mary 

Mary  Martin 

Weatherford,  Texas 

Dec. 

1, 

1914 

5'  41/2" 

112 

Brown  Brown  Univ.  of  Texas 

Martin,  Tony 

Alfred  Morris 

Oakland,  Calif. 

Dec. 

25, 

1912 

6'  0" 

175 

Brown 

Black    St.  Mary's  College 

Marx,  Chico 

Leonard  Marx 

New  York,  N.  Y. 

Mar. 

22, 

1891 

5'  6" 

135 

Brown  Brown  Public  School 

Marx,  Groucho 

Julius  Marx 

New  York,  N.  Y. 

Oct. 

21, 

1895 

5' 7" 

155 

Brown  Black    Public  School 

Marx,  Harpo 

Arthur  Marx 

New  York,  N.  Y. 

Nov. 

23, 

1893 

5'  7" 

140 

Brown 

Brown  Public  School 

Massen,  Osa 

Osa  Massen 

Copenhagen,  Den. 

Jan. 

13, 

1916 

5'  41/2" 

116 

Green 

Brown  High  School 

Massey,  Ilona 

Ilona  Haymassey 

Budapest,  Hungary 

July 

5, 

1912 

5'  6" 

122 

Blue 

Blonde  High  School 

Massey,  Raymond 

Raymond  Massey 

Toronto,  Canada 

Aug. 

30, 

1896 

6'  2" 

158 

Brown 

Black    Oxford  University1 

McCrea,  Joel 

Joel  McCrea 

So.  Pasadena,  Cal. 

Nov. 

5, 

1905 

6'  2" 

185 

Blue 

Brown  Pomona  College 

McHugh,  Frank 

Frank  McHugh 

Homestead,  Pa. 

May 

23, 

1899 

5' 7" 

147 

Blue 

Brown  High  School 

McLaglen,  Victor 

Victor  McLaglen 

Tunbridge  Wells,  Eng 

.Dec. 

11, 

1886 

6' 3" 

225 

Brown 

Brown  Public  School 

McPhail,  Douglas 

Douglas  McPhail 

Los  Angeles,  Cal. 

Apr. 

16, 

1910 

6'0" 

170 

Blue 

Blonde  Santa  Monica  Jr.  Col 

Menjou,  Adolphe 

Adolphe  Menjou 

Pittsburgh,  Pa. 

Feb. 

18, 

1890 

5'  9" 

153 

Blue 

Brown  Cornell  University 

Meredith,  Burgess 

Oliver  B.  Meredith 

Lakewood,  Ohio 

Nov. 

16, 

1908 

5'  81/2" 

135 

Blue 

Brown  Amherst  College 

Merkel,  Una 

Una  Merkel 

Covington,  Ky. 

Dec. 

10, 

1903 

5'  4" 

112 

Blue 

Blonde  High  School 

Milland,  Ray 

Ray  Mullane 

Neath,  Wales 

Jan. 

3, 

1907 

6'  1/2" 

170 

Hazel 

Brown  King's  College 

Miranda,  Isa 

Ines  Sampietro 

Milan,  Italy 

July 

5, 

1915 

5'  6" 

121 

Brown 

Blonde  High  School 

Montgomery,  DouglasDouglas  Montgomery 

Los  Angeles,  Cal. 

Oct. 

29, 

1908 

5'  11% 

'  176 

Brown  Brown  High  School 

Montgomery,  Robert  Henry  Montgomery,  Jr. Beacon,  N.  Y. 

May 

21, 

1904 

6'  1" 

165 

Blue 

Brown  Private  Schools 

Moore,  Constance 

Constance  Moore 

Sioux  City,  Iowa 

Jan. 

18, 

1920 

5'  4" 

110 

Blue 

Brown  Private  Schools 

Moore,  Victor 

Victor  Moore 

Hammonton,  N.  J. 

Feb. 

24, 

1876 

5' 7" 

190 

Brown 

Brown  Public  School 

Morgan,  Dennis 

Stanley  Morner 

Prentice,  Wis. 

Dec. 

20, 

1910 

6'  2" 

195 

Blue 

Brown  Carroll  College 

Morgan,  Frank 

Francis  Wupperman 

New  York,  N.  Y. 

June 

1, 

1890 

6' 1" 

190 

Grey 

Brown  Cornell  University 

Morris,  Chester 

Chester  Morris 

New  York,  N.  Y. 

Feb. 

16, 

1901 

5'  9" 

155 

Green 

Black    High  School 

Morris,  Wayne 

Bert  DeWayne  Morris  Los  Angeles,  Cal. 

Feb. 

17, 

1914 

6'  2" 

190 

Blue 

Blonde  Los  Angeles  Jr.  Col. 

Mowbray,  Alan 

Alan  Mowbray 

London,  England 

Aug.  18, 

1896 

6'  0" 

158 

Grey 

Brown  Public  School 

Muni,  Paul 

Muni  Weisenfreund 

Vienna,  Austria 

Sept.  22, 

1897 

5'  10" 

165 

Black 

Black    Public  School 

86 


MODERN  SCREEN 


SCREEN  NAME 

Murphy,  George 
Nagel,  Anne 
Naish,  J.  Carrol 
Neagle,  Anna 
Niven,  David 
Nolan,  Lloyd 
Oakie,  Jack 
Oberon,  Merle 
O'Brien,  George 
O'Brien,  Pat 
O'Keefe,  Dennis 
Olivier,  Laurence 
O'Neil,  Barbara 
O 'Sullivan,  Maureen 
Overman,  Lynne 
Page,  Gale 
Parker,  Cecilia 
Parker,  Jean 
Parrish,  Helen 
Patrick,  Gail 
Payne,  John 
Pendleton,  Nat 
Pidgeon,  Walter 
Powell,  Dick 
Powell,  Eleanor 
Powell,  Lee 
Powell,  William 
Power,  Tyrone 
Preston,  Robert 
Price,  Vincent 
Prouty,  Jed 
Quinn,  Anthony 
Raft,  George 
Rainer,  Luise 


REAL  NAME 

George  Murphy 
Ann  Dolan 
J.  Carrol  Naish 
Marjorie  Robertson 
David  Niven 
Lloyd  Nolan 
Leis  D.  Offield 
Estelle  Thompson 
George  O'Brien 
William  O'Brien 
Bud  Flannigan 
Laurence  Olivier 
Barbara  O'Neil 
Maureen  O'Sullivan 
Lynne  Overman 
Sally  Perkins  Rutter 
Cecilia  Parker 
Mae  Green 
Helen  Parrish 
Margaret  Fitzpatrick 
John  Payne 
Nat  Pendleton 
Walter  Pidgeon 
Richard  Powell 
Eleanor  Powell 
Lee  Powell 
William  Powell 
Tyrone  Power 
Robert  Meservey 
Vincent  Price 
Jed  Prouty 
Anthony  Quinn 
George  Ranft 
Luise  Rainer 


BIRTHPLACE  BIRTHDATE  HEIGHT  WEIGHT  EYES 

New  Haven,  Conn.  July    4,  1903  5'  11"  178  Blue 

Boston,  Mass.  Sept.  30,  1912  5'  6"  112  Blue 

New  York,  N.  Y.  Jan.  21,  1900  5'  9%"  152  Brown 

London,  England  Oct.   20,  1908  5'  5"  120  Blue 

Kirriemuire,  Scotland  Mar.    1,  1909  6'  0"  170  Blue 

San  Francisco,  Cal.  Aug.  11,  1904  5'  10V2"  184  Brown 

Sedalia,  Mo.  Nov.  12,  1903  5'  11"  170  Blue 

Tasmania,  Australia  Feb.  19,  1911  5'  2"  112  Green 

San  Francisco,  Cal.  Apr.  19,  1900  6'  1"  200  Brown 

Milwaukee,  Wis.  Nov.  11,  1899  5'  11"  199  Blue 

Fort  Madison,  Iowa  Mar.  29,  1912  6' 2"  175  Blue 

Dorking,  England  May  22,  1907  5' 10"  165  Brown 

St.  Louis,  Mo.  July  10,  1910  5'  6"  125  Brown 

Boyle,  Ireland  May  17,  1911  5'  3y2"  116  Blue 

Maryville,  Mo.  Sept.  19,  1887  5' 11 V2"  142  Blue 

Spokane,  Wash.  July  23,  1913  5'  5"  116  Brown 

Fort  William,  Can.  Apr.  26,  1905  5'  3V2"  108  Hazel 

Deer  Lodge,  Mont.  Aug.  11,  1916  5'  3"  105  Green 

Columbus,  Ga.  Mar.  12,  1923  5' 3"  110  Green 

Birmingham,  Ala.  June  20,  1912  5'  7"  120  Brown 

Roanoke,  Va.  May  28,  1912  6'  2"  175  Green 

Davenport,  Iowa  Aug.    9,  1899  6'  0"  200  Hazel  _ 

East  St.  John,  Can.  Sept.  23,  1898  6'  2"  190  Grey  " 

Mt.  View,  Ark.  Nov.  14,  1904  6'  0"  172  Blue 

Springfield,  Mass.  Nov.  21,  1913  5'  5%"  122  Blue 

Long  Beach,  Cal.  May  15,  1908  6'  2"  190  Hazel 

Pittsburgh,  Pa.  July  29,  1892  6' 2"  168  Brown 

Cincinnati,  Ohio  May    5,  1914  5' 11"  155  Brown 

Newton,  Mass.  June  8,  1917  6'  0"  175  Brown 

St.  Louis,  Mo.  May  27,  1911  6'  4"  180  Blue 

Boston,  Mass.  Apr.    6,  1886  5' 6"  170  Brown 

Chihuahua,  Mexico  Apr.  21,  1915  6' 2"  192  Brown 

New  York,  N.  Y.  Sept.  27,  1904  5'  10"  155  Brown 

Berlin,  Germany  Jan.  12,  1910  5' 3"  102  Brown 


HAIR  EDUCATION 

Brown  Yale  University 
Brown  Private  Schools 
Black    Private  Schools 
Blonde  Private  Schools 
Brown  Royal  Military  Acad. 
Brown  Stanford  University 
Brown  High  School 
Brown  La  Martimere  College 
Brown  Santa  Clara  College 
Brown  Marquette  University 
Blonde  High  School 
Brown  St.  Edward's  School 
Brown  Private  School 
Brown  Private  School 
Blonde  University  of  Missouri 
Brown  Private  Schools 
Blonde  Private  Schools 
Brown  High  School 
Brown  High  School 
Black    Howard  College 
Brown  Columbia  College 
Brown  Columbia  College 
Black    Public  School 
Brown  Little  Rock  College 
Brown  Public  School 
Black    Long  Beach  Jr.  Col. 
Brown  Public  School 
Brown  Public  Schools 
Brown  High  School 
Brown  Yale  University 
Black    Public  School 
Brown  Public  Schools 
Black    Private  School 
Black    Private  School 
•      (Continued  on  page  89) 


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OUR  PUZZLE  PAGE 


4-8 

19 

33 

St 

Puzzle  Solution  on  Page  100 


ACROSS 


&  8.  Star  of  this  puzzle 
.  Gene  Raymond's  wife 
Jane  Wyman's  job  in  the 
"Torchy  Blane"  series 
Kind  of  movie  light 

"  ie  Oakley" 

Self 

 Rogers 

Our  English  stars'  fa- 
vorite beverage 
Any  article  used  in  a  film 
Atmosphere 
Star  of  "Hollywood 
Cavalcade" 

Opposite  1  across  in 
"Remember  The  Night" 
Dorothy  Lamour  is  one 
Japanese  stringed  in- 
strument 
Chills 

Male  lead  in  "On  Your 

Toes" 

Devil 

Star  of  "Our  Leading 

Citizen" 

Eager 

Dolores  Rio 

Starlet  :  Veda  Ann  

Garden  plant 
First  name  of  our  star's 
husband 
Depressed 
By  birth 
Corrects 
Diving  bird 
Ornamental  spire 
Femme  lead  in  "Adven- 
ture In  Diamonds" 

Mary  M  in 

The  reel  McCoy 

Circle 

Heaven 

Male  lead  in  "Vigil  In 
The  Night" 

Daughters  of  one's' 
brother  or  sister 
Resounded 
Priest's  vestment 
West  Indian  plant 
Executioner  in  "Tower 
of  London" 
Deanna's  aspiration 
Small  insects 
Slave 


82. 

84. 
86. 

87. 
88. 
90. 
91. 
92. 
93. 
94. 
96. 

97. 

100. 
103. 

104. 


Our  star's  real  name : 

Ruby  

"Ninotchka" 

Very  first  male  Academy 

Award  winner 

Exclamation  of  disgust 

Concluded 

Adrienne  

Fifty-four  :  Rom.  num. 
B  -  -  -  ara  O'NeU 
Color  of  our  star's  hair 
Wrath 

Olympe  Bradna's  father 
in  "Happy  Ending" 
Heroine  of  "The  Roar- 
ing Twenties" 
Wife  of  Tyrone  Power 
That  which  gives  com- 
fort 

Small  stones 


DOWN 


10. 

n. 

12. 
13. 

14, 
IS. 
16. 
17. 
19. 
23. 
27. 
29. 
30. 
31. 
33. 
35. 


Heroine  of  "The  Saint 
Strikes  Back" 
Concede 

Star  of  "Goodbye  Mr. 
Chips"  :  init. 
Serpent 

Our  star's  daughter  in 
"Stella  Dallas" 
Raves 

Ritz  brother  in  "Pack 
Up  Your  Troubles" 
Standing  Room  Only 
"In--rnes  Can't  Take 
Money" 

Protective  garment 
against  grime 
Midday 
Twisted 

Chemical  symbol  for 

yttrium 

Tropical  fruit 

Bends  down 

Charts 

Considered 

Runs  about 

Soot 

Foot  lever 
Possessed 

"Gol  Boy" 

Falsify 

Leading  man  in  "Raffles" 
 Lesser 


36. 
38. 
40. 
42. 
44. 

45. 

46. 


49. 
50. 
54. 


59. 
60. 


61. 

62. 
63. 
66. 


70. 
71. 
72. 

74. 
75. 

76. 
77. 

79. 
80. 
81. 
82. 
83. 
85. 

87. 


92. 
93. 
95. 
98. 
99. 

101. 
102. 


Restrains 
Ireland  :  var. 
Volume 
Tint 

"  ther  Rat  And  A 

Baby" 

Director  of  "Mr.  Smith 
Goes  To  Washington." 
Girl  in  "Pride  Of  The 
Blue  Grass" 
Elevate 

Elephant's  teeth 

"Rulers  Of  The  -  -  -" 

Orchestra  leader  in 

"That's  Right,  You're 

Wrong" 

Feature 

Hotels 

"Little  Women"  charac- 
ter played  by  Frances 
Dee 

Belle  Watling  in  "Gone 
With  The  Wind" 
Circular  band 
Mortal  life 

Hero  of  "Elizabeth  And 
Essex" 

Famed  "It"  girl 
Imitate 

An  assemblage  of  guests 

She's  in  "Here  I  Am  A 

Stranger" 

Soil  with  mud 

Melanie  in  "Gone  With 

The  Wind" 

"His  Br  -  -  -  er's  Wife" 
She  was  also  in  "The 

Plough  The  Stars" 

Star  of  "The  Bluebird" 

Takes  by  stealth 

Aid 

Fur  bearing  animal 
Fishing  net 

Dog  in  "Another  Thin 
Man" 

"The  Bad  Man  Of 

 stone" 

Colorless 
Playing  card 
Rodent 

Tide" 

"Me --age  To  Garcia" 
Actor  in  "The  Magnifi- 
cent Fraud"  :  init. 
Notary  public  :  abbr. 
Swedish  comic 


MODERN  SCREEN 


(Continued 

SCREEN  NAME 

Rains,  Claude 
Randall,  Jack 
Rathbone,  Basil 
Ratoff,  Gregory 
Raye,  Martha 
Raymond,  Gene 
Read,  Barbara 
Reagan,  Ronald 
Rice,  Florence 
Ritter,  Tex 
Robinson,  Edward 
Robson,  May 
Rogers,  Ginger 
Rogers,  Roy 
Romero,  Cesar 
Rooney,  Mickey 
Ross,  Shirley 
Ruggles,  Charles 
Russell,  Rosalind 
Rutherford,  Ann 
Scott,  Randolph 
Shearer,  Norma 
Sheridan,  Ann 
Shirley,  Anne 
Sidney,  Sylvia 
Singleton,  Penny 
Skipworth,  Alison 
Sothern,  Ann 
Stack,  Robert 
Stander,  Lionel 
Stanwyck,  Barbara 
Starrett,  Charles 
Stewart,  James 
Stone,  Lewis 


jrom  page  87) 

REAL  NAME 

Claude  Rains 
Jack  Randall 
Basil  Rathbone 
Gregory  Ratoff 
Martha  Reed 
Raymond  Guion 
Barbara  Read 
Ronald  Reagan 
Florence  Rice 
Ritter  Nederland 
G.Emanuel  Goldenberg 
May  Robison 
Virginia  McMath 
Roy  Rogers 
Cesar  Romero 
Joe  Yule,  Jr. 
Bernice  Gaunt 
Charles  Ruggles 
Rosalind  Russell 
Ann  Rutherford 
Randolph  Crane 
Norma  Fisher 
Clara  Lou  Sheridan 
Dawn  Evelyn  Paris 
Sylvia  Krakow 
Mariana  McNulty 
Alison  Skipworth 
Harriette  Lake 
Robert  Stack 
Lionel  Stander 
Ruby  Stevens 
Charles  Starrett 
James  Stewart 
Lewis  Stone 


BIRTHPLACE 

London,  England 
San  Fernando,  Cal. 
Johannesburg,  S.  Afr. 
Petrograd,  Russia 
Butte,  Montana 
New  York,  N.  Y. 
Port  Arthur,  Can. 
Tampico,  111. 
Cleveland,  Ohio 
Panola  City,  Texas 
Bucharest,  Roumania 
Melbourne,  Australia 
Independence,  Mo. 
Cody,  Wyoming 
New  York,  N.  Y. 
Brooklyn,  N.  Y. 
Omaha,  Nebraska 
Los  Angeles,  Cal. 
Waterbury,  Conn. 
Toronto,  Canada 
Orange,  Virginia 
Westmount,  Can. 
Dallas,  Texas 
New  York,  N.  Y. 
New  York,  N.  Y. 
Philadelphia,  Pa. 
London,  England 
Valley  City,  N.  D. 
Los  Angeles,  Cal. 
New  York,  N.  Y. 
Brooklyn,  N.  Y. 
Athol,  Mass. 
Indiana,  Pa. 
Worcester,  Mass. 


BIRTHDATE 

Nov.  10,  1899 
May  12 
June  13 
Apr.  20 
Aug.  27 
Aug.  13 
Dec.  29 
Sept.  1 
Feb.  14 
Jan.  12 
Dec.  12 
Apr.  19; 
July  16 
Nov.  5 
Feb.  15 
Sept.  23 
Jan.  7 
Feb.  8 
June  4 
Nov.  2 
Jan.  23 
Aug.  10 
Feb.  21 
Apr.  14 
Aug.  10 
Sept.  15 
July  25 
Jan.  2 
Jan.  13 
Jan.  10 
July  16 
Mar.  28 
May  20 
Nov.  15 


1902 
1892 
1897 
1916 
1908 
1917 
1914 
1911 
1907 
1893 
1865 
1911 
1912 
1907 
1921 
1915 
1890 
1912 
1920 
1903 
1904 
1915 
•1918 
1910 
1912 
1870 
1909 
1919 
1908 
1907 
1904 
1908 
1879 


HEIGHT  WEIGHT  EYES  HAIR  EDUCATION 

5'  10y2"  165  Brown  Black    Private  School 

6'iy2"  170  Hazel  Black    Kemper  Mil.  School 

6'  iy2"  174  Hazel  Black    Repton  School 

5'  11"  200  Blue  Brown  Private  School 

5'  4y2"  116  Blue  Brown  Private  School 

5' 10"  165  Blue  Blonde  Private  Schools 

5'  4"  108  Blue  Brown  High  School 

6'  0"  170  Grey  Brown  Eureka  College 

5'4y2"  108  Blue  Brown  Dwight  School 

6'  0"  165  Grey  Sandy   Northwestern  Univ. 

5'  8"  158  Brown  Black    Columbia  University 

5'  2"  105  Grey  Brown  Private  Schools 

5' 5"  115  Green  Blonde  Public  School 

5'  103/4"  155  Blue  Blonde  Public  School 

6'  2"  170  Brown  Black    Private  Schools 

5'  2"  128  Blue  Blonde  Studio  School 

5'  4"  118  Grey  Red      Uni.  of  California 

5'  6"  145  Grey  Brown  High  School 

5'  5"  120  Black  Black    Columbia  University 

5'  3y2"  105  Brown  Black    High  School 

6'  2"  190  Hazel  Blonde  Georgia  Tech 

5'1"  117  Grey  Brown  Public  School 

5'  5"  120  Hazel  Brown  N.  Texas  Teachers'  Col. 

5'  2"  100  Amber  Gold     Public  School 

5'  4"  104  Blue  Brown  High  School 

5'  3"  118  Green  Brown  Columbia  University 

5' 5"  160  Blue  AuburnPublic  School 

5'  iy2"  112  Grey  Brown  Univ.  of  Washington 

6'  1"  175  Blue  Blonde  Univ.  of  So.  California 

6'  0"  160  Brown  Brown  New  York  University 

5'  5"  120  Blue  Auburn  Public  Schools 

6'  2"  180  Brown  Brown  Dartmouth  College 

6'  3"  160  Grey  Brown  Princeton  University 

5'  10  y2"  160  Hazel  Grey     High  School 

(Continued  on  page  95) 


00 

o  o  o  O 


tih  e  ^msmmem  corns 


9 1  MA*e  sUo 


»  MAW  St//Je 


r 


HINT  TO  REFRIGERATORS: 

Keep  this  handy  carton  icy  cold. 
Be  ready  for  unexpected  guests. 


If  your  dealer  cannot  supply  you  fill  in  his 
name  and  address  and  mail  to  Dept.  E, 
Pepsi -Cola  Co.,  Long  Island  City,  N.  Y. 


Dealer's  Name . 


Address . 
City  


State. 


89 


MODERN  SCREEN 


FORM  ATI  ON 


YOU  TOO  CAN  HAVE 

Hair  That  Gleams 
with 

lustrous  Highlights 


There's  the  secret— me 

NESTLE  COLORINSE.  It 
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it  gives  your  hair  a  richer 
tone  — adds  lustrous  high- 
lights that  will  make  you  the 
envy  of  your  acquaintances. 
NESTLE  COLORINSE  is 
easy  to  use  —easy  to  remove 
—  washes  out  completely 
with  a  single  shampoo. 

Try  NESTLE  COLORINSE 
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change  in  your  appearance, 
and  in  your  bair—\t  is  easier 
combing  — easier  styling. 
Choose  your  own  color  from 
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25c  for  five  rinses  at  drug  and 
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You  ask  the  questions,  we'll  answer  them-write  us 


VIVIEN  LEIGH:  Thorough- 
ness appears  to  be  the 
keynote  to  the  character 
of  Vivien  Hartley  of  Dar- 
jeeling,  India;  London,  En- 
gland; Paris,  France  and 
Hollywood,  California. 
And  her  success,  past  and  present,  is  the 
result  of  years  of  study  and  careful  plan- 
ning. It  was  after  her  first  theatrical  per- 
formance that  she  decided  to  become  an 
actress.  The  place  was  The  Sacred  Heart 
Convent;  the  play,  "Midsummer  Night's 
Dream";  the  time,  1921.  Her  career  deter- 
mined, she  undertook  its  inception  in  a 
manner  most  characteristic  of  the  present 
Miss  Leigh.  When  the  final  curtain  came 
down  on  her  formal  education,  Vivien  en- 
tered the  Academy  of  Dramatic  Art  in  Lon- 
don. Studying  diligently,  undertaking  any 
part  that  was  thrown  her  way,  she  waited 
for  a  chance  to  succeed.  In  the  meantime, 
she  married  Leigh  Holman,  a  noted  English 
barrister.  But  that  fervent  urge  to  act,  though 
dormant  for  a  few  years,  became  increas- 
ingly difficult  to  ignore.  Back  to  the  stage, 
this  time  to  small  character  parts  and  final- 
ly to  overwhelming  success  in  "The  Mask 
of  Virtue."  Though  movie  offers  were  plenti- 
ful, Vivien  was  reluctant  to  retire  from  the 
stage.  She  accepted  parts  in  several  out- 
standing plays,  "Henry  VIII"  among  others, 
and  not  until  she  had  acquired  a  liberal 
training  would  she  consider  the  screen  bids. 
Ultimately,  she  signed  a  five-year  contract 
with  Alexander  Korda  and  next  became  a 
resident  of  Hollywood.  That  brings  us  up 
to  the  present  and  since  her  excellent  per- 
formance in  "Gone  With  The  Wind"  her 
future  here  is  assured.  Miss  Leigh  is 
twenty-seven  years  old,  five  feet,  three 
inches  in  height  and  weighs  one  hundred 
and  two  pounds.  She  is  the  mother  of  one 
child,  Suzanne,  aged  six.  You  can  write 
her  in  care  of  Metro-Goldwyn-Mayer  Stu- 
dios, Culver  City,  Cal.  For  a  review  of 
"Gone  With  The  Wind,"  turn  to  page  8. 


RONALD  COLMAN'S 

screen  success  has  re- 
mained unbroken  these 
many  years  because,  be- 
sides being  a  joy  to  the 
eyes,  he  is  an  unfailing 
joy  to  the  ears.  His  voice, 
probably  the  most  compelling  in  pictures, 
was  first  heard  on  the  morning  of  February 
9,  1891  when  he  entered  the  world  as 
Charles  Colman's  fifth  child.  The  elder  Col- 
man  was  a  mildly  prosperous  silk  importer 


who  would  occasionally  allow  Ronnie  to 
travel  up  to  his  London  office  in  the  hope 
that  the  boy  would  find  his  father's  business 
talents  contagious.  The  only  thing  Ronald 
developed  was  an  urge  to  captain  one  of 
the  ships  which  brought  the  silks  in  from 
the  Orient.  Ronald  was  sixteen  when  his 
father's  death  necessarily  shot  him  into  the 
business  world.  He  was  a  $2.50-a-week 
clerk  for  the  British  Steamship  Co.  at  the 
time  the  war  broke  out.  He  enlisted  the 
first  day,  not  because  of  a  scorching  desire 
to  defend  his  country  but  because  the  army 
offered  an  escape  from  the  murderous 
monotony  of  his  job.  A  fractured  ankle 
brought  him  back  from  France  and  a  chance 
meeting  with  an  old  friend  brought  him 
into  the  theatre.  In  1919,  he  met  and  mar- 
ried Thelma  Raye,  an  actress  from  whom 
he  was  later  divorced.  In  1920  he  came  to 
America  and  two  years  later  a  movie  di- 
rector who  had  seen  him  on  the  stage  sent 
him  to  Italy  to  play  opposite  Lillian  Gish  in 
"The  White  Sister."  Sam  Goldwyn  was 
responsible  for  his  return  to  this  country  and 
for  his  earliest  movie  triumphs.  Today, 
Ronald  is  happily  wed  to  the  lovely  British 
actress,  Benita  Hume.  Address  him  at  Para- 
mount Studios,  5451  Marathon  Street,  Holly- 
wood, Cal.  "The  Light  That  Failed,"  his 
newest  vehicle,  is  reviewed  on  page  8. 


ANDREA  LEEDS'  new  hus- 
band, Bob  Howard,  says 
she  may  continue  to  work. 
He  really  doesn't  need  her 
weekly  salary  but  he  be- 
lieves she's  too  good  an 
actress  to  retire  from  the 
screen.  Fans  everywhere  have  written  ditto 
to  his  sentiments  so  we  may  expect 
Andrea's  brown  eyes  to  twinkle  in  the 
movies  for  years  ^to  come.  The  new  Mrs. 
Howard  was  born  in  Butte,  Montana  and 
is  the  daughter  of  a  mining  engineer  whose 
work  often  had  to  be  done  in  exciting  and 
out-of-the-way  places.  Wherever  his  work 
brought  him,  he  brought  his  family  and 
that's  how  Andrea  happened  to  spend  so 
much  of  her  childhood  in  Mexico.  When  an 
attempt  was  made  to  kidnap  her,  Mr.  Lees 
(Andrea's  real  surname)  sent  her  up  to 
California  to'  receive  her  education.  She 
graduated  from  a  Long  Beach  high  school 
and  then  entered  U.C.L.A.  where  she  ma- 
jored in  philosophy  and  English  literature. 
After  receiving  her  Bachelor  of  Arts  degree, 
she  returned  to  Mexico,  intending  to  get 
started  as  a  writer.  Daddy  Lees  welcomed 
her  tenderly  but  seven  months  later,  scent- 


MODERN  SCREEN 


VESK 


for  a  personal  reply 

ing  trouble  in  the  district,  sat  her  in  an 
airplane  and  had  her  flown  back  to  the 
security  of  Los  Angeles.  She  was  busily 
knocking  on  studio  doors  looking  for  a 
writing  job  when  an  amateur  movie  film 
in  which  she  had  appeared  in  college 
was  unreeled  before  the  eyes  of  Director 
Howard  Hawks.  He  promptly  sat  Sam 
Goldwyn  down — the  same  Mr.  G.  who 
was  responsible  for  Ronald  Colman — 
and  made  him  look,  too.  Goldwyn  said 
Okay — and  Andrea  was  a  screen  star! 
Andrea  can  be  reached  at  the  20th  Cen- 
tury-Fox  Studios,  Hollywood,  Cal.  A  re- 
view of  her  latest  picture,  "Swanee 
River,"  appears  on  page  8. 

C.  Johnson,  Chicago,  111.  Irving  Thalberg 
passed  away  in  1936.  Norma  Shearer 
has  two  children:  Irving,  Jr.,  who  is  nine 
years  old  and  Katharine,  who  is  four. 
You're  right,  Norma  made  only  "Idiot's 
Delight"  and  "The  Women"  in  1939.  So 
far  she  has  not  been  cast  in  a  new  pic- 
ture. The  other  information  you  wish  is 
found  on  page  89  of  this  issue. 

Aurelia  Dysert,  Femdale,  Michigan.  Ty- 
rone Power's  sister's  name  is  Ann.  The 
four  men  in  "Four  Men  and  a  Prayer" 
were  David  Niven,  George  Sanders,  Rich- 
ard Greene  and  William  Henry.  Paul 
Muni  married  Bella  Finkel  in  1921.  Martha 
Raye  divorced  Buddy  Westmore  in  1938 
and  then  married  David  Rose.  Barbara 
Stanwyck  and  Herbert  Marshall  were  the 
stars  of  "Always  Goodbye." 

Joan  Hart,  San  Francisco,  Calif.  Basil 
Rathbone  was  born  in  Johannesburg, 
South  Africa.  Here  he  spent  his  boyhood, 
until  he  was  sent  to  England  to  attend 
Repton  School.  Tennis  is  his  favorite  rec- 
reation. He  has  six  dogs  and  collects 
sculptured  hands.   (Cont'd  on  next  page) 


Dear  Readers: 

You've  been  swamping  us  with 
requests  for  information  on  the  lead- 
ing stars  appearing  in  jt^di;  and 
pictures  currently  playing 
in  your  neighborhood  theatres. 
Therefore,  we  have  decided  to 
change  our  policy  and  print  their 
biographies  each  month.  Remem- 
ber that  questions  of  general  inter- 
est will  be  answered  here  as  usual. 
If  you  desire  a  reply  by  mail,  send 
a  stamped,  self-addressed  envelope 
to  Information  Desk,  Modern 
Screen,  149  Madison  Ave.,  New 
York,  N.  Y. 


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MODERN  SCREEN 

Russell  Getz,  Williamsport,  Penna.  Gene 
Autry  was  born  in  September,  1907 — on 
the  29th,  to  be  exact.  He  and  his  wife, 
Ina,  have  a  house  in  North  Hollywood 
and  a  twenty-five  acre  farm  at  Burbank, 
Calif.  Write  him  at  Republic  Studios, 
4024  Radford  Ave.,  North  Hollywood, 
Calif. 

May  Flor,  Staten  Island,  N.  Y.  Charles 
Bickford's  last  picture  was  "Of  Mice  and 
Men"  for  United  Artists.  His  four  most 
recent  pictures,  prior  to  this  one,  were 
"Mutiny  in  the  Big  House,"  "Our  Lead- 
ing Citizen,"  "Stand  Up  and  Fight,"  and 
"Romance  of  the  Redwoods." 

Patsy  Enoch,  Columbus,  Ohio,  Brown- 
haired,  blue-eyed  Alan  Curtis  was  born 
in  Rogers  Park,  a  suburb  of  Chicago,  111. 
As  Harry  Uberroth  he  was  educated  at 
Northwestern  University  and  later  be- 
came a  commercial  model.  He  is  six  feet, 
one  inch  in  height  and  weighs  one  hun- 
dred and  eighty  pounds.  His  marriage 
to  Priscilla  Lawson  is  in  the  process  of 
being  terminated. 

June  Koch,  Peoria,  111.  Jack  Randall  was 
born  May  12,  1902  in  San  Fernando, 
California.  He  is  six  feet,  one  and  a  half 
inches  in  height  and  weighs  one  hundred 
and  seventy  pounds.  He  loves  open  cars, 
premieres,  animals  and  bright  colors.  He 
can  also  sling  a  "delish"  dish  of  spaghet- 
ti— it's  his  favorite  fruit!  You  ask 
whether  he  is  married.  He  married 
Louise  Stanley,  an  actress,  in  1938  and 
though  divorce  proceedings  were  once 
started,  it's  one  of  those  off-again,  on- 
again  affairs  and  at  present  writing,  noth- 
ing definite  has  happened.  His  latest 
picture  is  "Pioneer  Days";  his  address: 
Monogram  Studios,  4516  Sunset  Boule- 
vard, Hollywood,  Calif.  If  you  write  the 
studio  and  enclose  twenty-five  cents  for 
postage,  they  will  be  glad  to  send  you  a 
photograph. 

Betty  Sharpe,  McKees  Rocks,  Pa.  We 
can  think  of  four  actors  who  have  be- 
come directors.  They  are  William  Die- 
terle,  Ricardo  Cortez,  Gregory  Ratoff  and 
Eddie  Buzzell.  The  four  inveterate  cigar 
smokers  are  Groucho  Marx,  Edward  G. 
Robinson,  Jack  Benny  and  Pat  O'Brien. 


R.  Egidio,  Buffalo,  N.  Y.  Yes,  your 
friend  is  right.  Ingrid  Bergman  is  an 
accomplished  pianist  and  she  had  ample 
opportunity  to  utilize  this  talent  in  "In- 
termezzo, A  Love  Story,"  her  first  role 
of  accompanist  to  a  violin  virtuoso, 
played  by  Leslie  Howard.  She  was  born 
in  Stockholm  in  1917,  has  blonde  hair, 
hazel  eyes  and  is  five  feet,  six  inches  tall. 
You  can  write  her  in  care  of  United 
Artists  Studios,  Hollywood,  Cal. 

Ruth  Wharton,  Brooklyn,  N.  Y.  George 
Sanders  was  born  in  St.  Petersburg,  Rus- 
sia, under  the  protection  of  the  English 
Embassy  and  is  an  English  citizen.  He 
prepared  at  the  Dunhurst  and  Bedales 
schools  and  attended  college  at  Brighton. 
Later,  he  switched  to  Manchester  Tech- 
nical school,  where  he  specialized  in  tex- 
tiles. After  finishing  school,  Sanders 
went  to  work  in  technical  textile  re- 
search. He  gave  this  up  to  go  to  Argen- 
tine and  Brazil,  where  he  experimented 
in  a  tobacco  venture.  The  depression 
came  along  and  Sanders  returned  to 
England.  At  the  suggestion  of  an  uncle, 
he  took  vocal  lessons  and  six  months 
of  rigorous  coaching  miraculously  pro- 
duced a  rich  baritone.  He  was  heard  by 
a  producer  who  gave  him  a  spot  in  the 
revue,  "Ballyhoo,"  and,  before  long,  was 
noticed  by  an  ever-peering  talent  scout 
who  awarded  him  a  role  in  "Strange 
Cargo."  He  is  not  married  and  his  favor- 
ite type  of  woman  is  the  demure  sort. 

Frances  Weimer,  Columbus,  Ohio.  If  you 
will  write  Gene  Autry  in  care  of  his 
studio — Republic  Pictures,  Hollywood, 
Calif. — you  should  receive  a  reply,  if 
your  letter  warrants  it.  We  never  under 
any  circumstances  are  allowed  to  give 
out  home  addresses  of  the  stars.  If  you 
send  twenty-five  cents  to  any  player  or 
to  his  studio  requesting  a  picture,  you 
should  receive  it. 

Bill  Morrison,  Woodridge,  N.  Y.  Here  are 
the  ten  biggest  moneymaking  stars  of 
1939:  Mickey  Rooney,  Tyrone  Power, 
Spencer  Tracy,  Clark  Gable,  Shirley 
Temple,  Bette  Davis,  Alice  Faye,  Errol 
Flynn,  James  Cagney  and  Sonja  Henie. 
These  players  were  selected  because  their 
pictures  drew  the  greatest  number  of 


Love  in  all  its 
poetic  beauty  is 
revealed  in  this 
scene  from  "My 
Little  Chicka- 
dee," the  movie 
which  unites  Mae 
West  and  dash- 
ing W.  C.  Fields. 


92 


MODERN  SCREEN 


patrons  to  the  theatres  from  September 
1,  1938,  to  September  1,  1939,  without 
regard  to  age  of  picture,  net  profit,  length 
of  run,  nature  of  competition  or  other 
conditions  (weather,  etc.)  during  exhibi- 
tion. 

Carl  Schneider,  Indiana  Harbor,  Ind.  She 
was  originally  named  Myrna  Williams, 
became  Myrna  Loy  for  the  movies  and 
on  June  27,  1936,  became  Mrs.  Arthur 
Hornblow,  Jr.  As  Myrna  Williams,  she 
was  born  in  Helena,  Montana,  where 
her  father  was  the  owner  of  a  ranch. 
When  she  was  of  high  school  age  her 
parents  brought  her  to  Los  Angeles. 
There  she  attended  the  Westlake  School 
for  Girls  and  later  an  art  school.  Myrna's 
ability  as  a  sculptress  attracted  the  at- 
-  tention  of  Rudolph  Valentino  and  his 
wife,  who  gave  her  a  part  in  "What  Price 
Beauty?"  in  1925.  She  was  given  other 
small  roles  and  worked  in  the  stage  pro- 
logues at  Grauman's  Theatre  in  Holly- 
wood, and  as  a  dancer.  Her  first  leading 
role  was  in  "Renegade"  in  1931.  That 
was  during  her  "vamp"  days.  Things 
began  to  look  up  when  Myrna  was  as- 
signed to  "Animal'  Kingdom,"  and  since 
that  time  she  has  risen  to  great  popular- 
ity in  straight  acting  roles.  She  is  five 
feet  five  inches  tall,  weighs  -110  pounds, 
and  has  titian  hair  and  green  eyes.  She 
loves  dancing,  collects  paintings  and 
sculpture,  swims,  plays  tennis  and  rides. 
She  is  under  contract  to  M-G-M,  Culver 
City,  Calif.  Her  last  picture  was  "An- 
other Thin  Man." 

Frances  Hyden,  Brooklyn,  N.  Y.  For  any- 
one who  definitely  made  up  his  mind  that 
he  did  not  want  to  be  an  actor,  Brian  has 
done  very  well.  He  made  his  stage  debut 
when  he  was  three  and  continued  to  play 
boy  parts  until,  when  he  was  ten,  his 


The  perky  coronet  tops  the  head  of 
Irina  Baronova,  star  of  the  Ballet 
Russe  who  debuts  as  an  actress- 
dancer  in  "Florian,"  with  Bob  Young. 


family  sent  him  to  London.  Here  he  at- 
tended a  theatrical  training  school  for  a 
year.  Rebelling,  he  refused  to  go  back. 
He  wanted  to  be  educated  for  a  business 
career.  At  eighteen,  he  entered  mercan- 
tile work,  but  after  two  years  over  a 
ledger,  decided  he  wasn't  getting  any- 
where and  quit  his  job.  Down  to  his  last 
five  shillings,  Brian  remembered  acting — 
but  only  as  a  temporary  means  of  earning 
a  living!  Well,  you  know  the  rest  of  the 
story;  he's  been  at  it  ever  since.  His  stage 
successes  took  him  to  Australia,  then  to 
Broadway  and  finally  to  Hollywood.  His 
latest  picture  is  "Vigil  in  the  Night"  with 
Carole  Lombard.  Brian  has  recently  left 
the  bachelor  ranks  for  Joan  Fontaine.  You 
can  write  him  at  RKO-Radio  Studios,  780 
Gower  St.,  Hollywood,  Calif. 

Jean  Mack.  Buffalo,  N.  Y.  Robert  Shaw 
played  the  part  of  the  ranger  in  the  Jones 
Family  picture,  "Quick  Millions."  His  ad- 
dress is  Twentieth  Century-Fox  Studios, 
Beverly  Hills,  Calif. 

Frances  Modrak.  Elizabeth,  N.  J.  Since  "A 
Midsummer's  Night  Dream,"  Olivia  de 
Havilland  has  made  these  pictures.  In 
1935:  "The  Irish  in  Us,"  "Captain  Blood." 
In  1936:  "Anthony  Adverse,"  "Charge  of 
the  Light  Brigade."  In  1937:  "Call  It  a 
Day,"  "It's  Love  I'm  After,"  "The  Great 
Garrick."  In  1938:  "Gold  Is  Where  You 
Find  It,"  "Robin  Hood,"  "Four's  a  Crowd," 
"Hard  to  Get."  In  1939:  "Wings  of  the 
Navy,"  "Dodge  City,"  "Gone  With  the 
Wind,"  "Elizabeth  and  Essex,"  "Raffles." 

Mary  Carson,  New  York,  N.  Y.  Zorina's 
first  picture  since  "On  Your  Toes"  is  "I 
Was  An  Adventuress"  for  Twentieth 
Century-Fox.  Her  leading  man  is  Rich- 
ard Greene.  Yes,  she  was  a  ballerina  of 
the  famous  Ballet  Russe  for  two  years. 
She  is  a  Norwegian. 


/to  GUARP/m AGA/NSr 
PW,  L/FELESS  SM 


If  you  want  to  keep  your  complexion  alluring, 

use  Palmolive  made  with  Olive  Oil! 


BECAUSE 
I  WANT  TO  KEEP  ROMANCE  ! 


NOW  THAT  I'VE  WON  THE 
MAN  I  WANT  I'M  NOT 
60ING  TO  RISK  LOSING 
HIM  BY  LETTING  MY  SKIN 
GET  DRY,  LIFELESS  AND 

OLD-LOOKING.  AND 
THAT'S  WHY  I  USE  ONLY 
PALMOLIVE  SOAP! 


BECAUSE  PALMOLIVE  IS  MADE  WITH  OLIVE  AND 
PALM  OILS,  NATURE'S  FINEST  BEAUTY  AIDS. 

THAT'S  WHY  ITS  LATHER  IS  SO  DIFFERENT,  SO 
GOOD  FOR  DRY,  LIFELESS  SKIN  !  PALMOLIVE 
CLEANSES  SO  THOROUGHLY  YET  SO  GENTLY 

THAT  IT  LEAVES  SKIN  SOFT  AND  SMOOTH... 
COMPLEXIONS  RADIANT! 


YOU  REALLY  ARE  A  DARLING,  MARY,  TO  TELL 
ME  HOW  YOU  KEEP  YOUR  COMPLEXION  SO 
LOVELY  !  I*M  GOING  TO  TAKE  YOUR  ADVICE  AND 
MAKE  PALMOLIVE  MY  BEAUTY  SOAP,  TOO  ! 


TO  KEEP  SKIN  SOFT,  SMOOTH,  YOUNG 

93 


MODERN  SCREEN 


All  sorts  of  home  duties  get  done 
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Barrington  cTeam 


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TRIMAL 


{Continued  from  page  85) 

with.  She  makes  love  in  a  business-like 
manner,  and  expects  you  to  do  likewise. 
She  visualizes  a  scene  as  the  camera  will 
see  it,  in  every  last  detail;  she  asks  her- 
self if  this  or  that  can't  be  improved; 
then  she  rehearses  each  voice  inflection, 
each  gesture,  each  movement.  A  love 
scene,  with  Hepburn,  isn't  so  much  a 
matter  of  emotion  as  craftsmanship. 

"Irene  Dunne  is  business-like,  too — 
only  in  a  different  way.  She  makes  you 
feel  that  love  scenes  don't  mean  any 
more  to  her  than  any  other  scenes. 
They're  all  in  the  day's  work.  She  ap- 
proaches them  all  the  same  way,  staying 
in  her  dressing-room  till  the  last  possi- 
ble moment.  You  never  have  a  chance 
to  become  intimately  acquainted  with 
her.  She  doesn't  discuss  scenes  in  ad- 
vance, and  doesn't  expect  you  to  discuss 
them.  All  that  she  expects  is  that  you 
will  be  as  prepared  for  them  as  she  is. 
She  doesn't  have  to  know  you  well  to 
be  able  to  look  at  you  with  lovelight  in 
her  eyes  when  the  script  says  she  should. 
You  feel  that  she  is  a  bit  distant.  You 
also  have  the  feeling  that  she  prefers 
love  scenes  that  keep  you  about  three 
feet  apart.  We  got  along  fine.  We  spent 
most  of  our  time  together  in  'Invitation 
to  Happiness'  with  tables  between  us. 
And  you  know  how  I  prefer  sitting- 
down-at-a-table  love  scenes. 

BEFORE  'Cafe  Society,'  the  director 
said  to  Madeleine  Carroll,  'We've 
got  a  problem  in  this  fellow  MacMur- 
ray.  He's  bashful.  I'm  relying  on  you 
to  put  some  "oomph"  in  the  love  scenes.' 
Madeleine  looked  at  him  and  said, 
'Sa-a-y!  I'm  a  bit  bashful  myself!'  She 
is  another  of  these  girls  who  stay  a 
bit  remote  between  scenes.  But  she  isn't 
that  way  when  the  camera  starts  turning. 
She  gives  you  the  surprising  feeling — it's 
surprising  because  it's  uncommon — that 
she  wants  to  be  kissed.  I  don't  know 
how  she  does  it.  But  she  does  it. 

"Carole  Lombard  puts  love  scenes  on 
a  kidding  basis.  The  only  difficulty, 
working  with  Carole,  is  that  you  never 
know  where  her  sense  of  humor  is  go- 
ing to  lead  her.  She  has  a  mania  for 
trying  to  break  you  up.  In  your  tender  - 
est  scene,  she's  as  apt  as  not  to  mutter 
crazy  things  under  her  breath,  while 
she  looks  at  you  beatifically.  Then  there 
was  the  time  she  tried  to  knock  me  out 
with  some  perfume  she  put  on.  She  al- 
most succeeded,  too. 

"The  closest  I've  come  to  having  fun 
in  love  scenes  is  with  Barbara  Stanwyck. 
She  puts  it  all  on  a  friends-shouldn't-be- 
embarrassed-about-kissing  basis.  We've 
known  each  other  for  years.  Bob  and 
Barbara,  and  Lillian  and  I,  get  together 
for  dinner  fairly  often,  bump  into  each 
other  at  parties,  take  in  the  same  pre- 
views, see  each  other  all  the  time.  So 
I  didn't  have  to  pretend  much  to  look 
as  if  I  liked  her  in  'Remember  the 
Night.'  Barbara  is  a  girl  who  goes  in 
for  a  lot  of  laughs  between  scenes — and 
a  lot  of  sincerity  in  her  work.  She  puts 
everything  she  has  into  every  scene." 

One  of  the  actresses  Fred  has  played 
with  prides  herself  on  her  appeal  to 
male  co-stars  between  scenes.  After 
working  with  Fred,  she  confessed  to  an 
intimate,  "He  didn't  seem  to  see  me.  But 
some  day  I'll  play  with  him  again.  And 
then—" 

It  might  be  well  to  warn  her  that  she 
will  only  be  wasting  her  time.  Fred — 
the  normal  and  natural — isn't  going  to  be 
interested  in  any  girl  but  Lillian  Lamont 
MacMurray.  Kissing  is  fun  only  when 
it's  serious.  And  the  only  girl  Fred 
kisses  seriously  and  will  continue  to  kiss 
seriously  is  Lillian  Lamont  MacMurray. 


Maureen  O'Sullivan  looks  more  like  an 
Arabian  Nights  illustration  than  a  din- 
ner hostess,  but  her  white  crepe  gown 
is  one  she  wears  when  entertaining  in 
her  own  home.  A  harem-drape  effect 
marks  the  skirt,  while  the  neck  is  shirred 
with  a  white  cord  bow. 


94 


MODERN  SCREEN 

(Continued  from  page  89) 


cpnrrij  MA  lie 

KtAL  NMMt 

DIDTUDI  APE 
DlnlnrLALt 

BIRTHDATE 

HEIGHT  WEIGHT  EYES 

HAIK 

tUuLAIlUN 

Stuart,  Gloria 

Gloria  Stuart 

Santa  Monica,  Cal. 

Apr. 

4, 

1911 

5'  5" 

118 

Hazel 

Blonde 

Univ.  of  California 

Sullavan,  Margaret 

Margaret  Sullavan 

Norfolk,  Va. 

May 

16, 

1911 

5'  2" 

109 

Grey 

Brown 

Sullins  College 

Talbot,  Lyle 

Lysle  Hollywood 

Pittsburgh,  Pa. 

Feb. 

8, 

1904 

5'  11" 

172 

Blue 

Brown 

High  School 

Tamiroff,  Akim 

Akim  Tamiroff 

Bakow,  Russia 

Oct. 

29, 

1898 

5'  8" 

180 

Green 

Brown 

Public  Schools 

Taylor,  Robert 

S.  Arlington  Brough 

Filley,  Neb. 

Aug. 

5, 

1911 

6'0" 

165 

Blue 

Brown 

Pomona  College 

Temple,  Shirley 

Shirley  Temple 

Santa  Monica,  Cal. 

Apr. 

23, 

1929 

4'  10" 

69 

Hazel 

Blonde 

Studio  School 

Terry,  Ruth 

Ruth  McMahon 

Benton  Harbor,  Mich. 

Oct. 

21, 

1920 

5' 3" 

102 

Blue 

Blonde 

Private  Schools 

Toler,  Sidney 

Sidney  Toler 

Warrensburg,  Mo. 

Apr. 

28, 

1898 

6'0" 

190 

Brown 

Brown 

University  of  Kansas 

Tone,  Franchot 

Franchot  Tone 

Niagara  Falls,  N.  Y. 

Feb. 

27, 

1905 

6'0" 

160 

Hazel 

Brown 

Cornell  University 

Tracy,  Spencer 

Spencer  Tracy 

Milwaukee,  Wis. 

Apr. 

5, 

1900 

5'  10" 

165 

Blue 

Brown 

Ripon  College 

Treacher,  Arthur 

Arthur  Treacher 

Brighton,  England 

July 

21, 

1893 

6'  4" 

182 

Brown 

Brown 

High  School 

Trent,  John 

Laverne  Browne 

Orange,  Cal. 

Dec. 

5, 

1906 

6'  0" 

180 

Hazel 

Brown 

Hancock  College 

Trevor,  Claire 

Claire  Trevor 

New  York,  N.  Y. 

Mar. 

8, 

1912 

5' 3" 

112 

Hazel 

Blonde 

Columbia  University 

Turner,  Lana 

Judy  Lana  Turner 

Wallace,  Idaho 

Feb. 

8, 

1921 

5'  4" 

109 

Blue 

Brown 

High  School 

Ware,  Linda 

Beverly  Stillwagon 

Tarentum,  Pa. 

May 

29, 

1925 

4'  11" 

90 

Blue 

Blonde 

Studio  School 

Wayne,  John 

Marion  Morrison 

Winterset,  Iowa 

May 

26, 

1907 

6'  2" 

198 

Grey 

Brown 

Univ.  of  So.  California 

Weaver,  Marjorie 

Marjorie  Weaver 

Crossville,  Tenn. 

Mar. 

2, 

1913 

5'  4" 

107 

Brown 

Brown 

University  of  Indiana 

Weidler,  Virginia 

Virginia  Weidler 

Hollywood,  Cal. 

Mar. 

21, 

1927 

4'  4" 

60 

Brown 

Brown 

Studio  School 

Weissmuller,  Johnny  John  Weissmuller 

Chicago,  111. 

June 

2, 

1905 

6' 3" 

190 

Brown 

Brown 

University  of  Chicago 

West,  Mae 

Mae  West 

Brooklyn,  N.  Y. 

Aug. 

17, 

1900 

5'  4" 

116 

Violet 

Blonde 

Public  School 

Whelan,  Arleen 

Arleen  Whelan 

Salt  Lake  City,  Utah 

Sept. 

16, 

1916 

5'4i/2" 

112 

Green 

Auburn  Private  Schools 

William,  Warren 

Warren  Krech 

Aitken,  Minn. 

Dec. 

2, 

1896 

6'  1" 

170 

Blue 

Brown 

High  School 

Wilson,  Marie 

Marie  Wilson 

Anaheim,  Cal. 

Aug. 

19, 

1916 

5' 5" 

104 

Brown 

Blonde  Private  School 

Withers,  Jane 

Jane  Withers 

Atlanta,  Ga. 

Apr. 

12, 

1926 

5'3V2" 

115 

Blue 

Brown 

Private  School 

Witherspoon,  Cora 

Cora  Witherspoon 

New  Orleans,  La. 

Jan. 

5, 

1892 

5'  71/2" 

135 

Green 

Brown 

Private  Schools 

Wong,  Anna  May 

Wong  Lu  Tsong 

Los  Angeles,  Cal. 

Jan. 

3, 

1907 

5'  6" 

115 

Brown 

Black 

Public  School 

Wray,  Fay 

Vina  Fay  Wray 

Alberta,  Canada 

Sept. 

12, 

1912 

5'  3" 

110 

Blue 

Auburn  High  School 

Wyman,  Jane 

Sarah  Jane  Folks 

St.  Joseph,  Mo. 

Jan. 

4, 

1914 

5'  0" 

118 

Brown 

Brown 

Columbia  College 

Young,  Loretta 

Gretchen  Young 

Salt  Lake  City,  Utah 

Jan. 

6, 

1913 

5' 3" 

107 

Blue 

Brown 

Private  School 

Young,  Robert 

Robert  Young 

Chicago,  111. 

Feb. 

22, 

1907 

6'  0" 

170 

Brown 

Brown 

High  School 

Young,  Roland 

Roland  Young 

London,  England 

Nov. 

11, 

1903 

5' 7" 

142 

Blue 

Brown  University  College 

Zorina,  Vera 

Brigetta  Hartwig 

Berlin,  Germany 

Feb. 

1, 

1917 

5' 5" 

110 

Blue 

Blonde  High  School 

VIVACIOUS  VASSAR  SENIOR,  BETTY  BURLINGHAM,  SAYS: 

"wot  modern;  UattW  (ook\ 

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It  is  the  simplest  guide  to  powder 
that  matches  and  glorifies  your  own 
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So,  whether  your  eyes  are  blue, 
brown,  gray  or  hazel,  it's  easy  now 
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HUDNUT 

ARVELO 


IS 


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Please  send   me  tryout  Makeup  Kil   containing  generous 

metal  containers  of  harmonizing  powder,  rouge  and  lipstick. 
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95 


MODERN  SCREEN 


Wi 


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A  FIELD  WHO  CONQUERED 

(Continued  from  page  51) 


She  practised  a  thousand  smiles,  took 
her  voice  up  and  down  the  range  of 
tones  and  nuances.  She  was  sleepless 
over  the  problem  of  timing  her  entrance, 
of  giving  the  right  emphasis  to  her  line. 
'  On  opening  night,  Betty  answered  her 
cue  and  was  out  on  the  stage  with  a 
crowded  house  watching  her.  She'd 
never  heard  of  the  star's  propensity  for 
ad  libbing.    Betty  smiled  and  waited. 

"And  how  are  you  today?"  Miss  Reed 
spoke  in  her  deep  stirring  voice.  She 
went  on  too  quickly  for  Betty,  "But  I 
can  see  that  you're  wonderful — you  look 
that  way."  There  was  nothing  left  to 
Betty's  part  except  the  exit. 

THE  Newark  experience  fired  Betty's 
imagination.  She  pursuaded  her 
mother  to  send  her  to  the  American  Aca- 
demy of  Dramatic  Arts  in  New  York 
City.  On  the  spring  day  in  1934  when 
diplomas  were  handed  out,  Betty  was  ab- 
sent. She  was  working!  The  first  girl  in 
her  class  to  get  a  job!  It  was  in  "Sing  and 
Whistle"  with  Ernest  Truex  as  the  star. 
The  show  didn't  last  long  and  Betty  held 
the  job  to  the  end,  but  never  appeared 
on  the  stage  because  she  was  only  an 
understudy. 

On  her  sixteenth  birthday,  she  was 
sent  to  England  for  a  role  in  "She  Loves 
Me  Not."  For  Betty,  the  experience  was 
love  on  a  dime,  and  the  play  suffered 
a  quick  demise.  In  spite  of  dark,  jobless 
days,  Betty  remembers  London  pleas- 
antly. But  she  can  do  without  English- 
men. She  thinks  American  boys  are  so 
much  nicer. 

When  Betty  arrived  in  London  for  re- 
hearsals, she  and  another  American  girl 
in  the  show  took  a  swanky  apartment 
in  one  of  the  smart  sections  of  the  Brit- 
ish capital.  They  had  a  huge  bath,  two 
fireplaces  and  even  gleaming  mahogany 
antiques.  They  were  all  set  for  a  pleas- 
ant winter. 

But  the  day  after  the  play's  opening, 
Betty  read  the  newspapers  and  packed 


her  three  dresses.  The  critics  used  their 
heaviest  hammers  and  the  production 
died  of  box  office  anemia  in  two  weeks. 
She  moved  into  a  seven-dollar-a-week 
furnished  room.  Breakfast  was  included 
in  the  rate  and  during  her  English  so- 
journ, breakfast  was  her  principal  meal. 

On  the  boat  going  over,  Betty  visioned 
herself  walking  down  Bond  Street,  buy- 
ing British  tweeds.  Her  London  shop- 
ping, after  the  play's  fiasco,  was  limited 
to  things  that  didn't  cost  over  fifty  cents. 
She  still  yearns  for  some  of  those  nice 
English  sports  clothes  she  used  to  see 
on  other  girls. 

When  she  came  back  to  America,  Betty 
went  through  that  difficult  time  which 
stage  people  grandly  call,  "between  en- 
gagements." Betty's  word  for  it  is  "job- 
less" and  she  didn't  like  the  experience. 
She  was  later  given  a  part  in  "Page 
Miss  Glory,"  but  her  speeches  were 
shortened  at  every  rehearsal  and  when 
the  play  opened,  there  were  only  three 
lines  left. 

Then  along  came  a  succession  of 
healthy  leading  women  whom  Betty  un- 
derstudied. Not  one  of  them  ever  be- 
came indisposed,  fought  with  the  man- 
ager or  quit  the  show.  Betty  began  to 
believe  that  her  career  was  to  be  a  series 
of  dressing-room  sitdowns.  She  feared 
she'd  grow  old  wearing  greasepaint  that 
nobody  but  stagehands  would  see.  She 
was  frightened  then,  too! 

Her  break  came  when  George  Abbott 
engaged  her  for  the  roadshow  lead  in 
"Three  Men  on  a  Horse."  Betty  actu- 
ally saw  the  ticket  buyers  in  Boston 
and  they  liked  her  as  the  young  wife 
of  the  greeting- card  poet.  When  the 
New  York  lead  left  the  cast,  Miss  Field 
was  called  in  from  the  road.  This  career 
business  was  getting  to  look  like  some- 
thing, now!  She  was  a  leading  lady  on 
Broadway. 

Afterwards,  Betty  played  the  girl  in 
"Boy  Meets  Girl"  for  a  month  in  New 
York  and  for  a  whole  season  on  tour. 


Bedimpled  Ruth 
Terry,  star  of 
Walter  Wanger's 
"Slightly  Dishon- 
orable," was  a 
p  rofessional 
singer  at  the  age 
of  twelve.  She 
says  her  favorite 
orchestras  are 
Glenn  M  iller's 
and  Tommy  Dor- 
sey's,  and  her  fa- 
vorite boy  friend 
is  "just  a  nice  col- 
lege boy,  not  a 
big  success." 


96 


MODERN  SCREEN 


Her  subsequent  roles  were  in  "Room 
Service,"  "Angel  Island-'  and  "What  a 
Life."  While  she  was  appearing  in  "The 
Primrose  Path,"  Director  Ted  Reed 
thought  she'd  be  good  for  the  picturiza- 
tion  of  "What  a  Life."  That's  how  she 
went  to  Hollywood. 

While  Betty  was  playing  in  "The  Prim- 
rose Path,"  she  was  considered  for  "Kiss 
the  Boys  Goodbye,"  but  she  couldn't  get 
out  of  her  other  stage  obligation.  When 
she  was  signed  for  a  long  term  by  Para- 
mount, she  heard  her  studio  had  bought 
film  rights  to  "Kiss  the  Boys  Good-bye." 

Betty  dreamed  again  of  playing  the 
Southern  girl  in  that  biting  satire.  It  was 
while  we  were  having  luncheon  in  New 
York  that  Betty  heard  for  the  first  time 
that  Mary  Martin  was  to  have  the  part 
in  the  screen  version.  Betty  smiled,  said, 
"That's  nice  for  Miss  Martin"  and 
changed  the  subject.  No  regrets,  no 
commiserations  for  Betty  Field.  She 
hasn't  use  for  them — yet. 

Betty's  been  so  busy  being  an  actress 
since  she  was  fourteen  that  she  hasn't 
had  any  time  for  hobbies,  except  horse- 
back riding  and  beaux.  She  likes  horses 
and  good-looking  young  American  men. 
She  never  rode  in  Hollywood  and  if 
there  are  fascinating  males  in  the  movie 
capital,  Betty's  only  read  about  them. 
The  ones  at  the  studio  are  only  actors 
to  her.  Jackie  Cooper  was  the  one  she 
really  got  to  know  and  he's  too  young 
for  any  romantic  angle. 

"It's  wonderful,"  said  Betty,  "the  way 
Jackie  minds  his  mother.  He's  always 
phoning  her  when  he's  working  and  he 
does  everything  she  tells  him  to  do.  If. 
he  wants  to  go  some  place  and  Mrs. 
Cooper  says  'no,'  Jackie  hurries  home. 
He  asks  her  advice  about  everything." 

Betty's  different  that  way.  She's  a 
self-sufficient  young  woman.    She  knew 


Ona  tvlunson,  "Gone  With  The  Wind's" 
lady  of  ill  repute,  is  a  3 1 -year-old 
blue-eyed  blonde  from  Portland, 
Oregon.     Her  real  name  is  Wolcotf. 


what  she  wanted  when  she  was  twelve. 
She's  been  working  hard  at  getting  it 
ever  since.  Even  when  she's  in  New- 
York,  she  lives  at  an  apartment  hotel  and 
spends  only  her  week-ends  in  Westfield, 
New  Jersey,  where  her  mother  lives. 

Mrs.  Field  never  interferes  with  her 
daughter's  career.  She  didn't  go  to 
Hollywood  with  her  and  she  won't  live 
there  now,  though  Betty  will  be  residing 
permanently  on  the  west  coast.  Betty 
has  a  small  furnished  apartment  and 
she's  doing  no  shopping  for  a  movie 
house,  even  with  her  contract  all  signed 
and  delivered. 

Being  frightened  about  the  failure  to- 
morrow may  bring,  remaining  somewhat 
leery  of  today's  success — that's  how  Betty 
Field  reacts  to  finding  herself  a  movie 
star.  What's  more,  she  hopes  she  can 
stay  that  way.  Being  frightened,  she 
says,  is  wonderful  for  her;  it  makes  her 
give  just  a  bit  more  than  her  best. 

Betty's  story  ought  to  be  balm  for 
other  young  girls  who  are  willing  to 
work  hard  at  the  exciting  career  of  act- 
ing. She  never  had  any  "pull,"  nor  any 
connections  that  would  help  her.  She 
wasn't  one  of  the  beautiful  stage  sensa- 
tions who  leave  the  New  York  columnists 
breathless.  Her  romances  didn't  land  her 
on  the  front  pages  nor  did  one  stage 
role  open  all  doors  as  it  did  in  the  case 
of  Mary  Martin. 

She  decided  early  in  her  teens  she 
was  going  to  be  an  actress.  She  trained 
as  well  as  she  could  for  her  life  work 
and  took  what  jobs  were  offered.  In 
Hollywood  it  was  the  same  story.  She 
didn't  care  whether  it  was  a  Class  B  or 
a  Class  A  picture.  She  gave  her  best. 
The  fact  that  she's  called  a  star  by  her 
bosses  doesn't  mean  a  thing  to  Betty.  All 
she  wants  to  know  is,  "When  do  I  re- 
port for  work,  and  where's  the  script?" 


IF  NURSES  COULD  ONLY  TELL! 


HE  RES  ONE  STORY  YOU  MIGHT  HEAR... 


1TIVAS  YOUR  HUSBAND.MRS. STEELE. 

1 


COLGATE'S  COMBATS  BAD  BREATH 
..MAKES  TEETH  SPARKLE/ 


"Colgate's  special pen- 
etrating  foam  gets  into 
;*    '       hidden  crevices  be- 
tween  your  teeth  .  .  . 
~«<*r  t        helps  your  toothbrush 
clean  out  decaying 
food  particles  and  stop 
the  stagnant  saliva  odors  that  cause 
much  bad  breath.  And  Colgate's 
safe  polishing  agent  makes  teeth 
naturally  bright  and  sparkling!  Al- 
ways use  Colgate  Dental  Cream  — 
regularly  and  frequently.  No  other 
dentifrice  is  exactly  like  it." 


MRS. STEELE'S  DENTIST  TOLD  HER... 


TESTS  SHOW  THAT  MUCH  BAD  BREATH 
COMES  FROM  DECAYIN6  FOOD 
PARTICLES  AND  STAGNANT  SALIVA 

AROUND  TEETH  THAT  AREN'T 
CLEANED  PROPERLY.  I  RECOMMEND 
COLGATE  DENTAL  CREAM.  ITS  SPECIAL 
PENETRATING  FOAM  REMOVES  THESE 
ODOR-BREEDING  DEPOSITS.AND 
THAT'S  WHY..   

ws 


97 


MODERN  SCREEN 


NAILS 


AT  A  MOMENTS  NOTICE 


BROKEN,  SHORT 

— Ugly 


LONG/TAPERING 
— Lovely 

1/  DoN'T  ENVY  long,  taper- 
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Simply  covershort,  broken,  brittle 
nails  with  NU-NAILS.  NU-NAILS 
can  be  worn  any  length  and  polished 
with  any  desired  enamel.  So  natural  they  can- 
not be  detected.  They  even  have  half-moons. 
Helps  check  nail-biting  habit.  Protects  frag- 
ile nails  while  they  grow  strong  again.  Easily 
applied,  remains  firm,  waterproof.  Removed 
at  will.  Set  of  Ten,  20c  at  all  ten-cent  stores. 
Nu-Nails,  Dept.  1 5-C,  462  No.  Parkside ,  Chicago 


NU-NAILS 

Artificial  Fingernails 


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Stop  runs,  stop  snags  — 'the  minute 
they  start  —  with  the  original  prep- 
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washing.  Carry  it  in  your  purse  and 
play  safe!  Comes  in  smart  colored 
vanities. 

Don't  accept  substitutes!  Get 
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1  or  send  coin  or  stamps  direct  to 

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At  lastl  A  safe  and  harmless  cream  that  helps  make 
tweezing  a  pleasure  I  Willems  Eyebrow  Balm  tames  the 
pain  and  prevents  after-redness.  Easy  to  apply.  Try  it 
once  and  you'll  never  be  without  it.  10c  at  ten-cent 
stores.    Or  send  coupon. 

WILLEMS  CO.,  Dept.  10-C,  208  S.  LaSalle  St,  Chicago,  111. 

Please  send  me  tubes  of  Willems  Eyebrow  Balm. 

I  enclose  10c  for  each.    (Canada  15c.) 

Name  

Address  


TWO  WEEKS— WITH  PAY 

(Continued  from  page  31) 


bed  at  all.  When  dawn  broke  they  left 
their  companions  and  ambled  along  the 
streets,  watching  Paris  wake  up. 

At  noon,  having  waved  her  husband 
off  on  the  boat-train,  Mrs.  Douglas  stum- 
bled back  to  the  hotel  and  slept  round 
the  clock.  Douglas  was  back  in  Holly- 
wood precisely  two  weeks  after  the  day 
he'd  left.  "I'd  have  gone,"  he  says,  "just 
for  the  walk." 

LAST  summer  it  looked  for  a  while  as 
J  if  he  might  get  a  month  between 
"Ninotchka"  and  "The  Amazing  Mr.  Wil- 
liams." Mrs.  Douglas — who  is  Helen 
Gahagan,  the  actress  and  singer,  as  I'm 
probably  wasting  space  in  telling  you — 
had  been  playing  summer  stock  in  the 
east.  He  was  to  join  her  there,  grab  a 
boat  and  spend  two  weeks  abroad.  This 
time  he  had  neither  theatres,  restaurants 
nor  Parisian  jaunts  on  his  mind.  He  had 
pored  over  all  the  books,  studied  all  the 
reports,  questioned  all  the  people  from 
whom  he  could  get  a  glimmer  of  in- 
formation about  Europe.  "There's  some- 
thing rotten  in  the  air,  like  a  pact  be- 
tween Germany  and  Russia,  God  forbid," 
he  had  said  to  his  wife.  "I  want  to  get 
a  first-hand  smell  of  what  goes  on  there." 
They  had  phoned  back  and  forth  to  make 
arrangements.  At  the  last  minute,  Co- 
lumbia advanced  its  shooting  schedule, 
and  the  plan  fell  through. 

Every  now  and  then  Mrs.  Douglas  will 
spur  him  to  action.  "Stand  up  and 
scream,  Mel!  Get  yourself  a  vacation." 

That's  as  far  as  it  goes.  He  can't  work 
up  any  real  enthusiasm  for  himself  as  a 
man  with  a  grievance.  He  sees  the  point 
of  the  executive  who  yelped:  "These 
actoi's  make  me  sick.  They  sign  con- 
tracts for  forty  weeks,  they  get  paid  for 


forty  weeks,  then  they  yap  like  hell  be- 
cause they  have  to  work  forty  weeks." 

"Of  course,"  says  Douglas  mildly, 
"there's  a  fallacy  there.  Unless  your 
contract  specifically  states  that  you're  to 
get  your  three  months  in  a  lump — which 
mine  doesn't — you  get  them  any  old  way, 
three  days  here,  five  days  there.  What 
with  costume  tests,  retakes  and  standing 
by,  you  don't  get  much  chance  at  relaxa- 
tion. I'm  under  contract  to  two  studios. 
As  a  rule,  the  moment  Columbia's 
through  with  me,  Metro's  on  the  phone, 
or  one  of  the  two  has  made  a  deal  for 
a  loanout. 

"There's  another  thing  that  keeps  you 
on  tenterhooks.  You  never  know  what's 
coming  next.  The  studios  are  playful 
that  way.  They  don't  tell  you,  they  tell 
the  columnists.  Bella  Spewack,  the 
playwright,  was  working  for  the  bill  to 
permit  the  entry  of  refugee  children. 
She  asked  me  to  fly  to  Washington.  "I 
said  I  would  if  the  studio  didn't  need 
me.  I  phoned  the  studio.  'How  can  you 
fly  to  Washington,'  they  said,  'when 
you're  starting  in  "Ninotchka?"  '  'Am  I?' 
'Sure.  You'll  see  it  in  all  the  papers 
tomorrow.' 

"Anyway,  let's  be  honest.  In  the  final 
analysis,  it's  often  my  own  fault.  I  act 
for  a  living.  I'm  eager  to  get  good  parts, 
which  are  rare.  I  threw  away  a  perfectly 
good  vacation  to  make  the  Deanna  Dur- 
bin  picture.  Metro  was  through  with  me 
and  Columbia  wasn't  going  to  be  ready 
for  four  or  five  weeks.  Joe  Pasternak 
phoned  that  he'd  like  to  see  me,  and 
came  up  to  the  house  one  night.  I  hadn't 
met  him  before,  but  I'd  liked  everything 
he'd  done.  He  told  me  about  this  pic- 
ture. It  sounded  amusing,  and  he 
sounded  like  a  reasonable  and  pleasant 


Pretty  little  Pen- 
ny Singleton , 
who's  been  hav- 
ing some  off- 
screen marital 
trouble,  finds 
that  her  movie 
husband,  Arthur 
Lake,  can  be  a 
bit  trying,  too. 
The  lovable  Mr. 
and  Mrs.  Bump- 
stead — and  Baby 
Dumpling — will 
next  appear  in 
"Blondie  on  a 
Budget." 


MODERN  SCREEN 


person  to  work  with.  I'm  susceptible. 
The  actor  in  me  got  pepped  up  and  said, 
'Hang  the  vacation.' 

"As  for  'Ninotchka,'  nothing  short  of 
paralysis  could  have  kept  me  from  it. 
The  script  was  delightful.  I'd  worked 
with  both  Garbo  and  Lubitsch  before 
and  liked  them  both.  Lubitsch  is  a 
peach.  He  was  an  actor  himself,  and  is 
sensitive  to  the  actor's  viewpoint. 

''Garbo?  You  couldn't  find  anyone 
more  pleasant.  There's  been  such  non- 
sense written  about  her.  All  right,  she's 
shy,  she's  scared  of  people,  she's  uneasy 
with  strangers  around — excessively  so, 
if  you  like.  But  there's  no  fakery  in  her. 
She's  honest  to  the  marrow.  And  a  very 
exciting  person  to  work  with,  because— 
well,  how  shall  I  put  it  without  sounding 
stuffy? 

"Acting  is  to  her  what  a  piece  of 
marble  would  be  to  a  sculptor,  even 
though  this  self- consciousness  of  hers 
makes  it  an  extraordinarily  difficult 
process.  In  nine  pictures  out  of  ten,  you 
walk  onto  the  set,  the  director  says, 
'Well,  do  we  know  our  lines?'  If  you 
know  them,  you  start,  and  after  a  minor 
bit  of  mechanical  rehearsing,  you  shoot 
the  scene. 

"With  Garbo  and  Lubitsch,  there's  no 
such  thing  as  tossing  off  a  scene.  You 
sit  down,  you  talk  it  over,  you  find  out 
what  it's  about,  you  play  around  with  it, 
dig  into  it,  and  keep  on  digging  till 
everyone's  satisfied  that  he's  exhausted 
its  utmost  value.  In  other  words,  you 
go  through  the  process  of  chipping  and 
hewing  and  shaping  and  studying  and 
improving  which  results  in  the  best 
piece  of  work  you  know  how  to  fashion. 
Garbo  can't  function  under  any  other 
conditions.  It's  part  of  her  honesty." 

Though  he  doesn't  admit  it,  he  has 
certainly  given  up  vacations  for  other 


than  movie  activities.  He  is  deeply  con- 
cerned with  the  betterment  of  living  con- 
ditions in  California.  Many  stars  lend 
the  use  of  their  names  to  adorn  a  letter- 
head. Douglas  has  put  his  heart  and 
back  into  the  work. 

He's  on  the  Motion  Picture  Democratic 
Committee.  Not  that  he  gives  a  hang 
about  party  politics  but  because  he  be- 
lieves that  with  the  right  men  in  office 
the  right  laws  will  be  enacted.  He  is 
flooded  with  requests  to  speak,  and  meets 
as  many  as  he  can  handle.  His  member- 
ship in  the  State  Relief  and  State  Wel- 
fare Commissions,  entails  monthly  meet- 
ings and  a  voluminous  correspondence. 
He  sits  on  the  Commissions'  Board  of 
Appeals,  which  must  balance  heart- 
breaking drama  against  a  limited  budget. 

NOTHING  depresses  him  and  his  wife 
more  than  the  wall  of  indifference 
or  misunderstanding  thrown  up  by  some 
in  self-defense  against  the  misery  of 
others.  Mrs.  Dougias  personally  runs  a 
committee  for  the  relief  of  those  mi- 
grants whose  plight  Steinbeck  set  forth 
in  "The  Grapes  of  Wrath." 

Several  months  ago,  with  a  few  unex- 
pected days  off,  Douglas  took  his  family 
to  Carmel,  which  has  the  charm  of  a 
little  English  town  and  the  best  air  in 
California.  Six-year-old  Peter  fell  in 
love  with  it.  He  was  enchanted  by  the 
smallness  of  the  house  they  lived  in,  by 
the  fact  that  his  parents  got  up  when 
he  did  at  six,  and  then  spent  the  whole 
day  with  him. 

After  breakfast,  they'd  walk  to  the 
village  to  do  their  shopping.  While  his 
father  read  the  paper,  Peter  helped  his 
mother  put  up  a  picnic  lunch.  Then 
they'd  be  off  to  the  Point,  off  to  adven- 
ture. At  Carmel,  you  not  only  had  the 
ocean,  but  sand  dunes  to  dig  in,  great 


rocks  to  climb  over,  strange  woods  to 
explore.  The  word  "vacation"  began  to 
hold  magic  for  Peter,  too.  "Why  do  we 
have  to  leave?"  he  wailed  in  Carmel. 
"When  are  we  going  back?"  he  de- 
manded in  Hollywood. 

But  with  time,  came  wisdom.  There 
had  been  a  particularly  satisfactory  day. 
He'd  come  home  from  school  to  find  his 
father  at  home — a  treat  to  begin  with. 
Melvyn  was  working  in  the  garden  that 
afternoon.  Peter  proffered  aid.  Then 
they  swam  together.  Then  mother  joined 
them,  and  they  listened  to  a  symphony 
on  the  radio.  Peter  has  inherited  a  feel- 
ing for  music  from  both  his  parents — 
the  whole  family  is  music  minded. 

Later  they  went  out  to  visit  baby 
Mary  Helen,  who  spends  the  major  share 
of  her  day  sleeping  or  babbling  agree- 
ably in  the  patio.  She  lay  on  her  back 
in  the  crib,  with  Deedee,  the  setter,  on 
guard  beside  her.  Deedee  had  never 
shown  symptoms  of  being  a  watchdog. 
But  the  day  the  infant's  crib  was  first 
taken  outdoors,  she  flopped  down  beside 
it,  and  still  refuses  to  be  budged  from 
her  self-appointed  job. 

"Dlya-dlya-buh — "  said  Mary  Helen, 
or  words  to  that  effect.  Peter  contem- 
plated her.  After  fifteen  months,  the 
novelty  of  his  sister  has  worn  off  to  a 
degree,  but  she  still  provided  him  with 
food  for  thought. 

"What  d'you  s'pose  she's  saying  all  the 
time  when  she  talks  like  that?" 

"Your  guess  is  as  good  as  mine.  That 
she's  happy,  I  hope.  That  she  likes  it 
here." 

"I  shouldn't  wonder,"  said  Peter  slow- 
ly. "I  like  it,  too."  He  lifted  his  eyes, 
wide  with  the  wonder  of  discovery.  "You 
know,  father,  just  living  up  here  is  sort 
of  like  a  vacation,  isn't  it?" 

And  his  father  agreed  that  it  was. 


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MODERN  SCREEN 


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PRINCESS 


DRY  .  .  .  TICKLING  . . .  WORRYING 

COUGHS 

are  quickly  relieved  by  the 
PERTUSSIN  "Moist -Throat"  Method 

When  you  catch  cold  and  your  throat  feels  dry 
or  clogged,  the  secretions  from  countless  tiny 
glands  in  your  throat  and  windpipe  often  turn 
into  sticky,  irritating  phlegm.  Then  you  cough. 

Pertussin  stimulates  these  glands  to  pour 
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Your  cough  may  be  a  warning  signal!  Why 
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prescribed  Pertussin  for  over  30  years.  It's  safe 
and  acts  quickly.  At  all  drug  counters.  For  gen- 
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Dept.  U-19,    440  Washington  St.,  N.  Y.  C. 


$25.00  A  WEEK  IN  CASE 
OF  SICKNESS  OR  ACCIDENT 


$25.00  A  WEEK  .  .  Sickness  or  Accident 
Up  to  $5000.00  .  .  .  Accidental  Death 
Up  to  $5000.00,  Loss  ol  Hands,  Feet  or  Eyes 

$100.00   Emergency  Aid  Fund 

$100  00  ....  Hospital  Expense  Fund 
PLUS  ADDITIONAL  BENEFITS- ALL  AS  PROVIDED  IN  THE  POLICY 
4000  persons — every 
hour — day  and  night 
—  are  stricken  with 
sickness  and  acci- 
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turn  comes? 

DON'T  SEND  A  PENNY.  NO  MEDICAL  EXAMINA- 
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GEORGE  ROGERS  CLARK  CASUALTY  CO. 

NATIONAL  INSURANCE  AGENCY 
Dept.  n.    542  South  Dearborn  St.,  Chicago,  III. 


Wr ite  immediately 
for  free  inspection  of 
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MEN  AND  WOMEN 
AGES  16  TO  75 


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100 


BETTE'S  NEW 
ENGLAND  FAVORITES 

(Continued  from  page  15) 


Sometimes,  during  the  season  when 
cranberries  are  available,  Bette's  dessert 
will  be  a  steaming  hot  Cranberry  Cob- 
bler. However,  this  dish  should  be  re- 
served for  those  occasions  when  you  can 
start  the  dessert  a  few  hours  before  meal 
time.  Though  even  here  you  can  save 
time  by  preparing  the  dough  and  leaving 
it  in  the  refrigerator  for  a  lengthy  chill- 
ing which  will  assure  a  flakier  crust. 

CAPE  COD  COBBLER 

Pastry: 

2     cups  sifted  flour 
%    teaspoon  salt 

%    cup  lard  or  vegetable  shortening 

%    cup  butter 

4  to  5  tablespoons  ice  water 

Filling: 

1  pound  (4  cups)  cranberries 
IV2  cups  sugar 

Vi    teaspoon  salt 

2  tablespoons  cornstarch 

1  tablespoon  lemon  juice 
Vi    cup  melted  butter 

Sift  flour,  measure.  Add  salt  and  sift 
again.  Add  the  lard  (or  vegetable  short- 
ening) and  cut  it  into  flour  mixture  with 
pastry  blender  or  2  knives.  When  thor- 
oughly distributed  throughout  the  flour, 
so  that  the  mixture  is  that  of  coarse 
meal,  add  butter.  Cut  in  butter  so  that  it 
remains  in  large  flakes — which  assures  a 
particularly  flaky  crust.  Add  just  enough 
ice  water,  a  tablespoon  at  a  time,  to  have 
the  dough  hold  together.  Roll  dough  into 

2  balls,  one  considerably  larger  than  the 
other.  Wrap  these  in  wax  paper  and 
chill  in  refrigerator  for  1  hour  or  longer. 
Roll  out  the  larger  portion  of  dough,  on 
lightly  floured  board,  slightly  thicker 
than  for  pie  crust.  Line  bottom  and 
sides  of  a  small  square  or  oblong  baking 
dish  with  this.  Wash,  drain  and  chop 
cranberries.  Combine  sugar,  salt  and 
cornstarch,  mix  with  cranberries.  Turn 
cranberry  mixture  into  pastry-lined  pan, 
sprinkle  with  lemon  juice.  Roll  out  sec- 
ond portion  of  dough  and  fit  it  over  top 
of  berries;  this  dough  being  rolled  thin, 
as  for  pie  crust.  Cut  several  V-shaped 
slits  in  top  crust  to  allow  steam  to  escape 
during  baking.  Bake  for  15  minutes  in 
hot  oven  (450°  F.),  then  pour  melted 
butter  over  the  top  of  cobbler,  reduce 
heat  to  moderate  (350°  F.)  and  bake 
25-30  minutes  longer.  Serve  hot  with 
hard  sauce  or  whipped  cream,  or  with 
Fluffy  Lemon  Sauce  on  page  fifteen. 


Solution  To  Puzzle  On  Page  88 


IN 


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for  breath  was  the  very  last;  if  restful  sleep  is 
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personalities  —  beautifully-printed,  en- 
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get  your  copy  today. 

SCREEN  ALBUM 

FOR  1940  IS  HERE!  Ifi  , 

ON  SALE  EVERYWHERE  I  Vr 


MODERN  SCREEN 


GOOD  NEWS 

(Continued  from  page  57) 


arrived  just  as  the  two  teams  were  coming 
onto  the  field  and  blithely  thought  all  the 
cheering  was  in  her  honor  .  .  .  That  Dorothy 
Lamour  has  a  new  bathing  suit  made  of 
spun  glass,  and  it's  frosted  .  .  .  That  Sonja 
Henie  is  really  serious  about  taking  avia- 
tion lessons  and  her  studio  is  frantic  .  .  . 
That  Judy  Garland  and  Bob  Hope  always 
flip  a  coin  to  see  who  gets  to  talk  about 
their  precocious  children?  "Judy,"  year-old 
niece  of  the  young  star,  and  four-months- 
old  "Linda,"  adopted  daughter  of  the  Hopes, 
are  the  topics  of  conversation  .  .  .  That 
the  Doug  Fairbanks  Jr.s  are  going  to  be 
papa  and  mama  next  summer  .  .  .  That 
Charlie  Chaplin's  sets  are  always  closed 
to  visitors  .  .  .  That  Brenda  Joyce  got  the 
enviable  role  of  feminine  lead  in  "Brigham 
Young"  .  .  .  That  Richard  Dix's  children 
think  Chester  Morris  the  cleverest  guy  in 
the  world  after  seeing  him  do  his  magic 
tricks  .  .  .  That  Joan  Blondell  nixed  an  offer 
for  her  four-year-old  son,  "Normie"  Powell, 
to  act  in  pictures? 

HALE,  THE  INVENTOR 

Alan  Hale  has  invented  so  many  things  that 
off-hand  he  can't  remember  them.  So  the 
other  day  on  the  set  when  he  looked  dreamy- 
eyed,  someone  inguired  if  he  was  pondering 
another  invention.  "Might  be,  might  be," 
murmured  Hale.  "In  fact,  think  I'll  get  to 
work  on  a  twenty-foot  pole.    Handy,  don't 


you  think,  for  those  people  you  can't  touch 
with  a  ten-foot  pole?" 

GARBO'S  FOLKS 

The  Gustafsons  are  just  one  big  happy 
family  since  they've  joined  Greta  in  Holly- 
wood. The  Silent  One's  mother,  brother  and 
sister-in-law  are  planning  to  make  this  their 
home  until  the  European  troubles  are  settled. 
From  the  looks  of  things,  they're  "going 
Hollywood"  with  enthusiasm,  for  almost 
every  evening  since  their  arrival  they  have 
been  seen  around  the  popular  restaurants 
and  night  clubs  watching  the  stars  with  ob- 
vious enjoyment.  No,  Garbo  is  not  along 
on  these  tours.  Only  time  the  four  have  been 
seen  together  was  one  evening  in  Jones' 
Health  Cafe,  where  Greta  had  ordered  a 
round  of  spinach  juice  cocktails.  She  was 
downing  hers  with  an  enjoyment  which  ob- 
viously was  not  shared  by  'the  other  three 
members  of  her  party. 

JIMMY  WHISKERS! 

During  "Gone  With  the  Wind"  Clark  Gable 
often  remarked  that  nothing  could  give  him 
greater  pleasure  than  a  hair-cut.  But  since 
"Strange  Cargo"  has  been  before  the  cam- 
eras, the  actor  has  decided  a  shave  can 
mean  more  to  a  guy  than  a  hair-cut.  Relat- 
ing his  miseries  over  the  nine-day  growth 
of  beard  which  his  role  reguires,  Gable  said 
he  was  awfully  tired  of  being  hailed  as  Mr. 


Zola.  "And  worse  than  having  someone  ask 
you  why  you  don't  get  a  hair-cut  or  a  violin," 
he  said,  "is  to  have  someone  ask  why  you 
don't  get  a  snood  for  the  whiskers!" 

THE  QUIET  TEMPO 

Errol  Flynn's  seemingly  gone  in  for  the  con- 
templative life.  On  the  set  he  spends  all  his 
spare  time  scribbling  and  has  turned  down 
invitations  right  and  left  with  the  explanation 
that  he  can't  afford  the  time  away  from  his 
writing.  Further  proof  that  Flynn's  giving 
up  the  more  tempestuous  pleasures  of  life  for 
the  guiet  tempo  is  the  fact  that  he's  sold  his 
plane  (which  gave  the  brothers  Warner  more 
than  one  grey  forelock)  and  also  has  put  his 
yacht,  the  Sirocco,  on  the  market.  Flynn's 
present  writing  task  is  a  scenario,  called 
"Wings  in  the  Dark,"  and  the  studio  has 
promised  to  give  it  a  look  when  it's  com- 
pleted. 

PHOTO  PHOBIAS 

For  "informals"  Errol  Flynn  won't  pose  with 
any  woman  but  his  wife.  Mickey  Rooney 
won't  pose  with  a  cigaret.  Eddie  Robinson 
always  arranges  his  face  by  taking  the  cigar 
out  of  it  and  putting  on  a  genial  look.  Shirley 
Temple  won't  pose  without  a  smile — she 
can't,  because  it's  a  natural.  Priscilla  Lane 
moistens  her  lips  and  fluffs  up  her  long  bob 
with  both  hands.  Margaret  Sullavan  always 
gave  the  photogs  the  cold  shoulder  until  they 


JOAN  BLONDELL 

Star  of 
"AMAZING 
MR.  WILLIAMS' 
A  Columbia  Pictuc 


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Think  of  it!  A  thrilling  2- week 
summer  vacation  to  rnovieland 
with  all  expenses  paid!  See  Holly- 
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Watch  film  hits  in  the  making! 
Meet  and  be  photographed  with 
the  Stars! 

Beauty  and  Talent  Not  Essential 

Unknowingly  you  may  be  a 
"movie  type"  and  thus  you  have 
an  equal  chance  to  win  one  of  three 
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year's  tuition  and  room  at  Defiance 
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How  to  Enter:  Go  to  your  ten-cent 
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Perfume  for  only  10c.  Follow  the 
easy  Rules  of  the  Contest  by  answer- 
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yourself  printed  on  the  back  of  each 
card  affixed  to  the  bottle.  Send  the  S 
card,  or  facsimile,  with  a  snapshot  j 
or  photo  of  yourself,  as  directed.,; 
Nothing  to  compose!  Nothing  to! 
name!  Mail  before  May  1st,  1940.© 
Winners  announced  June  1st — in 
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Name  


Address . 


101 


MODERN  SCREEN 


STARCH  CUBES... 

A  short-cut  to  perfect  starching. 
Starch  cubes  Stop  guess -work, 
waste;  give  exact  -  measure  every 
time.  Dissolve  quickly,  smoothly. 

No  lumps  to  cause 
sticking,  scorching. 
Save  as  much  as  Vi 
ironing  time,  women 
say.  A.E.StaleyMfg. 
Co.,  Decatur,  III. 

Costs  no  more 
than  old  -  type 
laundry  starch 


STABEY 


GLOSS 
STARCH 

CUBES 


I  ACTUAL  SIZEI 


YOU'LL  ALWAYS 
BE  CONSTIPATED 
UNLESS- 

You  correct  faulty  living  habits — unless  liver 
bile  flows  freely  every  day  into  your  intestines  to 
help  digest  fatty  foods.  SO  USE  COMMON 
SENSE!  Drink  more  water,  eat  more  fruit  and 
vegetables.  And  if  assistance  is  needed,  take 
Dr.  Edwards'  Olive  Tablets.  They  not  only 
assure  gentle  yet  thorough  bowel  movements  but 
ALSO  stimulate  liver  bile  to  help  digest  fatty 
foods  and  tone  up  intestinal  muscular  action. 

Olive  Tablets,  being  purely  vegetable,  are 
wonderful!  Used  successfully  for  years  by  Dr. 
F.  M.  Edwards  in  treating  patients  for  consti- 
pation and  sluggish  liver  bile.  Test  their  good- 
ness TONIGHT!  15(5,  30j5  and  60£. 

Relieve  Pain 
in  Few  Minutes 

or  Money  ffack 

To  relieve  the  torturing  pain  of  Neuritis,  Rheu- 
matism, Neuralgia  or  Lumbago  in  few  minutes, 
get  NURITO,  the  fine  formula,  used  by  thousands. 
No  opiates.  Does  the  work  quickly — must  relieve 
cruel  pain  to  your  satisfaction  in  few  minutes  or 
money  back.  Don't  suffer.  Clip  this  ad  now  as  a 
reminder  to  ask  your  druggist  for  NURITO  today. 


NEURITIS 


HERES  AMAZING 
RELIEF  FOR  ACID 
^INDIGESTION 

V?  s~  txjmTT.    '  ~s==^~ — . 

Act  nnh^Heiu?  ?e  ^  bS®  a«U  For 
acid  cond  fa^  faj*  to  nebuatS;a.iPnnCip,e- 
f»°«  at  one.  ^.c!d  Paws  ari  Jj,Ze  e*<*ss 


Always  Carry 
FOR  ACID 

INDIGESTION 

102 


ganged  up  on  her  and  gave  her  colder 
shoulders.  Now  you  can  see  the  Sullavan 
smile  for  a  mile — if  there's  a  cameraman  in 
sight.  Tyrone  Power  won't  pose  until  he's 
made  sure  his  tie  is  straight.  Robert  Taylor 
and  Barbara  Stanwyck  always  grin  infec- 
tiously when  asked  to  pose,  then  gaze  into 
each  other's  eyes  for  the  shot.  Freddie 
Bartholomew  blushes.  May  Robson  strikes 
a  pose  with  a  sparkle  in  her  black  eyes  that 
leaves  no  doubt  about  the  kick  she's  getting 
out  of  having  her  "pitcher  took."  When 
asked  to  pause  for  a  pose,  Mischa  Auer  al- 
ways bugs  his  eyes  and  stutters,  "Who — 
me?"  Norma  Shearer  turns  on  the  charm 
for  the  camera  boys  since  discovering  that 
all  the  flash  bulbs  went  off  in  Joan  Craw- 
ford's face  at  the  preview  of  "The  Women." 
Wally  Beery  hisses,  "I'll  push  that  camera 
down  your  throat"  when  a  camera  sleuth 
tries  to  get  a  picture  of  him  and  a  date. 
But  when  girl  friend  Carol  Ann  is  along, 
Beery  is  all  smiles.  Bing  Crosby  won't  will- 
ingly pose  without  a  hat.  Fred  Astaire  posi- 
tively won't  pose  without  a  hat.  Franchot 
Tone  puts  a  ban  on  shirt-sleeve  poses. 
Norma  Shearer  prefers  a  profile  shot.  Hedy 
Lamarr  refuses  to  be  photographed  in  shorts, 
or  short  dresses.  Madeleine  Carroll  insists 
on  a  fresh  dab  of  lipstick  before  the  cameras 
snap.  Deanna  Durbin  won't  smile  unless 
coaxed.  Jack  Benny  won't  pose  without  that 
cigar.    Garbo  won't  pose  at  all. 

A  TEN  O'CLOCK  SCHOLAR 

Jean  Arthur's  habit  of  keeping  everyone  on 
the  set  waiting  for  her  has  made  many  a 
director  speechless  with  rage.  But  on  her 
recent  picture  she  reckoned  without  Frank 
Capra.  That  director  arrived  for  the  nine 
o'clock  call  and  asked  why  Miss  Arthur 
was  not  on  the  set.  Miss  Arthur,  he  learned, 
hadn't  arrived.  Come  9:30  and  she  still 
hadn't.  But  on  the  dot  of  ten  the  star  wan- 
dered on  the  set  and  headed  for  her  dress- 
ing-room. Mr.  Capra  tapped  her  on  the 
shoulder  before  Jean  had  reached  the  door 
of  her  sanctum  sanctorum.  "And  why.  Miss 
Arthur,"  he  said  pleasantly,  "are  you  an 
hour  late?"  "I  simply  overslept,"  said  the 
surprised  actress.  "I,  too,  like  to  oversleep," 
said  Mr.  Capra.  "But,"  he  added  even  more 
pleasantly,  "you  must  remember  that  you 
and  I  are  making  a  picture  together.  And 
you  must  remember,  too,  that  I  have  man- 
aged to  turn  out  one  or  two  pictures  in  the 
past  with  fair  success — without  you."  P.  S. 
Miss  Arthur  turned  up  next  morning  on  the 
dot  of  nine. 

JANE  PULLS  A  FAST  ONE 

From  now  on,  it's  free  ice  cream  sodas  and 
cold  cream  for  Janie  Bryan.  In  Chicago, 
in  a  New  Year's  Eve  ceremony  that  com- 
pletely surprised  the  film  colony,  she  became 
the  bride  of  Justin  W.  Dart,  general  manager 
of  the  Walgreen  Company  drug  store  chain. 
The  groom  is  thirty-two-years  old,  a  former 
Northwestern  football  star,  and  was  once  the 
son-in-law  of  Charles  W.  Walgreen,  the 
founder  of  the  $27,500,000  business.  Dart 
and  Ruth  Walgreen  met  in  college  and  were 
married  in  1929.  Their  divorce  a  few  months 
ago  paved  the  way  for  his  wedding  with 
the  adorable  movie  actress.  Though  he  and 
Jane  were  spotted  as  a  duet  a  few  weeks 
earlier,  no  one  suspected  his  influence. 
Now,  says  he,  "My  wife  will  give  up  her 
professional  career."  Says  Warner  Bros., 
"Not  if  we  can  help  it!"  Says  Jane — nothing. 


Bl?&  relieves 
piessure. 


»  ^J.--~  y„lTot  dead  1 


speml  gently  I 

looS?£  li»ed  ont. 
can  pe  - — — — 

How  to  Get  Rid  of  Them 

•  Corns  are  caused  by  pressure  and  friction — often 
become  large,  painful  and  ugly.  Home  paring  can 
only  give  temporary  relief — means  risk  of  infection. 
But  there's  no  need  to  suffer.  Millions  have  ended 
corns  this  easy  way.  Just  put  a  Blue- Jay  Corn  Plaster 
neatly  over  the  corn.  It  acts  quickly  and  gently  as 
shown  above.  You  have  glorious  relief  and  simply 
by  avoiding  the  pressure  and  friction  which  caused 
your  corns,  you  can  prevent  their  return.  Get  Blue- 
Jay  Corn  Plasters  today — only  2  5  £  for  6.  Same  price 
in  Canada. 


BAUBRS 
BLACK 


BLUE-JAY 


CORN 
PLASTERS 


HAPPY  RELIEF 
FROM  PAINFUL 

BACKACHE 

Many  of  those  gnawing,  nagging,  painful  backaches 
people  blame  on  colds  or  strains  are  often  caused  by 
tired  kidneys  —  and  may  be  relieved  when  treated  in 
the  right  way. 

The  kidneys  are  Nature's  chief  way  of  taking  excess 
acids  and  poisonous  waste  out  of  the  blood.  They  help 
most  people  pass  about  3  pints  a  day. 

If  the  15  miles  of  kidney  tubes  and  filters  don't 
work  well,  poisonous  waste  matter  stays  in  the  blood. 
These  poisons  may  start  nagging  backaches,  rheu- 
matic pains,  loss  of  pep  and  energy,  getting  up  nights, 
swelling,  puffiness  under  the  eyes,  headaches  and 
dizziness.  Frequent  or  scanty  passages  with  smarting 
and  burning  sometimes  shows  there  is  something 
wrong  with  your  kidneys  or  bladder. 

Don't  wait!  Ask  your  druggist  for  Doan's  Pills, 
used  successfully  by  millions  for  over  40  years.  They 
give  happy  relief  and  will  help  the  15  miles  of  kidney 
tubes  'flush  out  poisonous  waste  from  the  blood.  Get 
Doan's  Pills. 


Become  an  ... 

BEXPERT 
OOKKEEPER 


Bookkeeping  offers  many  jobs  —  opens  way  to  even 
better  opportunities.  New  method  —  expert,  modem, 
inexpensive.  Practical  job  method  —  you  learn  quickly, 
easily,  by  doing.  No  experience  necessary  —  we  train 
from  ground  up.  You  study  at  home,  in  spare  time.  Write 
for  full  information  and  special  terms. 

LaSalle  Extension  University  Dept.  3318-H 
A  Correspondence  Institution  Chicago,  III. 


s°fbom  RS  PSORIASIS 

( SCALY   SKIN   TROUBLE  ) 

D€RmOIL 


j  matter 

how  long  you  have  suffered 
or  what  you  have  tried. 
Beautiful  book  on  Psoria- 
sis   and    Dermoil  with 
amazing   true  photo- 
graphic proof  of  results 
also  FREE. 


Don't  mistake  eczei 
for  the  stubborn,  ugly 
embarrassing  scaly  SKin 
disease  Psoriasis.  Apply 
non  -  staining  Dermoil. 
Thousands  do  for  sea  ly 
spots  on  body  or  scalp. 
Grateful  users,  often  after 
years  of  suffering,  report 
the  scales  have  gone,  the 
red  patches  gradually  dis- 
appeared  and  they  enjoyed  the 
thrill  of  a  clear  skin  again.  Dermoil  is 
used  by  many  doctors  and  is  backed  by  a  positive  agreement 
to  give  definite  hcnelit  in  2  weeks  or  money  is  refunded 
without  question  Generous  trial  bottle  sent  FREE  to  those 
who  send  in  their  Druggist's  name  and  address.  Make  our 
-  "One  Spot  Test"  yourself.  Write  today  for  your  test 
plainly.     Results    may    surprise  you. 


bottle. 

Don't  delay.  Sold  by  Liggett  and  Walgreen  Drug  S 
and  other  leading  Druggists.  LAKE  LABORATORIES. 
S47,   Northwestern  Station,   Dept.   509,   Detroit,  Mich. 


Storei 


MODERN  SCREEN 


MASSEY  TAKES 
MANHATTAN 

(Continued  from  page  39) 


your  head  back  to  see  the  pictures,  it  gets 
cheaper  and  cheaper." 

"Where  did  you  sit?" 

"In  my  sister's  lap." 

"And  where  did  she  sit?" 

"In  the  very  first  row.  We  had  to  put 
our  heads  back  like  birds  drinking."  And 
she  illustrated,  laughing. 

Ilona  has  been  an  ardent  movie  fan 
ever  since  she  can  remember.  Her  first  big 
crush  was  on  Rudolph  Valentino.  When 
he  died,  she  was  broken  hearted,  for  she 
felt  that  she  knew  him  from  having  seen 
him  on  the  screen  so  often.  "A  group  of 
us  girls  in  school  decided  we  would  go 
into  mourning  for  him.  We  would  wear 
black  socks.  But  I  didn't  have  any  black 
socks — only  white  ones.  So  I  dipped  them 
into  the  inkwell.  My  mother  didn't  like 
that  so  much!" 

WHEN  school  days  were  over,  Ilona 
had  to  look  for  a  job.  The  theatre 
being  her  second  love  (movies  were  her 
first,  but  she  felt  that  she  could  never 
rise  to  such  grandeur) ,  she  went  to  a 
local  theatre  where  a  musical  show  was 
being  put  on  and  sought  out  the  manager. 
Of  course,  she  had  had  no  experience. 
"What  can  you  do?"  was  his  first  question. 

"I  can't  do  anything,"  she  replied.  (We 
told  you  she  was  frank) .  Then  he  volun- 
teered some  advice,  saying,  "Run  along 
home  and  forget  about  the  stage." 

But  Ilona  really  needed  that  job,  and 
was  never  the  sort  who  is  easily  discour- 
aged. She  argued  and  argued,  and  when 
she  added  two  years  to  her  age  which  was 
really  sixteen,  he  agreed  to  let  her  come 
in  and  watch  the  rehearsals  for  two  weeks, 
after  which  period  he  promised  to  give  her 
a  tryout  in  the  chorus. 

"There  were  three  rows,"  Ilona  recalled. 
"The  best  dancers  were  in  the  front, 
naturally,  the  next-best  dancers  in  the 
second  row,  and  the  worst  ones  in  the 
third." 

"Where  did  they  put  you?"  we  asked. 
"In  the   third  row,   of   course,"  she 
laughed. 

The  show  ran  three  months  and  was  fol- 
lowed by  another  which  also  ran  three 
months. 

Her  next  work  was  as  cashier  in  her 
brother-in-law's  combination  beauty  par- 
lor and  barber  shop.  There  was  no  regu- 
lar salary,  but  she  was  allowed  a  tiny  per- 
centage of  all  the  money  the  store  took  in. 
She  contributed  to  her  family's  support, 
yet  managed  to  save  a  few  pengoes  each 
week  to  spend  on  vocal  lessons.  But  busi- 
ness slacked  off,  and  soon  she  was  pound- 
ing the  pavement  again. 

This  time  she  got  a  job  behind  the  stock- 
ing counter  in  a  specialty  shop.  "I  was 
the  worst  salesgirl  in  the  world,"  she  says. 
"I  was  so  sure  the  customer  was  always 
right  that  when  a  woman  would  look  at 
the  stockings  and  say  she  didn't  think  they 
were  very  nice,  I  would  agree.  But  I  was 
there  a  month  before  they  fired  me." 

All  this  time  she  had  been  taking  sing- 
ing lessons  with  Dr.  Laszlo  Geza  and 
Revere  Gyula.  They  weren't  the  most  ex- 
pensive teachers,  but  they  must  have  been 
good,  for  now  she  was  able  to  find  work 
singing  in  a  church  choir.  And,  after  four 
months,  she  was  made  a  soloist. 

This  experience,  although  it  helped  de- 
velop her  fine  dramatic  soprano,  almost 
ruined  her  for  motion  picture  work.  She 
had  to  develop  great  volume  to  fill  the 
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Age . 


production  is  a  hard  habit  to  break.  "In 
singing  for  pictures,"  she  explains,  "you 
sound  best  if  you  sing  softly,  close  to  the 
microphone.  When  I  sing,  they  have  to 
push  the  microphone  to  the  other  end  of 
the  studio!"  She  is  trying  to  develop  lower 
volume  for  her  next  picture,  and  works  at 
it  four  hours  a  day:  two  hours  practising 
scales,  and  two  hours  rehearsing  selec- 
tions. "As  long  as  you  live,  you  never 
finish  learning  to  sing,"  says  she. 

After  a  year  in  church,  she  went  to  the 
director  of  the  Hungarian  Opera  House 
and  asked  for  a  tryout.  "I'm  sorry,"  he 
told  her,  "but  we  don't .  need  any 
sopranos." 

Persistent  Ilona  begged  him  to  let  her 
do  just  one  song,  confident  her  voice  would 
induce  him  to  give  her  at  least  a  small 
part.  We  asked  her  if  that  wasn't  what 
happened. 

"He  heard  my  song,"  she  told  us. 
"Then  he  said,  'We  still  don't  need  any 
sopranos!'  " 

Nothing  daunted,  she  went  on  to  Vienna 
and  secured  a  job  at  the  Volkes  opera. 

Her  debut  was  made  in  the  most  im- 
portant role  in  "La  Tosca,"  and  the  next 
day  critics  were  saying  she  had  a  voice 
like  Jeritza's.  But  there  was  one  sour 
note.  A  wise  reviewer  said  it  was  un- 
heard of  for  a  newcomer  to  step  right  into 
leading  roles.  Miss  Massey  read  and 
agreed;  she  applied  for  small  parts  at  the 
Staats  Opera,  and  was  engaged.  After 
a  few  months,  she  was  singing  leads  there, 
too — and  it  was  the  most  important  opera 
house  in  Vienna. 

DUT  while  she  had  attained  artistic  tri- 
umphs,  financial  success  was  still  a 
long  way  off.  The  only  amusement  she 
could  afford  was  reading  movie  maga- 
zines and  going  to  the  pictures.  Her  eyes 
grew  even  larger  as  she  told  us  of  it. 

"I  feel  so  at  home  in  America.  I  had 
read  all  about  New  York  in  the  maga- 
zines, and  knew  it  was  the  city  where 
everybody  wants  to  live.  And  I  had  read 
about  Hollywood,  too;  I  knew  it  was  tops. 

"When  I  went  to  the  movies,  I  used  to 
sit  there  looking  at  the  actors  on  the 
screen  and  hope  that  I,  too,  might  be 
there  some  day.  Then,  while  I  was 
watching  a  musical  picture — I  think  it 
was  "Maytime" — I  thought,  T  can  sing. 
Maybe  I  might  have  a  chance.'  " 

Timidly,  despite  her  operatic  success, 
she  went  to  a  noted  Viennese  agent,  with 
some  photographs  she  had  had  taken  for 
the  occasion.  She  asked  him  to  send 
them  to  Hollywood.  He  refused.  "Of 
course  you  are  a  pretty  girl  and  have  a 
.  good  voice,  Miss  Hajmassey,"  he  told  her, 
"but  Hollywood  is  full  of  pretty  girls  with 
good  voices.    You'd  be  out  of  luck." 

However,  he  did  not  forget  her,  and  it 
was  indirectly  through  him  that  she  got 
her  chance.  When  two  representatives  of 
M-G-M  came  to  Vienna  to  sign  up  Rose 
Stradner,  he  gave  them  a  party,  and  in- 
vited Ilona.  The  men  wanted  to  hear  her 
sing,  so  she  told  them  of  a  charity  concert 
she  was  giving.  They  attended,  and  were 
around  backstage  with  a  contract  and  a 
pen  before  she  finished  her  selection. 

Living  in  Hollywood  and  starring  in 
pictures  hasn't  made  any  change  in  Ilona. 


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104 


MODERN  SCREEN 


She  was  amazed  when  Sherman  Billings- 
ley,  of  the  famed  Stork  Club,  recognized 
her  in  his  restaurant  and  gave  her  a  bottle 
of  perfume.  She  thought  it  was  "so  sweet" 
of  him,  and  got  the  bottle  to  show  us  how 
nice  it  was.  In  fact,  she  was  still  so 
pleased  and  excited  with  the  gift  that  she 
dropped  the  box  top  into  her  teacup.  And 
then  not  even  a  single  solitary  "damn!"; 
she  simply  giggled,  fished  it  out,  and 
dried  it  with  her  napkin. 

SHE  also  told  about  going  to  the  Cotton 
Club  for  the  midnight  show — which 
she  loved.  She  is  enthusiastic  about  swing 
in  particular  and  Negro  entertainment  in 
general. 

When  we  asked  her  whether  a  photo- 
graph had  been  taken  in  any  of  the  places 
she  had  visited  she  seemed  surprised.  "Of 
course  not;  why  should  they  want  to  take 
my  picture?  There  were  lots  of  big  ce- 
lebrities there." 

This  is  not  a  pose.  She  really  is  un- 
spoiled— goes  to  college  shops  for  her 
dresses  and  buys  simple  ones  for  daytime 
wear.  The  one  she  had  on  when  we  saw 
her  cost  exactly  $12.50.  In  Hollywood, 
she  lives  in  a  little  four  room  cottage  with 
her  Aunt  Terese,  who  does  most  of  the 
housework  while  Ilona  works  at  the 
studio.  Aunt  Terese  draws  the  line  at 
cleaning  the  garage,  though,  so  Ilona  does 
it  herself  on  her  day  off.  It  must  be  quite 
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Ilona  doesn't  even  consider  herself 
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success.  She  says,  "If  you  are  born  in 
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if  you  have  been  very  poor,  you  work  and 
work  and  work  until  you  get  some  place." 

Which  may  explain  why  Ilona  labors  so 
hard  she's  glad  to  fall  into  bed  at  nine 
o'clock  every  night,  while  making  a  pic- 
ture, and  why  there's  no  favorite  man  in 
her  life — at  least  not  right  this  minute! 


The  "words  fai 
Massey  will  make 


beauty  of  Ilona 
fans  swoon  with  joy. 


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U         It  IL    SKIN  CLEANSER 


w 


(RsxiMy  KNOW 
IMsun.  TTIovul  S£aru>\ 

with  the  amazing  new  MOTION  PICTURE  TEL-A-FAN 
for  1940 — the  almost  magical  device  that  tells  you  IN- 
STANTLY!— the  Real  Name,  Height  and  Weight, 
Coloring  of  Hair  and  Eyes,  married  or  Single  state.  Birth- 
place and  Birth  Tear  of  264  of  the  World's  greatest  screen 
players.  Just  a  simple  twist  of  an  alphabetically-arranged 
dial,  and  all  of  this  information  is  yours — AT  ONCE! 

There  is  nothing  else  like  this  copyrighted  new  TEL- 
A-FAN,  yet  no  really  informed  fan  need  be  without  one. 
For — remarkable  though  the  ingenious  device  is — it  is 
mailed  to  you  for  only  25c  in  coin,  (30c  in  Canada).  Think 
of  it!  Send  for  yours  at  once,  while  you  remember  it, 
wrapping  your  quarter  securely,  (no  stamps  accept- 
ed), and  PRINTING  your  name  and  address. 

THE  CHARTS  COMPANY 

Dept.  M2,  507  Fifth  Avenue 
New  York  City 


BUYS  A  CLASS  or  CLUB  PIN! 


Handsome] 
1  or  2  colo 
nd  year.  Also  slcrlir 


rpl 


school  letters   

and  gold  plate  pins.  Rings  sterling  sil.  

Also  in  10-Ki.  gold.  Write  today  for  free  1940 
catalog.  Sho* ins  °v"  30<>  sma«  designs. 

BASTIAN  BROS.  CO.  Dept.  S3,  Rochester,  N.Y 


pocket  or 

purse.  Smaller  than  cigarette  pack- 
age. Receives  stations  with  clear, 
natural  tone.  "AUDIO-PHONE" 
erives  superior  performance.  EN- 
TIRELY NEW  PATENTED  DESIGN. 
Has  enclosed  geared  luminous  dial. 

ONE  YEAR  GUARANTEE! 

Sent  complete  ready  to.  listen  with  instructtonsfor  use  In 
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MIDGET    RADIO   CO.  Dept.   W-3  KEARNEY,  NEBR. 


ASTHMADOR! 


Try  Dr.  R.  Schiffmann's 
ASTHMADOR  the  next  time 
an  asthmatic  attack  leaves  you 
gasping  for  breath.  ASTHMADORS 
aromatic  fumes  aid  in  reducing  the 
severity  of  the  attack-help  you  breathe 
more  easily.  And  it's  economical,  de- 
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tary conditions  in  our  modern  labora- 
tory—its quality  insured  through  rigid 
scientific  control.  Try  ASTHMADOR 
in  any  of  three  forms,  powder,  cigarette 
or  pipe  mixture.  At  all  drug  stores— 
or  •write  today  for  a  free  sample  to 
R.  SCHIFFMANN  CO.,  Los  Angeles,  Dept.  F-4 


105 


MODERN  SCREEN 


ALL   JOWMG  AJlDE  DYJACKWTW 


(Halt  Disney  added 

AWQTHER  NAME  TO 
THE  PA^C  ROEL  , 
MAKING  EVACTL""f 
lOOl  PEOPEE 
WOPXiNG  FOR 
&OSS  MICKEY 
MOUSE . 


Oaudeik  Colbert  is  a  candid  camera  enthusiast,  she 

HAsS  A  DARKF-OOAA  AND  ?-HOToSBAPHl  C  IN  -HER  HOME  , 

AvND  WITH  THE  SHOTS  SHE  ""TAKES,  DECORATES  MENU  AND 
PLACEMENT  C\RPS  TOR  HPR.   INFORMAL  DINNERS • 


Printed  in  the  U.  S.  A.  by  the 


Art  Color  Printing  Company,  Dunellen,  N.  J. 


t 


You've  often  read  those  little  messages 
in  the  "Personal  Notice"  columns 
which  tell  of  once-happy  marriages  that 
have  "gone  on  the  rocks". 

It's  a  sad  fact  that  a  woman  can  be  above 
reproach  as  a  homemaker — and  still  be 
guilty  of  the  one  neglect  that  may  kill  a 
husband's  love.  More  women  ought  to  use 
"Lysol"  for  feminine  hygiene. 

"Lysol"  is  cleansing,  deodorizing,  germi- 
cidal. Using  it  regularly  for  intimate  per- 
sonal hygiene  will  give  you  a  sense  of 
immaculate  cleanliness  that  adds  greatly 
to  your  charm. 

If  you  are  in  doubt  about  feminine 
hygiene — ask  your  doctor  about  "Lysol". 
Probably  no  other  product  is  so  widely 
known  and  used  by  women  for  this  pur- 
pose. Today  (and  for  more  than  50  years) 
"Lysol"  enjoys  the  confidence  of  hospitals, 


Domestic  tragedies  may  often  be  caused  by 


that  destroys  Romance 
'LYSOL"  helps  avoid  this 


clinics,  doctors,  nurses.  Here  are  6  good 
reasons  for  using  "Lysol"  for  feminine 
hygiene. 

6  Special  Features  of  "LYSOL" 

I.  Non-Caustic ...  "Lysol",  in  proper  dilu- 
tion, is  gentle,  efficient;  contains  no  free 
caustic  alkali.  2.  Effectiveness  ...  "Lysol"  is 
a  powerful  germicide,  active  under  practical 
conditions;  effective  in  the  presence  of  or- 
ganic  matter    (dirt,   mucus,   serum,  etc.). 


3.  Spreading  . . .  "Lysol"  solutions  spread  be- 
cause of  low  surface  tension;  virtually  search 
out  germs.  4.  Economy  "Lysol"  is  con- 
centrated, costs  only  about  one  cent  an  appli- 
cation in  proper  dilution  for  feminine  hygiene. 
5.  Odor ...  The  cleanly  odor  of  "Lysol"  dis- 
appears after  use.  6.  Stability  . . .  "Lysol" 
keeps  its  full  strength  no  matter  how  long  it  is 
kept,  or  how  often  it  might  be  left  uncorked. 


FOR  FEMININE  HYGIENE 


What  Every  Woman  Should  Know 

SEND  COUPON  FOR  "LYSOL"  BOOKLET 

Lehn  &  Fink  Products  Corp. 

Dept.  M.S.-403,  Bloomfield,  N.  J.,  U.  S.  A. 

Send  me  free  booklet  "Lysol  vs.  Germs"  which 
tells  the  many  uses  of  "Lysol**. 


Name- 


Street- 
City— 


Copyright,  1940,  by  Lehn  &  Fink  Products  Corp. 


Three  of  ffie  country's 
smartest  fashion  models 
SUSANN  SHAW 
FLORENCE  DORNiN 
DANA  DALE 

Chesterfield  Girls  for  March 


YOU  CANT  BUY  A  BETTER  CIGARETTE 

\^hen  you  ask  for  Chesterfields 
the  dealer  will  say  with  a  smile . . .  They  Satisfy. 
You  will  find  that  Chesterfields  smoke  cooler, 
taste  better  and  are  definitely  milder . .  ./or 
Chesterfields  have  the  right  combination  of  the 
world's  best  cigarette  tobaccos. 


K^HESTERE/ELD 


Copynghr  1940,  Liggett  &  Myers  Tobacco  Co. 


ALICE 
FAYE 


SCREEN  ALBUM  is  packed  with  pictures  of  all  your  favorite  movie  per- 
sonalities— beautifully-printed,  entrancing  portraits  that  you  will  want  to 
save.  Intimate,  up-to-the-minute  stories  of  their  lives  and  loves  are  in- 
cluded, too.  Now  you  can  own  over  fifty  of  these  glamorous  portraits,  and 
know  all  about  your  favorites,  all  for  the  price 
of  a  single  magazine.  It's  the  biggest  buy  on  the 
newsstands — get  your  copy  today. 


SCREEN  ALBUM 

for  1940  is  HERE! 

10/ 


ON  SALE 
EVERYWHERE 


iQc 


MODERN  SCREEN 


You  never  know  how  much  you've  loved 
until  you've  loved -and  lost! 


Why  risk  loneliness?  Mum  each  day  surely  guards  your  charm  I 


WHY  should  love  seem  so  easy  to  keep 
when  you  have  it . . .  but  so  hard  to 
win  back?  The  memories  of  happy  days  — 
of  dances,  dates— are  so  heart-breaking! 
And  even  worse  is  the  gnawing  thought 
that  somehow  it  might  have  been  your 
fault  that  they  are  gone. 

So  often  it  is  a  girl's  fault,  although  she 
may  never  know  it.  For  where  is  the  man 
who  will  speak  about  a  fault  like  under- 
arm odor . . .  who  would  humiliate  her  by 
suggesting  that  she  needs  Mum? 

Girls  who  keep  romance  never  take  for 
granted  the  matter  of  personal  daintiness. 
They  don't  expect  just  a  bath  to  keep 
them  fresh  and  sweet— they  use  Mum 
every  day!  A  bath  removes  only  perspira- 
tion that  is  past . . .  but  with  Mum,  future 
underarm  odor  is  prevented.  Though  your 
bath  may  fade— Mum's  protection  goes 
right  on! 

Mum  is  so  quick  and  so  dependable, 
that  more  women  choose  this  one  pleasant 
cream  than  any  other  deodorant. 


MUM  IS  QUICK!  Just  pat  a  little  Mum 
under  each  arm— at  any  time— even  after 
you're  dressed.  Takes  only  30  seconds! 

MUM  WON'T  HARM  CLOTHING!  The  Amer- 
ican Laundry  Institute  Seal  proves  that 
Mum  won't  harm  fabrics.  So  safe  that  you 
can  use  it  even  after  underarm  shaving. 

MUM  IS  SURE!  Mum  makes  odor  impos- 
sible—not by  attempting  to  stop  perspira- 


tion—but by  neutralizing  the  odor.  Get 
Mum  at  your  druggist's  today.  Thousands 
of  women  have  the  daily  Mum  habit 
(thousands  of  men,  too).  Let  Mum  guard 
your  charm! 

FOR  SANITARY  NAPKINS -More  women 
use  Mum  for  sanitary  napkins  than  any  other 
deodorant.  Mum  is  gentle,  safe,  prevents  unpleas- 
ant odor.  Avoid  offending  this  way,  too. 


3 


flAR  -4  !^0©C1B   447745      MODERN  SCREEN 


SCREED 


NOW  SHOWING 

THE  CAPTAIN'S  DAUGHTER  CAME 
TO  SEE 

— John  Franchey  

SHY  BUT  SLY 

— James  Reid   


THE  ROSALIND  ROAD  TO  SUCCESS- 
VILLE 

— James  Carson  


PEARL  H.  FINLEY 

Editor 

ZAILA  SEGUIN 

Associate  Editor 

LOIS  SVENSRUD 

Hollywood  Editor 

ABRIL  LAMARQUE 

Art  Editor 


THE  CRADLE  GENIUS 

— George  Benjamin   

KEEPING  UP  WITH  BETTE 

—Gladys  Hall   


THE  TAMING  OF  A  TOUGH  GUY 

— Ida  Zeitlin   


OF  MOUSE  AND  MEN 

— Frank  T.  Farrell  

NO  TIME  FOR  LOVE 

— Kirtley  Baskette   

STYLE  YOUR  LIPS 

— Carol  Carter  .  .  


CASHING  IN  ON  NATURALNESS 

/-Elliott  Cobb   

/ SCOUTIN'  AROUND  FOR  TALENT 

/  — Irving  Wallace   


26 


28 


30 


34 


36 


38 


42 


44 


46 


50 


FEATURES 

CHARTING  THE  STARS 

Intimate  Data  On  350  Personalities.... 
EGGS-ACTLY  RIGHT  FOR  MICKEY 

New  Recipes   

MOVIE  REVIEWS 

Our  Ratings   

A  DOLLAR  FOR  YOUR  THOUGHTS 

Prize  Letters   

PORTRAIT  GALLERY 

For  Your  Album  

MAKING  IT  PAY 

Extra  Money  For  Stars'  Pockets  

HOLLYWOOD  THROWS  A  PARTY 

Celebrating  For  A  Cause  


My  Sc 


ON  THE  SET 

With  "My  Son, 
GOOD  NEWS 

Movie  Chatter   

HEART  THROBS 

Vivien  Leigh  and  Laurence  Olivier. 
INFORMATION  DESK 

Questions  Answered   

OUR  PUZZLE  PAGE 

Movie  X-Word   

MOVIE  SCOREBOARD 

General  Ratings   

RETOUCHING  FOR  SPRING 

Neckwear  News  

ALL  JOKING  ASIDE 

Movie  Oddities  


6 

10 
12 
16 
19 
32 
40 
48 
54 
53 
90 
94 
96 
101 
106 


Vol!  20,  No.'5,  April,  1940.  Copyright,  1940;  by  the  Dell  Publishing  Co.,  Inc.,  1 49  Madi  son  Ave.,  New  York.  Published  monthly.  Printed  in  U.  S.  A.  Office  of  publication  at  Wash- 
ington and  South  Aves.,  Dunellen,  N.J.  Single  copy  price  10c  in  U.  S.  and  Canada;  subscription  price  $1 .20  a  year,  foreign  subscription  $2.20  a  year.  Entered  as  second-class  matter, 
Sept.  18.  1930,  at  the  Postoffice,  Dunellen,  N.  J.,  under  Act  of  March  3,  1879.  Additional  second  class  entries  at  Seattle,  Wash.;  San  Francisco,  Calif.,-  Houston,  Texas;  Savannah, 
Ga.  ana  New  Orleans,  La.    The  publishers  accept  no  responsibility  for  the  return  of  unsolicited  material.    Names  of  characters   used  in  stories  and  semi-fictional  matter  are 

fictitious.    If  the  name  of  any  living  person  is  used  it  is  purely  a  coincidence.   Trademark  No.  301773. 


Now!  A  Great 
Beauty  Soaps- 


New  Improvement  in 

-AND  CAMAY  HAS  IT! 


Let  New  Camay  Help  You 
to  a  Lovely  Skin! 

Look  for  three  beauty  cleansing  ad- 
vantages in  this  amazing  new  Camay 

—proved  by  our  tests  against  6  best-selling 
beauty  soaps!  Camay  had  greater  mild- 
ness than  any!  Gave  more  abundant  lather 
in  a  short  time!  Had  a  fragrance  that 
almost  2  out  of  3  women  voted  for! 

Camay  brings  women  a  definite  promise 
that  its  gentle  thorough  cleansing  will  help 
them  in  their  search  for  a  lovelier,  more 
appealing  skin  ...  a  more  radiant  com- 
plexion . . .  new  allure!  Get  this  wonderful 
new  Camay  at  your  dealer's  now! 


GREATER  MILDNESS 


Amazing  gentleness 
—for  a  complexion 
that  invites  "close- 
ups." 


MORE  ABUNDANT  LATHER 


fully  mild,  so  much  lather  and  such 

Long!sland,N.y.  (Mrs.  James  A.  Dearborn) 


At  all  dealers  now 
no  change  in  wrapper! 


Now- more  than  erer-THE  soap  of  beautiful  women 


4 


MODERN  SCREEN 


A  MAN  AND  A  WOMAN 
fleeing  nameless  terror.,  .through  angry 
seas  and  the  tropics'  dangers. . .yearn- 
ing for  the  peace  they  had  never  known , 
the  happiness  they  could  find  only  in 
each  other's  arms. .  .You'll  remember 
this  star  -  crowded  Metro  -  Goldwyn  - 
Mayer  picture  as  one  of  the  great 
emotional  experiences  of  the  year! 


CLARK 


JOAN 


GABLt'CRAWFOflD 

in  Metro-Goldwyn-Mayer 's  Dramatic  friumpn 


<wkb  IAN  HUNTER 

PETER  LORRE-PAUL  LUKAS 

ALBERT  DEKKER    •    J.  EDWARD  BROMBERG 
EDUARDO  CIANNELLI 

A  FRANK  BORZAGE  Production 

Screen  Play  by  Lawrence  Hazard    •    Directed  by  Frank  Borzage 
Based  on  the  Book  "Not  Too  Narrow,  Not  Too  Deep"  by  Richard  Sale 
Produced  by  Joseph  L.  Mankiewicz 


5 


MODERN  SCREEN 


CHARTING  WE  STARS' 

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A  NEW  LISTING  COVERING  350  NAMES.  THERE  S  A  SURPRISE  IN  EVERY  LINE! 

NAME 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

YEAR 

FAVORITE 

FRAI1T 

SPORT 

HOBBY 

PRESENT 
STUDIO 

ADDRESS 

Aherne, 
Brian 

Mercantile 
L/lerk 

Song  of  Songs 

1933 

Tennis 

Flying 

United 
Artists 

Home— 700  No.  Linden, 

d.,,.j„  i_i rii- 
Beverly  niiis 

Albert, 
bddie 

Drug-store 
Cleric 

Brother  Rat 

1938 

Swimming 

Attending 
Concerts 

Warner 
Dros. 

Studio — First  National 
Studios,  Burbank 

Allen, 

^7rOCI6 

Vaudevillian 

Big  Broadcast 
of  1932 

1931 

Golf 

Art  Collecting 

Para- 

m^iini 

1  IlvUM  1 

Home — 720  No.  Maple  Dr., 

RovArlu  HilU 

Ameche, 
Don 

Ditch-digger 

Sins  of  Man 

1936 

Riding 

Horse  Breeding 

20th  Cen- 
tury-Fox 

Home— 4704  White  Oak, 
No.  Hollywood 

Annabella 

Student 

Le  Million 
(French) 

1930 

Rowing 

Gardening 

M-G-M 

Home — 139  Saltair, 
Brentwood 

Arlen, 
Richard 

Newspaper 
Reporter 

Vengeance  of 
the  Deep 

1923 

Swimming 

Farming 

Univer- 
sal 

Home — 10025  Toluca  Lake 
Ave.,  No.  Hollywood 

Arnold, 
Edward 

Bell-hop 

Okay  America 

1932 

Fishing 

Collecting 
First  Editions 

20th  Cen- 
tury-Fox 

Home — 10421  Bainbridge, 
Bel-Air 

Arthur, 
Jean 

Fashion  Model 

The  Poor  Nut 

1929 

Hiking 

Interior 
Decorating 

Colum- 
bia 

Home — 512  N.  Beverly  Dr., 
Beverly  Hills 

Astaire, 
Fred 

Dancer 

Dancing  Lady 

1933 

Dancing 

Traveling 

M-G-M 

Home — 1  121  Summit  Dr., 
Beverly  Hills 

Astor, 
Mary 

Writer 

Beggar  Maid 

1926 

Riding 

Raising  Dogs 

Para- 
mount 

Home — 10051  Valley  Spring 
Lane,  No.  Hollywood 

Atwill, 
Lionel 

Stagehand 

The  White- 
Faced  Fool 

1932 

Fencing 

Attending 
Murder  Trials 

20th  Cen- 
tury-Fox 

Home — 19433  Roosevelt 
Highway,  Bel-Air 

Auer, 
Mischa 

Hospital 
Worker 

Something  Al- 
ways Happens 

1928 

Hiking 

Breeding 
Great  Danes 

Univer- 
sal 

Studio— Universal  City, 
California 

Autry, 
Gene 

Railroad 
Telegrapher 

Comin'  'Round 
the  Mountain 

1936 

Baseball 

Collecting  Ten- 
Gallon  Hats 

Repub- 
lic 

Home — 6305  Yucca, 
Hollywood 

Ayres, 
Lew 

Banjo  Player 

The  Sophomore 

1929 

Tennis 

Attending 
Concerts 

M-G-M 

Home — 906  Roxbury  Dr., 
Beverly  Hills 

Bainter, 
Fay 

Stage  Actress 

Quality  Street 

1937 

Swimming 

Raising 
Schnauzers 

Warner 
Bros. 

Home — Ocean  Front  Dr., 
Santa  Monica 

Baker, 
Bob 

Cowpuncher 

Border  Wolves 

1938 

Riding 

Leather  Tooling 

Univer- 
sal 

Studio — Universal  City, 
California 

Ball, 
Lucille 

Photographers 
Model 

Roman  Scandals 

1933 

Golf 

Flying 

RKO- 
Radio 

Home— 1344  N.  Ogden  Dr., 
Beverly  Hills 

Bancroft, 
George 

Sailor 

Driven 

1922 

Football 

Collecting 
Firearms 

Warner 
Bros. 

Studio — First  National 
Studios,  Burbank 

Bari, 
Lynn 

Student 

Dancing  Lady 

1938 

Skating 

Antique 
Collecting 

20th  Cen- 
tury-Fox 

Studio— Box  No.  900, 
Beverly  Hills 

Barnes, 
Binnie 

Milkmaid 

Love  Lies 
(English) 

1931 

Motoring 

Designing  Vases 

20th  Cen- 
tury-Fox 

Home — 351  S.  Cliftwood, 
Brentwood 

Barrett, 
Judith 

Stage  Actress 

Cimarron 

1931 

Badminton 

None 

Para- 
mount 

Home — 9701  Olympic, 
Beverly  Hills 

Barrie, 
Wendy 

Student 

Wedding  Re- 
hearsal (English) 

1932 

Tennis 

Sewing 

RKO- 
Radio 

Home — 1021  Chevy  Chase 
Dr.,  Beverly  Hills 

(Continued  on  page  60) 


fjjf£  CUP MIl'S  DAUGHTER 
j      CRM  TO  SEE 


Popular  even  with  the  Royal 
Family,  Anna  was  commanded 
to  appear  before  them  in  1937. 


Right,  with  Ray  Milland,  she 
dances  through  a  sequence  of 
her  newest  picture,  "Irene." 


ENGLAND'S  Anna  Neagle  simply 
dotes  on  American  girls.  She  can't 
say  enough  about  them.  And  no  won- 
der. Were  it  not  for  our  star-spangled 
maidens,  the  woman  who  moved  with 
such  memorable  humanity  and  pathos 
through  the  picture  "Nurse  Edith 
Cavell"  might  even  now  be  measuring 
ribbon  in  some  London  department 
store  or,  maybe,  serving  King  George 
as  warden  of  a  Piccadilly  air-raid 
shelter. 

Miss  Neagle,  will  you  take  the 
floor? 

"It  was  meeting  American  girls  that 
first  made  me  realize  I  could  do  some- 
thing. I  was  in  the  chorus  of  the 
English  musical  comedy,  'Wake  Up 
and  Dream,'  when  the  company  came 
to  New  York. 

"Up  until  that  time  it  had  never 
occurred  to  me  that  there  was  any 
hope  of  rising  from  the  'line,'  as  you 
call  it.  You  see  only  one  English 
woman  had  ever  come  from  the 
chorus  to  stardom — Jessie  Matthews. 
But  then  I  began  talking  to  American 


A  QUICK  LOOK  AT  AMERICAN 
GIRLS  WAS  ANNA  NEAGLE'S 

■ 

TIP-OFF  ON  HOW  TO  BECOME 


AN  ENGLISH  MOVIE  QUEEN 


girls,  like  myself  in  the  chorus.  They 
had  such  boundless  enthusiasm,  soar- 
ing ambition,  driving  energy.  There 
was  nothing  they  couldn't  do  if  they 
chose  to.  I  remember  that  one  girl 
was  attending  a  dramatic  school  and 
planned  to  become  an  actress.  An- 
other was  studying  psychology  and 
had  ambitions  to  become  a  psy- 
chiatrist. 

"English  girls  are  quite  different. 
They  have  no  real  self-confidence. 
They  never  feel  certain  they  are 
good,  not  as  American  girls  do.  They 
may  assume  the  appearance  of  this 
certainty,  but  underneath  they 
haven't  it. 

"Nor  did  I.  Fact  is  that  I'd  been 
in  the  chorus  for  several  years,  and 
I'd  begun  to  think  I'd  take  a  good 
look  around,  find  a  husband  and  for- 
get the  stage,  when  I  was  packed  off 
to  America  in  this  business  of  'Wake 
Up  and  Dream.'  My  part  was  small. 
I  pranced  around  carrying  a  banner. 
But  seeing  your  girls  and  watching 
them  achieve  what  would  seem  to 


English  young  ladies  very  unlikely 
ambitions,  simply  by  making  up  their 
minds,  sent  me  back  to  England 
determined  to  succeed." 

To  spare  the  lady  the  embarrass- 
ment of  having  to  describe  her  ascent 
to  glory,  we  will  take  over  once  more. 

Before  Miss  Neagle  traipsed  on 
home  she  took  dancing  lessons  here. 
Her  mentors  report  that  she  was  an 
"indefatigable  dervish,"  whatever  that 
means. 

She  returned  to  London  Town 
dripping  with  ambitious  longings.  But 
the  problem  of  economics  still  both- 
ered her.  But  not  too  much.  Blithely 
she  made  the  rounds  taking  whatever 
jobs  were  offered  her — extra  roles  in 
pictures,  microscopic  parts  in  revues, 
in  fact  anything  to  snare  an  honest 
farthing.  Finally,  even  this  windfall 
ceased. 

It  was  here  that  she  put  into  play 
what  she  likes  to  call  her  new  "Wel- 
tanschauung," her  new  philosophy  of 
life,  tailored  in  America. 

"Up  to  this  time  I  had  never 
dreamed  of  doing  it  (only  important 
people  do,  you  know)  but  at  any  rate 
I  called  on  an  actors'  agent.  I  was 
amazed  that  the  ceiling  didn't  tumble 
on  top  of  my  head  for  my  imper- 
tinence." 

Mostly  the  agent  was  amused — and 
very  nice.  He  told  his  caller  that  Jack 
Buchanan,  the  reigning  London  fa- 
vorite, was  looking  for  an  ingenue,  a 
blonde  at  that,  for  his  new  musical. 
Miss  Neagle,  the  new  philosophy  not- 
withstanding, was  flabbergasted. 

"Oh,  but  that's  impossible,"  she 
blurted  out. 

The  agent  scowled,  something  like 
the  British  lion. 

"But  don't  you  see,"  resumed  the 
lady,  "I  used  to  be  in  the  chorus  of 
one  of  his  shows.  No  one  of  Mr. 
Buchanan's  standing  would  consider 
playing  with  a  former  chorus  girl!" 

"Fiddlesticks!"  volleyed  the  inter- 
mediary, very  much  annoyed.  (Miss 
Neagle  understands  that  in  America 
agents  go  this  exclamation  one  bet- 
ter.) "You  are  exactly  what  the 
man  is  looking  for!"  Whereupon  he 
took  her  by  the  hand  and  piloted 
her  to  the  office  of  Mr.  Buchanan's 
manager. 

It  was  no  trick  at  all  to  convince 
that  worthy  that  here,  indeed,  was 
the  world's  delight,  long  on  blonde 
good  looks,  longer  still  on  ambition 
and  just  waiting  to  be  discovered.  Of 
course,  she  was  inexperienced.  But 
London  would  never  know  the  dif- 
ference.        (Continued  on  page  99) 


MODERN  SCREEN 

^/VVXVVVVVVtyVVtyVVVVVVtyVXl^ 

"Have  you  ever  wished  for  a 

BRAND  NEW  SKIN? 


Well9  you're  going  to  get  one!"  s'p^-^^^.C^^ 


VWVVWWWWW 


Just  beneath  your  present  skin  lies  a  Lovelier 
You!  Help  reveal  your  new  beauty  to  the  world 
with  my  4-Purpose  Face  Cream! 

EVERY  SECOND  that  you  live  and  breathe,  a  new  skin  — a 
new-born  skin  — is  coming  to  life  upon  your  face,  your 
arms,  your  whole  body ! 

Will  it  be  more  glamorous,  asks  Lady  Esther?  Will  it  flat- 
ter you— be  soft  and  lovely— make  you  look  more  youthful? 
Yes,  says  Lady  Esther,  that  new-born  skin  can  bring  you  a 
new-born  beauty— if— 

If  only  you  will  let  my  4-Purpose  Face  Cream  help  you  to 
free  your  skin  from  those  tiny,  invisible  flakes  of  worn-out 
skin  that  must  be  removed  gently  before  your  new-born  skin 
will  be  revealed  in  all  its  glory! 

For  these  almost  invisible  flakes  of  old,  worn-out  skin  can 
be  the  thieves  that  steal  your  beauty.  They  leave  little  bumps 
you  can  feel  with  your  fingertips— keep  your  powder  from 
going  on  smoothly— they  can  make  your  complexion  look 
drab  and  dull! 

Let  my  4-Purpose  Cream  lift  that  veil!  Gently  and  sooth- 
ingly it  wafts  away  each  tiny  flake— cleanses  the  very  aper- 
tures of  your  pores  — loosens  embedded  impurities  — leaves 
your  complexion  softer— lovelier— more  glamorous! 

Ask  Your  Doctor  About  Your  Face  Cream 

All  the  better  if  he's  a  specialist  on  the  skin.  If  you  have  a 
vitamin  deficiency— follow  his  advice.  He  will  be  a  strange 
physician  indeed  if  he  tells  you  to  try  and  push  anything  like 
vitamins  or  hormones  into  your  skin  with  your  face  cream ! 

Ask  him  if  every  word  Lady  Esther  says  isn't  absolutely 
true— that  her  cream  clears  aways  the  dirt,  impurities,  worn- 
out  skin,  and  accumulated  grime  concealing  your  new,  young 
skin  about  to  be  born! 

Then,  try  my  face  cream  at  my  expense.  Use  it  faithfully  for 
thirty  days.  See  what  a  perfect  base  it  makes  for  your  pow- 
der. See  how  it  does  help  reveal  your  glamorous  new  skin- 
how  it  does  help  keep  your  Accent  on  Youth! 


Please  Accept  Lady  Esther's  10-Day:  Sample  FREE! 


vwvt  wvwwwwwwwvww  vww 


The  Miracle 
of  Reborn  Skin 


liour  skin  is  constantly 
wearing  out — drying  up — 
flaking  off  almost  invisi- 
bly. But  it  is  immediately 
replaced  by  new-born  skin 
— aZjrar/s  crowdingupward 
and  outward.  Lady  Esther 
says  you  can  help  make 
each  rebirth  of  your  skin 
a  true  Rebirth  of  Beauty ! 

VYYYYYYYYYA  YYVYVY.YYWVYYWYYYYIVYYYY 


L\\YYY\\\\Y\\YYYY\YYYY\\YYYY\YY\\YY*Y\\V\YYYVVY\Y\YYYYYY\\\\Y1 

(You  can  paste  this  on  a  penny  postcard)  (54) 

Lady  Esther,  7110  West  65th  St.,  Chicago,  111. 

P  Ty  C  C  Please  send  me  your  generous 
JT  Jtv.  E  E  sample  tube  of  Lady  Esther 
Face  Cream;  also  ten  shades  of  Face  Powder, 
free  and  postpaid. 

Name  


Address. 


City. 


_State_ 


(If  you  live  in  Canada,  write  Laay  Esther,  Toronto,  Ont.) 

lYYYYYYYYYVYYWYYYYYYYYYYYWYl  YYYYYYYAYYYAYYl.YYYYVYYYYYYYYYYY^  VYYYYYYYYYy5 


Jack  of  all  trades,  Mickey  Rooney 
can  turn  out  scrambled  eggs  that 
are  as  big  box  office  as  himself. 
He  even  raises  his  own  chickens! 


By    Marjorie  Deen 


EGGS-ACHY  RIGHT  FOR  IRICKEY 


MICKEY  CLAIMS  he  can  prepare  mighty 
fine  scrambled  eggs!  If  you  don't  think 
this  an  accomplishment  to  boast  about 
for  one  who  has  so  many  feathers  in 
his  cap,  you  don't  know  your  eggs.  And 
you  don't  appreciate  the  fact  that  cook- 
ing them  correctly  is  an  Art  with  a 
capital  A! 

Doubtless  the  fact  that  Mr.  Rooney 
now  raises  his  own  chickens  and  can 
therefore,  whenever  he  has  a  mind  to, 
go  out  and  collect  his  own  supply  of 
fresh  eggs,  explains  to  some  degree  his 
high  regard  for  egg  dishes.  In  fact  he's 
so  proud  of  this  feature  of  his  new 
ranch  that  he  claims  there  never  were 
such  culinary  triumphs  as  those  made 
exclusively  with  the  products  of  San 
Fernando  Valley  hens! 

But  Mickey  also  appreciates  the  fact 
that  even  a  good  egg  with  star  poten- 
tialities can  be  turned  into  a  dismal 
failure  under  poor  management.  This  is 
something  which  far  too  many  of  us 
cheerily  overlook  or,  at  best,  view  with 
complete  indifference.  Not  so  Mickey, 
who  insists  that  when  he  fixes  up  some 
tasty  snack  to  fill  the  inner  man  or  to 
serve  his  "gang"  of  hungry  friends,  the 


eggs  must  always  be  perfectly  prepared. 

The  egg  dishes  that  Mickey  most  en- 
joys and  that  his  devoted  mother,  Mrs. 
Pankey,  sees  to  it  that  he  has  served 
to  him  frequently,  are:  Creamy  Scram- 
bled Eggs  (with  numerous  variations, 
one  of  which  is  pictured  above),  Cheese- 
Tomato  Souffle,  Shirred  Eggs  Andy, 
Souffled  Sandwich  Snacks,  Devilled  Din- 
ner Eggs,  and  a  mouth-melting,  divinely 
light  Lemon  Pudding,  which  served  hot 
makes  an  excellent  dessert  for  these 
blustery  March  evenings. 

Not  all  of  these  are  breakfast  dishes, 
although  the  Creamy  Scrambled  Eggs 
served  in  Popover  nests  are  as  fine  an 
Easter  breakfast  idea  as  we  can  think  of. 
The  other  recipes  combining  cheese  and 
eggs  make  delicious  lunch  and  supper 
dishes.  Because  Nature  stores  valuable 
protein  elements,  vitamins  and  minerals 
in  eggs,  we  should  make  the  most  of 
these  extra  food  values  by  serving  eggs 
much  more  often  than  we  do. 

There  is  one  important  rule  that  must 
be  observed  in  cooking  eggs  or  dishes 
made  principally  of  eggs;  never  subject 
them  to  too-high  temperatures.  Only 
low-to-moderate  heat  can  produce  per- 


fect results.  Remember  this  then,  when 
preparing  Mickey  Rooney's  favorites. 

CREAMY  SCRAMBLED  EGGS 

(Serve  in  Popover  "Nests"  for  Easter  Morning 
Breakfast) 

6  eggs 

6     tablespoons  cream 

teaspoon  salt 

a  few  grains  pepper 
2     tablespoons  butter 

Beat  eggs  slightly,  add  cream  and  sea- 
sonings. Melt  butter  in  skillet,  without 
browning.  Add  egg  mixture.  Cook  over 
very  low  heat,  or,  better  still,  place  pan 
holding  egg  mixture  into  a  second,  some- 
what larger  pan  containing  boiling 
water.  Then  continue  the  cooking  over 
boiling  water.  As  the  eggs  cook,  scrape 
them  gently  from  the  bottom  of  the  pan 
so  that  uncooked  portion  can  flow  to  the 
bottom.  Make  Popovers  according  to 
following  recipe.  Cut  tops  from  cooked 
Popovers  with  sharp  knife.  Fill  with  hot 
scrambled  eggs  and  replace  tops.  Serve 
immediately,  with  strips  of  bacon,  steam- 
ing coffee,  and  balance  of  the  Popovers 
with  an  accompaniment  of  butter  and  jam. 


MANY  A  GOOD  EGG  HAS  BEEN  RUINED  IN  THE  COOKING;  SO  MR.  ROONEY  PUTS  YOU  WISE 

10 


MODERN  SCREEN 


POPOVERS 

2  eggs 

!    1     cup  milk 

j    1     cup  sifted  flour 

j    %    teaspoon  salt 

I  1     tablespoon  melted  butter 

Beat  eggs  with  rotary  beater  or  elec- 
tric mixer  until  light.  Add  milk.  Sift  to- 
gether the  flour  and  salt  and  add  to 
eggs  gradually,  beating  constantly.  Add 
melted  butter.    Pour  into  hot  greased 

'  popover  pans.  Bake  in  hot  oven  (450°F.) 
25  minutes,  then  reduce  heat  to  moderate 

I    (350°  F.)  and  make  15  minutes  longer. 

CHEESE-TOMATO  SOUFFLE 

3  tablespoons  butter  or  margarine 

2  tablespoons  flour 
Y4    teaspoon  salt 

I    V4  .teaspoon  celery  salt 
V%    teaspoon  pepper 

!    1     cup  canned  tomato  juice 
1     cup  grated  American  cheese 

I  3     eggs,  separated 

Melt  the  fat,  add  flour  and  seasonings, 
cook  and  stir  until  blended.  Add  tomato 

I  juice  gradually.  Cook  and  stir  until 
smooth  and  thickened.  Remove  from 
heat,  add  grated  cheese  and  stir  until 
cheese  has  melted.  Cool.  Separate  eggs; 
beat  yolks,  add  to  cheese  mixture,  then 
fold  in  stiffly  beaten  whites.  Turn  into 
greased  baking  dish.  Set  dish  in  pan 
containing  boiling  water.  Bake  in  mod- 
erate oven  (350°  F.)  45-50  minutes  or 
until  puffed  and  firm.  Serve  imme- 
diately. 

SHIRRED  EGGS  ANDY 

Grease  an  individual  baking  cup  or 
shirred  egg  dish  for  each  person  to  be 
served.  Place  a  tablespoon  of  condensed 
canned  tomato  soup  in  the  bottom  of 
each.  Carefully  break  1  egg  into  each 
cup,  or  2  eggs  into  each  shirred  egg 
dish.  Season  lightly  with  salt  and  pep- 
per, add  V2  teaspoon  butter  to  each. 
Add  3  or  4  more  tablespoons  of  soup  to 
each,  a  tablespoon  at  a  time.  Bake  in 
moderate  oven  (350°F.)  12-15  minutes 
or  until  yolks  have  set  to  desired  con- 
sistency. Meanwhile  broil  small  cocktail 
sausages,  allowing  2  or  more  for  each 
serving.  Serve  eggs  in  dishes  in  which 
they  cooked,  topping  them  with  the 
cooked  sausages  just  before  serving. 

SOUFFLED  SANDWICH  SNACKS 

6     slices  bread 

3  eggs,  separated 
Y2    teaspoon  salt 

a  few  grains  pepper 
Vi    teaspoon  Worcestershire 
Y2    cup  grated  American  cheese 

Remove  crusts  from  bread  slices, 
spread  slices  with  butter  on  one  side 
only.  Place  under  broiler  flame,  butter 
side  up  until  toasted  to  a  delicate  golden 
brown.  Meanwhile  beat  egg  whites  until 
stiff.  Add  seasoning  to  the  yolks  and, 
without  washing  the  beater,  beat  yolks 
until  light.  Add  cheese.  Fold  yolk  and 
cheese  mixture  into  beaten  whites. 
Heap  on  untoasted  side  of  bread,  place 
on  baking  sheet  and  bake  in  moderate 
oven  (350°F.)  until  cheese  topping  is 
puffed  and  delicately  browned. 

DEVILLED  DINNER  EGGS 

Allow  two  slices  of  bread  for  each  per- 
son to  be  served.  Cut  them  into  large 
rounds,  one  round  only  to  a  slice.  Spread 
half  of  these  rounds  with  devilled  ham. 
With  large  biscuit  cutter  remove  centers 
of  remaining  bread  rounds,  leaving  un- 
broken rings.  (Continued  on  page  100) 


"It  used  to  make  me  hopping  mad — the  way  my  husband  was  always  kicking  about 
his  shirts.  I  know  they  were  a  mess — everything  in  my  wash  was  full  of  tattle-tale 
gray.  But  I  worked  like  a  beaver.  I  didn't  know  my  lazy  soap  left  dirt  behind.  I  had 
no  idea  what  ailed  my  clothes  until  .  .  . 


"The  lady  next  door  got  me  to  wash  the  Fels-Naptha  way — and  glory,  what  a  sur- 
prise! I've  tried  the  bar  as  well  as  the  new  Fels-Naptha  Soap  Chips.  Both  of  them 
combine  grand  golden  soap  and  gentle  naptha  so  effectively  that  even  the  grimiest 
dirt  hustles  out!  You  bet  my  husband's  showering  me  with  compliments  these  days — 
I've  got  the  whitest,  most  fragrant  washes  that  ever  danced  on  a  line!" 

Now— Fels-Naptha  brings  you  2  grand  ways 
to  banish  "Tattle -Tale  Gray" 


WHEREVER  YOU  USE  BAR 
SOAP  -  USE  FELS-NAPTHA 
SOAP.  SEE  HOW  IT  HUSTLES 
OUT  DIRT- HOW  BEAUTIFULLY 
WHITE  AND  SWEET  IT  GETS 
YOUR  CLOTHES!  SEE  WHY  MIL- 
LIONS SAY  IT'S  THE  GRANDEST 
BAR-SOAP  THEY'VE  EVER  USED! 


WHEREVER  YOU  USE  BOX-SOAP- 
USE  FELS-NAPTHA  SOAP  CHIPS. 
THEYSPEEO  WASHING  MACHINES 
LIKE  MAGIC  BECAUSE  THEY'RE 
HUSKIER  -NOT PUFFED  UP 
WITH  AIR  LIKE  FLIMSY,  SNEEZY 
POWDERS.  THEY  GIVE  BUSIER, 
LIVELIER  SUDS  BECAUSE  THEY 
HOW  HOLD  A  NEW  SUDS-BUILDER 


11 


■■VIE  REVIEWS 


***  Abe  Lincoln 


The  highest  praise  a  reviewer  can  bestow  on  the  film  version  of  Robert 
Sherwood's  Pulitzer  Prize  play,  "Abe  Lincoln  In  Illinois,"  is  to  say  that  it 
faithfully  follows  the  text  of  the  play  which,  in  turn,  faithfully  followed  the 
life,  the  speeches,  and  the  public  and  private  documents  of  Abraham 
Lincoln,  up  to  his  fateful  embarkation  upon  the  Presidency.  With  Mr. 
Sherwood,  who  also  did  the  screen  play,  the  writing  has  been  a  labor  of 
love,  almost  of  religious  veneration,  and  this  same  mood  has  communicated 
itself  to  the  cast.  Raymond  Massey  is  still  the  slouching,  drawling  Abe  who 
earned  the  unqualified  encomia  of  the  New  York  drama  critics;  Ruth  Gordon 
is  a  convincing  Mary  Todd;  Mary  Howaid  a  sweet  and  tragic  Ann  Rutledge; 
Gene  Lockhart,  a  capable  Stephen  Douglas. 

The  entire  cast,  in  fact,  appear  to  have  been  selected  on  the  basis  of  their 
individual  fitness  for  the  roles  in  question,  and  without  regard  for  the 
cinema's  ticklish  tenet  that  you  can't  make  a  successful  motion  picture 
without  "names."  In  its  way,  it  is  a  monument  to  the  maturity  of  the  screen, 
which  has  at  last  made  an  effective  motion  picture  without  falsifying  facts. 

The  story  (in  case  you've  mislaid  your  history  book)  is  that  there  was 
once  an  uncouth,  conspicuously  unhandsome  young  man,  who  struggled  with 
"book-larnin'  "  and  practically  taught  himself  the  law  in  the  wilderness; 
who  knew  pressing  debts,  depression,  failure  and  defeat;  who  lost  the  one 
girl  in  the  world  he  loved,  was  married  by  an  uncongenial  schemer;  and 
finally,  thanks  mostly  to  other  people's  ambition  for  him,  achieved  success. 
"Abe  Lincoln  In  Illinois"  is  a  fitting  tribute  to  his  greatness.  Directed  by 
John  Cromwell. — RKO-Radio. 


***  The  Shop  Around  The  Corner 


A  specialist  in  foreign  atmosphere.  Producer-director  Ernst  Lubitsch  has  1 
followed  his  recently  successful  Russian  comedy,  "Ninotchka,"  with  a 
sentimental,  flavorsome,  and  richly  humorous  cross-section  of  modern 
Budapest  entitled,  "The  Shop  Around  The  Corner."  The  corner  in  question 
is  a  bustlingly  mercantile  and  amusingly  continental  location,  and  the  shop 
offers  a  small  but  delightfully  complicated  stock  of  characters,  whose  destinies 
all  work  out  more  or  less  according  to  standard  domestic  conclusions. 

In  fact,  the  only  really  original  feature  of  "The  Shop  Around  The  Corner"  ! 
is  Herr  Lubitsch's   unconventional   approach   to  his   conventional   Metro-  : 
Goldwyn-Mayer  cast  of  characters.    It  is  a  pleasure,  for  instance,  when  \ 
James  Stewart  proves  to  be  not  at  all  out  of  place  in  a  middle-Europe  setting,  1 
as  the  serious-minded,  secretly  romantic  senior  clerk  of  a  certain  Matuschek 
and  Company,  purveyors  of  leather  goods  and  novelties  to  the  Hungarian 
metropolis.    It  is  equally  gratifying  to  note  how  naturally  Margaret  Sullavan  | 
fits  in  as  the  snippy,  but  also  secretly  romantic,  shopgirl  with  whom  Mr.  \ 
Stewart,  through  a  comical  misunderstanding,  unknowingly  carries  on  an 
anonymous,  highly  cultural  correspondence,  started  through  an  advertisement. 

Possibly  the  most  welcome  change,  however,  is  the  refreshing  treatment  ' 
of  Frank  Morgan  as  a  dramatic  actor,  rather  than  a  stooge  for  laugh-getting.  : 
He's  Mr.  Matuschek,  the  blustering,  but  golden-hearted  proprietor,  who  dis-  j 
covers  that  his  wife  is  deceiving  him  and  (crowning  indignity!)  with  one  of  | 
his  own  clerks.  Joseph  Schildkraut  as  the  philandering  clerk,  Sara  Haden,  j 
Felix  Bressart,  and  the  rest,  are  all  superbly  right  in  their  roles.  For  light  ent  j 
tertainment  try  this  one.   Directed  by  Ernst  Lubitsch. — Metro-Goldwyn-Mayer.  ' 


***  His  Girl  Friday 


If  Columbia's  "His  Girl  Friday"  (nee  "The  Front  Page")  isn't  the  fastest 
picture  of  the  year,  it  is  almost  certain  to  be  hailed  as  the  fastest  re-make. 
One  or  two  shots  from  the  inspired  needle  of  Director  Howard  Hawks,  and 
the  slightly  dated  plot  prances,  rears,  and  whinnies  like  a  Derby  winner. 
The  cast  comes  to  life  with  an  equally  amusing  vehemence,  Cary  Grant, 
Rosalind  Russell  and  Ralph  Bellamy  behaving  like  three  people  imitating 
the  Marx  brothers,  and  doing  a  swell  job  of  it,  too. 

Such  a  sustained  crescendo  of  excitement  is,  of  course,  untrue  to  the 
workaday  facts  of  newspaper  life,  but  on  the  other  hand,  far  from  professing 
to  be  a  realistic  comedy,  "His  Girl  Friday"  is  frankly  a  cinematic  assault — 
with  intent  to  amuse.  The  funniest  minor  role  is  certainly  the  one  played  by 
Billy  Gilbert  who,  as  an  incorruptible  messenger  from  the  Governor,  man- 
ages to  be  very  comic  without  emitting  a  single  sneeze. 

The  story  (and  don't  stop  us  just  because  you've  heard  it)  is  that  Miss 
Russell,  a  fire-eating  gal  reporter  who  has  just  received  her  final  decree 
from  the  brilliant  and  irresistibly  charming  big-shot  editor,  Mr.  Grant,  is 
about  to  embark  for  Albany  and  a  quiet  life  with  the  bourgeoise  Bellamy 
(and  his  dear  mother).  But  the  threatened  hanging  of  the  innocent  John 
Qualen,  together  with  the  unscrupulous  conniving  of  Cary,  lures  her  back  into 
harness  for  "one  more  story." 

In  the  process  of  removing  the  rope  from  Qualen's  neck,  Miss  Russell 
discovers  that  she  has  fastened  the  old  emotional  noose  even  more  securely 
about  her  own  swan-like  throat.   Directed  by  Howard  Hawks. — Columbia. 

(Continued  on  page  14) 


12 


HIGH  SPOTS  AND  SIDE  LIGHTS  IN  THE  CAREERS  OF  THE  STARS  ON  REVIEW 


Raymond  Massey 


It  was  a  foregone  conclusion  when  RKO  bought  the  picture  rights  to  "Abe  Lincoln  In 
Illinois"  that  Raymond  Massey,  who  played  the  part  of  the  American  Emancipator  on 
the  Broadway  stage,  would  be  drafted  for  the  screen  role. 

Though  Canadian-born,  Mr.  Massey  is  of  early  American  stock.  His  ancestor,  Geoffrey 
Massey,  emigrated  to  America  in  1629  and  settled  in  Salem,  Mass.  His  mother,  too,  is 
a  New  Englander  by  birth  which  places  him  in  a  peculiar  position.  In  London,  he  is 
regarded  as  an  American  and  in  America,  as  an  Englishman.  No  one  knows,  least 
of  all  Mr.  Massey,  how  he  comes  by  his  theatrical  talent.  There  never  has  been  an 
actor  in  the  Massey  family  and,  were  it  not  for  the  World  War,  there  never  would  have 
been.  While  stationed  in  Siberia,  at  the  close  of  the  war,  he  organized  a  minstrel  show 
to  entertain  his  fellow  soldiers.  It  must  have  been  an  unforgettable  sight — that  of  the 
serious,  somber-eyed  Massey  in  blackface  as  the  end  man! 

Back  in  London,  armed  with  letters  of  introduction  to  prominent  producers,  Raymond 
decided  upon  a  career  on  the  stage.  Finding  the  letters  not  worth  the  paper  on  which 
they  were  written,  he  started  a  private  conflagration  with  their  glowing  contents,  rolled 
up  his  sleeves  and  landed  a  job  all  on  his  own  playing  not  one  but  two  roles  in  "St. 
loan."    New  York  first  saw  him  in  "Hamlet." 

Mr.  Massey  is  no  stranger  to  the  cinema,  having  added  versatility  to  his  ability  by 
performances  in  "Drums,"  "Hurricane"  and  "Prisoner  of  Zenda." 


Margaret  Sullavan 


Born  without  inhibitions,  Margaret  Sullavan  has  continued  to  upset  applecarts,  conven- 
tions and  customs  of  long  standing.  As  we  go  to  press  no  headlines  carry  her  name, 
but  somewhere,  somebody  must  be  crossing  his  fingers  just  in  case. 

Daughter  of  an  old  Virginia  family,  she  early  decided  to  be  everything  the  people 
she  knew  in  Norfolk  weren't.  Accordingly,  she  broke  away  and  hit  for  the  stage 
as  the  climax  of  an  amazing  school  career.  She  attended  no  less  than  five  institutions 
of  learning  and  earned  the  title  of  chief-mischief-maker  in  each.  Eventually,  she  induced 
her  parents  to  let  her  study  dramatic  technique  and  dancing  in  Boston,  and  here  her 
love  for  the  stage  was  born.  After  a  period  of  training  under  a  noted  English  director, 
she  returned  to  Norfolk  to  join  the  University  Players.  Later,  as  lead  in  the  road  company 
of  Brock  Pemberton's  "Strictly  Dishonorable,"  she  attracted  the  attention  of  Elmer  Harris. 
Impressed,  Harris  signed  her  for  his  new  show,  "A  Modern  Virgin."  Thus  was  Broadway 
introduced  to  Sullavan. 

"Dinner  At  Eight"  brought  her  a  Hollywood  contract,  and  the  highly  successful  "Only 
Yesterday"  earned  for  her  the  adulation  of  the  fans.  Twice  divorced,  Miss  Sullavan  is 
now  the  wife  of  Agent  Leland  Hayward  and  the  mother  of  two  children.  On  the  set, 
she  matches  gag  with  gag  until  shooting  begins;  then  Margaret  becomes  extremely 
serious.  She  believes  in  studying  lines  beforehand.  Her  throaty  voice,  she  says,  was 
not  deliberate;  she  just  woke  up  one  morning  and  there  it  was. 


Ralph  Bellamy 


Believe  it  or  not,  Ralph  Bellamy  would  like  nothing  better  than  to  continue  as  a  fea- 
tured player  in  the  Hollywood  bright  lights.  The  astute  Mr.  Bellamy  knows  the  cinema 
life  of  a  star  is  short  though  sweet,  so  he's  casting  his  vote  for  longevity  without  stardom. 

He  spent  the  first  seventeen  years  of  his  life  in  the  public  schools  of  Chicago.  But 
after  tasting  the  very  delectable  triumphs  accorded  the  star  of  the  school's  dramatic 
club,  Ralph  decided  to  exhibit  his  talent  to  a  paying  audience.  With  his  parents' 
permission,  he  joined  a  stock  company  with  which  he  trouped  for  the  next  nine  years. 
Today  he  proudly  boasts  that  he  has  played  something  over  three  hundred  and  seventy- 
five  roles  for  fifteen  stock  companies  in  all  parts  of  the  country.  One  season,  he 
owned  his  own  company  in  Des  Moines,  Iowa. 

It  was  in  Rochester  that  he  met  and  married  Catherine  Willard,  an  English  actress. 
With  the  proverbial  wolf  yelping  closely  at  his  heels,  he  finally  landed  a  part  in  a 
Broadway  play.  As  a  gesture  of  appreciation  for  kindness  received,  Ralph  presented 
his  many  friends  with  tickets  for  the  opening  performance,  bought  with  his  first  week's 
salary.  Their  enthusiasm  and  acclamation  was  so  convincing  that  even  the  Hollywood 
scout  was  impressed  into  offering  a  screen  contract. 

Today,  Mr.  Bellamy  is  under  contract  to  Columbia  Studios  and  is  considered  one  of 
their  most  versatile  players.  He  has  appeared  before  the  camera  in  every  conceivable 
role  and,  whether  hero  or  villain,  comedian  or  heavy,  he's  always  convincing. 


13 


MODERN  SCREEN 


GREATER  SMOOTHNESS 


For  the  witchery  of  vibrant,  dewey-fresh  lips, 
you  need  a  softer,  smoother  lipstick  (ike 
IRRESISTIBLE,  the  lipstick  that's  WHIP-TEXT 
for  greater  smoothness.  Whipped  again  and 
again  by  a  secret  new  process.  Irresistible 
Lipstick  is  non-drying,  more  lasting. 


IRRESISTIBLE  LIPSTICK  PUTS  THE 
YOU  ra  IRRESISTIBLE  YOUth! 


(Continued  ] 

***The  Blue  Bird 

An  allegorical  fantasy  by  the  once- 
fashionable  Belgian  poet,  Maurice  Mae- 
terlinck, becomes  a  vehicle  for  a  grow- 
ing-up  Shirley  Temple.  And  although 
such  a  morally  ponderous  vehicle  is 
hardly  an  ideal  one  for  Shirley's  spright- 
ly talents,  the  little  lady  does  her  usual 
showmanlike  job.  She  keeps  a  firm  pro- 
fessional grip  on  every  scene  in  the  teeth 
of  competition  (especially  in  the  spec- 
tacular "Unborn  Babies"  sequence)  from 
some  of  Hollywood's  most  glamorous 
moppets.  Growing-up  or  not,  Mistress 
Temple  is  still  the  most  perfectly  schooled 
actress  in  Hollywood. 

As  for  "The  Blue  Bird"  itself,  one  can 
only  say  that  it  is  a  very  literal  and 
much-abridged  translation  from  the 
original  fairy  story.  As  poetic  fantasy,  in 
other  words,  "The  Blue  Bird"  strains  its 
wings;  as  a  film  production,  it  is  shrewd- 
ly cast,  sumptuously  staged,  and  gor- 
geously Technicolored.  Perhaps  some- 
thing more  than  shrewdness  was  wanted 
in  the  casting,  for  it  is  certainly  hard 
to  accept  the  full-grown  Gale  Sonder- 
gaard  as  a  house-cat  (Tylette)  and  the 
burlesque-comedian,  Eddie  Collins  as  the 
pet  bull-dog  (Tylo)  who  accompany 
Shirley  and  her  baby  brother,  Johnny 

j  Russell  (Tyltyl)  on  their  fantastic  search 
for  the  blue  bird  of  happiness.  The  most 
incongruous  feature  is  the  tremendous 

I  size  of  the  adult  actors,  in  comparison 

|  with  the  still  diminutive  Shirley  and  the 
still  more  diminutive  Johnny.  Fantasy  is 
made  of  more  fragile  stuff  than  this,  al- 

!  though  comedy  may  subsist  quite  happily 

I  on  such  crude  and  ridiculous  contrasts. 
"The    Blue    Bird"    has   its    sad  and 
charming  moments,  as  when  Shirley  and 
Johnny   find   their   dead  grandparents 
in  the  Land  of  Memory;  its  spectacular 

\  moments,  in  the  magnificent  and  terrify- 
ing forest-fire  sequence;  its  moments  of 
fine  characterizations,  notably  Spring  By- 
ington  as  Mama  Tyl,  Russell  Hicks  as 

!  Daddy  Tyl,  Cecilia  Loftus  and  Al  Shean 
as  Granny  and  Grandpa  Tyl.  These  vir- 
tues may  very  well  outweigh  the  faults.  It 

J  all  depends  upon  how  film  fantasy  agrees 
with  you.  But  there  can  be  no  possible 
disagreement  about  one  thing:  Shirley 
Temple  remains  the  Duse,  the  Bern- 
hardt, the  Mistress  Siddons,  the  Garbo 

I  of  child  actresses.  There  will  probably 
never  be  another  like  her.  Directed  by 
Walter  Lang. — 20th  Century-Fox. 

Of  Mice  and  Men 

John   Steinbeck's   famous   novel  has 

!  been  brought  to  the  screen  with  com- 
plete understanding  of  the  story's  pow- 
erful simplicity.  The  lonely,  tragic  char- 
acters are  beautifully  drawn  by  a  cast 

1  of  lesser-known  stars  who  confirm  our 
belief  that  a  picture  can  touch  perfection 
without  the  aid  of  big  names. 

Burgess  Meredith  plays  George,  the 

I  rough  but  good-hearted  itinerant  laborer 
who  has  assumed  the  responsibility  of 
protecting  Lennie,  an  over-grown  moron 
who    unwittingly    menaces  everything 

|  with  which  he  comes  in  contact.  Lon 
Chaney,  Jr.,  plays  Lennie,  with  a  bril- 

'  liance  which  may  some  day  earn  him 

!  his  father's  reputation.  In  the  role  of 
Mae,  the  restless  young  wife  of  another 

|  ranch  worker,  Betty  Field  gives  a  com- 
mendable account  of  herself.  Bob  Steele, 
playing  her  madly  jealous  husband, 
Charles  Bickford  as  "Slim"  and  Roman 

j  Bohnen  as  "Candy"  all  give  perform- 

:  ances  of  high  calibre. 

Every  moment  of  this  stark  tragedy 
is  impressive  in  its  sincerity.  "Of  Mice 
and   Men"   was   an   extremely  difficult 


rom  page  12) 
picture  to  screen  in  an  inoffensive  man- 
ner and  yet  keep  convincing  and  fasci- 
nating from  beginning  to  end.  To  the 
lasting  credit  of  everyone  who  worked 
on  this  picture,  the  results  are  excellent 
indeed.  Directed  by  Lewis  Milestone. — 
United  Artists. 

***  The  Fighting  69th 

This  picture,  dealing  as  it  does  with 
the  savagery  of  war,  should  be  taken  in 
by  every  man,  woman  and  adolescent  in 
the  country.  The  horrible  futility  and 
waste  of  the  great  conflict  is  portrayed 
with  such  power  that  every  one  who  sees 
"The  Fighting  69th"  must  remember  its 
message  forever. 

The  story  of  the  famous  New  York  I 
regiment  of  Irishmen  is  brought  to  the 
screen  with  a  few  humorous  incidents, 
but  on  the  whole  the  picture  is  starkly 
realistic. 

The  plot  of  the  picture  is  centered 
around  Soldier  James  Cagney  who  joins 
up  with  the  valiant  regiment.  A  cocky 
fellow,  Cagney  finds  that  he  can't  face 
death  unafraid  but  refuses  the  friendly 
overtures  of  Father  Duffy,  (played  by 
Pat  O'Brien),  and  the  offers  of  help  from 
his  pals.  After  getting  them  in  one  seri- 
ous situation  after  another,  Cagney 
finally  catches  on  to  himself.  This  part 
of  the  picture  is  not  true  to  Life,  but  we 
assure  you  the  rest  of  it  is  most  con- 
vincing and  carries  a  great  plea  for  peace. 
In  the  cast,  Pat  O'Brien  and  George 
Brent  do  fine  work,  while  Alan  Hale, 
Frank  McHugh,  Cagney  and  the  rest  are 
well  selected  for  their  roles.  Directed 
by  William  Keighley. — Warner  Bros. 

***  High  School 

In  this  picture,  we  find  little  Janie 
Withers  all  grown  up  and  going  to  a 
fancy  southwestern  high  school.  She 
still  gets  into  the  typical  Withers  trou- 
bles, but  now  she  has  the  help  of  one 
Joe  Brown,  Jr.,  to  solve  her  problems. 

Joe  Brown,  Jr.,  (no  relation  to  the 
elder  Joe  E.  Brown)  is  one  of  the  home- 
liest lads  who  ever  attended  high  school 
and  Jane  simply  can't  see  him  for  dust. 
He  causes  her  continual  grief.  Then  Jane 
finds  out  that  you  can't  judge  a  man 
by  his  profile.  Together  they  capture 
some  criminals  and  thus  save  the  repu- 
tation of  a  high  school  pal.  Jane  turns 
out  to  be  the  belle  of  the  school  that 
couldn't  stand  her  high-handed  ways. 

Story  action  takes  place  at  the  much 
publicized  Jefferson  High  in  San  An- 
tonio, Texas,  where  many  of  the  back- 
ground scenes  were  shot.  Actual  Jeffer- 
son High  happenings  give  the  picture  the 
authentic  touch  that  transcends  Jane 
from  little  girlhood  into  adolescence.  The 
very  good  work  of  young  Mr.  Brown 
adds  a  great  deal  to  the  family  appeal 
of  the  picture.  Other  credits  are  due 
Lloyd  Corrigan,  Claire  Du  Brey,  Cliff 
Edwards  and  Lillian  Porter.  Directed 
by  George  Nicholls,  Jr. — 20th  Century- 
Fox. 

Congo  Maisie 

Maisie's  down  in  the  African  jungles 
among  the  crocodiles  and  lions  for  this 
picture.  But  don't  worry  about  Maisie. 
That  little  girl  not  only  keeps  the  wild 
animals  off  her  pretty  neck  but  tames 
the  rampaging  natives  as  well.  Her  only 
trouble  comes  when  she  falls  in  love, 
but  she  doesn't  seem  to  mind  that  too 
much  after  her  man  finally  convinces  her 
that  they're  really  soul  mates. 

Ann  Sothern  is  Maisie  again,  of  course, 
and  the  he-man  who  wins  her  affections 


14 


MODERN  SCREEN 


is  John  Carroll.  Rita  Johnson  is  the 
wife  of  the  medical  station  doctor,  Shep- 
perd  Strudwick,  and  other  roles  are 
capably  handled  by  J.  M.  Kerrigan,  E. 
E.  Clive,  Everett  Brown  and  Tom  Fad- 
den.  Nope,  this  Maisie  installment  isn't 
as  snappy  as  the  first  one,  but  there's 
a  load  of  life  and  laughs  in  it. 

Our  chorus  girl  heroine  is  stuck  on  a 
jungle  river  boat  after  skipping  out  on 
a  hotel  bill.  The  boat  breaks  down  part 
way  up  the  river  and  the  two  passen- 
gers, Ann  Sothern  and  John  Carroll,  are 
forced  to  hike  it  through  the  jungle  to 
a  rubber  company  medical  station.  Re- 
pairing the  boat  takes  so  long  that  Maisie 
gets  to  like  the  native  village.  It's  no 
trouble  at  all  for  her  to  subdue  the 
"Fuzzy  Wuzzies,"  as  she  calls  them,  and 
establish  peace  and  serenity  in  the 
depths  of  Africa.  Directed  by  Henry  C. 
Potter. — Metro-Goldwyn-Mayer. 

Remember  the  Night 

Barbara  Stanwyck  and  Fred  MacMur- 
ray  are  teamed  in  a  picture  that's  strictly 
on  the  sentimental  side  and  will  hold  ap- 
peal for  many  audiences.  The  story  de- 
picts the  trials  and  tribulations  of  a  girl 
who  never  had  a  chance  in  life  and  ends 
up  in  court  for  a  jewel-theft.  Barbara 
Stanwyck  has  plenty  of  opportunity  to 
win  sympathy  and  Fred  MacMurray,  as 
the  deputy  district  attorney,  has  the 
chance  to  prove  there's  a  heart  of  gold 
beating  in  the  breast  of  even  a  tough- 
ened D.  A.  Then  Fred  takes  the  little 
waif,  done  up  in  sables,  home  to  Indiana 
for  Christmas  and  a  look  at  how  genuine, 
God-fearing  folks  live  their  lives.  Mr. 
M.  intends  to  return  her  to  prison  but 
that's  before  love  blooms  and  he  finds 
he  can't  do  it.  The  heroine  takes  mat- 
ters into  her  own  hands,  however. 


\  < 

A 


Errol  Flynn  arrives  in  New  York  to  snag 
a  few  snows  and  a  bit  of  N.  Y.  night-life 
before  tearing  back  to  Hollywood 
to  make  his  next,  "The  Sea  Hawk." 


There's  no  denying  that  the  story's  old 
stuff  and  that  many  of  the  scenes  drag 
their  tail-feathers,  but  Barbara  Stan- 
wyck and  Fred  MacMurray  manage  to 
make  their  roles  convincing  throughout. 
Beulah  Bondi,  as  MacMurray's  mother, 
Elizabeth  Patterson,  as  his  aunt,  and 
Sterling  Holloway,  their  hired  hand,  give 
performances  that  are  worth  the  price 
of  a  ticket  any  day.  Directed  by  Mitch- 
ell Leisen. — Paramount. 

+*k*k  Slightly  Honorable 

"Slightly  Honorable"  is  one  of  those 
murder  mysteries  that  lean  to  the  wacky 
side.  The  actual  killings  are  spooky 
enough,  but  there's  such  good  comedy 
relief  that  the  picture  has  important  en- 
tertainment value. 

Pat  O'Brien  is  a  flippant,  romantic  sort 
of  man-about-town.  He's  supposed  to 
be  a  lawyer,  but  spends  most  of  his 
time  trying  to  expose  graft  in  the  big 
political  circles.  Edward  Arnold,  Alan 
Dinehart  and  Bernard  Nedell  are  the 
racketeers  who  are  trying  just  as  hard 
to  get  O'Brien  out  of  their  shady  deal- 
ings. They  almost  succeed  in  hanging  a 
phony  murder  rap  on  him,  but  the  luck 
of  the  Irish  is  with  O'Brien  and  he  goes 
free  to  reveal  the  real  murderers. 
O'Brien  is  also  pretty  lucky  with  his  love 
affairs.  There's  a  little  newcomer,  Ruth 
Terry,  who  not  only  steals  the  O'Brien 
heart  but  almost  manages  to  steal  every 
scene  away  from  him. 

Excellent  supporting  roles  are  handled 
by  Broderick  Crawford,  Claire  Dodd, 
Phyllis  Brooks,  Janet  Beecher  and  Eve 
Arden.  Produced  and  directed  by  Tay 
Garnet. — Walter  Wanger  Production  for 
United  Artists. 

(Continued  on  page  81) 


SEAUTy  QSfcS.  DOES  YOUR  HUSBAND  WANT  TO 

ADVISOR  SHOW  OFF  YOUR  CHAPPED,  RED  HANDS  ?" 


CHEER  UP,  ANN -FRANK  JUST  WANTS^ 
7T0  BE  PROUD  OF  YOUR 
LOOKS -AND  HE  WILL 
BE,  ONCE  you  GET 
YOUR  HANDS  LOOKING 
NICE  WITH  HINDS 
HONEy  AND  ALMOND,.,. 

cream/-~_--j:^ 


OH,  HONEY— 
ISN'T  HINDS 
THE  GRANDEST 
LOTION.'  IT  FEELS 
SO  CREAMY,  IT  MUST 
BE  SOFTENING.  GOOD 
^NP  SOOTHING , TOO 


YEAH 
THE  DRESS  IS  SWELL 
BUT  GEE,  ANN,  YOUR 
HANDS  ARE  A  GIVE-AWAY 
SO  RED  AND  CHAPPED 
ANYONE  CAN  TELL 
THIS  IS  THE  FIRST 
7%  TIME  WE'VE  BEEN 
.!  IwOUT  IN  YEARS/ 

WANT  appealing,  lovable  hands? 
Don't  let  housework  and  chilly 
winds  spoil  the  looks  of  your  hands.  Use 
Hinds  Honey  and  Almond  Cream  regularly 
to  help  guard  against  harsh  chapping. 
Hinds  is  extra  -  creamy,  extra -softening. 
Helps  tone  down  harsh  redness.  Coaxes 
back  a  softer  look  and  feel.  Hinds  feels 
good,  does  good  to  tender  hands!  Contains 
Vitamins  A  and  D.  $1,  50<t,  25*.  and  10<: 
sizes  at  toilet  goods  counters. 

NEW!  Hinds  Hand  Cream  in  jars- 
quick- softening!  10tf  and  39<  sizes 

Copyright.  1940.  Lehn  &  Fink  Products  Corp.,  Bloomfield,  N.J. 


HINDS  for  HANDS 


MODERN  SCREEN 


Easy  to  Use 

that's  why  women  choose 


\  i, 


THE  KOTEX*  TAMPON 


The  Ideal  Internal  Protection.  Fibs,  the  Kotex 

Tampon,  with  new  exclusive  features,  is  more 
comfortable,  more  secure,  easier  to  use.  Be- 
cause of  the  rounded  top  no  artificial  method 
of  insertion  is  necessary!  A  Kotex  product,  Fibs 
merit  your  confidence! 


Special  "Quilting"  keeps  Fibs  from  expand- 
ing abnormally  in  use— prevents  risk  of  parti- 
cles of  cotton  adhering— increases  comfort  and 
lessens  possibility  of  injury  to  delicate  tissues. 


Made  of  Surgical  Cellucotton  (not  cotton) 

which  absorbs  far  more  quickly  than  surgical 
cotton,  that's  why  hospitals  use  it.  Yet  Fibs 
cost  only  25c  for  a  full  dozen.  Mail  coupon 
with  10c  for  trial 

supply  today.  aA&QN 


Accepted  for 
Advertising  by 
The  Journal  of, 
tbe  American 
Med'Cal 
Association 


SAMPLE  OFFER 


*T  M.Rco.  U.S. fat. Off. 


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A  DOLLAR  FOA  YOUR 

TEN  LUCKY  FANS  WIN  PRIZES  EVERY  MONTH!  WRITE 


Boo! 

When  is  Hollywood  going  to  give  us 
more  pictures  like  "The  Cat  and  the 
Canary"  or  "The  Gorilla"  and  stop  this 
Frankenstein  and  Dracula  stuff?  They 
have  made  "Dracula's  Daughter"  so  I 
wouldn't  be  surprised  if  "Frankenstein's 
Grandmother"  were  produced  next. 

Those  Dr.  Jekyl  and  Mr.  Hyde  shows 
are  all  right  for  midnight  shows  on 
Hallowe'en,  as  they  are  impossible  and 
appeal  only  to  the  imagination.  But  the 
good  mystery  with  a  sensible  solution 
and  some  bit  of  comedy  to  break  the 
monotony  is  enjoyable  any  time. 

Boris  Karloff  is  grand  in  horror  pic- 
tures, and  more  power  to  him,  but  for 
a  change  give  him  a  real  character  part 
and  leave  out  the  haunted  castles  on 
stormy  nights. 

Here's  to  more  of  those  grand  pictures 
that  one  minute  have  the  audience  sit- 
ting on  the  edges  of  their  seats  with 
excitement  and  the  next  have  them  roll- 
ing in  the  isles  with  mirth. — Marion  Ho- 
feller,  Houston,  Tex. 

Appreciation 

I  wish  I  could  paint  a  word  picture  of 
what  the  movies  mean  to  us  people  who 
live  away  out  here  on  the  sere  hills  of 
northern  Montana.  We're  simple  people 
starved  for  beauty,  romance  and  a  little 
excitement! 

In  our  little  nearby  town  we  have 
shows  only  on  Saturday  and  Sunday 
nights,  but  we  never  miss  one  if  we  can 
help  it.  Brought  to  us  on  trie  screen  in 
this  little  western  prairie  town  is  the 
same  talent,  the  same  beauty,  the  same 


fine  acting  that  we  would  see  in  the  best 
theatres  in  the  world. 

God  bless  the  movies  that  break  the 
monotony  of  our  bleak  existence  with 
the  showing  of  such  pictures  as  "Romeo 
and  Juliet."  "The  Birth  of  a  Nation," 
"David  Copperfield,"  "The  Hunchback  of 
Notre  Dame,"  "Juarez"  and  hundreds  of 
others. — Mrs.  A.  E.  Kamps,  Froid,  Mont. 

Honest-to-Goodness  Thrill 

Producers  have  the  habit  of  cramming 
down  the  public's  throat  the  Hollywood 
conception  of  a  popular  hero.  They  sel- 
dom take  into  consideration  the  fact  that 
the  public  have  very  definite  ideas  of 
their  own  on  the  subject.  They  spend 
thousands  of  dollars  exploiting  someone 
who  hasn't  a  grain  of  appeal  and  over- 
look a  honey  right  under  their  noses. 
For  instance,  Walter  Pidgeon. 

Walter  Pidgeon  has  more  sex  appeal 
than  a  score  of  our  supposedly  more 
popular  actors.  Since  the  first  time  I 
saw  him,  I  have  never  missed  a  picture 
of  his.  I've  sat  through  a  number  of  com- 
paratively poor  movies  just  to  be  able 
to  watch  my  favorite  actor.  Lots  of  my 
girl  friends  do  the  same.  A  kindly  old 
maid  shyly  admits  that  Walter  Pidgeon  is 
her  ideal,  while  my  mother  firmly  de- 
clares that  she  wouldn't  miss  one  of  his 
pictures  for  anything.  Even  Dad  shows 
a  preference  for  him. 

People  are  getting  tired  of  Errol  Flynn 
with  his  conceited  smirk  and  Nelson 
Eddy  with  his  wooden  expression — just 
to  mention  two.  Why  not  give  this 
charming,  accomplished  actor  a  break? 
Let  us  see  more  of  the  man  who  gives  us  . 
a  real  honest-to-goodness  thrill!  Give 


16 


MODERN  SCREEN 


THOUGHTS 


US  YOUR  FRANK  OPINIONS 

us  more  of  his  pictures  and  watch  us 
flock  to  the  movies! — Doris  Spink,  Sioux 
City,  la. 

The  Return  of  the  Thin  Man 

I  have  just  left  the  theatre  with  the 
pleasant  feeling  of  joy  that  comes  when 
one  meets  an  old  friend  after  a  long 
period  of  separation. 

I  am  referring  to  Bill  Powell's  return 
to  the  screen  in  "Another  Thin  Man." 
Despite  the  handicap  of  what  I  feel  was 
a  vague  plot,  Powell  more  than  made  up 
for  it  with  his  usual  hilarious  perform- 
ance as  Nick  Charles.  As  the  suave, 
debonair  detective,  Powell  once  more 
gave  us  the  sophisticated  comedy  that 
has  been  sadly  missed  by  theatregoers 
during  his  recent  absence. 

For  myself  and  countless  other  Powell 
fans  who  feel  the  same  way,  may  I  sug- 
gest a  rousing  cheer  for  his  return  and 
propose  a  toast  to  the  continued  health 
and  long  life  of  Nick,  the  Missus  and 
Junior. — Michael  Di  Leonardo,  Sunny- 
vale, Cal. 

Handsome  Errol 

I  am  sure  fans  will  support  me  when 
I  say  that  Errol  Flynn  is  the  handsomest 
actor  on  the  screen  today. 

To  me,  he  is  the  incarnation  of  physical 
perfection,  manly  vigor  and  alert  intelli- 
gence. Lithe,  graceful  and  dynamic,  he 
is  indeed  pleasing  to  look  upon.  Yet  no 
one  would  ever  call  him  the  screen's 
pretty  boy.  He  is  not  a  profile  parader. 

Not  since  Valentino  has  the  Screen 
been  graced  with  a  more  personable, 
likable    or    (Continued    on    page  97) 


JEAN  ARTHUR 
FRED  MELVYN 
MacMURRAY  DOUGLAS 


Directed  by  WESLEY  RUGGLES  •  Screen  play  by  CLAUDE  BINYON 
Based  on  the  play  by  W.  Somerset  Maugham  •  A  COLUMBIA  PICTURE 


17 


MODERN  SCREEN 


18 


RUTH 
HUSSEV 


Oh  ,  the  "Road  to  Singapore" 
Is  a  picture  you'll  adore  .  .  . 

If  it's  laughter  you  are  after 

You'll  be  rolling  on  the  floor  .  . 

Join  us  somewhere  East  of  Suez 
On  our  tuneful  tropic  tour  .  .  . 

And  you'll  lose  those  winter  bluez 
As  your  heart  thrills  to  Lamour 

"   Just  a  couple  of  hitch  hikers 


on  the  "Road  to  Singapore" 


E  SONGS... 


25 


SHY  BUT 


AND  THUS  DOES  THE 
STEWART  BRAND  OF  SELF- 
CONSCIOUSNESS  DIFFER 
FROM  THAT  OF  THE  BASH- 


FUL BOY  NEXT  DOOR 


mm 


By 
James 
R  e  i  d 

Three  four-star 
pictures  in  a  row 
is  a  record  of  some 
kind.  This  canny 
Scot  from  Pa.  can 
certainly  pick  'em. 

26   .  *  * 


THE  GIRLS  don't  seem  to  agree  with  him.  Olivia  de 
Havilland  is  quoted  as  saying,  with  a  baffled  smile,  "Jimmy 
Stewart  is  super-shy."  Marlene  Dietrich  is  quoted  as  say- 
ing, with  a  mischievous  smile,  "I  don't  think  Jimmy 
Stewart  is  so  shy." 

Both  have  gone  out  with  him.  Both  knew  him  person- 
ally. And  they  contradict  each  other  about  what  he  is 
like  in  person. 

Olivia  has  the  popular  impression.  She  thinks  that 
Jimmy  is  still  painfully,  boyishly  self-conscious,  still  not 
sure  of  himself,  still  afraid  of  the  world — and  women.  But 
Marlene  may  have  the  right  impression. 

There  are  two  ways  to  get  the  same  impression  as 
Marlene.  One  is  to  be  another  Dietrich.  The  other  is  to 
look  into  some  of  the  facts  about  Jimmy. 

Most  people  know  that  he  was  born  in  a  small  town. 
Those  who  don't  know  it  suspect  it.  He  looks  like  a  small 
town  boy.  Something  less  generally  known,  and  even  less 
generally  suspected,  is  the  date  of  his  birth.  It  was  May 
12,  1908.  He  isn't  a  growing  boy.  Come  next  May  12th, 
he'll  be  thirty-two.  He  has  had  time  to  shed  the  bashful 
ways  of  a  village  youth.  And  he  has  had  opportunity. 
What  opportunity! 

He  went  to  Princeton,  a  college  known  to  Yale  men  as 
"that  New  Jersey  country  club."  Anyone  who  goes  there 
as  a  freshman  and  comes  away  an  alumnus  normally  has, 
besides  an  education,  a  veneer  of  worldly  poise. 

Then,  after  college,  he  learned  about  big  city  life  in  the 
biggest  city  in  the  world,  on  the  street  most  famous  for 
curing  naivete — Broadway.  He  lived  there,  and  learned 
there,  for  four  years. 

Since  1935,  he  has  been  in  Hollywood,  the  place  where 
even  Earl  Carroll  admitted  you  find  "the  most  beautiful 
girls  in  the  world."  Jimmy  has  put  in  most  of  his  working 
hours  acting  with  glamorous  sophisticates,  and  a  large 
amount  of  his  spare  time  acquainting  himself  with  others. 

Today,  he  is  one  of  the  best  actors  on  the  screen.  He's 
a  winner  of  awards.  Another  way  of  putting  it  is  that  he 
has  mastered  the  art  of  self-expression. 

If  he  still  seems  bashful  and  backward,  it  must  be  an 
accident.  A  deliberate  accident.  There  must  be  a  little 
slyness  mixed  in  with  that  shyness.  He  has  become  a 
success  by  reversing  the  usual  formula  for  success.  In- 
stead of  erasing  self-consciousness,  he  has  made  it 
indelible. 

The  causes  of  self-consciousness  are  sometimes  difficult 
to  detect.  This  is  particularly  true  in  Jimmy's  case.  No 


inferiority  complex  was  forced  upon  him  when  he  was 
a-sprouting. 

His  home-town,  Indiana,  Pennsylvania,  is  several  thou- 
sands larger  now,  but  when  Jimmy  was  growing  up,  it 
had  a  population  of  less  than  seven  thousand.  Everyone 
knew  everyone  else,  whether  or  not  a  person's  family 
amounted  to  anything,  and  whether  or  not  a  person  was 
likely  to  amount  to  anything,  himself. 

Jimmy  didn't  have  to  sneak  home  from  school  the  back 
way,  lest  he  be  taunted  about  his  family.  His  father  ran 
(and  still  runs)  a  hardware  store,  doing  most  of  his  busi- 
ness with  coal  mines  and  miners.  He  wasn't  well-to-do, 
but  he  had  a  comfortable  living,  a  comfortable  home,  and 
the  respect  of  the  townspeople.  No  one  in  Indiana  could 
look  down  on  the  Stewart  family. 

At  the  same  time,  the  Stewarts  couldn't  look  down  on 
anyone  else.  When  a  man  is  a  merchant  in  a  small  town, 
everyone  he  sees  is  a  past,  present  or  possible  customer. 
Accordingly,  he  has  to  speak  to  everyone  alike.  His  family, 
taking  their  cue  from  him,  does  likewise.  Jimmy  didn't 
have  a  chance  to  acquire  the  self-consciousness  that  comes 
from  knowing  how  to  get  along  with  only  one  class  of 
people.  It  was  an  early  habit  with  him  to  know  how  to  be 
friendly  with  everybody. 

AS  A  boy,  Jimmy  was  no  invalid,  deprived  of  a  normal 
life.  He  played  all  the  games  anybody  else  played.  He 
had  as  many  playthings  as  the  boys  he  knew.  He  had, 
and  still  has,  an  understanding  mother,  who  wasn't  for- 
ever suppressing  him,  or  coddling  him.  She  didn't  make 
him  dress  in  a  way  that  set  him  apart.  He  wore  what 
other  boys  wore. 

When  Jimmy  was  ten,  his  father  went  off  to  war.  And  he 
wasn't  shy  about  telling  that  his  dad  was  a  captain. 
Neither  was  he  shy  about  exhibiting  the  things  his  dad 
sent  him — German  trench  helmets  and  other  trophies  of 
battle.  Nor  was  he  shy  about  making  use  of  them,  enlist- 
ing his  pals  in  mock  armies  and  staging  dramas  of  war 
in  the  Stewart  backyard  and  cellar.  Self-expression  along 
acting  lines  popped  out  that  early. 

Most  boys  don't  become  self-conscious  until  they  reach 
the  awkward,  voice-changing  age.  Jimmy  was  no  excep- 
tion. Most  boys  outgrow  that  conspicuous  feeling.  But  all 
that  Jimmy  outgrew  was  everybody  else  he  knew — he 
stood  six-feet-three  in  his  socks. 

He  couldn't  stop  feeling  conspicuous,  when  he  towered 
over  other  people  his  own  age.  (Continued  on  page  84) 


ROZ  RUSSELL  DOESN'T  BELIEVE  IN  DETOURS!   SHE  KNEW  THAT  THE  SHORTEST  DISTANCE 


WITH  HER  left  hand  she  grabbed  the  maroon  cushion 
and  held  it  in  front  of  her.  Then,  suddenly,  she  cocked  her 
right  fist  and  let  fly.  Biff! 

The  right  uppercut  caught  the  cushion  square,  sent  it 
sailing  through  the  room,  pancaked  it  against  the  library 
wall,  from  where  it  fell  limply  to  the  floor. 

"Some  punch,  eh?"  exclaimed  Rosalind  Russell,  flexing 
a  bicep.  "And  just  remember  this — it's  exactly  the  kind 
of  punch  I'm  going  to  plant  smack  on  the  jaw  of  anyone 
who  tries  to  ruin  my  career  by  typing  me! 

"I'm  told  I  was  fairly  successful  playing  catty  Sylvia  in 
'The  Women.'  Now  every  producer  in  town  wants  me 
to  go  right  on  playing  Sylvia.  Each  wants  me  to  do  the 
same  part,  in  different  stories,  over  and  over  again.  But 
I  won't  do  it!" 

Roz  (that's  what  all  her  friends  and  fans  call  her) 
clenched  her  fists,  and  said  emphatically,  "No  sirree,  I 
won't  be  typed!  I  won't  ever  go  to  that  grave.  I've  seen 
too  many  other  actresses  get  into  the  rut.  They  are  forced 
to  show  the  public  the  same  thing,  year  after  year — the 
same  gestures,  tricks,  movements,  inflections.  The  public 
becomes  bored  silly!  Maybe  I'm  daffy,  and  maybe  I  won't 
make  as  much  money,  but  in  each  picture  I  want  to  play 
a  different  character.  Sylvia  of  "The  Women'  is  .dead. 
There  won't  be  a  resurrection!" 

Sitting  in  Roz  Russell's  soft  and  cozy  library,  watching 
her  across  from  me  on  the  fuzzy  couch,  a  word  crept  into 
my  mind:  Rebel. 

Noah  Webster,  the  celebrated  verb-juggler,  in  penning 
his  fat  dictionary,  defined  "rebel"  as  a  noun  meaning  "one 
who  renounces  or  resists  by  force  the  authority  of  one's 
ruler;  one  who  revolts  or  exhibits  opposition." 

Noah  Webster  had  something  there.  But  I  am  here  to 
report  that  Hollywood  has  something  better.  A  new 
definition — "rebel,"  a  noun  meaning  "Rosalind  Russell." 

One  cannot  speak  to  Roz  ten  minutes  without  realizing 
that  beneath  her  poised  and  cultured  manner,  beats  the 
raw  red  heart  of  an  individualist,  a  fighter,  an  opponent 
of  stupid  and  senseless  authority.  From  the  day  she  was 
born  and  named  after  a  steamship  called  the  S.S.  Rosalind, 
Roz  has  been  upsetting  applecarts,  startling  stuffed  shirts 
and  stepping  on  the  corns  of  Movieland  rulers. 

It's  not  that  Roz  is  stubborn.  She  isn't.  And  it's  not  that 
Roz  is  temperamental.  She  couldn't  be,  not  after  telling 
me,  "There  is  no  such  thing  as  temperament.  There's  only 
temper."    The  answer  is  that  Miss  Russell  is  terribly 


intelligent.  Her  I.Q.  probably  resembels  the  city  census. 
She  knows  where  she's  going,  and  she  knows  how  she's 
getting  there.  She  doesn't  want  persons  in  authority,  who 
haven't  had  time  to  know  or  understand  her,  trying  to 
run — and  ruin — her  life.  That's  why  she's  a  two-fisted 
rebel. 

Cool  and  harmless  in  appearance,  a  Connecticut  Yankee 
from  Waterbury,  Roz  actually  has  the  hot  blood  of  Scarlett, 
the  soul  of  Duse,  and  the  head  of  Susan  B.  Anthony. 

She  was  labeled  a  rebel  several  years  ago  when  she 
became  the  first  human  in  Hollywood  to  refuse  stardom! 
No,  you  needn't  bother  writing  Robert  Ripley.  He's  heard 
about  it.  Roz  refused  to  be  a  star.  Fought  against 
it!  Her  explanation  was,  "Hollywood  doesn't  use  its  head. 
The  Brass  Hats  here  try  to  make  you  a  star  overnight, 
and  they  succeed  only  in  killing  you.  My  biggest  fight 
in  Hollywood  was  not  to  get  some  place,  but  to  keep 
from  getting  some  place  too  fast!" 

She  clucked  her  tongue  reminiscently. 

"I'll  never  forget  the  beginning.  I  had  planned  my  career 
step  by  step.  The  Rosalind  Road  To  Successville.  It  was 
to  be  a  slow  and  hard  road.  I  intended  to  go  carefully, 
learn  much  along  the  way  and  progress  at  a  sane  rate. 
If  stardom  was  for  me,  I  did  not  want  it  suddenly. 

"Becoming  a  star  overnight,  riding  to  sudden  fame  on 
one  or  two  pictures  and  on  tons  of  publicity,  seems  to  me 
fatal.  Sometimes  it  is  Hollywood's  biggest  tragedy.  Pity 
the  girls  who  have  been  pushed  too  swiftly.  Their  public 
won't  give  them  time  to  live  up  to  the  fan-fare.  They  are 
handicapped  before  they've  even  started.  It's  really  not 
fair.  Well,  anyway,  it  didn't  happen  to  me — because  I 
fought  against  it.    I  wasn't  concerned  with  short-cuts." 

Rosalind  Russell,  voted 
one  of  the  best-dressed 
women  in  Hollywood, 
is  known  by  her  real 
name.  She  is  the  name- 
sake of  a  steamship 
called  the  S.S.  Rosalind. 


'»  SWfSSKMf 


BETWEEN  TWO  POINTS  IS  A  STRAIGHT  LINE  AND  CHOSE  HER  HIGHWAY  ACCORDINGLY 


You  believed  her,  because  you  saw  it  in  her  smoldering 
dark  eyes,  in  her  knotted  fists,  in  all  five  foot  six  of  her 
exquisite  being. 

"I  remember,"  she  said,  "an  argument  I  once  had  with 
an  actor.  We  were  sitting  at  a  table,  and  he  told  me  that 
if  a  person  couldn't  become  a  movie  star  in  two  years,  he 
never  could.  I  disagreed.  And  even  to  this  day,  I  dis- 
agree. Acting  is  just  like  writing,  or  being  in  the  shoe 
business,  or  designing  clothes  or  most  anything — you  go  to 
the  top,  not  overnight,  not  in  two  years,  but  gradually, 
tortoise -like,  always  learning,  always  improving. 

"In  the  end,  the  whole  secret  is  hard  work.  You  can 
only  get  some  place  by  slaving,  struggling,  pushing.  I 
mean  working  at  a  job  until  you're  blue  in  the  face.  The 
only  people  who  can  afford  to  dream  are  the  debs.  Dream- 
ing is  an  expensive  recreation,  and  they  can  afford  it. 
But  the  average  person  can't.  I  know  I  can't." 

Suddenly,  Roz  tucked  her  feet  kitten-like  beneath  her 
skirt  and  grinned  a  quick  warming  grin.  "Oh  heavens, 
I've  been  gabbing  a  streak!  You'd  think  I'm  wearing  a 
halo,  that  I'm  all  virtue  and  stuff.  Well,  I'm  not.  When 
I  look  in  the  mirror,  after  wincing,  I  take  a  good  gander 
and  see  the  world's  worst  procrastinator  and  national 
amateur  champion  time-waster. 

"When  it  comes  down  to  solid  working,  little  Roz  is  the 


best  thinker-upper  of  excuses  on  earth.  I  get  a  desire 
to  ride,  swim  or  read  just  at  the  time  when  I  should  shove 
the  old  nose  to  the  stone.  But  my  saving  grace  is  that, 
occasionally,  I  give  myself  a  jolt.  I  say  to  myself,  'Roz, 
you  good-for-nothing,  snap  out  of  it.'  And  I  get  into  a 
burst  of  work,  and  I'm  on  my  schedule,  and  I'm  happy!" 

Roz,  I  learned,  came  from  a  family  which,  though  there 
were  seven  children  around,  paid  a  big  income  tax.  In 
brief,  her  lawyer  father  did  well.  This  would  be  an  easier 
story  to  write  if  the  Russells  had  been  hungrier.  I  could 
tell  you  about  Roz,  hollow-cheeked,  shivering  in  a  garret. 
It  would  be  traditional  and  dramatic. 

But,  while  never  financially  handicapped,  Roz  faced  as 
dangerous  a  bugaboo.  Idleness.  She  could  have  spent  out 
her  days  in  Waterbury,  devoting  her  talents  to  the  occu- 
pation she  hates  most — gossip. 

Instead,  she  became  a  rebel.  Had  she  wanted  a  career 
of  writing,  her  desire  would  have  (Continued  on  page  71) 


Newshawks  Cary  Grant 
and  Roz  speak  175-250 
words  a  minute  through- 
out "His  Girl  Friday," 
the  fastest  film  on  rec- 
ord. An  average  per- 
son speaks  around  80. 

29 


DOING  ALL  RIGHT  FOR  HIMSELF 


OH,  I'M  really  not  much  to  look  at,"  Orson  Welles 
insisted. 
He  meant  it. 

"My  smile  might  get  by.  But  as  for  the  rest  of 
me — whew!  I  bet  I  look  eight  feet  tall  and  four  feet 
wide.  My  beard  is  overrated.  And  I  have  no  char- 
acter. I  would  sum  up  my  general  appearance  as 
being  alternately  repugnant  and  nondescript." 

Thus  did  Orson  Welles  verbally  tear  apart  advance 
notices  of  his  so-called  vanity. 

He  wasn't  vain  at  all.  He  didn't  think  he  was 
physically  attractive.  Certainly  no  Valentino  or 
Gable,  he  admitted,  and  a  million  girls  would  not 
swoon  over  him. 

He  devoted  exactly  no  minu*tes  to  discussing  his 
abilities.  Not  a  word  about  being  a  better  producer 
than  Zanuck,  a  better  director  than  Lubitsch,  a  better 
actor  than  Muni.    And  as  for  being  a  genius — well! 

It  was  in  the  dining-room  that  I  made  my  accusa- 
tion. Orson  Welles  was  indulging  in  a  light  break- 
fast consisting  of  a  fruit  dish,  two  helpings  of  meat, 


He's  been  called 
some  pretty  rough 
things  in  his  day, 
but  to  himself, 
Mr.  Welles  is  just 
a  misunderstood 
male  with  tender 
feet  and  hayfever. 


IS  ORSON  WELLES,  THE  WONDER   BOY  OF  NEW  YORK  AND   POINTS  WEST 


and  three  consecutive  drinks  (a  glass  of  milk,  cup  of  coffee, 
and  shot  of  brandy!). 

"Everybody  who  writes  or  talks  about  you  calls  you 
an  amazing  prodigy,"  I  explained.    "How  does  it  feel?" 

Orson  Welles  wasn't  sure.  A  lamb  chop  disappeared 
in  his  mouth. 

"I  don't  know,"  he  gulped,  between  chews.  "I've  never 
really  read  about  myself  being  seriously  called  a  genius. 
Instead,  authors  always  write,  'Why  in  hell  is  that  bum, 
Welles,  called  a  genius?'  Well,  the  devil!  I'd  like  to  know 
who  started  it!  I'd  like  to  meet  the  one  fan  who  thinks 
I'm  such  a  wonder.  It  would  take  an  expedition  to  find 
him — and  besides,  what's  his  small  voice  against  thousands 
who  deny  it!" 

Orson  needn't  send  out  an  expedition.  Maybe  I'm  the 
one  fan.  Maybe  there  are  a  million  like  me,  and  Orson 
just  hasn't  heard  of  them. 

One  thing  certain:  Orson  Welles,  whose  entrance  into 
the  celluloid  city  can  be  likened  only  to  the  coming  of  an 
earthquake,  tornado,  World  War  or  any 
other  natural  phenomenon,  has  been  re- 
markable enough  to  confuse  Hollywood. 
That's  something. 

Because  it's  this  way  with  Hollywood. 
Here  they  bandy  high-powered  adjectives 
about,  and  pluck  geniuses  off  trees.  If  a 
man  can  get  together  a  swing  band  that 
is  as  acrobatic  as  a  Holy  Roller  meeting,  or  invent  a  new 
egg-beater,  or  concoct  an  original  hair- dress,  or  produce 
a  picture  better  than  "The  Great  Train  Robbery"  for 
under  $250,000 — he's  labeled  a  genius. 

Consequently,  during  the  latter  part  of  '39,  when  a  real 
word-baiting,  super-talented  youth,  with  Cyrano  in  his 
corpuscles  and  Hamlet  in  his  heart,  came  along — Holly- 
wood was  confused.  And  Hollywood  is  still  confused. 
Orson  Welles,  who  knew  diction  before  da-da  and  could 
jump  a  cue  before  he  emerged  from  diapers,  has  been  only 
twenty-four  years  out  of  the  cradle,  yet  he  has  conquered 
the  stage,  the  radio  and  the  writing  field. 

Today,  he  is  facing  movieland's  skepticism  and  chal- 
lenge. Today,  because  he  likes  the  sound  track  medium 
and  a  minor  item  amounting  to  a  quarter  of  a  million  dol- 
lars, Orson  is  working  on  two  movies  for  RKO.  The  first 
will  be  Nicholas  Blake's  hair-lifter  called  "The  Smiler 
with  the  Knife,"  the  weird  story  of  an  American  murder 


society  plotting  the  overthrow  of  the  nation.  Orson,  sleek 
and  suave,  will  be  the  gangleader.  His  second  picture 
will  be  Joseph  Conrad's  "Heart  of  Darkness." 

These  movies  will  be  different.  Not  arty — but  new 
and  original.  Orson  Welles  possesses  the  backbone  genius 
is  made  of — fearlessness.  In  these,  his  first  two  movies, 
he's  willing  to  experiment  and  take  chances.  In  his  twenty- 
four  years  he's  never  met  failure  and,  if  I  know  Orson, 
he  never  will. 

"I'm  going  to  attempt  several  new  things,"  he  stated. 
"In  'The  Smiler'  I'm  going  to  use  a  different  method  of 
story-telling.  In  'The  Heart  of  Darkness'  I  intend  a  dif- 
ferent use  of  the  camera.  Something  that  hasn't  been 
done  yet,  not  even  by  me.  I'd  like  to  explain  these  new 
techniques  of  mine,  but  aw — they  just  wouldn't  sound 
good  on  paper. 

"Here's  my  attitude  in  a  nutshell.  Movies  should  move. 
Do  you  understand?  They  should  be  animated,  packed 
with  action.  Too  many  big- shot  New  York  people  come 
out  here  and  shoot  movies  like  stage  plays 
on  celluloid.  No  good.  The  medium  is 
different,  bigger.  I  believe  the  sound 
track  should  be  kept  at  a  minimum.  Ac- 
tion should  speak  for  words.  That's  why 
John  Ford  is  such  a  tremendous  director. 
He  kept  most  of  'The  Informer'  silent." 
Welles  dipped  into  the  glass  of  milk. 
"I'll  confess  one  thing.  I've  been  here  only  a  short 
time,  but  I've  worked  very  hard.  I  think  I  have  an  instinc- 
tive feeling  for  films — what's  right  and  what's  wrong.  Be- 
sides, I've  studied  and  learned  much.  If  my  first  efforts 
lay  an  egg,  fail — well,  it  will  be  because  I  got  lost  in  a 
strange  country,  that  I  didn't  know  quite  enough." 

Evidence  of  his  energy  and  toil  lay  strewn  about  the 
dining-room.  Hundreds  of  loose  script  pages  were  penciled 
symbols.  Jagged  balls  of  paper  in  corners.  All  represen- 
tative of  writing,  planning,  figuring,  for  long  hours — physi- 
cal proof  that  Thomas  Edison's  old  saw  was  correct, 
"Genius  is  99  per  cent  perspiration;  1  per  cent  inspiration." 

The  necessity  of  finishing  breakfast  muffled  Orson's  sin- 
cerities and  witticisms  for  a  moment,  and  I  sat  watching 
him.  I  realized  his  critics  and  the  general  public  had  two 
terrible  misconceptions  of  him. 

First,  his  appearance.  Most  people  think  he  is  short 
and  fat.    He  is  neither.    He  is  (Continued  on  page  62) 


By  George 
Benjamin 


The  beard,  which  tickles  Lucille  Orson,  divorced  in  February,  finds 

Ball,  is  out-and-out  publicity  bait.  solace  with  recently-freed  Fay  Wray. 


Mini;  it  pay 


OFF-SCREEN  OCCUPATIONS  PUT  EXTRA 
CHANGE  IN  HOLLYWOOD  POCKETS 


TEN  BUCKS  ain't  hay,"  chirps  our  cousin  from  Quincy 
Corners  when  he  works  on  Sunday.  "You're  darned  right," 
respond  our  friends  from  Hollywood  town  when  they  start 
a  little  business  of  their  own.  And  so  it  goes.  From 
hinterland  to  Movieland,  money's  money,  and  no  matter 
how  much  you  have,  it's  always  nicer  to  have  some  more. 
Ask  us.  Or  ask  Bing  Crosby,  Allan  Jones,  Greta  Garbo, 
Joel  McCrea  or  Clark  Gable.  These  stars  have  Watched 
their  fortunes  fatten  before  the  kindly  California  cameras 
— but  has  that  stopped  them  from  raking  in  additional 
chips  of  prosperity?  Not  on  your  life! 

Probably  the  most  vivid  proof  of  our  point  is  Bing 
Crosby.  Bing  must  have  pinched  the  cheeks  of  the  gods, 
or  chucked  them  under  their  chins,  or  done  something 
equally  cute  because  he  certainly  is  their  baby!  Every 
time  he  goes  into  a  business  it  becomes  a  bonanza.  In 
fact,  Bing's  money-making  enterprises  are  so  numerous, 
he  had  to  incorporate  himself  to  keep  his  income  from 
running  wild! 

Crosby,  Inc.  is  the  buzzing  organization  which  handles 
his  interests  exclusively.  It  occupies  a  swanky  suite  in  a 
three-story,  $10,000  Los  Angeles  office  building  (owned  by 
Crosby)  and  shares  its  roof  with  such  respectable  tenants 
as  a  doctor,  a  dentist  and  a  radio  production  agency  (rent 
collected  by  Crosby).  Its  officials  are  President  Bing,  his 
brothers,  Everett  and  Larry,  and  his  father,  Harry  L. 

Bing,  the  only  cash  investor,  rarely  visits  the  office. 
He  prefers  to  leave  the  supervision  of  details  to  the  other 
directors,  each  of  whom  works  long  hours  on  a  straight 
salary  basis  and  has  his  own  specific  share  of  the  work. 
Everett  handles  the  radio  contracts  which  bring  the  singer 
$3,500  a  week,  the  movie  contracts  which  have  an  annual 
yield  of  $540,000  and  an  actors'  booking  service  which  is 
not  operated  as  a  hobby.  Larry  keeps  the  music  depart- 
ment under  his  talented  thumb,  and  it's  a  full-time  job 
just  sticking  to  the  control  of  Crosby  sheet  music  and 
record  sales  and  the  firm's  own  music  pubhshing  outfit. 
The  senior  Mr.  C.  is  Chief  of  the  Fan  Mail  Division — 
and  to  those  parents  who  think  it's  fun  reading  their  off- 
springs' letters,  let  us  say  it's  nothing  like  it  when  they 
pop  in  to  the  tune  of  7,500  monthly. 

Besides  this  capable  trio,  the  firm  employs  about  fifty 
other  people,  many  of  whom  bear  the  name  of  Crosby  and 
are  of  the  second-cousin  and  great-uncle  variety. 

Bing,  himself,  spends  what  spare  time  he  has  at  his 
million-dollar  Del-Mar  race  track,  where  he  can  keep  an 
eye  on  his  quarter  of  a  million  dollars  worth  of  horses — 
who  frequently  do  win  races.  Although  speculation  has  it 
that  the  Crosby  fortune  runs  between  $4,000,000  and  $5,- 
000,000,  after  appraising  his  Midas-touched  activities,  we're 
inclined  to  ask,  "Is  that  all?" 

Another  of  Hollywood's  Golden  Boys  is  Charles  Ruggles. 
Charlie's  in  the  dog-house — and  he  loves  it.  His  See-Are 
(C.  R.)  Kennels  are  the  snootiest  canine  hotel  on  the 
Pacific  Coast.  They  house  150  guests  and  are  complete 
right  down  to  "maternity  ward"  and  air  conditioning 
system.  On  the  register  have  appeared  the  impressive 
names  of  Robert  Taylor's  boxers,  Herbert  Marshall's 
cocker  spaniels  and  a  half-dozen  of  Martha  Raye's  "best 
friends."  Charlie's  rates  are  reasonable  and  are  figured 
on  a  daily  basis.  A  scottie  costs  50c,  a  medium-sized 
shepherd,  75c,  and  a  great  Dane,  $1.  The  charge  depends 
entirely  upon  the  dog's  size  and  appetite,  but  every  pooch 
is  entitled  to  the  services  the  establishment  offers:  elegant 
baths,  indoor  runs  for  use  in  bad  (Continued  on  page  75) 


Reginald  Denny  Industries,  Inc.  manu- 
facture and  sell  miniature  airplanes,  rac- 
ing cars,  submarines  and  battleships.  The 
model  on  the  table  is  a  typical  product. 


Charles  Ruggles'  See-Are  Kennels  are  the 
Beverly-Wilshire  of  the  canine  world.  They 
offer  amazing  facilities  and  even  have  a 
"maternity  ward"  for  guests  who  need  it. 


Bob  Young  and  Allan  Jones  bought  a  few 
old  stalls  in  Bel-Air,  intending  to  park  their 
own  mounts  therein.  From  that  purchase 
has  grown  the  ultra-ultra  Bollan  Stables. 


32 


Joel  McCrea  draws  profits  from 
his  1000-acre  ranch.  It's  stocked 
with  horses  and  cattle  and 
includes    400    acres    of  grain. 


This  isn't  Santa  Anita.  It's  Victor  McLaglen's  private  race  track 
built  on  his  ranch  at  Fresno.  Vic's  a  comparatively  new  rancher  but 
he  stumbled  into  a  bit  of  luck.  Shortly  after  acquiring  the  place, 
he  had  to  hire  fifty  men  to  harvest  his  very  marketable  grapes. 


Constance  Bennett  doesn't  deal  in  dimes.  Her  cosmetic 
company  employs  nearly  three  hundred  people  and  is  still 
growing.  Connie  doesn't  divulge  the  extent  of  her  profits 
but  admits  she's  doing  well  enough  to  meet  the  payroll. 


The  most  fabulous  of  Hollywood  success 
stories  is  that  of  Bing  Crosby,  who  got  his 
start  with  a  throbby  voice  and  •  now  gets 
richer    and    richer    without    even  trying. 


Dolores  Del  Rio  lends  her  lovely 
self  to  a  Santa  Monica  pot- 
tery shop,  and  in  return  re- 
ceives a  share  of  its  grosses. 


Clark  Gable  raises  more  turkeys 
than  he  and  Carole  can  eat,  so 
M-G-M  buys  the  surplus  for  use 
in    the    studio  commissary. 


Our  gorgeous  Greta  is  just  "Gar- 
bo,  the  landlady"  to  the  ten- 
ants of  several  model  apartment 
houses  in  her  native  Stockholm. 


33 


$ 

$ 

4 


Bette  Davis  married  Bandman  Harmon 
Nelson  in   1932.    Though  they've  been 
divorced  for  more  than  a  year,  they  write 
each  other  every  week. 


KEEPING  UP 
WITH  BETTE 


A  SIX  MONTHS'  LEAVE  AND  THE 
QUEEN  OF  THE  MOVIES  COMES 
BACK  WITH  A  NEW  DOMAIN  TO  RULE 


By    Gladys  Hall 


VOU'VE  BEEN  away  from  Hollywood  for  six 
months,"  I  said  to  Bette.  "Everyone  is  ask- 
ing, 'What's  happened  to  Davis?   Why  did 
she  go  away?   What  did  she  do  when  she 
went  away?   What  happened  to  her  while 
she  was  away?'  " 
Bette  answered,  "A  very  strange  thing 
happened  to  me — peace.  It  seems  I  have  al- 
ways been  a  rather  intense  person,  violent  in  my  emo- 
tions, violent  in  my  work.  Well,  I  have  had  a  non- 
violent six  months,  how's  that?" 

I  remarked  that  I  guessed  it  was  all  right,  though 
probably  not  headlines. 

"Ah,  but  that's  where  you're  wrong,"  said  Bette. 
"What's  happened  makes  headlines  in  my  life  because 
nothing  so  important  has  ever  happened  to  me  before. 

"You  see,  I  found  myself.  Over  the  horizons  I 
looked  at  while  I  was  away  I  found  the  outline  of 
my  future.  I  have  bought  a  home  in  New  Hampshire. 
I  have  gone  back  to  the  land. 

"Look,  it  was  like  this.  Six  months  ago  something 
had  to  happen  to  me.  I  was  overfull  of  acting.  I  was 
gorged  with  it,  surfeited  with  it  and  exhausted  with 
it.  And  I  was  wearing  myself  out,  thinking  of  one 
thing." 

"Ham?"  I  asked. 

"Ham,"  said  Bette,  with  her  uncompromising  hon- 
esty. "And  the  break-up  of  our  marriage  which  never 
should  have  happened  in  my  life  because  I  wasn't — 
well,  let's  say  I  wasn't  the  type.  So,  I  needed  to  get 
away,  to  get  away  from  me. 

"I  got  away.  I  put  the  old  station  wagon  on  the 
train  and  took  it  along.  I  stayed  only  a  few  days  in 
New  York,  saw  a  couple  of  plays,  a  few  friends,  saw 
Ham  once  or  twice,  and  found  that  I  was  happy  td 
see  him  contented  with  and  successful  at  what  he  is 
doing.  Then  I  went  up  to  New  England. 

"With  Mrs.  Ogden,  a  friend  of  mine,  I  started  off 
for  a  two  weeks'  jaunt  in  the  station  wagon.  This  was 
something  I've  been  dying  to  do  for  years.  I  saw  all 
of  my  old  friends,  all  of  my  old  teachers.  I  saw  all 
of  the  old  landmarks,  or  the  places  where  the  land- 
marks had  been.  I  found  out  one  thing  on  that  trip. 
I  thought  I  wanted  to  go  back  to  'the  scenes  of  my 
childhood.'  No.  There  were  gas  stations  in  backyards 
where  I  used  to  play.  Strange  faces  looked  out  of 
windows  where  familiar,  friendly  faces  used  to  wel- 
come the  small  Ruth  Elizabeth  Davis.  All  the  pictures 
of  my  childhood  I'd  expected  to  see  again  were  gone. 
What  I'm  trying  to  say  is  that  we  can't  go  back.  There 
isn't  any  'back.' 

"But  that  trip  did  me  good  in  other  ways.  I  was 
very  self-conscious  when  I  met  my  old  teachers,  for 
instance.  I  felt  the  same,  though  in  somewhat  lesser 
degree,  with  my  old  school-friends,  girls  I  hadn't  seen 
since  we  were  in  grade  school  together.  I  was  won- 
dering whether  I  was  still  a  human  being  or  whether 
I  was  a  kind  of  painted  shadow,  Hollywood  model, 
full  of  automatic  mannerisms  and  false  gestures. 

"At  first  the  girls  were  rather  shy  with  me,  so  the 
conversation  wasn't  exactly  fluent.  And  at  first  the 
teachers  were  just  very  polite.  But  then  they  began 
giving  me  bits  of  advice  again,  'You  must  read  so- 
and-so,  Elizabeth,'  or  'Haven't  you  your  galoshes  on, 
child,  whatever  are  you  thinking  of?'  in  quite  the  old 
authoritative  way.  The  girls  were  soon  telling  me  what 
had  happened  to  them,  quite  as  eagerly  as  they  asked 
me  questions  about  myself.  Soon  we  were  all  on  the 
old  basis.  The  values  between  us  hadn't  changed  and 
I  stood  acquitted  in  my  own  eyes.  And  probably  in 
theirs. 

"It  made  me  think,"  said  Bette,  slowly,  "that  if  I 
can  graduate  from  Hollywood,  cum  laude,  as  a  human 
being,  it  doesn't  matter  what  kind  of  a  diploma  I  get 
as  an  actress. 

"Well,  after  the  two  weeks'  excursion  in  search  of 


my  youth,  I  was  pretty  tired.  My  mother,  Ruthie, 
knew  a  place,  an  old  and  charming  Inn  called  Pecketts, 
in  Franconia,  New  Hampshire.  Before  I  left  Holly- 
wood she  said  to  me,  "If  you  find  yourself  falling  to 
pieces,  go  up  to  Pecketts."  I  went  to  Pecketts  intend- 
ing to  stay  a  few  days  and  stayed  ten  weeks  without 
once  leaving  the  neighborhood.  My  friend  Robby,  who 
is  staying  with  me  this  winter,  you  know,  went 
with  me. 

"We  read,  walked,  ate  and  slept.  I  gained  pounds.  I 
weighed  130  pounds  when  I  got  back  to  Hollywood. 
I  had  to  live  on  boiled  eggs  and  lettuce  leaves  for 
days.  I'm  down  to  110  now.  I  never  felt  better  in  my 
life  than  when  I.  was,  for  me,  fat.  I've  always  heard 
that  fat  people  are  jolly  people  and  now  I  know  why 
it's  true.  You  feel  so  padded  and  comfortable  when 
you've  got  some  flesh  over  your  nerves.  I'm  posi- 
tively looking  forward  to  the  day  when  I  can  be  a  fat, 
sloppy  little  old  lady. 

"Well,  I  went  to  all  the  high  school  and  country 
dances  roundabout  and  was  pretty  excited  when  the 
boys  asked  me  to  dance. 

"There  are  not  many  homes  up  there  and  I  felt 
awfully  flattered  that  the  Yankees  would  take  an 
actress  in.  After  all,  they  belong  there.  They  didn't 
leave  their  heritage;  I  did  and  I  was  flattered  that 
they  let  me  come  'home'  again  without  asking  any 
questions. 

"Nope,  I  never  once  got  bored.  I,  who  once  said, 
and  believed,  that  I  couldn't  stop  working  for  more 
than  a  month  without  going  nuts.  I  was  so  contented 
away  from  Hollywood  and  pictures  that  I  felt  I  must 
be  two  people  and  that  one  of  me  had  shed  her  skin, 
like  snakes  do.  I  imagined  it  was  waiting  for  me, 
here  in  the  Brentwood  house  or  in  my  dressing-room 
at  the  studio. 

"It's  an  easy  way  to  live,  up  there.  No  one  expects 
anything  of  you,  except  the  fundamental  decencies. 
No  one  gives  a  damn  what  you  do  or  how  you  look. 
I  wore  old  dungarees  or  overalls,  old  sweaters  and 
skirts,  no  hats,  not  a  smidgin  of  make-up.  Not  a  care 
about  'what  people  will  think!'  And  they  weren't 
thinking  about  me.  They  had  the  land  to  think  about, 
whether  the  livestock  was  fed  and  watered  and 
whether  the  woodpile  was  well  stocked  against  the 
deep  white  New  Hampshire  winter. 

"How  we  in  Hollywood  need  something  like  that!" 
Bette  all  but  cried  out.  "How  I  needed  it. 

SO,  THEN,  one  day,  the  Pecketts  took  me  up  the 
road  a  piece,  about  two  miles  up  Sugar  Hill.  They 
showed  me  an  old  house  and  barn  on  ninety  acres 
of  land.  'Butternut,'  they  called  it.  'Home,'  I  called  it. 
I  bought  it.  Ninety  acres  of  solid  woods,  birches. 
You  have  never  seen  such  trees  in  your  life. 

"Of  course  I  couldn't  have  bought  it  if  my  contract 
difficulties  had  not  been  straightened  out  by  that  time. 
Only  three  pictures  a  year  for  Miss  'Beetie'  Davis 
from  this  time  forth.  I  keep  smacking  my  lips  over 
that  as  a  child  smacks  them  over  a  lollipop.  Four 
months  off — at  least  three  of  them  consecutive,  with 
one  thrown  in  somewhere  along  the  line.  These 
months  I  shall  spend  at  Butternut,  home-making.  I, 
who  never  wanted  a  home  here  in  Hollywood,"  laughed 
Bette.  "I,  who  had  never  owned  a  blade  of  grass  before! 

"The  day  after  I  bought  the  place  I  walked  up  there, 
alone.  I  looked  at  my  acres,  I  felt  them  under  my 
feet,  and  it  was  too  exciting.  I'd  stayed  with  some 
friends  in  New  Hampshire  for  a  few  days  before  I 
went  to  Pecketts.  One  night  I  was  sitting  on  the  porch 
with  my  friend  and  her  husband  and  he  said,  'You 
know,  Bette,  I've  worked  hard  all  my  life.  We've 
owned  this  place  for  fifteen  years  and  yet  I  never  sit 
down,  as  I  am  doing  now,  and  look  out  over  my  land, 
that  I  don't  get  a  lump  in  my  throat  and  say  to  my- 
self, "This  is  my  land."  It's  (Continued  on  page  102) 


ROBERTA  MET  John  Garfield  for  the  first  time  at  a 
friend's  house.  That  was  long  before  the  movies  had 
changed  Jules  to  John.  It  was  even  before  he'd  gone  on 
the  stage.  He  was  only  sixteen,  and  she  was  younger. 

She  didn't  know  what  to  make  of  him.  He  fascinated 
and  terrified  her.  He  wore  his  hair  in  the  Barrymore 
fashion  and  wore  a  queer  collar,  which  should  have  been 
enough  to  make  him  a  laughing  stock  in  the  Bronx.  But 
it  wasn't  easy  to  laugh  Julie  off.  His  eyes  were  beautiful, 
his  smile  was  wicked.  He'd  walk  into  a  room  and,  as 
Roberta  put  it  to  her  mother  later,  "the  walls  would  begin 
to  dance." 

This  was  partly  due  to  the  vigor  of  his  personality.  He 
had  a  need  to  assert  himself  and  gave  it  free  rein.  He 
talked  loud  and  continuously.  He  banged  away  at  the 
piano,  producing  sounds  which  were  painful  to  the  ears 
of  Roberta,  a  musician's  daughter.  In  an  off  moment,  the 
hostess  mentioned  Shakespeare,  whereupon  Julie  rose  and 
spouted  every  fine  he  knew.  It  seemed  to  Roberta  that 
he  knew  them  all.  She'd  never  known  another  like  him. 


Though  they  lived  in  the  same  neighborhood  and  trav- 
eled with  the  same  crowd,  Roberta's  background  had  left 
her  unprepared  for  anything  like  Julie.  Her  childhood  had 
been  trained  to  a  decorous  pattern.  At  home,  you  spoke 
when  spoken  to,  minded  your  business  and  kept  out  of 
your  elders'  hair.  Abroad,  if  someone  offered  you  an 
apple,  you  looked  at  your  mother  first  for  permission  to 
take  it. 

Julie's  mother  had  died  when  he  was  seven.  Neighbors 
took  care  of  him  while  his  father  worked  at  the  sweatshop. 
The  streets  became  his  playground.  By  the  time  he  ac- 
quired a  stepmother,  he  was  old  enough  to  resent  her 
control,  and  not  old  enough  to  value  her  qualities.  His 
father's  conventional  ideas  provided  no  basis  for  an  under- 
standing of  his  stormy  son.  Julie's  individuality  craved 
recognition,  which  he  got  by  becoming  ring  leader  of  his 
gang  and  enemy  to  the  well  behaved.  Good  boys,  told  not 
to  play  with  him,  crossed  to  the  other  side  of  the  street, 
and  generally  got  tripped  up  for  their  pains.  He  was 
expelled  from  a  dozen  schools  and  finally  landed  in  Angelo 


36 


SHAKESPEARE'S  SHREW  HAD  NOTHING  ON 
GARFIELD.  JUST  LOOK  WHAT  THE  TWO 
WOMEN  IN  JOHN'S  LIFE  HAVE  DONE  TO  HIM! 


Few  people  reprove  the  Gar- 
field,  but  Roberta  has  no 
qualms  about  wielding  an  oc- 
casional verbal  rolling  pin. 
Says  it  does  him  good. 


By  Ida 
Z  e  i  t  I  i  n 


Patri's  school  for  problem  boys.  Here  he  met  a  friend. 

That  experienced  psychologist  soon  diagnosed  his 
trouble,  and  uncovered  in  him  a  gift  for  oratory.  He 
began  winning  contests,  and  with  them  the  approval  of 
a  society  he  had  pretended  to  scorn,  to  prove  that  he 
didn't  give  a  damn  for  their  scorn  of  him.  Boys  who  had 
avoided  him,  courted  him.  Teachers  who  had  eyed  him 
askance,  now  beamed  congratulations,  and  he  liked  the 
sensation  it  gave  him.  He  found  he  could  make  an  im- 
pression on  the  world  other  than  as  a  rebel.  He  discovered, 
in  school  plays  and  debates,  a  satisfying  mode  of  release 
and  self-expression.  He  had  made  up  his  mind  to  be 
an  actor. 

Besides,  he  was  bursting  through  his  earlier  existence 
as  a  rapidly  growing  child  bursts  through  his  clothes.  He 
was  discovering  music  and  literature  and  his  own  capacity 
for  thought,  with  an  excitement  which  required  others  to 
share  it.  Rebuffs  hurt  him,  but  eagerness  swept  him  on. 
He'd  stick  out  his  neck  again  and  again  for  the  buffets  of 
those  who  considered  his  enthusiasm  naive.  The  fact  that 
he  was  unsure  of  himself  made  an  assumption  of  assurance 
all  the  more  necessary.  Hence  the  Barrymore  get-up,  the 
swagger  and  the  showing  off. 

To  Roberta  Mann,  all  this  was  like  a  story  she'd  never 
read.  She  knew  Julie  Garfield  was  a  chum  of  the  boy 
with  whom  her  friend  was  going.  Now  that  she'd  met  him, 
she  didn't  like  him.  She  shrank  from  his  violence.  There 
was  something  disturbingly  attractive  about  him,  but  there 
was  more  that  repelled  and  made  her  uneasy.  She  was 
paralyzed  with  fright  when  he  asked  if  he  could  take  her 
home.  Behind  him,  her  friend  was  shaking  her  head  in  an 
emphatic  no. 

"No,"  echoed  Roberta  in  a  small,  scared  voice. 

"Okay,"  said  Julie,  and  they  went  their  separate  ways. 

Twelve  months  later  Roberta  was  rejoicing  with  a  friend 
who  had  just  been  admitted  to  the  company  of  Eva 
Le  Gallienne's  Civic  Repertory  Theatre.    Together  they 


gloated  over  her  name  in  the  list  of  apprentices.  Then 
Roberta's  eye  was  caught  by  another  name.  "I  think  I 
know  that  boy.  What  does  he  look  like?"  The  friend 
described  Jules  Garfield.  "That's  the  one  all  right,"  said 
Roberta.  "Is  he  still  so  crazy?" 

One  night  she  went  down  to  the  theatre  to  call  for  her 
friend  and  met  Julie  again.  She  began  seeing  more  of 
him.  The  girl  at  whose  house  they'd  had  their  first  en- 
counter was  still  going  with  his  pal,  and  they  begged 
Roberta  to  make  it  a  foursome  with  Julie. 

"I  don't  know  why  I  said  yes,"  she  stormed  to  her 
mother.  "I  don't  even  like  him." 

"For  a  boy  you  don't  like,  you  talk  an  awful  lot  about 
him." 

"Well,  that's  because  he's  so  different  from  anyone  I 
know.  He's  wild,  but  he's  free.  He's  been  through  so 
much,  he  makes  me  feel  like  a  lily." 

"Why  don't  you  invite  him  to  dinner  some  night?" 

"If  I  do,  it'll  be  only  because  I'm  sorry  for  him.  He 
reminds  me  of  a  puppy  that's  looking  for  a  home." 

That  was  something  that  must  have  shown  itself  all 
over  him,  for  they  called  him  Julie  the  Orphan.  Which 
argues  a  certain  perspicacity  among  his  young  friends,  for 
self-pity  was  no  part  of  his  emotional  makeup.  Nor  could 
it  have  been  caused  entirely  by  his  motherless  state. 
Roberta  says  she  still  feels  a  loneliness  in  him,  and 
always  will. 

Whatever  its  deeper-lying  source,  it  must  have  been 
caused  by  a  search,  unconscious  perhaps,  for  human 
warmth.  With  Roberta's  parents,  Julie  became  a  person 
she  didn't  know — responsive,  natural,  the  chip  dropped 
from  his  shoulder.  Their  feeling  about  him  was  as  simple 
as  the  daughter's  was  complicated.  They  liked  and  trusted 
him.  Mr.  Mann  was  especially  drawn  to  him.  He  had  longed 
to  devote  his  life  to  music,  and  been  thwarted  by  economic 
necessity.  He  could  understand  this  boy  with  his  passion 
for  another  of  the  arts.  More,  (Continued  on  page  93) 

37 


OF  mousE 

MID  IE1 


By    Frank    T.    Far  r  ell 

HOW  ONE  LONELY  RODENT  CAUSED 
AN  AVALANCHE  OF  ACCUSATIONS 
AND  NOW  ALICE  FAYE  TELLS  WHY 


FIVE  HUNDRED  drinking,  smoking,  talking  men 
and  women  jammed  in  the  Perroquet  Suite  of  the 
Waldorf-Astoria.  Movie  critics,  trade  paper  re- 
porters, editors,  sob  sisters,  magazine  writers,  col- 
umnists, people  from  the  censor  boards,  movie 
executives,  flunkies,  phonies — they  were  all  having 
a  jolly  time  of  it,  working  up  their  appetites  on 
Darryl  F.  Zanuck's  free  liquor. 
It  was  one  of  those  super-colossal  Hollywood  cocktail 
parties  for  which,  by  some  weird  paradox,  everybody 
turned  out,  even  the  guests  who  were  invited.  What  is 
more,  everyone  displayed  strange  symptoms  of  being 
anxious  to  meet  the  stellar  guests  of  honor,  a  pair  of 
compellingly  popular  young  people  named  Tyrone  Power 
and  Alice  Faye,  whose  future  on  the  Twentieth  Century- 
Pox  lot  seemed  magnificent.  It  was  three  years  ago. 

Tyrone  Power  was  forty-five  minutes  late.  For  a  half- 
hour  of  that  time  Alice  Faye  trembled  and  paced  the  floor 
in  a  nearby  room.  She  downed  several  glasses  of  cham- 
pagne, but  it  gave  her  no  courage,  no  warmth.  The 
thought  of  marching  into  that  army  and  captivating  it 
froze  her.  She  tore  her  handkerchief  to  shreds  in  emotion. 

"I  can't  do  it  I  just  can't  do  it,"  she  whispered  help- 
lessly, when  a  studio  press  representative  told  her  to  buck 
up,  that  it  would  be  easy  once  she  set  her  foot  inside  the 
suite,  that  merely  her  presence  would  make  worshippers 
of  them  all. 

Finally  she  squared  her  shoulders  and  did  it.  She  met 
them  all.  They  toasted  to  her  beauty  and  success.  Some 
there  were  who  actually  slapped  her  on  the  back.  And 
before  Tyrone  Power  arrived  she  had  taken  over  her  army. 

Her  triumph  .was  not  long  in  flourishing,  however.  A 
lowly  little  mouse  upset  all  the  major  strategy,  a  canape- 
eating  Waldorf  mouse  who  joined  the  party  and  seemed 
mighty  desirous  of  meeting  a  star.  For,  when  Miss  Faye 
happened  to  turn  slightly  from  one  of  the  groups  of  news- 
paper people  with  whom  she  was  conversing,  there  on 
the -floor  a  few  feet  from  her  was  the  rodent. 

No  expert  would  be  required  to  predict  what  almost 
any  other  actress  in  the  same  circumstances  would  do, 
but  Miss  Faye  obviously  is  made  of  different  stuff.  In 
the  height  of  good  humor  she  pointed  to  the  little  rascal 
and  remarked: 

"I  haven't  met  that  one." 

Since  that  day  New  York's  press  is  made  up  of  two 
schools  of  thought,  according  to  Miss  Faye,  those  who 
construed  her  jest  to  be  a  personal  insult,  and  those  who 
thought  it  as  funny  as  she  meant  it  to  be.  And  since  that 
day  she  has  avoided  both  schools  for  fear  of  saying  the 
wrong  thing  again.  She  has  not  consented  to  a  personal 
interview  in  two  years. 

Call  her  the  most  misunderstood  woman  in  Hollywood. 
Advise  her  that  hordes  of  people  consider  her  strange 
shyness  to  be  pure,  unadulterated  Tenth  Avenue  snob- 
bishness. Insist  that  she  could  have  the  world  at  her  feet, 
if  only  she  would  receive  its  ambassadors  and  let  them 
know  what  she  is  really  like — and  Alice  Faye  will  shrug 
her  pretty  shoulders,  sigh  and  sum  it  up: 

"What's  the  use?  I've  learned  not  to  plan,  not  to  count 
on  things." 

She  gazed  out  the  window  of  the  Sherry-Netherlands' 
cocktail  balcony.  She  wore  a  smartly  cut  black  dress  with 
white  lace  at  the  neck.  Her  little  black  hat  and  veil  left 
just  enough  platinum  hair  and  Alice  Faye  showing,  and 
set  off  her  watery  blue  eyes  and  the  extravagant  star 
sapphire  pendant  which  her  husband,  Tony  Martin,  had 
given  her  for  Christmas.  Underneath  the  table  she  nerv- 
ously tugged  and  twisted  her  handkerchief. 

"It's  no  use,"  she  confided  in  this  exclusive  interview 
with  Modern  Screen.  "Every  time  I  try  to  plan  things  at 
the  studio  so  that  I  can  get  together  somewhere  with  Tony 
for  a  week,  things  get  all  messed  up  and  immediately 
there's  a  flood  of  divorce  rumors  in  the  papers.  And  every 
time  I  head  for  New  York,  I  vow  that  IH  get  no  cold. 
Invariably,  I  wind  up  with  something  just  this  side  of 
pneumonia. 

"I  don't  know  what  the  New  York  writers  have  against 
me,  but  I'll  bet  you  if  I  made  all  sorts  of  plans  to  convince 
them  that  I  am  a  nice  person  I'd  probably  still  say  the 
wrong  thing.  Either  that  or  I'd  go  hysterical  with  this 
terrific  inferiority  complex.  No,  (Continued  on  page  88) 


38 


Tony  Martin,  and  Tony 
[  loves  Alice,  but  neither 
of  them  loves  all  of  the 


THE  GOOD  CITIZENS  OF  MOVIETOWN  EAT,  DRINK  AND 

WITH  THE  biggest  charity  blowout  in  its  lively  career,  Hollywood 
subtly  told  Herr  Hitler  where  to  head  in.  One  thousand  strong,  the 
movie  colonists  turned  up  at  the  Ambassador  Hotel's  Cocoanut  Grove 
and  willingly  threw  nearly  $15,000  into  the  Franco-British  War  Relief 
pot,  proving  once  and  for  all  that  picture  people  do  not  think  the 
world  is  bounded  by  the  Pacific  Ocean  and  the  Rocky  Mountains. 

The  party  was  pulled  by  the  British  and  French  War  Relief  Asso- 
ciations of  Southern  California,  a  pair  of  organizations  which  boast 
the  active  membership  of  Ronald  Colman,  Alan  Mowbray  and  Charles 
Boyer.  These  gentlemen  worked  so  hard  to  put  the  affair  over  that 
such  patriots  as  Chamberlain  and  Daladier  look  like  slackers  beside 
them.  Incidentally,  Boyer's  (we  just  can't  seem  to  call  him  "Charlie") 
very  genuine  labor  should  silence  those  who  say  he's  in  this  country 
merely  to  squirt  charm  in  the  faces  of  American  womanhood  and 
thereby  win  sympathy  for  war-time  France.  There  was  nothing 
soulful  about  the  job  he  did. 

The  greatest  problem  to  confront  the  party-givers  was  the  seating 


.     °,nd  Charles 


son,  Loy.  \°l°^L  Wendy 
peddle  c«90renesa 


MAKE  WHOOP-LA  FOR  FRANCO-BRITISH  WAR  RELIEF 

arrangement.  Everyone  knows  that  big-timers  like  ringside  tables 
and,  when  they  pay  $10  apiece  for  their  dinner,  as  they  did  on  this' 
occasion,  perhaps  they  have  some  right  to  express  a  preference.  Un- 
fortunately, the  Cocoanut  Grove  was  not  built  to  accommodate  a 
thousand  "names"  at  a  single  shot.  Some  were  forced  to  take  back 
seats,  but  that  didn't  make  them  inconspicuous.  Two  million  dollars 
worth  of  talent  can't  be  expected  to  hang  around  like  schoolmarms 
and,  after  downing  their  desserts,  about  a  million  dollars  worth 
hustled  forth  to  entertain. 

Adolphe  Menjou  and  Bob  Hope,  acting  as  m-cees,  introduced 
Reginald  Gardiner,  Mickey  Rooney,  Judy  Garland  and  Jan  Kiepura, 
among  others,  and,  for  the  grand  finale,  ushered  in  a  chorus-boy 
lineup  consisting  of  Charles  Laughton,  Herbert  Marshall,  Laurence 
Olivier,  Ronald  Colman,  Ian  Hunter,  Charles  Boyer  and  William 
Powell,  who  delivered  a  screech-owl  rendition  of  "The  Man  on  the 
Flying  Trapeze."  The  boys  were  plain  awful  and  so,  amusingly,  a 
great  evening  enjoyed  for  a  worthy  cause  ended  on  a  sour  note! 


no 

T I  fll  E 
FOR 
LOVE 

FOLLOWING  CLOCKWISE,  OR  OTHERWISE, 
THE  AFFAIRS  OF  GINGER  ROGERS,  YOU'LL 
DISCOVER  WHY  SHE'S  SHELVED  ROMANCE 


In  "The  Primrose  Path,"  Joel  McCred  falls  for 
Ginger,  a  street-walker's  daughter,  who  mas- 
querades as  a  child  of  the  rich. 

EVERYTHING  IS  wonderful!"  beamed  Ginger  Rogers. 
"I'm  happier  right  now  than  I've  been  in  years  and  things 
are  right  as  rain  on  a  roof.  Why?  I  don't  know.  I  just 
woke  up  one  morning,  took  a  deep  breath  and  said  to 
myself,  'Gee,  but  life  is  certainly  swell!'  "  Ginger  did  a 
neat  handspring  to  prove  it  and  plopped  up  beside  me 
on  a  big  set  parallel  with  the  afterthought,  "And  I  hope 
I  never  change." 

Well,  that  was  just  the  point.  The  last  few  months 
have  brewed  a  puzzling  suspicion  in  some  quarters  that 
Ginger  has  changed.  You  don't  see  her  around  much  any 
more.  And  when  you  do,  something  always  seems  to 
happen  to  kick  along  a  rumor  that  Ginger  has  gone  ex- 
clusive. That  she  wants  to  be  alone.  That  she's  getting 
hard  to  handle.  Even  that,  Lord  forbid,  she's  taking  her- 
self too  seriously. 

Now  I  can  imagine  plain,  natural,  easy-going  Ginger 
cooling  off  like  that  about  as  much  as  I  can  picture  Garbo 
holding  open  house.  But  in  Hollywood  strange  things  do 
happen  and  you  never  can  tell.  Certainly,  tagging  Ginger 
Rogers  for  a  talk,  is  something  like  trying  to  bag  a  bat 
with  a  BB  gun.  She's  forever  darting  here,  there  and 
everywhere,  with  more  things  on  her  mind  than  a  hat 
peddler. 

I  finally  caught  up  with  her  on  the  set  of  "The  Primrose 
Path."  It's  no  secret  that  the  dramatic  character  part 
Ginger  is  taking  in  this  one  is  not  even  distantly  related 
to  the  funny,  frothy  parts  that  have  made  her  the  gay 
girl  friend  of  half  the  world.  One  look,  too,  at  Ginger 
made  those  "quick  change"  rumors  seem  pretty  solid. 

She  was  togged  out  in  a  tacky  little  dress,  fresh  from 
Sears  Roebuck  for  the  sum  of  $2.98.  -Not  much  like  the 
creations  she  used  to  wear  with  Fred  Astaire.  There 
wasn't  a  speck  of  make-up  on  her  face,  which  was  shiny 
as  a  new  shoe.  Yet  she'd  just  come  from  the  camera. 
And  her  hair — well,  we  have  always  been  used  to  seeing 
Ginger  with  a  wavy  mop  of  pumpkin-colored  tresses  fly- 
ing in  the  breeze.  Now  she  was  a  brunette. 

It  was  this  very  hair  dye,  incidentally,  that  brought 
about  the  latest  pair  of  Hollywood  happenstances  for  the 
raised  eyebrow  department.  The  first  came  about  at 
La  Conga,  the  night  Steffi  Duna  opened  there. 

Ginger  and  one  of  her  old  pals,  Billy  Bakewell.  arrived 


Here's  Ginger  with  her  brunette  tresses.  The 
wags  say  that  the  color  of  her  hair  is  not  the 
only  change  in  Miss  R.  these  days. 

for  a  round  of  rhumbas  on  one  of  her  rare  stepping -out 
nights.  Usually,  according  to  Ginger,  "I'm  too  darned 
tired  at  night  to  dance  even  with  Arthur  Murray,  and 
Heavens  knows  Hollywood  men  are  no  Murrays!"  Ginger, 
by  the  way,  thinks  Hollywood  two-steppers  could  stand  a 
lesson  or  two;  she  thinks  she's  a  very  tame  ballroom 
twister,  but  the  men!  All  they  do  is  go  round  and  round 
until  she  gets  cross-eyed!  Anyway,  Billy  is  better  than 
most  dancers  and  everything  was  swell  until  suddenly  a 
photographer,  lurking  behind  a  palm  or  something,  peered 
at  Ginger,  did  a  double-take  and  then  popped  off  a 
flash  bulb. 

Ginger's  hands  were  too  late  in  covering  her  face.  So 
she  kicked  back  her  chair,  chased  the  picture  snatcher 
across  the  room,  collared  him  and  extracted  a  promise  to 
kill  the  shot. 

A  few  days  later,  dancing  again  at  the  Beverly-Wilshire, 
Ginger  almost  scared  the  wits  out  of  Cesar  Romero  (a 
guy  who  can  really  dance)  when 
she  suddenly  yipped,  grabbed  his  a 
arm  and  pulled  him  off  the  floor.        By      K  \  X  t  S  8  y 
Yes — it  was  one  of  those  camera- 
men again.  Again  Ginger  had  to 

run  him  down  and  ask  him  to  sail  the  plate  out  the 
window. 

Now,  of  course,  such  shy  shenanigans  are  strictly  tem- 
perament to  Hollywood.  They  are  filed  away  under  the 
headings  of  Hepburn,  Garbo  and  company — those  who 
have  always  played  hard-to-get  as  a  matter  of  business 
policy.  But  it  didn't  ring  true  with  Rogers,  who  for  years 
has  shown  about  as  much  temperament  as  a  turnip.  The 
cameramen  were  duly  confused — until  the  mystery  was  ex- 
plained to  them  by  RKO's  perspiring  publicity  gentlemen. 

They  were  trying  to  keep  Ginger's  new  raven  locks  a 
photographic  secret,  they  said,  until  "The  Primrose  Path" 
was  released.  So  they'd  asked  her  to  keep  away  from 
news  pictures.  Ginger  said  she  would,  and  what  Ginger 
says,  she  does.  That  was  all.  She  shouldn't  have  stuck 
her  neck  out  with  the  double-dyed  deception  in  public 
cafes  if  she  didn't  want  to  get  lensed  up  a  little,  the 
cameramen  grumbled.  But  Ginger  said  she  thought  she'd 
never  be  recognized,  and  the  clickers  admitted  it  took  a 
little  time.  So  all  was  well — except  that  nobody  explained 


Singer  with  Designer  Walter  Plunkett  after  she 
attended  her  first  premiere  in  two  years.  See 
how  she  kept  her  new  coiffure  a  secret? 

to  the  rest  of  Hollywood.  To  them,  it  all  linked  up  with 
a  hideaway  legend  which  had  been  following  Ginger  Rogers 
around  for  over  a  year. 

That  legend  started  in  New  York  with  the  Winchellian 
crack,  "If  anyone  wants  to  know  where  Ginger  Rogers 
is  hiding,  she's  at  the  Waldorf."  But  the  prologue  took 
place  right  in  Hollywood,  where  Ginger  practically  van- 
ished from  the  ken  of  mortal  men  for  months. 

That  sounds  like  a  mystery,  but  the  trouble  was,  it 
wasn't.  Everyone  knew  Ginger  hadn't  been  slugged  by 
the  Ape-Man  or  spirited  off  by  the  men  of  Mars.  She  was 
right  around  town,  everybody  knew.  But  so  exclusive! 
No  dances,  no  premieres,  no  parties,  no  nuthin'.  Was 
she  playing  cover-up?  Well,  like  all  mysteries,  the  answer 
is  so  simple  you  could  kick  yourself.  Ginger  was  so  darned 
busy  all  that  time  she  could  barely  powder  her  nose; 
so  darned  tired,  she  didn't  care. 

Right  after  "Shall  We  Dance,"  a  foot-killer  with  Fred 
.  Astaire,  Ginger  made  "Vivacious 

Lady,"  you'll  recall.  Before  that 

BdSkBttB  was  even  finished,  she'd  started 
"Having  a  Wonderful  Time."  And 
because  Doug  Fairbanks  was 
doubling  up,  too,  on  a  picture  at  Universal,  she  had  to 
start  work  at  seven  o'clock  in  the  evening  and  continue 
through  the  night! 

Well,  retakes  for  that  were  finished  up  one  Sunday  at 
five  o'clock  in  the  morning.  Ginger  went  to  bed  for  twelve 
deep  hours  of  dreamland.  At  five  o'clock  Monday  morn- 
ing she  was  back  at  the  studio,  rehearsing  dances  with 
Fred  Astaire  for  "Carefree." 

In  fact,  it  wasn't  until  after  "Fifth  Avenue  Girl"  that 
Ginger  had  time  to  notice  whether  it  was  a  sunny  day 
or  not.  She  took  a  swift  trip  to  New  York  after  "Carefree" 
and  crammed  in  some  shows.  But  she  didn't  have  time 
for  any  press  pictures,  interviews  or  anything  expected 
of  a  visiting  star.  And  so — the  word  got  around  that 
Rogers  had  gone  Garbo  and  the  columnists  made  cracks. 

When  she  returned  to  Hollywood,  "The  Castles"  cer- 
tainly was  no  vacation,  with  costume  fittings  far  into  the 
night,  and  Irene  Castle  McLaughlin  kibitzing  on  every 
tuck  and  gusset  that  Ginger  wore.  And  when  Ginger 
finally  polished  that  off  and   (Continued  on  page  68) 


43 


STYLE  VOUR  HPS 


IT  MAY  sound  odd  to  talk  about  fashions  in  lips  but  you 
have  only  to  get  out  the  old  plush-covered  family  album 
to  see  for  yourself  how  hp  styles  have  changed.  When 
grandma  was  a  girl,  a  rose-bud  mouth  was  her  ideal  and 
many  a  lip  was  pursed  and  puckered  into  at  least  a  sem- 
blance of  that  shape.  When  mother  was  a  flapper,  hp 
rouge,  as  we  know  it,  was  just  getting  its  start  and  "painted 
faces"  were  regarded  with  more  than  a  mite  of  suspicion. 
It  wasn't  quite  "lady-like"  to  give  nature  such  an  obvious 
boost.  And  no  wonder,  when  you  think  of  the  crude 
methods  used  in  applying  the  stuff.  At  that  time,  few 
women  knew  how  to  use  hp  make-up.  Then  came  the 
movies,  and  even  in  your  own  memories  you  may  recall 
the  grotesquely  exaggerated  hps  of  the  early  Joan  Craw- 
ford, or  the  almost  too  perfectly  outlined  Hps  of  the  orig- 
inal Great  Garbo. 

However,  just  as  soon  as  methods  could  catch  up  with 
inventions,  a  whole  new  art  was  born.  It's  been  developing 
ever  since  until  now  it  is  practically  perfect.  The  present 
trend  in  all  make-up  is  toward  naturalness.  Artificiality 
is  no  longer  good  taste.  Art  that  conceals  art  is  the  present 
fashion  in  hps.  But  how  to  achieve  it?  Where  to  begin? 
Nowadays,  you  can  safely  take  your  cue  from  the  movies 
for  their  stars  have  become  acknowledged  leaders  in 
make-up  as  well  as  in  fashion. 

Look  at  these  pictures  of  June  Lang,  Ann  Sothern,  Vir- 


By  Carol 
Carter 


ginia  Bruce,  Jane  Wyman  and  Ginger  Rogers,  for  instance. 
Each  one  of  these  girls  illustrates  an  excellent  example  of 
the  correct  hp  make-up  for  her  individual  type.  But  let's 
start  at  the  beginning.  Lips  are  very  important  because 
not  only  their  size  and  shape  but  also  their  make-up  re- 
veals your  character  and  disposition  as  well  as  your  per- 
sonal habits. 

Try  to  visualize  your  hps  as  a  structural  part  of  your 
physiognomy,  to  be  fitted  and  related  to  the  rest  of  your 
face,  as  well  as  to  your  individuality.  They're  not  just  two 
horizontal  lines  that  separate  your  chin  from  your  nose, 
and  that  are  to  be  loaded  with  enough  color  to  stop  a  line 
of  traffic.  Neither  were  they  made  to  look  like  a  million 
other  pairs  of  hps  from  here  to  Hollywood.  Let  your  lips 
express  the  best  side  of  you. 

Girls  who  hve  by  the  lens  in  Hollywood  may  not  know 
it  but  they  have  a  decided  advantage  over  the  rest  of  us 
in  the  business  of  acquiring  and  keeping  soft,  mobile,  ex- 
pressive hps,  for  they  must  forever  be  practicing  their 
diction.  This  keeps  mouths  plastic  and  flexible  and  wards 
off  those  tight,  set,  prejudicial  lines  which  add  about  ten 
years  to  anybody's  appearance.  No  mumbling  and  mouth- 
ing of  words  for  them.  To  keep  their  precious  hps  kissable 
these  lassies  practice  laughing,  smiling,  puckering,  whis- 
tling, blowing,  chewing  and  all  kinds  of  plain  and  fancy 
mouth  exercises.  With  their  facial  (Continued  on  page  73) 


If  you  have  a  broad  chin 
and  cheeks  with  a  narrow 
forehead  like  the  lush  Ann 
Sothern,  make  up  your  lips 
to  be  both  wide  and  long, 
with  a  slight  upward  tilt  to 
the  corners. 


If  your  face  is  heart-shaped 
like  the  beauteous  Virginia 
Bruce,  your  lips  should  be 
gracefully  heart-shaped 
too,  and  your  lip  rouge 
should  be  medium,  never 
heavy,  in  color. 


The  gay,  piquant  face  of 
Jane  Wyman  needs  a  wide 
upper  lip  to  balance  her 
retrousse  nose  and  her 
somewhat  square  jaw  calls 
for  full,  graceful  lips.  Are 
you  this  type? 


Ginger  Rogers  has  a  long 
narrow  face  so  she  rouges 
her  lips  fairly  wide,  espe- 
cially the  lower  one.  Then 
she  carries  plenty  of  color 
right  out  to  the  corners  to 
give  her  face  width. 


44 


WITH  SHOULDER  TO  THE  WHEEL  AND  NOSE  TO  THE  GRINDSTONE, 

chshi  n  c  111  on 


Children  who  used  to  go  to  school  to  study 
history  now  go  to  the  movies  to  study  Ameche. 
But  that  doesn't  perturb  Don.  He  loves  it! 


With  Andrea  Leeds  in  "Swanee  River"  he  por- 
trayed Composer  Stephen  Foster's  life  as  it 
might  have  been,  but  actually  was  not,  lived. 


9SHHHH 


By    Elliott  Cobb 


NEXT  TO  Donald  Duck,  the  screen's  most  frequently 
employed  actor  is  probably  Don  Ameche,  but  you  never 
hear  any  squawks  from  Don,  and  nobody  ever  saw 
him,  in  a  fit  of  outraged  temperament,  jumping  up 
and  down  on  his  hat  or  a  movie  script.  No  matter 
how  discouraging  the  dialogue  may  be,  and  even  the 
luckiest  actor  is  bound  to  get  stuck  with  a  few 
choice   specimens   of  ham    (Don's   dilemmas,  of 
course,  are  all  Class  A,  premium  Smithfields) , 
Ameche  always  speaks  his  piece  like  a  member 
of  that  heroic  British  unit  which  Tennyson 
called  the  Noble  Six  Hundred.    And  mean- 
while, his  unwavering  sense  of  discipline  un- 
der the  most  withering  fire  of  continuous 
assignments  has  marked  him  out  as  prob- 
ably the  most  versatile,  most  tireless  and 
most  adaptable  actor  in  Hollywood. 
In  baseball  terms,  Don  would  be  de- 
fined as  a  general  utility  man,  in 
diplomatic  language,  as  an  ambas- 
sador-at-large,  in  journalese,  as  a 
correspondent  with  a  roving  as- 
signment.  In  the  jargon  of  the 
movies,  however,  there  is  no 
verbal   handle   to   fit  his 


special  case,  although  in  the  future,  actors  who  can  take 
practically  any  role  and  do  a  good  job  may  be  known  as 
"donameches."  For  Don's  very  lack  of  specialization  has 
finally  become  stamped  on  the  consciousness  of  producers 
as  a  particular  kind  of  specialty!  On  the  strength  of  that 
he  is  beginning  to  be  much  in  demand  for  loanouts  to 
other  studios,  in  addition  to  being  kept  busy,  as  usual,  by 
his  own  grateful  and  appreciative  Twentieth  Century- 
Fox. 

So  highly  does  his  own  home  studio  rate  Don's  varied 
talents,  that  they  have  been  known  to  revise  great  men's 
biographies  in  order  to  give  greater  scope  to  them.  In 
the  recent  "Swanee  River,"  in  which  Don  appeared  as 
the  immortal  Stephen  Collins  Foster,  America's  greatest 
song-writer,  the  studio  thriftily  utilized  Don's  rich  bari- 
tone voice  by  letting  Foster  render  a  few  vocal  selections 
from  among  his  own  beautiful  plantation  melodies.  There 
is,  of  course,  no  historical  evidence  that  the  author  of 
"My  Old  Kentucky  Home"  ever  publicly  plugged  his  own 
compositions,  but  it  was  a  sweet  thought  and  even  those 
tiresome  people  who  make  a  business  of  spotting  "boners" 
in  pictures  probably  forgave  it,  on  the  ground  that  the 
alteration,  after  all,  made  for  a  more  romantic  and  touch- 
ing story. 

Don  is  a  practical  person  who  always  does  what  the 
script  says,  as  we  remarked  before.  But  if  his  attitude 
toward  his  work  is  eminently  workmanlike,  at  least  there 
is  nothing  dull  or  matter-of-fact  about  it.    He  has  a  way 


OBEDIENT  DON  AM  EC  HE  PLUGS  CONTENTEDLY  ALONG 

11 HTUR  H  LI1ESS 


in  'Alexander  Graham  Bell,"  Don  immortalized 
the  great  inventor.  Some  day,  an  historical 
character  may  act  "The  Life  of  Don  Ameche." 


Here's  Don  and  his  wife  returning  from  a  brief 
vacation.  The  studio  felt  he  needed  a  rest 
after  putting  in  a  solid  season  of  hard  work. 


of  looking  as  if  he  likes  every  role  he  tackles,  and  he  will 
tackle  anything,  from  the  sad  Indian  lover  of  "Ramona" 
to  "Alexander  Graham  Bell,"  the  admirable  but  hardly 
romantic  telephone  tycoon. 

Even  when  Don's  vehicle  suffers  an  artistic  breakdown, 
he  himself  usually  manages  to  draw  a  friendly  nod  or 
even  a  laudatory  personal  notice  from  the  press.  Other 
screen  actors  are  considered  no  better  than  their  last 
picture,  but  Don  makes  pictures  so  fast,  no  one  can  re- 
member what  his  last  one  was. 

Don  seems  to  manage  both  of  his  careers,  screen  and 
radio,  with  remarkably  little  internal  traffic  congestion. 
He  rushes  from  radio  rehearsal  to  film  studio  to  broad- 
cast to  interview — like  the  one  we  had  with  him  the  other 
day  in  his  hotel  in  New  York — but  he  seems  to  have  a 
curious,  self-conserving  knack  of  being  able  to  rush  calm- 
ly. He  even  reminded  us  of  that  producer  who  is  said  to 
possess  the  unique  faculty  of  running  amuck  while  sitting 
down.  Besides,  this  strenuous  double  life  earns  him  the 
sympathy  of  lazy  people  like  us,  and  makes  it  easier  to 
forgive  him  whenever  he  is  late  for  an  appointment. 

We  spent  the  few  minutes  he  kept  us  waiting  in  admir- 
ing the  view  of  Central  Park  from  his  window,  and  finding 
out  from  the  studio  press  agent  why  his  apartment  was 
oil  the  eleventh  floor,  instead  of  in  that  lofty  penthouse 
'  atmosphere  below  which  movie  stars  usually  can't  breathe. 
It  seems  the  location  was  not  a  result  of  modesty,  though 
we  take  it  that  Don  is  as  retiring  as  the  next  actor.  Nor 


was  it  due  to  thrift,  for  Don's  hereditary  background 
contains  no  Scotch,  unless  you  want  to  make  something 
of  the  fact  that  the  elder  Ameche  used  to  run  a  saloon 
back  in  Kenosha,  Wis.  (Don  actually  is  of  mixed  Italian, 
German  and  Irish  extraction). 

The  fact  is,  that  Mr.  Ameche  suffers  from  a  mild  case 
of  whatever  that  phobia  is  which  means  a  dread  of 
high  places,  though  why  it  only  sets  in  above  the 
eleventh  floor  is  one  of  those  details  which  the  press 
agent  could  not  explain.   Anyway,  that  is  why,  in  a 
vertical  city  like  New  York,  where  the  relative 
importance  of  a  movie  star  can  practically  be 
gauged  by  an  altimeter,  Don  Ameche — who  is 
certainly  one  of  the  most  important — was  skulk- 
ing far  down  on  the  eleventh  floor,  practically 
below  sea  level — a  traitor  to  his  income  group. 
We  thought  you  might  be  interested  to  know. 

When  Don  did  arrive,  he  arrived  sud- 
denly, unannounced,  like  Jimmy  Durante 
in    the    lingerie    department.  Urgent 
radio  matters,  involving  Al  Jolson  and 
a  whistle  double,  had  held  him  up.  It 
seems  that  whistling  is  about  the 
only  thing  Don  can't  do  on  the 
radio,  so  the  NBC  people  had  to 
send  out  and  get  an  emergency 
whistler.    On  consulting  our 
(Continued  on  page  86) 


WHEN  the  devils  of  war  began  to  scar  the  face  of  Europe, 
Producer  Edward  Small  sat  in  his  Hollywood  home  and 
shuddered.  Long-distance  cowardice,  perhaps'?  Or  ex- 
tensive foreign  holdings'?  Nothing  of  the  sort.  Producer 
Small  was  just  feeling  lowdown  because  it  looked  as 
though  World  War  II  was  going  to  black  out  his  filming 
plans  for  Howard  Spring's  novel.  "My  Son,  My  Son."  The 
tale  of  this  corking  best-seller  is  laid  in  England  and 
extravagant  arrangements  had  been  made,  to  shoot  the 
picture  in  its  native  locale.  With  the  coming  of  the 
catastrophe,  however,  Small  had  discomforting  visions  of 
bombs  bursting  in  the  balmy  British  air — an  eventuality 
which  was  bound  to  hinder  production.  For  a  few  bleak 
moments  it  seemed  that  ''My  Son"  would  never  be  more 
than  a  gleam  in  Edward's  eye. 

Suddenly  he  perked  up.  War.  he  realized,  may  tangle 
the  affairs  of  dictators  and  dairymaids — but  movie  moguls? 
Never!  Summoning  his  brilliant  art  director,  John  DuCasse 
Schulze.  Small  cheerfully  announced  that  since  he  couldn't 
go  to  England,  England  was  to  be  brought  to  him!  Schulze 
didn't  tumble  off  his  seat.  He  had  traveled  widely  in  the 
British  Isles,  and  if  the  boss  wanted  the  "seat  of  Empire" 
to  rise  on  the  Pacific,  he  was  the  man  to  arrange  it. 


Acting  promptly,  Schulze  engaged  hundreds  of  skilled 
workmen  and  a  corps  of  research  workers  to  assist  him 
in  securing  absolute  perfection  in  every  detail  of  set  and 
costume  design.  So  tremendous  was  his  job  that  in  addi- 
tion to  recreating  London's  Victoria  Station  and  the  slums 
of  Manchester,  he  also  constructed  two  complete  houses, 
with  interior  sets  built  beside  the  exteriors.  Rather  than 
risk  delay  caused  by  bad  weather,  he  ordered  the  houses 
erected  indoors,  on  a  massive  sound  stage,  then  went  so 
far  as  to  have  the  pounding  breakers  of  the  English  sea- 
coast  roll  up  on  thousands  of  square  feet  of  sand  before 
one  of  the  buildings!  When  the  fruits  of  his  labor  reach 
the  screen,  movie-goers  will  see  nearly  forty  individual 
sets,  costing  a  total  of  8180,000! 

To  this  elaborate  setting,  Mr.  Small  brought  1,500  per- 
formers whom  he  had  clothed  in  costumes  worth  S67.000 
in  good  U.  S.  cash.  At  their  head  he  placed  such  delight- 
ful children  of  the  Crown  as  Madeleine  Carroll  who  plays 
a  vivacious  woman  in  love  with  her  own  stepson;  Brian 
Aherne  who  appears  as  her  husband;  and  Louis  Hay  ward, 
third  corner  of  the  triangle.  And  if,  as  the  cameras  turned, 
he  mentally  thumbed  his  nose  in  the  direction  of  the  war- 
makers,  who  is  humorless  enough  to  blame  him? 


DDK 


Wayne  Morris 
was  spotted 
while  emoting 
in  the  Pasa- 
dena Playhouse. 

A  talent  scout 
bought  his  wife 
some  stockings 
and  unearthed 
Lana  Turner. 


senium'  iiiiu 


OF  COURSE,  you'll  think  he's  getting  a  bit  fresh 
with  you. 

He'll  glance  at  your  face,  figure  and  legs.  It  won't 
be  the  first  time  it's  happened  to  you,  but  you'll 
be  annoyed. 

Suddenly,  he'll  approach  you.  The  nerve  of  the 
fellow!  He'll  inquire  about  a  good  place  to  eat  or 
the  location  of  the  city  hall — and  you'll  answer 
coldly.  He'll  continue  talking,  smoothly,  cleverly — 
but  you've  met  his  type  before.  Just  as  he  begins 
asking  you  for  your  telephone  number — wait! 
Please  wait!  Don't  slap  him  in  the  face!  Because — 
"He  may  be  me,"  says  Solly  Baiano,  ace  Warner 
Brothers  scout. 

"Or  me,"  admits  Billy  Grady,  famous  M-G-M 
sleuth. 

"Or  even  me,"  confesses  Julius  Evans,  RKO's 
new  talent  expert. 

So  be  a  good  girl.  Give  him  your  phone  number. 
Because  he  wants  to  make  a  date  with  you — not 
for  a  drink  and  a  dance,  but  for  an  agonizing  and 
thrilling  session  before  a  motion  picture  camera 
in  Hollywood  or  New  York. 

If  he  shows  you  his  studio  employee's  card,  or 
proper  credentials,  you  may  believe  in  him  and 
trust  him.  He's  not  a  masher  and  not  a  racketeer. 
He's  one  of  Hollywood's  crazy  undercovermen,  a 
two-legged  bloodhound  ferreting  out  potential  stars. 

There  are  numerous  steps  in  becoming  a  star. 
You  have  to  make  a  screen  test.  A  producer  has 
to  like  that  test.  You  have  to  deliver  the  goods. 
You  have  to  have  your  options  lifted.  But  first  of 
all — before  anything — you  have  to  be  discovered. 

Discovery  by  a  scout,  like  love,  can  happen  at 
first  sight.  And  in  the  most  peculiar  places.  Cary 
Grant,  a  reformed  stilt  walker,  was  having  lunch 
when  he  was  found.  Anthony  Averill,  a  reporter 
on  the  St.  Louis  Globe-Democrat,  was  delivering 
an  after-dinner  speech  when  he  was  spotted. 
Gloria  Dickson  was  emoting  in  a  WPA  show,  and 
she  mistook  the  scout  for  a  masher.  Ann  Miller 
was  dancing  in  a  San  Francisco  night  club.  Mozella 
Milla,  a  newcomer,  was  first  sighted  collecting  auto- 
graphs of  stars  in  front  of  the  Brown  Derby  on 
Vine  Street.  Lucille  Ball  was  a  mannequin,  Olympe 
Bradna  romped  in  a  chorus,  Vincent  Price  was 
studying  in  England,  and  Frances  Farmer  took  a 
free  ocean  voyage.  That's  where  they  were  found! 

So  don't  slap  that  talent  scout  in  the  face.  And 
if  he's  legitimate,  and  tries  to  make  a  date,  don't 
worry  about  the  sex  angle.  It'll  be  entirely  busi- 


ARE  YOU  A  POTENTIAL  MOVIE  STAR  WAITING  TO  BE  DISCOVERED?  THE  STUDIO 


>m  a  relative 
and  a  sleuth  dug  up  a 
radio  announcer.  Tou 
know  him  as  leading 
man,  Ronald  Reagan. 

It  was  in  faraway 
Vienna  that  llona  Mas- 
sey  charmed  the  man 
who  was  to  make  all 
her  dreams  come  true. 


By    Irving  Wallace 


FOR  Til  LOT 


ness.  Talent  scouts  are  not  fiends.  They  are  usually  gentle 
married  men,  who  love  nothing  more  exciting  than  a 
snappy  game  of  checkers  or  a  taffy-pull,  and  who  grow 
petunias  in  the  backyard.  They  get  twenty-four  hours  of 
glamour  a  day,  and  are  very,  very  bored  by  beautiful 
women  and  handsome  men. 

"Don't  worry  about  talent  scouts,"  insisted  Solly  Baiano, 
as  he  moved  restlessly  about  his  office.  "We  are  reputable 
men.  I  don't  know  of  one  case  on  record,  in  the  last 
years,  where  a  scout  has  even  bothered  to  make  a  pass 
at  a  cute  girl. 

"In  fact,  it's  the  other  way  around!  Nowadays,  after 
I've  discovered  a  new  girl  and  have  her  come  to  the 
studio,  I  keep  my  office  door  open.  To  call  for  help!  I 
swear  by  that.  Recently,  several  girls  became,  well,  overly 
affectionate.  Their  friends  told  them  the  easiest  way  to 
get  into  the  movies  was  by  being  cheap  and  loose.  They 
thought  the  best  technique  was — stripping. 

"That's  out.  The  minute  a  girl  cheapens  herself  in  any 
way  to  try  to  influence  me,  I'm  not  interested  in  her. 
I've  been  in  this  business  twenty-two  years.  In  that  time 
I've  seen  enough  attractive  girls  to  make  me  dizzy.  In 
that  time  my  feelings  have  not  once  upset  my  judgment. 
When  I  travel,  I  study  girls  impersonally,  coldly.  They're 
not  human,  they're  talent;  products  to  be  developed  and 
exploited. 

"The  only  time  I'm  interested  in  sex  is  not  when  a  girl 
acts  it,  but  when  she  radiates  it.  Is  that  clear?  Lew  Golder 
and  myself  are  the  two  official  Warner  Brothers  scouts. 
We  go  hunting  for  women.  We  don't  search  for  Grecian 
profiles  and  de  Milo  shapes.  We  search  for  women  with 
spark  and  warmth,  for  women  who,  even  when  they're 
asking  for  a  glass  of  water,  get  across  oomph  and  sex!" 

Solly  Baiano,  dark-haired,  dynamic,  perched  on  a  corner 
of  his  desk,  and  told  me  exactly  how  a  studio  bloodhound 
goes  about  his  work. 

"A  short  time  ago  I  took  a  trip  through  the  West.  I 
was  looking  for  leading  men  and  women.  I  was  searching 
for  tall  men.  None  under  six  feet.  A  George  Raft,  Jim 
Cagney  and  John  Garfield  would  be  exceptions.  That's 
because  they're  characters.  We  get  that  kind  from  Broad- 
way. But  anyway,  I  was  looking  for  big  leading  men, 
fellows  who  looked  husky  enough  to  lick  Dempsey — hero 
types.  And  as  for  women,  I  repeat,  I  searched  for  oomph. 

"I  visited,  mainly,  colleges  and  little  theatres.  I  like 
college  actors.  They're  not  juveniles,  and  they're  usually 
more  intelligent,  mature,  and  speak  better  English  than 
the  average.  For  example,  I  visited  the  University  in 
Seattle.  I  spotted  a  boy  and  a  girl.  I  thought  the  girl  was 
the  better,  but  I  brought  them  both  down  to  the  producers. 
And  the  producers  liked  the  boy!  (Continued  on  page  77) 


BLOODHOUNDS,  WHOSE  BUSINESS  IT  IS  TO  HUNT  YOU  OUT,  EXPLAIN  HOW  THEY  WORK 


All  set  to  make  a  killing  is 
Walter  Connolly  checking  in  at 
the  Santa  Anita  race-track.  But 
his   horse   refused   to  cooperate. 


Randolph  Scott  and  the  Fred  Astaires  were 
contributors  to  the  house  purse,  too.  The 
day's  heaviest  loser  was  Mr.  Scott  who 
placed  all  of  his   bets   on   long  shots. 


Basil  Rathbone  and  his  button- 
nosed  Ouida  arrive  at  a  preview, 
accompanied  by  Mrs.  R.'s  rich- 
looking  jewels,  mink  and  velvet. 


There  are  those  who  say  that  Car- 
ole is  not  too  well,  but  she  does 
look  radiant'  before  the  health- 
giving  smile  of  "old  man"  Gable. 


Richard  Greene  shows  his  fiancee,  Virginia 
Field,  how  to  nab  that  mysterious  prowler 
who  has  been  annoying  the  film  folk  of 
late.   Wendy   Barrie   was   the   last  victim. 


Witti  The  Dictator"  nearing  com- 
pletion, Charlie  Chaplin  steps  out 
for  an  evening  of  frivolity  with  his 
lovely  missus,  Paulette  Goddard. 


Rhumba  dancers,  Ida  Lupino  and 
Reginald  Gardiner,  perform  for 
Ann  Sheridan,  Frances  Robinson 
and  Lloyd  Pontages  at  La  Conga. 


Anita  Louise  returns  to  boy-friend,  Buddy 
Adler,  and  Hollywood  after  a  successful 
personal  appearance  tour  with  her  famous 
harp.    Is  she  glad  to  be  back?    You  bet! 


Luck's  with  Mickey  Rooney!  First 
he's  named  top  of  the  box  office 
heap.  Now  Sidney  Miller  points 
out  his  horse  is  leading  the  race. 


It's  Fred  MacMurray  sneaking 
under  the  ropes  to  dodge  some 
determined  autograph  collectors  at 
a  preview.  Pretty  clever,  Mr.  M.! 


George  Raft  looks  dubious  about  Norma 
Shearer's  bet  on  Allergic  at  Santa  Anita 
Her  lapel  pin  is  a  replica  of  a  little  black  boy 
Norma  collects  lapel  gadgets  as  a  hobby 


52 


Metallic  embroidery  in  medieval  corselet  de- 
sign on  Loretta  Young's  dinner  dress,  newer 
than  tomorrow's  paper.  With  her  is  Robert 
Riskin,  Hollywood's  top-notch  screen  writer. 


Mrs.  Stu  Erwin,  mother  of  two  chil- 
dren, is  as  beautiful  as  on  the  night 
the  Duke  of  Kent  asked  to  meet 
her.   She  was  June  Collyer  then. 


Ralph  Bellamy  may  be  one  of  the 
screen's  best  actors,  but  in  "Twenty 
Questions,"  filmland's  favorite 
guessing  game,  his  wife  is  tops. 


It's  a  fourth  anniversary  celebration  for 
Jack  Oakie  and  his  attractive  wife,  Venita 
Varden.  Mrs.  O.  gave  up  her  career  as  an 
actress  when  she  married  the  comedian. 


It  must  have  been  a  bang-up  affair 
to  bring  Irene  Dunne  and  her  hus- 
band, Dr.  Francis  Griffin,  out  of  se- 
clusion. They're  not  party-minded. 


Joan  Bennett  and  her  newly  ac- 
quired producer-husband,  Walter 
Wanger.  Their  marriage  license 
gives  his  age  as  45;  hers  as  29. 


Jean  Arthur  really  takes  "Grapes  of  Wrath" 
to  heart,  while  her  husband,  Frank  Ross, 
looks  on  with  an  appraising  interest.  Pro- 
ducer Zanuck  paid  $75,000  for  screen  rights. 


It  was  an  all-star  night  at  La 
Conga  and  the  Mexican  meteor, 
Lupe  Velez,  with  Clayton  Moore, 
watches    the    big-timers  perform. 


Binnie  Barnes  and  announcer  Mike 
Frankovitch  are  still  "that  way" 
about  each  other.  They've  even 
set  the  date — September  26th. 


The  pert  Helen  Parrish  looks  on  while 
boy-friend,  Forrest  Tucker,  doles  out  $17.35 
for  the  snack  they'd  just  consumed. 
Without  even  the  batting  of  an  eyelash! 


Easiest  way  to  annoy  Mrs.  John 
Payne  is  to  address  her  as  Miss 
Anne  Shirley.  Says  she,  "I  was 
Anne  Shirley."    And  meaning  it! 


Now  that  their  romance  is  table- 
talk,  Deanna  Durbin  and  Vaughn 
Paul  are  no  longer  camera  shy. 
They're  rid  of  the  chaperon,  too. 


S3 


THE  LATEST  CHATTER 
STRAIGHT  FROM 
THE  WESTERN  FRONT 


GINGER'S  NEW  OUTFIT 

At  a  recent  party,  Ginger  Rogers  made  her 
appearance  in  a  silver  lame  dress  and  match- 
ing turban.  Ginger  generally  manages  to 
steal  the  center  of  the  stage  from  any  of 
the  glamour  girls  present,  but  in  this  cos- 
tume she  looked  more  peculiar  than  appeal- 
ing. Her  escort  for  the  evening  was  designer 
Walter  Plunkett.  Overheard  during  the  eve- 
ning was  the  remark,  "If  Plunkett  designed 
that  dress  for  Ginger,  he's  certainly  not  in 
love  with  her."    (See  page  43  for  picture). 

BETTE  BREAKS  ANOTHER  RECORD 

Only  one  in  Hollywood  who  knew  about 
Jane  Bryan's  plans  to  marry  was  Bette  Davis. 
Jane  had  gone  blithely  on  letting  the  studio 
make  much  of  her  romance  with  Eddie  Albert 
and  all  the  time  keeping  mum  about  the 
fact  that  she  even  knew  one,  Justin  Dart.  "If 
Janie  hadn't  eloped  when  she  did,"  Bette 
said,  "I  would  have  had  a  complete  nervous 
breakdown.  After  all,  I'm  only  a  woman, 
and  I'd  kept  a  secret  for  six  whole  months. 
That's  an  all-time  feminine  endurance  record." 

PAGING  THE  PROP  DEPT. 

Marlene  Dietrich  dropped  in  at  Universal  the 
other  day  to  discuss  her  forthcoming  picture 


into  the  living-room  and  pointed  with  pride 
to  a  new  tapestry  on  the  wall.  "It's  beauti- 
ful," agreed  Enrol,  "where'd  you  get  it?"  "I 
made  it,"  said  his  wife,  with  pride.  "Out  of 
all  your  Christmas  ties.  See  that  polka-dot 
pattern  in  the  middle?  That's  the  one  I  gave 
you!" 

SO  IT  GOES! 

Bette  Davis'  recent  cocktail  party  at  the 
Trocadero  was  a  tremendous  success.  With 
two  hundred  guests  invited,  the  Troc  over 
flowed  with  six  hundred  before  the  after- 
noon was  long  on  its  way.  Hedy  Lamarr 
arrived  in  a  black  velvet  outfit  with  a  large 
floppy  black  hat,  and  was  mistaken  for 
Vivien  Leigh  by  countless  people.  Must  have 
been  a  blow  for  Hedy,  after  all  the  girls  in 
town  have  been  trying  to  look  like  her,  to 
have  people  take  her  for  the  girl-of-the-mo- 
ment,  Vivien  Leigh.  Not  long  back,  it  was 
Joan  Bennett  mistaken  for  Hedy;  now  it's 
Hedy  for  Miss  Leigh.  To  complete  the  jig- 
saw, why  not  Vivien  for  Miss  Bennett! 


with  producer  Pasternak.  When  noon-time 
rolled  around,  she  asked  the  producer  if 
Helen  Parrish  was  on  the  lot  that  day.  She 
wanted  to  lunch  with  her.  Helen  was  paged 
and  given  the  message,  which  almost  caused 
her  to  swoon  with  joy  since  Dietrich  has  been 
her  idol  ever  since  she  was  permitted  to 
watch  Marlene  work  in  "Destry."  "But  I 
can't  go,"  she  wailed,  "look  at  my  finger- 
nails. I've  bitten  off  three  of  them!"  In  her 
excitement,  Helen  forgot  that,  after  all,  she's 
a  movie  actress  herself  and  that  the  studio 
prop  department  was  at  her  service.  In  ten 
minutes,  fingernails  as  gorgeous  and  glar- 
ing as  Miss  Dietrich's  own  had  been  pasted 
on  and  Helen's  day  was  saved. 

CAN  YOU  TIE  IT? 

Lili  Damita  welcomed  Errol  Flynn  home  the 
other  evening  with  the  news  that  she  had 
a  grand  surprise  for.  him.    She  ushered  him 


BILL  POWELL'S  BRIDE 

No  one  was  any  more  surprised  at  the  Bill 
Powell-Diana  Lewis  marriage  than  Diana 
herself.  She  and  Powell  had  just  returned 
from  a  week-end  with  friends  at  Palm  Springs 
and  were  having  dinner  at  the  Powell  home 
when  Bill  popped  the  question.  The  bride 
admits  that  the  wedding-ring  purchased  by 
the  groom  just  before  the  ceremony  had  to 
be  taped  in  order  to  stay  on  her  finger  and 
that  she  had  a  terrific  run  in  her  stocking, 
besides.  But  she  also  admits  that  being  Mrs. 
William  Powell  is  too  wonderful  for  words. 

CRASHING  THE  MOVIES 

On  the  set  of  "New  Moon,"  Jeanette  Mac- 
Donald  was  just  going  into  a  scene  when 
her  scarf  slipped  and  fell  to  the  floor.  Rose, 
her  maid  of  many  years,  picked  it  up  and 
rushed  right  into  camera-range  exclaiming 


By  Lois 
Svensrud 


"You  dropped  your  scarf,  Miss  MacDonald." 
Overcome  with  embarrassment  at  her  mis- 
take, Rose  burst  into  tears.  Nothing  that 
Jeanette  said  seemed  to  comfort  her.  But 
Director  Robert  Z.  Leonard  fixed  it  up  in  one 
moment.  "I  didn't  realize  what  a  grand 
speaking  voice  you  have,  Rose,"  he  said. 
"We'll  run  the  rushes  tonight  and  if  you  look 
as  good  as  you  sound  we'll  use  you  for  a 
bit  in  the  picture."  We're  happy  to  report 
that  Rose  looked  as  good  as  she  sounded 
and  was  rewarded  with  a  small  part  in  the 
picture. 

GUESS  WHO? 

Into  a  Hollywood  market  walked  a  strange 
figure  the  other  morning.  It  was  raining  and 
the  girl,  wearing  a  fleecy  lamb  coat,  looked 
for  all  the  world  like  a  drowned  cat.  Her 
long  blonde  hair  dripped  and  even  her  dark 
glasses  were  glistening  with  water.  At  the 
vegetable  counter  she  asked  for  a  bunch  of 
baby  carrots  and  trudged  out  into  the  rain 
again  munching  on  them.  Yah,  Garbo  VAS 
the  girl. 

DRUMMER  BARNES 

Binnie  Barnes  walked  into  the  "Gulf  Screen 
Guild  Theatre"  rehearsal  with  all  the  cus- 
tomary dignity  of  a  British-bred  lady — until 
she  saw  the  drum  in  Oscar  Bradley's  band. 
Then  she  started  to  "beat  the  hides"  like  a 
typical  jitterbug.  Binnie  admitted  that  she's 
an  amateur  drummer  and  plays  in  Ben 
Hecht's  band  composed  of  movie  folk  who 
are  amateur  musicians. 


JUDY'S  LOVE  LIFE 

Folks  around  the  studio  were  pretty  much 
agog  when  Judy  Garland  showed  up  the 
other  day  wearing  Jimmy  McCartney's  fra- 
ternity ring.  "Nothing  romantic,"  said  Judy. 
"I  just  like  Jimmy  and  I  like  the  Kappa 
Sigma  ring."  It's  a  foursome  every  time 
Judy  and  Jimmy  date,  for  Sue  Garland,  Judy's 
21-year-old  sister,  goes  along  with  Jimmy's 
older  brother.  "I  don't  see  how  anyone 
could  get  romantic,"  sighed  Judy,  "when 
every  date  is  such  a  family  affair."  The 
truth  is  that  Judy  still  thinks  Mr.  Rooney  has 
what  it  takes  when  it  comes  to  romance.  But 
Mickey  never  seems  to  take  her  seriously, 
regarding  her  as  a  child  who  should  be 
taken  to  the  badminton  courts  or  •  the  bowl- 
ing alleys  for  an  evening's  diversion.  The 
other  evening  Judy  decided  that  she  would 
get  all  "done  up"  like  a  glamour  girl  for 
Mickey.  She  thought  he'd  be  so  pleasantly 
surprised  that  he  would  suggest  an  evening 
of  dining  and  dancing  at  the  night-spots. 
Mickey  arrived  and  surveyed  the  beauteous 
vision  of  Judy  in  white  tulle  and  silver  se- 
guins.  "Listen,  toots,"  he  said  kindly,  "that's 
not  the  kind  of  get-up  sophisticated  girls 
wear  to  bowl  in.  I've  reserved  an  alley  for 
eight  sharp,  so  you'd  better  change  in  a 
hurry." 

TOUGH  COMPETITION 
FOR  TRACY 

Spencer  Tracy  came  out  of  the  projection- 
room  at  Metro  the  other  day  looking  pre- 
occupied. As  he  was  getting  into  his  car, 
Mickey  Rooney  strolled  by  and  Tracy  called 
out,  "Wait  a  minute  there,  Mickey."  "You 
know,"  he  said  as  Mickey  came  up  to  him, 
"you  ought  to  be  ashamed  of  yourself.  I've 
just  seen  'Young  Mr.  Edison'  and  my  next 
picture,  in  case  you've  forgotten,  is  'Edison, 
the  Man.'  Believe  me,  you're  making  the 
competition  pretty  tough  for  an  old  guy  like 
me."  Incidentally,  even  the  crews  on  the 
two  pictures  are  making  bets  as  to  which 
picture  will  win  the  heaviest  plaudits. 

AT  FARMER'S  MARKET 

Carole  Lombard  debating  about  the  selec- 
tion of  hot  buttered  nuts  at  Magees,  and 
sampling   each    kind   before    okaying  the 


wrapping  .  .  .  Boris  Karloff  looking  very 
domestic  and  not  scaring  a  soul  as  he  helps 
the  Missus  do  the  Saturday  marketing  .  .  . 
Mary  Brian  buying  violets  and  saying  "hello" 
to  Dolores  Costello  as  Mary  chooses  the  red- 
dest roses  at  Watanabe's  Flower  shop  .  .  . 
Paulette  Goddard  trying  to  look  uncon- 
cerned as  she  ignores  the  fans  staring  in 
open-mouth  adoration  at  Charlie  Chaplin 
.  .  .  Comedian  Bob  Burns  amusing  the  mer- 
chants as  he  gueries  how  "this  here  co-op" 
is  run. 

WEST  VS.  FIELDS 

On  the  set  of  "My  Little  Chickadee,"  Mae 
West  and  W.  C.  Fields  struck  up  such  a 
friendship  that  they  have  been  seeing  each 
other  regularly  since  the  picture  was  com- 
pleted. With  the  whole  town  predicting  that 
spontaneous  combustion  would  result  from 
teaming  these  two  rugged  individualists  in 
the  same  picture,  Mae  and  W.  C.  provided 
the  surprise  of  the  century  by  ending  up 
fast  friends.  Oh,  they  had  their  words,  but 
they  also  had  their  laughs.  And  now  they 
get  together  for  more  of  the  latter  at  least 
once  a  week. 

CLARK'S  CHICKENS 

The  Clark  Gables  are  spending  every  eve- 
ning pouring  over  maps  of  South  America. 
That's  going  to  be  their  next  trip — and  they 
hope  in  the  very  near  future.  Only  thing 
that's  bothering  Gable  about  leaving  Holly- 
wood for  such  a  long  time  is  the  possibility 
of  his  chickens  not  getting  the  right  care.  For 
four  months  now  he's  personally  taken  care 
of  them,  night  and  morning,  according  to  de- 
tailed instructions  in  the  best  government 
pamphlets.  "I  don't  want  to  sound  con- 
ceited," he  told  co-workers  on  the  "Strange 
Cargo"  set  the  other  day,  "but  I  wonder  if 
anyone  else  would  give  those  leghorns  the 
unstinted  devotion  that  I've  lavished  on 
them  every  day." 

HE  DOESN'T  MISS  A  TRICK 

A  visitor  of  importance  was  being  taken 
around  the  Goldwyn  Studios  the  other  day 
by  no  less  a  personage  than  Sam  Goldwyn 
himself.  They  came  to  a  large  set  and  Mr. 
G.  launched  into  an  explanation  of  the  scene. 
"See  those  steps  over  there?"  he  asked, 
pointing  out  a  tremendous  flight  of  stairs  to 
the  right.  "Down  those  steps  will  come  one 
hundred  dancing  girls.  And  down  that  flight 
of  stairs  on  the  left  will  come  one  hundred 
men  on  one  hundred  beautiful  horses.  From 
those  woods  over  there  will  come  two  hun- 
dred fairies  and  elves.  Imagine  all  that — all 
in  one  scene!  And  with  a  symphonic  ac- 
companiment of  wood  winds  and  singing 
violins  too!"  The  beaming  producer  clapped 
his  hand  on  the  visitor's  shoulder.  "Colos- 
sal, isn't  it?"  he  enthused.  "But  say,"  he 
added,  looking  at  the  man's  lapel  with  a 
marked  drop  of  enthusiasm,  "what  a  lousy 
job  the  tailor  did  on  that  button-hole!" 


55 


ITS  A  TOUGH  WORLD 

The  other  day  our  photographer  went  out  to 
Bobby  Breen's  house  to  take  some  pictures. 
Bobby  greeted  him  with  such  a  long  face 
that  our  camera-sleuth  said,  "Hey,  there, 
where's  that  customary  Breen  grin?"  "I 
don't  feel  so  good,"  said  Bobby.  "Jeepers, 
I  thought  if  I  had  my  picture  taken  I  could 
get  out  of  going  to  the  dentist.  But  that  guy's 
just  called  and  said  he'll  take  me  later. 
Gleeps,"  he  added  drearily,  "wouldn'cha 
think  a  fellow'd  get  a  break  once  in  his  life?" 

CHIPS  OFF  THE  OLD  BLOCK 

When  Bing  Crosby  goes  on  his  daily  morn- 
ing jaunt  to  Santa  Anita  to  look  over  the 
horses,  he's  accompanied  by  all  four  of  his 
sons.  The  boys  aren't  allowed  around  the 
races,  but  Bing  lets  them  wander  around 
and  admire  the  horseflesh  at  the  stables.  No 
doubt  about  it,  all  the  boys  have  inherited 
their  poppy's  love  of  horses.  Each  of  the 
three  older  ones  has  a  horse.  Even  the 
youngest  son,  Lindsay,  jogs  around  the 
family  backyard  strapped  to  a  saddle. 

GETTING  AWAY  FROM  IT  ALL 

Character  actor  Charles  Trowbridge  and  his 
wife  took  a  trip  to  Mexico  to  get  away  from 
the  familiar  faces  of  Hollywood.  In  the 
tiny  hillside  town  of  Taxco,  far  away  even 
from  cosmopolitan  Mexico  City,  the  Trow- 
bridges  ducked  into  a  quaint  little  bar. 
From  a  corner  booth  they  heard  American 
voices  which  they  seemed  to  recognize. 
Then  they  went  over  to  greet — Myrna  Loy 
and  her  husband  Arthur  Hornblow!  Agreed 
that  it  was  quite  impossible  to  get  away 
from  Hollywood,  they  all  sat  down  to  a 
dinner  of  enchilados  and  a  good  gab-fest 
about — you  guessed  it — Hollywood! 

AROUND  TOWN 

Autograph  hounds  catching  Jimmy  Stewart 
just  outside  the  Westwood  Village  Theatre, 
and  making  him  sign  their  books  in  the  pour- 
ing rain  .  .  .  Helen  Parrish  and  Forrest 
Tucker  holding  hands  at  La  Conga,  but  deny- 
ing any  early  marriage  date  .  .  .  Linda 
Darnell  looking  pretty  as  a  picture  in  a  tulle 
evening  dress  and  dancing  with  Robert 
Shaw  at  the  Cocoanut  Grove  .  .  .  Reggie 
Gardiner  having  the  time  of  his  life  escort- 

56 


ing  both  Frances  Robinson  and  Ida  Lupino 
to  La  Conga.  Louis  Hayward  had  to  work 
that  night  .  .  .  Ann  Sothern  and  Roger 
Pryor  dodging  the  fans  at  a  Pantages 
Theatre  preview  by  sneaking  under  the 
ropes  .  .  .  Ann  Sheridan  at  the  Brown 
Derby  advising  her  escort,  Jean  Negulesco, 
that  she  wants  a  medium  rare  steak  with 


French  fries  .  .  .  Barbara  and  Bob  Taylor 
mounting  the  balcony  steps  at  the  Village 
Theatre  preview  of  Barbara's  new  picture. 
They  like  upstairs  best  not  only  because  of 
the  view  but  because  they  can  smoke  up 
there  .  .  .  Dietrich  bowing  to  her  fans  with 
a  queenly  grace  as  she  exits  from  an  im- 
portant premiere.  It's  always  quite  obvious 
that  Marlene  loves  the  applause  .  .  .  Binnie 
Barnes  proudly  displaying  her  five-and-a- 
half -carat  diamond  ring  to  Gregory  and  Gus, 
co-headwaiters  at  the  Beverly  Brown  Derby, 
and  grinning  at  Mike  Frankovitch  as  the 
boys  "oooh"  and  "ah"  .  .  .  Mickey  Rooney 
patting  a  small  boy  on  the  head  and  saying 
"You're  welcome,  Sonny,"  after  scrawling 
his  name  in  the  kid's  autograph  book. 

THE  MENACE  RELAXES 

On  the  set  of  "Black  Friday,"  the  new 
Lugosi-Karloff  shiverer,  a  scene  had  just  been 
played  wherein  the  tenth  murder  was  com- 
mitted. Actually,  there  are  twelve  and  a 
half  murders  in  this  picture,  since  one  of  the 
victims  is  half  dead  when  Mr.  Lugosi  finishes 
him  off.  However,  the  tenth  murder  we 
were  witnessing  was  lurid  enough.  The 
victim  was  lying  on  the  floor  breathing  his 
last,  with  Mr.  Karloff  leering  down  at  him, 
when  someone  from  the  sidelines  called, 
"Four  o'clock,  Mr.  Karloff!"  The  leer  dis- 
appeared like  magic  and  the  Karloff  coun- 
tenance was  benign  as  he  left  the  scene  and 
settled  down  in  a  chair  drawn  up  to  a  tea- 
table.  "Four  o'clock,"  explained  Mr.  Karloff, 
"is  my  tea-time,  and  nothing  can  keep  me 
from  it.  Yep,"  he  said,  noting  our  amaze- 
ment, "it's  tea — not  TNT." 

LOVE  WITH  SHOES 

Gail  Patrick  thinks  that  "My  Favorite  Wife" 
is  the  most  wonderful  picture  that  has  ever 
fallen  to  her  lot.  "Oh  sure,  the  story's  all 
right,  the  cast  is  fine  and  all  that,"  she  said, 
"but  what's  so  wonderful  about  it  is  that  I 


can  keep  my  shoes  on!"  Gail,  you  know, 
measures  five  feet  eight  in  her  stocking  feet 
and  most  leading  men  can't  beat  that  rec- 
ord. "For  the  first  time  in  my  life,"  she 
sighed  blissfully,  "I  can  keep  my  spike  heels 
on  as  I  look  adoringly  up  at  the  leading 
man."  Cary  Grant,  the  leading  man  in 
question  wandered  by  and  said,  "Gail,  an 
adoring  glance  would  look  good  from  you 
any  time — even  in  stocking  feet." 

NOT  A  BAD  IDEA 

The  story  is  going  the  rounds  about  an 
amusing  incident  in  the  filming  of  a  Cecil  B. 
DeMille  picture.  It  was  a  typical  DeMille 
mob  scene  with  a  thousand  or  so  extras  lined 
up  for  directions. .  Mr.  DeMille 's  assistants 
and  assistant  assistants  had  given  orders 
for  complete  quiet  before  the  director  would 


talk.  A  hush  fell  on  the  crowd  at  once,  but 
Mr.  DeMille's  eaqle  eye  spotted  a  girl  in  the 
last  row  whispering  to  a  companion.  "Will 
you,"  he  blared  through  the  microphone, 
pointing  at  the  girl,  "come  up  on  the  plat- 
form at  once?"  The  girl,  shaking  in  her 
boots,  made  her  way  through  the  mob  and 
up  to  the  platform.  "Now,"  said  Mr.  DeMille, 
"if  what  you' have  to  say  is  important  enough 
to  tell  your  friend  at  a  time  like  this,  it  is 
important  enough  to  tell  all  of  us."  The  girl 
shook  her  head,  mumbled  that  it  wasn't  im- 
portant, that  she  was  sorry,  and  please,  she 
didn't  want  to  repeat  it.  Mr.  DeMille  was 
adamant,  "Just  say  it  right  here  into  the 
microphone,"  he  insisted.  So  the  girl  stepped 
to  the  mike  and  said,  "I  just  said  I  wondered 
when  this  so-and-so  was  going  to  let  us  go 
to  lunch."  Mr.  DeMille  gulped,  then  stepped 
to  the  mike.    "Lunch!"  he  announced. 

WO  PEACE  FOR  THE  FAMOUS 

At  a  Hollywood  drive-in,  Pat  O'Brien  and  his 
wife,  Eloise,  sat  down  at  the  counter  and 
ordered  hamburgers  and  coffee.  By  the 
time  the  order  arrived,  a  dozen  fans  had 
congregated,  some  begging  for  autographs 
and  the  rest  just  ready  to  stand  by  and  get 
a  good  look  at  the  actor.  But  Pat  pulled  a 
fast  one  on  them.  He  shook  hands  all 
around,  then  picked  up  his  plate  and  coffee 
cup  and  adjourned  to  his  car  at  the  curb. 
There  he  consumed  his  lunch  in  peace  and 
quiet  behind  locked  doors. 


AUNT  JOAN 

Joan  Crawford  took  her  six-year-old  niece  to 
see  "Ninotchka"  at  a  neighborhood  theatre 
the  other  eveaing.  When  the  scene  where 
Garbo  gets  a  bottle  of  goat's  milk  flashed 
on  the  screen,  Joanie,  Jr.,  stood  up  and  yelled, 
"Goat's  milk  built  me  up,  too!" 

ITS  HARD  TO  BELIEVE! 

The  other  evening  Hedy  Lamarr  noticed  that 
one  of  Bette  Davis'  pictures  was  playing  at 
a  neighborhood  theatre,  so  she  and  her 
housekeeper  started  out  to  see  it.  A  long 
line  was  waiting  at  the  box-office  so  Hedy 
and  her  companion  lined  up  with  them. 
However,  the  show  wasn't  going  on  for 
another  half-hour,  so  they  finally  decided 
to  go  around  to  the  side-door  and  see  if  an 
usher  would  let  them  in.  An  usher  came  to 
the  door  all  right,  but  on  hearing  Hedy's 
proposition,  said,  "Say,  listen,  the  only  one 
who  ever  went  in  this  side  door  was  Shirley 
Temple.  Who  in  heck  do  you  think  you 
are?"  Hedy  reports  that  she  and  the  house- 
keeper sulked  away  and  rejoined  the  line 
in  front  of  the  theatre. 

ALONG  SUNSET  STRIP 

Alice  Faye  smiling  as  Maurice,  the  florist, 
calls  her  "Mademoiselle"  then  hastily 
changes  it  to  "Madame"  when  he  remembers 
her  real  name.  Whereupon  Alice  bought  an 
extra  bouquet  of  pink  carnations  .  .  .  Ed- 


GAIL  PATRICK 


ward  G.  Robinson  speeding  along  in  his 
green  coupe  and  puffing  on  a  very  big 
seegar  .  .  .  Fanny  Brice  rehearsing  her 
Baby  Snooks  routine  and  sitting  up  in  front 
with  the  chauffeur  while  the  back  seat  of  her 
swanky  town  car  is  entirely  empty  .  .  . 
Eddie  Cantor  carefully  choosing  his  smallest 
daughter's  favorite  candy  bar  at  Tobey's 
Drugstore  .  .  .  Gracie  Allen  waving  and 
yelling  at  some  friends  as  she  drives  by, 
and  causing  plenty  of  horn  tooting  behind 
her  as  she,  holds  up  traffic. 

PARCEL-POST  HOME 

Incidentally,  Alice  Faye  and  Tony  Martin 
won't  be  staying  long  in  their  rented  home. 
Their  San  Fernando  house  is  slowly  but 
surely  nearing  completion,  though  neither 
of  the  Martins  has  been  on  hand  to  speed 


up  the  proceedings.  They  call  it  their  par- 
cel-post home,  since  contractors  sent  them 
pictures  and  plans  every  week  while  the 
stars  were  in  New  York.  Now  that  Alice 
has  returned  to  the  coast  she  still  refuses  to 
go  near  the  house  until  every  stick  of  furni- 
ture is  in  place.  "I  just  couldn't  go  through 
the  disappointment  again  of  seeing  the  house 
and  then  having  something  happen  to  it 
before  we  moved  in,"  she  says.  That's 
what  happened  a  few  months  ago,  you 
know,  when  the  Martin  home  burned  to  the 
ground  before  there  had  been  time  for  a 
legitimate  house-warming.  We  wish  the 
Martins  better  luck  this  time! 

THE  MEN  HAVE  THE  FLOOR 

On  the  set  of  "Too  Many  Husbands,"  Jean 
Arthur,  Fred  MacMurray  and  Melvyn  Doug- 
las were  staging  a  free-for-all-three  fight. 
The  studio  had  constructed  padded  walls  and 
floors  for  the  scene,  to  make  sure  that  such 
valuable  property  as  Arthur,  MacMurray 
and  Douglas  would  come  out  of  the  fracas 
undented.  After  a  few  rehearsals,  Jean 
complained  to  the  director  that  neither  of 
the  men  would  hit  her  hard  enough.  "It 
isn't  fair,"  she  said.  "They've  got  an  agree- 
ment to  knock  each  other  down  every  other 
time,  and  me,  I  never  get  a  chance  to  rest 
on  that  padded  floor." 

JUST  IN  CASE 

From  Sun  Valley,  Idaho,  comes  the  news  that 
Claudette  Colbert  is  the  best  woman  skier 
who  ever  hit  that  famous  resort.  Claudette 
admits  that  she's  taken  lessons  for  years 
and  has  really  concentrated  upon  becoming 
an  expert.  "I  suppose  I  am  pretty  good," 
she  admits,  "but  you'll  note  I  never  go.  on  a 
skiing,  jaunt  without  my  husband.  And  be- 
lieve me,  I  never  take  off  for  a  jump  without 
making  sure  that  my  doctor  is  right  on  the 
job  at  the  foot  of  the  slide." 


SHORT  SHOTS 

Deanna  Durbin  gets  kissed  twice  in  "It's  A 
Date."  The  lucky  man  is  Lewis  Howard 
.  .  .  Wally  Beery  has  transformed  the  back 
seat  of  his  new  car  into  a  nursery  on 
wheels  for  his  new  adopted  daughter,  Phyl- 
lis Ann.  There's  ever  a  heater  for  her 
bottle  .  .  .  Betty  Grable  sold  her  Arrowhead 


cabin  to  dancing  teacher  Arthur  Murray  .  .  . 
Mae  West  says  she's  looking  forward  to  her 
next  picture.  Her  leading  man  will  be 
Wally  Beery  .  .  .  Jimmy  Stewart  has  bought 
a  lot  in  his  home  town,  Indiana,  Pennsyl- 
vania, and  says  he's  going  to  build  a  home 
on  it  for  himself  .  .  .  Dorothy  Lamour  does 
her  first  dancing  on  the  screen  in  "Dance 
With  The  Devil,"  and  says  she  was  scared 
to  death  the  day  they  shot  the  scene  .  .  . 
Edgar  Kennedy  is  trying  to  find  somebody 
who  wants  to  buy  $200  worth  of  ski  equip- 
ment. Says  he'll  never  learn  how  to  keep 
both  feet  where  they  belong,  and  is  going 
to  give  up  trying  .  .  .  Lindy's  Cafe  is  featur- 
ing Scarlett  O'Hara  and  Rhett  Butler  cock- 
tails .  .  .  Anne  Shirley  is  part  owner  of  a 
local  dress  shop  .  .  .  Gladys  George  is  writ- 
ing an  autobiography  .  .  .  Bette  Davis  now 
owns  a  home  in  Hollywood  on  Los  Feliz 
Boulevard,  and  wouldn't  move  in  until  she 
had  designed  all  the  furniture  and  drapes 
.  .  .  M-G-M  has  given  Ann  Rutherford  q 
$1000  bonus  for  behaving  so  beautifully 
while  on  her  personal  appearance  tour. 

IT  WORKED 

Movie  stars  have  thought  up  a  new  idea  to 
dodge  the  candid  camera's  eye.  At  the 
Brown  Derby  the  other  day.  Norma  Shearer, 
Dorothy  Lamour  and  Madeleine  Carroll  were 
lunching  together.  Three  such  lovelies  made 
a  grand  picture  prospect  so  a  couple  of 
cameramen  rushed  up  and  asked  the  girls 
to  strike  a  pose.  "Sorry,"  said  the  stars, 
"but  look!"  They  pointed  to  their  heads — 
all  full  of  hair  curlers.  Seems  there  is  some- 
thing about  hair  curlers  that  will  scare  any 
man — even  a  cameraman — and  the  two 
photo-sleuths  left  without  an  argument. 

WHY,  MR.  FIELDS' 

W.  C.  Fields  was  so  hesitant  about  encourag- 
ing friends  to  drop  by  his  dressing-room  at 
Universal  that  word  got  around  he  was 
"getting  difficult."  "Difficult,  my  grand- 
mother," said  Fields,  when  a  pal  dropped 
him  a  hint.  "I'm  just  extremely  nervous. 
What  would  my  fine-feathered  friends  say 
if  they  dropped  in  and  saw  me  smoking,  on 
a  peach  satin  chaise  longue  beside  a  dress- 
ing-table bending  under  thirty  bottles  of  per- 
fume?" Marlene  Dietrich's  former  dressing- 
room,  it  developed,  had  fallen  to  the  lot  of 
poor  Mr.  ¥ie\ds.(Continued  on  page  103) 


AN  CRAWFORD 


57 


TUN* 


OW'er,'    A's  <^u     JeVwn  of  13 


THERE  ARE  three  important  steps  in  every  love  affair. 
I  see  you,  I  know  you,  and  I  want  you.  Laurence  Olivier 
took  them  all  at  a  leap — and  landed  in  the  arms  of 
Vivien  Leigh. 

Laurence  first  met  Vivien  in  the  summer  of  1936  during 
the  production  of  a  British  film  in  which  they  both  ap- 
peared. The  instant  his  brooding  brown  eyes  lit  on  her 
fiery  green  ones,  he  was  smitten  by  that  powerful  some- 
thing which  stops  men  cold.  Now,  love  is  all  right  in  its 
place  but  its  place,  he  knew,  is  not  in  the  heart  of  a  man 
who  is  supposedly  the  devoted  husband  of  another  woman. 
Laurence  had  been  married  to  Jill  Esmond  for  six  years 
and  she  had  borne  him  a  son.  He  didn't  want  to  hurt  her. 
Neither  did  he  care  to  upset  Leigh  Holman,  his  beloved's 
spouse  and  father  of  her  little  daughter,  Suzanne. 

But  Vivien's  fascination  was  greater  than  Laurie's  good 
intentions.  He  found  he  couldn't  live  without  her.  And 
he  wasn't  a  bit  angry  when  he  found  she  couldn't  five 
without  him.  Before  long,  they  left  their  mates  and  their 
children  for  each  other.  There  was  no  alternative. 

58 


Vivien  and  Laurence  are  a  likable,  honest  pair.  They 
have  never  attempted  to  conceal  their  romance.  Perhaps 
their  mutual  "we'll-do-as-we-please-and-drat-public- 
opinion"  attitude  has  played  a  huge  part  in  holding  them 
together.  For  example,  it  is  no  secret  that  Vivien  left 
London  and  followed  Laurie  to  Hollywood  because  she 
couldn't  endure  the  separation  caused  by  his  work  in 
"Wuthering  Heights."  Nor  is  there  any  mystery  about  her 
"chance"  meeting  with  Agent  Myron  Selznick,  and  her 
eventual  "Scarlett"  assignment.  Laurie  arranged  that.  He 
pulled  every  string  he  could  find  to  keep  her  by  his  side 
and,  when  the  omnipotent  David  O.  awarded  her  the  most 
discussed  role  since  Bernhardt  played  Camille,  it  was  his 
off-the-set  encouragement  which  led  her  to  a  magnificent 
performance. 

Some  months  ago,  Jill  Esmond  Olivier  filed  suit  for 
divorce,  and  more  recently  Leigh  Holman  took  similar 
steps.  Before  the  year  is  out  Vivien  and  her  inamorato 
will  be  free  to  head  for  the  altar — and  it's  a  cinch  they'll 
waste  no  time  getting  there. 


Miss  Elizabeth  Stuyvesant  Fish, 

daughter  of  Mr.  and  Mrs.  Hamilton 
Fish  of  Washington,  D.  C,  is  a 
popular  debutante.  Here,  she  and 
some  of  her  deb  friends  primp 
between  dances. 


Miss  Janet  Holden  of  Cleveland, 
Ohio,  has  been  working  for  almost 
two  years  in  one  of  Cleveland's 
leading  department  stores — is  am- 
bitious to  be  a  buyer  some  day. 


BUT  BQJH  HELP 
5E  YOUNG  LOOKING 

with  POND'S 


Washington's  smart  young  peo- 
ple take  an  active  interest  in 
national  affairs.  Miss  Fish  shows 
out-of-town  guests  some  of  the 
city's  historic  landmarks. 


QUESTION  TO  MISS  FISH: 

Miss  Fish,  when  do  you  believe 
a  girl  should  begin  guarding  her 
complexion  with  regular  care? 

ANSWER:  "The  younger  the  bet- 
ter! I  think  if  you  want  a  nice 
skin  when  you're  older,  you  have 
to  take  care  of  it  when  you're 
young.  That's  why  I  began  using 
Pond's  2  Creams  when  I  reached 
my  'teens.  Every  girl  wants  a 
lovely  complexion!  Using  both 
Pond's  Cold  Cream  and  Pond's 
Vanishing  Cream  every  day 
helps  to  keep  mine  clear." 


QUESTION  TO  MISS  FISH: 

Would  you  describe  what  each 
Pond's  Cream  does  for  your  skin, 
Miss  Fish? 

ANSWER:  "Yes,  of  course.  Every 
morning  and  evening  I  use  Pond's 
Cold  Cream  to  freshen  up  my 
f.'ice.  These  regular  cleansings 
help  keep  my  skin  looking  soft 
and  healthy.  Pond's  Vanishing 
Cream  serves  an  entirely  different 
purpose.  I  use  it  before  powdering 
to  give  my  skin  a  soft  finish  that 
holds  powder  smoothly  for  hours." 


QUESTION  TO  MISS  HOLDEN: 

In  your  opinion,  Miss  Holden, 
what  things  help  most  in  a 
career  girl's  success? 

ANSWER:  "Interest  in  her  job, 
willingness  to  work  and  a  good 
appearance!  But  nothing  cheats 
your  looks  like  a  dull,  cloudy 
skin,  so  you  can  bet  I'm  always 
sure  to  use  Pond's  Cold  Cream 
to  keep  my  skin  really  clean  and 
soft.  I  can  count  on  it  to  remove 
every  trace  of  dirt  and  make-up  I" 


QUESTION  TO  MISS  HOLDEN: 

Doesn't  the  wind  off  Lake  Erie 
make  your  skin  rough  and  diffi- 
cult to  powder? 

ANSWER:  "Well,  Cleveland  is 
mighty  breezy,  but  little  skin 
roughnesses  don't  worry  me  a 
bit.  I  just  use  another  Pond's 
Cream  to  help  smooth  them 
away  ...  by  that  I  mean  Pond's 
Vanishing  Cream.  And  besides 
smoothing  and  protecting  my 
skin,  it's  perfect -for  powder  base 
and  overnight  cream  because  it's 
absolutely  non-greasy!" 


J 


A  Sunday  ride  in  an  open  car  is 
fun — but  chilly!  When  her  young 
man  suggests  stopping  for  "franks" 
and  hot  coffee,  Miss  Holden 
thinks  it's  a  fine  idea. 


Miss  Holden  entertains.  The  rugs 
are  rolled  back,  she  takes  her  turn 
at  changing  the  records,  and  it's 
"on  with  the  dance"  to  the  tune 
of  the  latest  swing! 


Life  for  a  Washington  debutante 
means  a  constant  round  of  par- 
ties— this  spring  Miss  Fish  is 
having  the  busiest  season  she  has 
ever  known. 


PONDS 
jfe.*"  |  BOND'S 


POND'S,  Dept.  9MS-CVD,  Clinton,  Conn. 
eCMD  FOR   Rush  special  tube  of  Pond's  Cold  Cream,  enough  for 
iaI         ^  treatments,  with  generous  samples  of  Pond's  Van- 
TR'****        ishing  Cream,  Pond's  Liquefying  Cream  (quicker- 
REAlJTY  KIT  melting  cleansing  cream),  and  5  different  shades  of 
Pond's  Face  Powder.  I  encio 


and  packing. 


lose  10c  to  cover  postage 


Name. 
J?,  Street- 
City — 


Copyright,  1940,  Pond's  Extract  Company 


MODERN  SCREEN 

(Continued  from  page  6) 


NAME 

PREVIOUS 
OCCUPATION 

EIR5T  FEATURE. 

LENGTH  MOVIE 

YEAR 

C  A  V  A  D  ITC 

SPORT 

HOBBY 

"tUDI?  ADDRESS 

Barrymore,  John 

Newspaper 
Cartoonist 

The  Sea  Beast 

1926 

Hunting 

Agriculture 

P 

Home — 1116  BaLagio, 
Bel-Air 

Barrymore, 
Lionel 

Stage  Actor 

Friends 

1909 

Fishing 

Composing  MusicMGM 

Home— 802  N.  Roxbury 
DrivG,  Beverly  Hills 

Barthelmess, 
Richard 

Business  Man 

War  Brides 

1916 

Sailing 

Carpentry 

C 

Home— 501  Sunset  Blvd., 

ggygj«2y  JJills 

Bartholomew, 
Fred 

Student 

David  Copperfield 

1935 

Swimming 

Stamp  Collecting 

RKO 

Studio— 780  Gower  St., 
Hollywood 

Baxter,  Warner 

Insurance  Agent 

Her  Own  Money 

1922 

Riding 

Wood  Carving 

TCF 

Home — 688  Nimes  Road, 
Bel-Air 

Beery,  Wallace 

Animal  Trainer 

Behind  the  Door 

1920 

Golf 

Photography 

MGM 

Home — 816  Alpine  Drive, 
Beverly  Hills 

Bellamy,  Ralph 

Stage  Carpenter 

The  Secret  Six 

1931 

Tennis 

None 

C 

Home— 10401  Wyton,  Los 
Angeles 

Benchley,  Robert  Author 

Headline  Shooter 

1933 

Riding 

Collecting  Collar 
Buttons 

MGM 

Home — Garden  of  Allah. 
Hollywood 

Bennett, 
Constance 

Student 

Cytherea 

1924 

Swimming 

Playing  Bridge 

TCF 

Home— 280  N.  Carolwood 
Dr.,  Holmby  Hills 

Bennett,  Joan 

Interior  Decorator  Bulldog  Drummond 

1922 

Badminton 

Interior  Decorat- 
ing 

U  A 

Home — 515  S.  Mapleton, 
Holmby  Hills 

Benny,  Jack 

Doorman 

Hollywood  Revue  of 
1929 

1929 

Golf 

Impersonating 
Celebrities 

P 

Home— 1002    No.  Rox- 
bury, Beverly  Hills 

Bergen,  Edgar 

Ventriloquist 

Goldwyn  Follies 

1938 

Football 

Making  Home 
Movies 

U 

Home— 9876  Beverly 
Grove,  Beverly  Hills 

Bergman,  Ingrid 

Stage  Actress 
(in  Sweden) 

Intermezzo,  a  Love 
Story 

1939 

Badminton 

Blending  Perfume  U  A 

Studio— 1041  N.  Formosa 
Ave.,  Hollywood 

Blondell,  Joan 

Salesgirl 

Sinner's  Holiday 

1930 

Tennis 

Dress  Designing 

c 

Home— 711  N.  Maple, 
Beverly  Hills 

Bogart, 
Humphrey 

Prop  Boy 

Up  the  River 

1930 

Polo 

Collecting  Fire- 
arms 

WB 

Home— 9787  Shoreham, 
Holmby  Hills 

Boland,  Mary 

Stock  Player 

Secrets  of  a  Secretary 

1931 

Hiking 

Sculpture 

P 

Home — Plaza  Apts., 
Beverly  Hills 

Boles,  John 

Bank  Clerk 

Loves  of  Sunya 

1927 

Boating 

Short  Story 
Writing 

U  A 

Home— 257  S.  Roxbury, 
Beverly  Hills 

Bolger,  Ray 

Salesman 

ine  threat  zjegreia 

1936 

Dancing 

Collecting  RecordsM  G  M 

Home— 513  N.  Martel, 
Hollywood 

Boyd,  William 

IT.  ,  ...  1      /""1 1  1 

Hotel  Clerk 

rSoDDea  riair 

1922 

Riding 

Photography 

P 

Home— 22048  Roosevelt 
Hway.,  Bel-Air 

Boyer,  Charles 

Teacher 

Big  House 

1930 

Tennis 

Collecting  Muse- 
um Pieces 

U 

Estates,  Beverly  Hills 

Bradna,  Olympe 

Dancer 

Three  Cheers  for 
Love 

1936 

Swimming 

Dancing 

P 

oiuaio — lviarainon 
St.,  Hollywood 

Brent,  George 

Diamond  Miner 

Rich  Are  Always 
With  Us 

1932 

Yachting 

Fashioning 
Wrought  Iron 
Furniture 

WB 

Home— 704  N.  Palm 
Drive,  Beverly  Hills 

Brice,  Fanny 

Dancer 

My  Man 

1927 

Dancing 

Knitting 

MGM 

Home— 312  N.  Farring 
Rd.,  Holmby  Hills 

Brook,  Clive 

Newspaperman 

Christine  of  Hungry 
Heart 

1924 

Baseball 

Script  Writing 

MGM  Studio— Culver  City,  Cal. 

Brooks,  Phyllis 

Model 

I've  Been  Around 

1935 

Tennis 

Embroidering 
Tapestry 

RKO 

Home — 962  Manning 
Ave.,  West  Los  Angeles 

Brown,  Joe  E. 

Acrobat 

Crooks  Can't  Win 

1928 

Fishing 

Managing  Baseball.-, 
Team  u 

Home— 707  N.  Walden 
Drive,  Beverly  Hills 

Brown, 
John  Mack 

Football  Coach 

The  Bugle  Call 

1927 

Hunting 

Taxidermy 

U 

Home— 1119  Calla  Vista 
Drive,  Beverly  Hills 

Brown,  Tom 

Stage  Actor 

Little  Red  School  - 
house 

1923 

Fencing 

Collecting  Pipes 

u 

Home — 3950  Longridge. 
No.  Hollywood 

Bruce,  Virginia 

Showgirl 

The  Love  Parade 

1929 

Bridge 

Sketching 

MGM 

Home— 618  N.  Rodeo 
Drive,  Beverly  Hills 

Bryan,  Jane 

Stock  Player 

Case  of  the  Black  Cat 

1936 

Swimming 

Crocheting 

WB 

Home— 324  S.  Medio, 
Brentwood 

Burke,  Billie 

Stage  Actress 

Peggy 

1916 

Tennis 

Designing  Hats 

MGM 

Home— 607  N.  Elm  Dr., 
Beverly  Hills 

Burnette,  Smiley 

Rancher 

In  Old  Sante  Fe 

1934 

Hunting 

Collecting  Hotel 
Letterheads 

R 

Studio— 4024  Radford 
Ave.,  N.  Hollywood 

Burns,  Bob 

Night  Club 
Entertainer 

The  Singing  Vaga- 
bond 

1936 

Riding 

Inventing  Anec- 
dotes 

P 

Home— 1021  Stone  Can- 
yon Rd.,  Bel-Air 

Burns,  George 

Vaudevillian 

Big  Broadcast  of  1932 

1931 

Golf 

Saving  Pennies 

P 

Home— 720  N.  Maple  Dr., 
Beverly  Hills 

Butterworth, 
Charles 

Reporter 

The  Life  of  the  Party 

1930 

Squash 

Collecting 
Dictionaries 

P 

Home — 400  Parkwood, 
Holmby  Hills 

Byington,  Spring 

Stock  Player 

Little  Women 

1933 

Deck  Tennis  Painting 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Byrd,  Ralph 

Singer 

Hell-Ship  Morgan 

1936 

Flying 

Arranging  Music 

R 

Studio— 4024  Radford 
Ave.,  N.  Hollywood 

Cabot,  Bruce 

Seaman 

Roadhouse  Murder 

1932 

Football 

Dog  Breeding 

WB 

Home — Riviera  Country 
Club,  Santa  Monica 

Cagney,  James 

Dancer 

Sinner's  Holiday 

1930 

Golf 

Farming 

WB 

Home— 621  Hillcrest  Rd., 
Beverly  Hills 

(50  (Continued  on  page  65) 


MODERN  SCREEN 


THE  MAIN  STREET  FORUM  AGREES- 

Babies  take  to  Clapp's! 


The  Young  Thing  with  her  first  baby  starts 
it  off  by  remarking,  "I'm  starting  Barbara  on 
strained  foods  next  week.  I  suppose  it  won't 
matter  to  her  which  brand  I  buy,  will  it?" 

The  chorus  of  protest  rises  loud  and  em- 
phatic. "Oh,  doesn't  it?".  .  .".  .  .  why,  there's 
all  the  difference—"  "...  if  my  baby  could 
talk,  he'd  tell  you—"  "My  Wallie  can  talk 
—he's  on  Chopped  Foods  now— and  he—" 
One  speaker  finally  gets  the  floor  .  .  . 


2.  The  energetic  ex-business  girl  says,  as 

she  tucks  a  week's  groceries  away  at  the  feet 
of  her  offspring,  "Babies  are  very  choosy 
about  flavor.  And  Clapp's  are  so  fresh- 
tasting.  They  seem  like  vegetables  right 
fresh  out  of  a  garden.  You  just  ought  to 
open  up  all  the  brands  of  strained  or 
chopped  spinach  some  time  and  taste  them 
yourself.  Clapp's  would  win  in  a  walk!" 


3.  The  former  schoolteacher  who  has  read 
up  on  infant  diet  gets  in  a  word:  "Clapp's 
vegetables  are  specially  raised  for  baby 
foods.  Clapp's  aren't  ordinary  canners,  you 
know.  They  made  baby  foods  long  before 
the  others,  and  they  don't  make  anything 
else.  They've  spent  years  working  with 
plant-breeders  to  develop  vegetables  full  of 
vitamins  and  minerals  and  flavor." 


4.  The  comfortable  mother  of  four  says, 
"Listen!  It's  texture,  too.  Some  foods  are  too 
thick  for  a  baby's  tongue,  and  some  are  so 
thin  he  doesn't  learn  to  eat.  Clapp's  are 
exactly  right.  And  you'll  be  glad  you  started 
with  Clapp's  when  your  baby's  older! 
Clapp's  Chopped  Foods  have  the  same  good 
flavors,  and  she'll  go  on  to  them  so  easily — 
and  thrive  on  'em  for  years!" 


17  Strained  Foods  for  Babies 

Soups — Vegetable  Soup  •  Beef  Broth  •  Liver  Soup  •  Un- 
strained Baby  Soup  •  Vegetables  with  Beef  •  Vegetables 
— Asparagus  •  Spinach  •  Peas  •  Beets  •  Carrots  •  Green 
Beans  •  Mixed  Greens  •  Fruits — Apricots  •  Prunes  •  Apple- 
sauce •  Pears-and-Peaehes  •  Cereal — Baby  Cereal. 


12  Chopped  Foods  for  Toddlers 


Soup  —  Vegetable  Soup  •  Junior  Dinners  —  Vegetables 
with  Beef  •  Vegetables  with  Lamb  •  Vegetables  with 
Liver  •  Vegetables — Carrots  •  Spinach  •  Beets  •  Green 
Beans  •  Mixed  Greens  •  Fruits — Applesauce  •  Prunes    |  chopped 
Dessert — Pineapple  Rice  Dessert  with  Raisins. 


app's  Baby  Foods 

OKAYED  BY  DOCTORS  AND  BABIES 


61 


MODERN  SCREEN 


THE  CRADLE  GENIUS 

(Continued  from  page  31) 


"Where's  your  fare  ?  "  the  con- 
ductor wants  to  know  —  and  me 
without  even  a  dime.  "Right  here," 
says  I,  passing  him  a  stick  of 
Beeman's.  "Spent  my  last  nickel 
for  it.  And  is  it  a  treat !  Taste  that 
keen,  fresh  flavor,  that  delightful 
tang—" 

"Beeman's!"  says  he,  looking 
mighty  tempted.  "I've  been  han- 
kering for  a  chew  of  that  smooth, 
tasty  gum.  Beeman's  flavor  rings 
the  bell  with  me  every  time.  Al- 
ways fresh,  always  peppy.  And 
just  to  show  you  I  appreciate  it— 
by  golly,  I'll  lend  you  your  fare 
myself!" 


tall,  a  giant  of  a  man,  six  feet  three 
inches  in  all.  He  is  not  fat.  He  is  big- 
boned,  shaggy,  loose.  The  most  arresting 
feature  about  him  are  his  eyes.  A  wom- 
an would  call  them  "soulful."  Maybe 
"expressive"  would  be  more  accurate. 
They  are  flexible,  quick,  talkative  eyes, 
and  when  he  is  silent,  they  speak. 

The  second  misconception  concerning 
Orson  Welles  deals  with  his  ego.  The 
popular  idea  being  that  he  is  a  trifle 
too  cocky.  The  public  has  been  told 
he  is  overly  egotistic.  Which  is  actually 
as  accurate  as  back-fence  gossip.  The 
trouble  is  not  with  Welles,  but  with 
those  who  write  about  him.  He  is  clever, 
a  magician  with  words.  Interviewers, 
trying  to  match  their  own  blunt  per- 
sonalities against  his  keen  one,  are 
annoyed.  They  resent,  also,  his  youth. 
They  compensate  by  "getting  even"  in 
their  articles.  They  twist  his  words. 
Sensationalize  innocent  phrases.  Poke 
fun  at  him. 

THIS,  then,  is  officially  for  the  record. 
Orson  Welles  is  not  an  ego  maniac. 
He's  a  charming,  affable,  quiet-spoken 
young  man — naively  frank,  pleasantly 
colorful.  He's  the  kind  of  guy  you'd 
like  for  your  big  brother.  You  know, 
the  brother  who  got  some  place.  That's 
Orson  Welles,  a  swell  egg.  A  brilliant 
one,  too. 

And  now,  while  he  was  putting  away 
the  remnants  of  his  half-hour  breakfast, 
he  charged  verbally  into  the  subject  of 
movieland. 

"To  begin  with,"  he  said,  "there  are 
two  Hollywoods — the  Movie  Town  and 
the  Social  Town.  Speaking  of  the  former, 
of  the  working  town,  I  love  it.  People 
here,  right  down  to  the  smallest  prop 
man,  are  more  alive  than  anywhere  on 
earth.  Even  the  most  minor  workman 
on  the  lot  knows  all  about  the  movies. 
He  could  be  a  producer  overnight.  He 
is  vital  and  learned.    He  is  interested. 

"But  on  Broadway  it's  different.  The 
fellow  who  pulls  the  curtain  doesn't  even 
know  the  name  of  the  play  he's  on. 
I  hate  Broadway!  I  hate  the  theatrical 
Broadway!  Ever  since  the  day  I  broke 
in,  I  have  been  at  odds  with  it,  because 
I  consider  that  Broadway  and  its  thea- 
tre utterly  stagnant,  and  bankrupt  of 
originality  and  spine.  My  preference 
runs  to  the  cheesy  Broadway.  At  least 
it's  honest." 

Orson  Welles  exhaled,  loosened  the 
belt  of  his  grey  gabardines  a  notch  or 
two,  and  continued: 

"As  for  Hollywood,  the  Social  Town, 
well,  I  haven't  been  here  long,  but  I 


feel  I  understand  it.  To  date,  I've  been 
to  only  four  parties.  You  know,  the 
big  obvious  ones,  where  even  I  could 
get  in.  I've  been  working  too  hard  for 
night  life. 

"But  I'm  sure  Hollywood  isn't  what 
it  used  to  be.  Once  it  was  what  people 
expected,  a  wild  boom  town,  where  a 
new  gold  had  been  discovered,  and 
actors,  naturally  a  crazy  and  vagabond 
ilk,  ran  loose. 

"Today  that's  gone.  Hollywood  is  hor- 
ribly respectable.  The  actors  are  too 
sober.  They  play  cricket  and  polo;  they 
read  books  and  build  big  homes  and  do 
the  right  things.  It's  all  very  middle 
class.  That  is  because  Hollywood  is 
now  in  its  second  generation.  It's  be- 
having, maturing,  and  the  actors  are 
busy  being  cultured  and  making  money. 
Well,  God  knows,  I  don't  blame  them 
for  wanting  to  make  money.  I'm  a  dread- 
fully commercial  creature  myself. 

"But  in  brief,  Hollywood  is  socially 
disillusioning.  Like  a  million  actors  toil- 
ing in  a  factory,  which  indeed  they  are. 
The  weakness  of  the  town  is  not  that 
it  hasn't  the  best  people,  because  it  has. 
The  weakness  is  that  the  best  people 
aren't  doing  their  best  work.  All  very 
amazing!" 

At  this  point,  I  sneezed.  I  had  a  cold. 
Two  publicity  men  hurried  through  the 
dining  room,  coughing.  The  maid,  tak- 
ing out  the  dishes,  went  achoo. 

Orson  Welles  scowled,  and  tugged 
nervously  at  his  beard. 

"Everybody  seems  to  have  a  cold.  I'm 
susceptible.  And  now,  if  I  get  a  cold — 
listen,  I'm  not  a  hypochondriac,  but  I 
can't  afford  a  cold.  Let's  get  out  in 
the  sun!" 

IT  was  better  in  the  sun.  Orson  set- 
tled his  big  bulk  in  a  chair  by  the 
small  blue  swimming  pool,  and  contem- 
plated his  beard — a  blackish  Assyrian 
item  which  he  started  growing  in  No- 
vember of  1938  for  his  stage  play,  "Dan- 
ton's  Death." 

The  beard  got  him  on  the  subject  of 
big  moments  and  thrills,  and  he  began 
talking  about  the  most  thrilling  moment 
in  all  his  life. 

"It  was  the  greatest,  most  glorious 
few  seconds  in  my  career,"  he  recalled. 
"It  was  the  first  night  I  played  on  a 
professional  stage  in  Dublin.  I  enacted 
the  Duke  in  "Power."  The  role  was 
an  actor's  dream,  what  with  a  seduction, 
a  murder  and  a  deathbed  scene.  In  that 
role  I  received  the  most  heart-stopping, 
terrific  ovation  of  my  life.  I've  never 
had  a  bigger  one.  (Cont'd  on  page  64) 


These  three  Dan- 
iel Boone-ish  lads 
are  Walter  Bren- 
nan, Spencer 
Tracy  and  Rob- 
ert Young.  They 
make  Kenneth 
Roberts'  best- 
selling  "North- 
west Passage" 
one  of  the  most 
thrilling  screen 
experiences  in 
many  a  day. 


62 


MODERN  SCREEN 


GIRLS  WHO  KEEP  SKIN 
SWEET  WIN  OUT.'  I 
USE  LUX  SOAP  AS  A 

BATH  SOAP,  TOO.  ACTIVE 
LATHER  LEAVES 
SKIN  FRESH 
-DELICATELY 
PERFUMED 


THE  SCREEN  STARS 
ARE  RIGHT!  I  NEVER 
OREAM  OF  GOING 
|     OUT  WITH  OUT  A 

H  nice  Lux  Soap 

■    BATH  TO  MAKE 
ME  SURE  OF 

I  daintiness! 

— /_^"  ■  


SI 


iVILLAND'Sdates_on  YOURS 
sweet, fragrant  skin  WINS! 


OLIVIA  DE  HAVILLAND 

knows  no  woman  can  afford  to 
neglect  the  charm  of  perfect 
daintiness.  She  uses  her  com- 
plexion soap  as  a  daily  bath  soap, 
too,  because  it  has  ACTIVE 
lather — makes  you  sure.  When 
you  step  out  of  a  Lux  Toilet 
Soap  bath,  you're  fresh  from  top 
to  toe.  Your  skin  is  sweet,  fra- 
grant with  a  perfume  that  clings. 

YOU  will  love  a  luxurious  daily 
beauty  bath   with  Lux  Toilet 
Soap  —  a  bath  that  makes  dain- 
tiness sure!   This  gentle  com- 
plexion soap  has  ACTIVE  lather 
that  leaves  skin  really  clean 
— fresh  and  sweet. 


The  Complexion  Soap 


63 


MODERN  SCREEN 


^         WIN  A 

HOLLYWOOD 


3  FREE 

VACATIONS 

in 

MOYIELAND 
51  OTHER 
PRIZES! 


Three  girls  will  go  to  Hollywood  this  sum- 
mer absolutely  free  of  cost — as  guests  of 
Perfume  of  The  Stars!  Think  of  it!  Two 
weeks  of  thrilling  good  times  with  train,  hotel 
and  meals  paid  for!  See  film  hits  in  the  making 
.  .  .  meet  and  be  photographed  with  the  Stars 
.  .  .  visit  the  Glamor  Spots  of  Movieland! 

You  might  win  one  of  these  free  trips  to 
Hollywood  ...  or  a  year's  tuition  and  room  at 
Defiance  College  ...  or  one  of  50  De  Vilbiss 
Atomizers  filled  with  Perfume  of  The  Stars, 
in  the  exquisite  fragrance  that  accents  your 
charm  and  personality. 

Here's  All  You  Have  to  Do 
Beauty  and  talent  not  essential.  Unknowingly 
you  may  be  a  "movie  type."  Merely  go  to 
your  ten  cent  store  and  obtain  a  bottle  of 
either  Joan  Blondell  or  Franciska  Gaal  Per- 
fume. Follow  the  easy  Rules  of  the  Contest  on 
the  back  of  each  card  affixed  to  the  bottle. 
Answer  a  few  simple  questions  about  yourself 
and  send  the  card,  or  facsimile,  together  with  a 
snapshot  or  photo  of  yourself,  as  directed. 

Nothing  to  compose!  Nothing  else  to  do. 
Mail  before  May  1st,  1940.  Winners  announced 
June  1st.  Don't  delay!  Visit  your  ten-cent 
store  today — it  may  win  you  one  of  54  prizes! 
This  is  something  you  don't  want  to  miss! 


AT  LEADING 
TEN-CENT  STORES 


4th  PRIZE 


One  Year's  Tuition  and 
Room  Paid  For  at 

DEFIANCE 
COLLEGE 

Located  in 
Defiance, 
Ohio  it  has  a 
record  of 
94%  graduate  placements 
for  past  10  years. 


NEXT  50  PRIZES: 


Beautifully  Designed 
DE  VILBISS  ATOMIZERS 


Each  611ed  with  1  oz.  of 
Perfume  of  The  Stars. 
You'll  love  its  fragrance! 

IF  YOUR  10c  STORE  CANNOT  SUPPLY  YOU  .  .  MAIL  COUPON 

WARREN-SMITH  CO.,  DEPT.  8-D, DEFIANCE,  OHIO 

Please  send  me  bottles  of  Perfume  op  The 

Stars  mounted  on  Entry  Cards.  Check  choice: 
□  Joan  Blondell  O  Franciska  Gaal.  I  enclose  10c 
for  each. 

Name  


Address. 


I'll  never  forget  it — though  it  now  seems 
a  very  long  time  ago!" 

It  was  only  eight  years  ago.  Orson 
was  sixteen.  He  had  gone  through  his 
$500  bankroll  and  the  whole  of  Ireland 
on  a  painting  tour,  and  wound  up  broke 
in  Dublin.  There,  he  approached  the 
manager  of  the  Gate  Theatre,  decided  a 
white  lie  was  expedient,  insisted  he  was 
a  veteran  star  of  the  New  York  Theatre 
Guild — and  was  immediately  offered  the 
honor  of  being  a  "guest  performer!" 

What  is  the  background  of  this  tower- 
ing child  with  the  man's  voice? 

He  was  born  on  May  16,  1915,  in  Ken- 
osha, Wisconsin,  which  has  produced 
automobiles,  bed  springs,  Don  Ameche 
and  your  author.  His  full  name  was 
George  Orson  Welles,  the  George  being 
tacked  on  for  the  family  friend,  George 
Ade,  the  humorist.  His  mother,  Beatrice, 
was  a  concert  pianist.  His  father,  Rich- 
ard Head  Welles,  was  an  inventor  who 
patented  a  new  mechanical  dishwasher 
(which  mangled  dishes),  and  a  handy 
collapsible  picnic  set  which  was  pur- 
chased by  Washington,  D.  C,  for  the 
doughboys  in  1917  (and  which,  accord- 
ing to  Orson,  "contributed  greatly  to  the 
horrors  of  the  World  War!") 

"My  parents  died  when  I  was  quite 
young,"  Orson  told  me.  "I  owe  every- 
thing to  the  two  persons  who  took  care 
of  me  afterwards.  I  refer  to  Roger  Hill 
and  Dr.  Maurice  Bernstein.  I'll  never  for- 
get their  kindness." 

Dr.  Bernstein,  a  famous  orthopedic 
surgeon  in  Chicago,  was  appointed  Or-* 
son's  guardian.  Orson  was  fourteen  at 
the  time.  He  was  already  a  footlight 
veteran.  At  the  age  of  seven  he  had 
made  his  debut  on  the  floor  of  Marshall 
Field's  in  Chicago.  He  received  $25  a 
day  (non-union  wages)  and  played 
Peter  Rabbit.  At  the  age  of  nine  he 
was  with  the  Chicago  Opera  Company. 
He  was  fired  because  he  ate  too  much 
and  grew  too  fast.  Dr.  Bernstein  saw 
Orson  through  those  early  years — and 
to  this  day,  though  his  every  minute  is 
at  a  premium,  Orson  takes  time  off  once 
a  week  to  write  Dr.  Bernstein. 

THE  other  man  who  aided  him,  Roger 
Hill,  is  now  principal  of  the  Todd 
School,  in  Woodstock,  Illinois,  where  Or- 
son, at  twelve,  met  Shakespeare. 

Schoolmates  tell  me  Orson,  despite  his 
youth,  dominated  the  dramatics  at  Wood- 
stock. He  was  six  feet  tall,  and  his 
ideas  were  just  as  big.  He  directed 
"Julius  Caesar"  for  the  Drama  League 
competition.  Todd  School  lost  because 
the  judges  objected  to  the  characters  of 
Cassius,  Marc  Anthony  and  the  Sooth- 
sayer. "The  three  students  in  those 
parts,"  claimed  the  judges,  "are  too  old 
for  this  competition,  too  experienced." 
The  three  students  playing  Cassius,  An- 
thony and  the  Soothsayer  were — Orson 
Welles! 

After  that,  he  girdled  the  globe.  From 
Dublin  and  London  to  Morocco  and  Man- 
hattan. He  visited  three  continents  and 
Jamaica.  He  tried  to  crash  Broadway, 
got  tired  of  walk-ons,  and  took  a  boat 
to  Africa.  There,  in  Morocco,  he  lived 
with  a  native  chief,  said  he  was  writing 
a  travel  book,  instead  wrote  a  text 
called  "The  Mercury  Shakespeare." 

This  book,  now  being  published  on  his 
own  press  and  being  released  by  Harper 
Brothers,  contained  sketches  of  stage 
settings,  movements,  costumes.  To  date 
120,000  copies  have  been  sold!  He  wrote 
it  when  he  was  eighteen! 

He  still  does  his  own  writing,  for  stage, 
radio  and  movies.  "I  can't  work  on  a 
typewriter,"  he  confessed  sadly.  "If  I 
do,  I'm  too  lazy  to  make  changes.  When 
I'm  sure  of  what  I  want  to  say,  I  dic- 
tate.   When  I'm  not  sure,  and  have  a 


good  deal  of  crossing  out  to  do,  I  work 
in  longhand.  I  like  to  write  in  bed, 
or  out  here  in  the  sun.  I'd  hate  to  be 
a  newspaperman  at  a  desk.  I  prefer 
my  own  hours  and  personal  comforts." 

Finally,  in  his  drive  to  the  top,  Orson 
Welles  turned  to  radio.  He  became  the 
anonymous  voice  of  "The  Shadow," 
cavorting  in  the  character  of  a  mil- 
lionaire playboy  who  foiled  crooks  by 
night  and  ended  his  programs  with  the 
eerie,  skin-pimpling,  "The  Shadow 
knows  all—  -ha-ha-haaa!" 

Then,  quite  suddenly,  a  series  of  amaz- 
ing events  occurred.  Orson  Welles  met 
Thornton  Wilder,  the  playwright,  who 
gave  him  a  letter  to  Alexander  Wool- 
cott,  the  wit,  who  introduced  him  to 
Katharine  Cornell,  the  stage  star,  who 
hired  him  to  play  Mercutio  in  "Romeo 
and  Juliet." 

That  was  the  end  of  Welles  the  Wan- 
derer. The  beginning  of  Welles  the 
Genius.  Now,  overnight,  his  legend 
grew. 

ONE  evening,  a  twenty-nine-year-old 
ex-grain  merchant,  John  Houseman, 
saw  Orson  on  the  stage,  and  signed 
him  for  a  poetic  play  piece  called 
"Panic."  It  ran  three  nights.  It  wasn't 
a  success.  But  the  partnership  of  Orson 
Welles  and  John  Houseman  was. 

They  did  strange  things  together: 
"Macbeth,"  with  an  all  negro  cast;  "The 
Cradle  Will  Rock,"  a  labor  musical,  staged 
in .  the  orchestra  and  aisles  when  the 
union  wouldn't  permit  them  to  use  the 
regular  boards;  "Julius  Caesar,"  done 
in  ordinary  modern  clothes,  presented 
as  a  take-off  on  Mussolini's  fascism; 
"Heartbreak  House,"  a  three-hour  play 
by  George  Bernard  Shaw,  who  answered 
Orson's  request  to  produce  it  with  a 
typical  cable  reading,  "Who  in  the  hell 
are  you?" 

Finally,  Orson  Welles  presented  the 
now  infamous  Martian  broadcast,  H.  G. 
Wells'  "The  War  of  the  Worlds."  Or- 
son's version  was  so  realistic  that  thou- 
sands of  listeners  actually  thought  the 
United  States  was  being  invaded  by  men 
from  the  planet,  Mars.  New  Yorkers 
hurried  to  Connecticut  for  safety.  In 
Michigan,  an  entire  church  was  quickly 
filled  with  people  praying  for  mercy. 
Sleepy  recruiting  officers  were  awakened 
by  young  men  who  wanted  to  enlist  in 
the  army,  to  save  us  from  the  Mars 
invaders! 

Orson  won't  discuss  that  broadcast. 
"I'm  tired  of  hearing  about  it.  No  one 
has  said  anything  original  about  it  for 
at  least  nine  months." 

Now,  in  Hollywood,  Orson  Welles  is  in 
his  element.  In  a  land  of  strange  char- 
acters, he  is  the  strangest,  the  most  un- 
usual, the  most  brilliant.  He  thinks 
the  greatest  geniuses  in  Hollywood  are 
Charlie  Chaplin  and  Walt  Disney,  and 
as  he  whispered  to  me,  "three  directors 
whose  names  I  had  better  not  mention." 
He  eats  all  his  meat  broiled,  won't  touch 
Scotch,  is  on  a  careful  diet,  and  has 
temporarily  given  up  seventy-five  cent 
cigars  for  a  briar  pipe. 

He  sleeps  on  his  stomach.  He  doesn't 
snore.  He  can  snooze  for  thirty-six 
hours  at  a  stretch.  "I've  only  got  two 
bedrooms,"  he  explained  to  me,  proudly. 
"You  see,  nothing  pretentious."  He  de- 
votes many  minutes  to  letting  his  little 
brown  spaniel  in  and  out  of  the  house. 
"She's  so  much  bother,"  he  sighed.  "But 
her  eyes  are  so  damn  pathetic.  I  love 
her!"  He  has  tender  feet,  and  he  abhors 
exercise.   He  fences  occasionally. 

He  doesn't  go  out  on  dates  much.  Too 
busy.  He  was  married  six  years  ago  to 
a  Chicago  society  girl.  There  is  a  child, 
feminine  gender,  named  Christopher. 
About  her,  Orson  (Continued  on  page  66) 


64 


MODERN  SCREEN 

(Continued  from  page  60) 


NAME 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

YEAR 

FAVORITE 
SPORT 

HOBBY 

PRESENT  Annoccc 
STUDIO  ADDRESS 

Campbell,  Louise  Dental  Assistant 

wild  ivioney 

1  QQ7 

Dancing 

Playing  Piano 

P 

otudio — a4ol  iviaratnon 
St.,  Hollywood 

Cantor,  Eddie 

Singing  Waiter 

Kid  Boots 

1  Q9fi 
X&6K) 

niKing 

Dealing  in 
Antiques 

MGM 

Home — 1012  Roxbury, 
Beverly  Hills 

Carlson,  Richard 

English  Instructor  The  Young  in  Heart 

lvoo 

Skiing 

Play  Writing 

U  A 

otudio — 1U41  In.  rormosa 
Ave.,  Hollywood 

Carradine,  John 

Quick-sketch 
Artist 

Prisoner  of  Shark 
Island 

Riding 

Painting 

TCF 

no mc — iiii  i  in  .  HjI  ^en- 
tro,  Hollywood 

Carrillo,  Leo 

Cartoonist 

viva  villa 

1934 

VV  1  1  LAI  lg    X   UCll  V 

TCF 

riome — ooy   jl.  Lnannei 
Rd.,  Santa  Monica 

Carroll, 
Madeleine 

Teacher 

ine  World  Moves  Un 

1 

1V1U  LOl  lllg 

T*m  inrf 
F  ctl  Illillg 

P 

Hnmp  118  Oopan  Front 

Santa  Monica 

Carver,  Lynne 

Singer 

X  vll  l  tll\J  use 

1933 

Tennis 

Singing 

l\/r  i\/r 

M  Cj  M 

Home— 1928  Mandeville 
Canyon  Rd.,  Brentwood 

Chandler,  Chick 

Burlesque 
Comedian 

VTirn          1  rirtri 

OW  ctrpillgb 

1933 

Hunting 

Raising  Bees 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Chaplin,  Charles 

Dancer 

Tillie's  Punctured 
Romance 

1913 

Swimming 

Attending  Con- 
certs 

U  A 

Home — 1103  Coveway, 
Beverly  Hills 

Claire,  Ina 

Vaudevillian 

TTip  Pnval  Familv 

1930 

Golf 

X  \J  W  Uv;l    X_>1  Cllviiiig 

MGM  Studio— Culver  City,  Cal. 

Colbert, 
Claudette 

Art  ^furior-it 
AIL  OlUQcIll 

J;  \JL   lilt;  JjUVc  Ul  J-VXlivc 

1927 

Dancing 

Dress  Designing 

p 

Home— 615  N.  Farring 
Road,  Holmby  Hills 

Colman,  Ronald 

Bookkeeper 

ine  w  nne  oisxei 

1922 

Hockey 

Historical  Re- 
search 

p 

Home— 1003  Summit  Dr., 
Beverly  Hills 

Connolly,  Walter 

Bank  Cashier 

ine  ooidier  s  uatn 

1917 

Baseball 

None 

P 

Home— 601  N.  Camden, 
Beverly  Hills 

Cooper,  Gary 

Cartoonist 

Winning  of  Barbara 
Worth 

1926 

Fishing 

Building  Minia. 
Steam  Engines 

U  A 

Home— 11938  Chaparal, 
West  Los  Angeles 

Cooper,  Jackie 

Student 

TTov  TVFnvi  f*t 

X  UA    1V1U  VlClUIlC 

Follies 

1929 

Aquaplan- 
ing 

x  iiuiugi a.LyiJj' 

P 

Home— 702  Crescent  Dr., 
Beverly  Hills 

Crawford,  Joan 

Chorus  Girl 

Pretty  Ladies 

1925 

Tpnni  c 
x  climb 

XVI 1 1  L  1 1 1  lf4 

MGM 

Home — 426  N.  Bristol 
Ave.,  Brentwood  Heights 

Cromwell, 
Richard 

Soda  Jerker 

Tol'able  David 

1  OCX 

Swimming 

Sculpture 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Crosby,  Bing 

Singer 

ine  King  ot  Jazz 

XJOKJ 

niQing 

Horse  Breeding 

P 

Home— 10500  Camerillo, 
No.  Hollywood 

Cummings, 
Robert 

Roller  Skating 
Instructor 

ou  Acu  u le  nose 

XVOO 

Hunting 

Wood  W^orking 

WB 

Studio— First  National 
Studios,  Burbank,  Cal. 

Curtis,  Dick 

oiage  Acxor 

1  't*i  Til  r\x  lifl  f»i>TT  Tltirtir> 

± i icti  oi  iviary  jL/ugan 

1928 

Stamp  Collecting 

c 

Studio— 1438  N.  Gower 
St.,  Hollywood 

Dale,  Virginia 

Dancer 

v! -f >~t T""f  Pnoovirirt 
O  Lai  I  V^Ilcfcrl  lllg 

1938 

Bicycling 

Photography 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Darnell,  Linda 

otuaent 

Hotel  for  Women 

1939 

Roller  Skat 
ing 

Dancing 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Darro,  Frankie 

Student 

The  Rainbow  Man 

1929 

Ping  Pong 

Collecting  Base- 
ball Gloves 

M 

Studio— 4516  Sunset 
Blvd.,  Hollywood 

Davis,  Bette 

Theatre  Usher 

ine  ivian  vvno  r^idyeu 
God 

1932 

Golf 

X  al  II!  JI  Ig 

WB 

Home— 906  Beverly  Dr., 
Beverly  Hills 

Day,  Laraine 

Student 

Scandal  Street 

-LiJOO 

Badminton 

^A^riting  Poetry 

MGM  Studio— Culver  City,  Cal. 

Dee,  Frances 

Movie  Extra 

Little  Cafe 

1  Q31 

Farming 

Interior 
Decorating 

P 

Home— 1802  Angelo, 
North  Hollywood 

De  riavinana, 
Olivia 

Student 

A  Midsummer  Night's 
Dream 

iqw 

Tennis 

Sketching 

WB 

Studio — First  National 
Studios,  Burbank 

Del  Rio,  Dolores 

Housewife 

Joanna 

Swimming 

Collecting  Jewelry  M  G  M 

Home — 757  Kingman 
Ave.,  Santa  Monica 

Devine,  Andy 

Lifeguard 

The  Spirit  of  Notre 
Dame 

Uol 

r  ooiuaii 

Farming 

U 

Home— 6947  Kester, 
Van  Nuys 

Dickson,  Gloria 

WPA  Actress 

The  Deep  South 

ltJoo 

Hockey 

Clay  Modeling 

WB 

Studio — First  National 
Studios,  Burbank 

Dietrich,  Marlene 

Extra  in  German 
Films 

Blue  Angel 

x\)6o 

Tennis 

Stamp  Collecting 

U 

Home— 716  N.  Palm, 
Beverly  Hills 

Dix,  Richard 

Bank  Clerk 

Not  Guilty 

1 Q9R 

Riding 

Ship  Modeling 

TCF 

Home— 1111  Calla  Vista, 
Beverly  Hills 

Donat,  Robert 

Private  Secretary  Men  of  Tomorrow 

lyoii 

Fencing 

Collecting  Fenc- 
ing Foils 

MGM  Studio— Culver  City,  Cal. 

Donlevy,  Brian 

Artist's  Model 

Mother's  Boy 

1  Q9Q 

r  ootDaii 

Blacksmithing 

P 

Home — 936  Reedcrest 
Drive,  Beverly  Hills 

Douglas,  Melvyn 

Musician 

Tonight  or  Never 

1  QQ9 

iyo<2 

riandDail 

Social  Work 

MGM 

Home— 7141  Senalda  Rd., 
Hollywood 

Draper,  Paul 

Dancer 

Colleen 

lyoo 

Dancing 

Composing 

MGM  Studio— Culver  City,  Cal. 

Drew,  Ellen 

Waitress 

Sing  You  Sinners 

1  QQQ 

iyoo 

Tennis 

Playing  Bridge 

P 

Studio— 5451  Marathon 
Street,  Hollywood 

Dunne,  Irene 

Musical  Comedy 
Star 

Cimarron 

1931 

Golf 

None 

C 

Home — 461  N.  Farring 
Road,  Holmby  Hills 

Durbin,  Deanna 

Student 

Three  Smart  Girls 

1937 

Swimming 

Stamp  Collecting 

U 

Studio — Universal  City, 
Cal. 

(Continued  on  page  83)  55 


MODERN  SCREEN 


EX-LAX  MOVIES 


The  action  of  Ex-Lax  is  thorough,  yet 
gentle!  No  shock.  No  strain.  No 
weakening  after-effects.  Just  an  easy, 
comfortable  bowel  movement  that 
brings  blessed  relief.  Try  Ex-Lax 
next  time  you  need  a  laxative.  It's 
good  for  every  member  of  the  family. 

W  and  254 


{Continued 

says,  "She  will  not  be  exposed  to  a 
theatrical  career  until  she  is  five.  I  want 
her  to  have  a  normal  childhood.  Quite 
clearly,  she  is  a  ham  like  her  father. 
You  should  see  her  pose!" 

Orson's  mind  is  always  active.  Once, 
driving  from  RKO  to  his  Brentwood 
home,  he  became  so  engrossed  in 
thought,  he  forgot  where  he  lived.  He 
couldn't  remember  and  didn't  know  how 
to  find  out.  He  saw  a  sign  at  the  road- 
side, "See  The  Homes  Of  The  Stars!" 
He  went  to  the  sign,  hired  a  guide  to 
show  him  Shirley  Temple's  home.  That's 
how  he  found  his  own.  He  remembered 
he  lived  next  door. 

HIS  forte  is  a  technicolored  imagina- 
tion. He's  a  male  Alice  in  Wonder- 
land. He  likes  to  imagine  himself  retired 
to  a  monastery  at  sixty,  a  Grand  Llama, 
perhaps.  He  admitted  that  if  he  weren't 
Orson  Welles,  he  would  like  to  be  a 
fabulous  Maharajah. 

"Yes,  indeed,  I  would  like  to  be  one 
of  those  terrific  Maharajahs  in  India." 
He  lay  in  the  sun,  beside  the  pool, 
blinking  his  eyes  and  puffing  his  pipe. 
"Oh,  I  suppose  that's  a  pretty  ordinary 
wish.  I  suppose  everyone  alive  would 
like  to  be  a  Maharajah,  with  all  those 
elephants,  women,  gold — and  no  one  to 
boss  you!"  He  was  thoughtful,  then, 
"But  wait,  maybe  it  wouldn't  be  so  good 
after  all.  I'd  be  too  worried  about  the 
poor  and  the  untouchables,  and  then 
I  couldn't  be  a  real  Maharajah. 

"Gosh,  who  would  I  be  if  I  couldn't 
be  myself?  I  wouldn't  want  to  be  Le- 
land  Hayward.  He's  an  agent.  All 
agents  are  unhappy.  I  wouldn't  want  to 
be  Louie  B.  Mayer  or  any  producer. 
I — sa-ay,  I  have  it!  You  know  who  I'd 
like  to  be?  I'd  rather  be  Gene  Markey 
than  any  man  alive!  And  don't  ask  me 
why — I'm  not  commenting!" 

His  booming  voice  made  a  quick  transi- 
tion into  a  queer  shrill  laugh.  A  boyish 
laugh.  It's  the  only  physical  thing  left 
that's  young  about  him. 

We  got  back  to  the  subject  of  pictures. 
He  admitted  that  of  all  the  plays  Shakes- 
peare had  written,  "Macbeth"  was  the 
only  one  suitable  for  the  movies. 

"I  was  actually  going  to  do  'Macbeth' 
before  I  changed  my  plans,"  he  said.  "It 
would  have  been  ideal,  and  so  easy. 
It's  simple.  It's  short.  Unlike  Shake- 
speare's other  works,  it  contains  one  plot 
instead  of  three.  But  honestly,  I'm 
doubtful  altogether  about  Shakespeare  in 
the  movies — for,  while  the  movies  do 
most  everything  better  than  the  stage, 
while  the  movies  even  improve  on  stage 


from  page  64) 

plays,  they  don't  do  verse  better.  And 
Shakespeare  is  blank  verse." 

Orson  scratched  his  beard.  "But  I  re- 
peat, 'Macbeth'  and  its  gloomy  moors 
might  be  grand,  a  perfect  cross  between 
'Wuthering  Heights'  and  'The  Bride  of 
Frankenstein!'  " 

I  have  a  hunch  Orson's  forthcom- 
ing "The  Smiler  With  the  Knife"  will 
be  slow  at  first  in  the  making.  He  is 
a  perfectionist,  a  stickler  for  detail.  He 
once  held  up  a  broadcast  rehearsal  a 
half  day  because  a  sound  effect  wasn't 
right.  It  was  a  knock  on  the  door.  He 
spent  a  half  day  experimenting  with 
that  fractional-second  knock. 

However,  once  the  picture  is  rolling, 
it  will  move  fast.  Orson  Welles  drives 
hard.  All  his  Mercury  Players  from 
Broadway  are  in  it,  and  he  alone  co- 
ordinates them.  "I'm  sometimes  pretty 
dictatorial,"  he  will  tell. 

Anything,  though,  for  a  gag.  On  his 
set  is  his  famous  Report  Card,  bearing 
the  names  of  his  entire  cast.  He  never 
bawls  out  an  offender.  He  merely  rings 
a  silly  bell,  which  automatically  fires 
a  gun — reporting  the  offense!  He  then 
etches  a  black  star  after  the  unhappy 
one's  name  on  the  Report  Card.  The 
black  star  penalty  is  given  for  muffing 
lines,  forgetting  the  end  of  a  joke,  and 
telling  dull  stories. 

There  is  another  Report  Card  for  peo- 
ple who  commit  good  deeds.  However, 
there  is  only  one  requirement  for  good 
deeds:  "Bring  Gifts  For  Mr.  Welles." 

IT  was  noon.  Orson  Welles  walked  me 
to  the  door,  and  gave  me  some  advice 
to  pass  along. 

"If  a  group  came  to  me  serious  about 
acting,  I  would  tell  them  not  to  be. 
I  would  give  them  a  Great  Speech.  I 
would  tell  them  there  has  never  been 
a  happy  actor,  that  the  fight  only  begins 
when  you  get  to  the  top.  I  would  in- 
form them  that  unless  they  desired  to 
make  an  exhibition  of  themselves  all 
their  lives  before  a  large  number  of 
people,  they  shouldn't  become  actors. 

"In  my  Great  Speech  I  would  tell 
them,  brutally,  that  by  turning  to  acting 
they  would  lose  happiness,  lose  friends, 
lose  freedom — and  die  with  fifty  cents 
in  their  pockets.  If  they  believed  my 
Great  Speech,  well,  hell,  they'd  never 
have  become  actors  anyway!  If  they 
didn't  believe  it,  and  went  ahead  re- 
gardless— well — they  might  succeed." 

Orson's  lips  curled  in  a  disarming 
smile.  "I  never  paid  attention  to  any- 
one's Great  Speech — and  God,  look  at 
me!     Look  what  I  got — hayfever!" 


It  isn't  hard  to 
understand  why 
Samuel  Goldwyn 
singled  Doris 
Davenport  out  of 
the  legion  of  ex- 
tras to  play  op- 
posite  Gary 
Cooper  in  "The 
Westerner." 
Nothing  like 
starting  off  in  the 
major  leagues, 
we    always  say. 


66 


MODERN  SCREEN 


She  was  a  Jewel  of  a  Wife  ...with just  one  flaw 


She  was  guilty  of  the  "ONE  NEGLECT'" 

that  mars  many  marriages  .  .  ."LYSOL"  helps  avoid  this 


Everyone  admitted  that  Mary  was  beau- 
tiful, charming  ...  a  perfect  house- 
keeper, cook,  and  mother.  Why  should 
her  marriage  have  turned  out  badly? 

She"  had  failed  in  just  one  thing.  One 
neglect  had  robbed  her  of  the  daintiness 
her  husband  loved.  Do  YOU  use  "Lysol" 
for  intimate  cleanliness? 

Even  the  most  tolerant  husband  finds  it 
difficult  to  forget  or  forgive  a  wife's  care- 
lessness about  feminine  hygiene.  More 
women  should  follow  the  "Lysol"  method. 
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67 


MODERN  SCREEN 


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NO  TIME  FOR  LOVE 

(Continued  jrom  page  43) 


tottered  down  to  Palm  Springs  for  a  few 
days  of  Vitamin  D,  Movieland's  local  ru- 
mor rag  observed  thusly,  "If  RKO  wants 
to  know  where  Ginger  Rogers  is — she's 
in  Palm  Springs."  As  if  RKO  didn't 
know!  As  if,  again,  shy  Rogers  was  on 
the  run! 

So  it  went — and  everything,  it  seems, 
that  Ginger  has  done  in  the  past  year 
or  so  has  polished  up  the  illusion.  Even 
when  she  finally  shook  the  old  man  of 
the  Cinema  and  sailed  for  Honolulu  on 
her  first  real  vacation  in  five  years, 
things  happened  all  along  to  sew  the 
story  even  more  tightly. 

She  got  panned  on  the  boat  for  taking 
her  meals  in  her  room.  The  reason  was 
that  Ginger  was  too  weary  to  dress  for 
dinner,  having  crawled  aboard  exhausted. 
But  it  looked  ritzy  to  the  passengers. 
Then  some  travel  pests  fastened  them- 
selves to  her  in  the  daytime,  and  she 
had  to  give  them  the  shake  in  self- 
defense  or  go  out  of  her  weary  mind. 
They  felt  a  little  hurt. 

BUT  the  clincher  was  her  snooting 
Duke  Kahanamoku,  Hawaii's  hero, 
in  his  own  home  town.  The  Duke,  as  you 
probably  know,  is  a  former  world's 
champion  swimmer,  movie  actor  and 
more  lately  sheriff  and  pet  of  Honolulu. 
He's  a  strapping,  genial  Hawaiian,  be- 
loved by  every  Islander,  and  it's  con- 
sidered almost  as  essential  for  visiting 
celebrities  to  be  greeted  by  the  Duke 
as  to  have  flowered  Zeis  tossed  over  their 
coiffures. 

Well,  Duke  Kahanamoku  sent  a  note 
aboard  to  Ginger,  offering  her  the  key 
to  the  city  or  a  peck  of  cocoanuts  or 
whatever  is  the  supreme  honor  Honolulu 
bestows.  But  Ginger  didn't  recall  his 
name.  So  she  tossed  the  note  on  her 
dresser  and  forgot  it.  Result:  she  stood 
up  the  Duke  at  the  dock  and  made  a  lot 
of  touchy  Islanders  boiling  mad. 

Heads  wagged  gravely,  as  far  away  as 
Hollywood. 

"She  used  to  be  a  swell,  friendly  gal," 
they  chorused.  "But  how  she's  changed!" 


On  top  of  all  this,  the  minute  Ginger 
got  back  from  Hawaii  came  the  startling 
news  of  her  part  in  "The  Primrose  Path." 
Gregory  LaCava,  the  director,  got  the 
idea  in  Ginger's  absence,  wired  it  to 
Honolulu,  got  her  okay,  and  the  day  she 
stepped  off  the  boat  Ginger  hotfooted 
it  to  his  office.  In  a  few  minutes  the 
news  was  out:  "Ginger  Rogers  will  drop 
dancing  and  songs,  comedy  and  cutups 
for  straight  drama.  She'll  wear  pigtails, 
cheap  clothes,  no  make-up.  She'll  dye 
her  hair,  murder  the  King's  English,  play 
a  little  waterfront  floosie.  No  glamour, 
no  gayety,  no  gags." 

It  sounded  like  Bette  Davis.  Or  Art, 
or  something.  It  sounded  as  though  Gin- 
ger had  gone  too  serious  of  a  sudden. 

Now,  there  is  a  funny  thing  about  Hol- 
lywood. Nowhere  is  there  such  a  pre- 
mium on  ambition.  Yet  nowhere  are 
there  such  tough  tethers  to  tradition. 
Missouri  may  be  the  "show-me"  state, 
but  Hollywood  demands  demonstrations, 
too. 

Since  she  came  to  Hollywood,  Ginger 
repeatedly  has  had  to  show  the  world 
that  she  could  sing,  that  she  could  dance, 
that  she  could  carry  fast-paced  comedy. 
Now,  shock  'em  or  not,  she  resolved  to 
prove  she  could  bring  to  life  Ellie  May, 
who  teetered  along  the  Primrose  Path, 
aided  and  abetted  by  her  street-walker 
maw.  Pretty  strong  stuff,  it  is,  as  you'll 
know  if  you  read  a  book  called  "Febru- 
ary Hill." 

I  asked  Ginger,  "Weren't  you  a  little 
scared  of  the  part?" 

"The  only  parts  that  can  scare  me," 
sniffed  Ginger,  "are  Shakespeare!  Be- 
sides," she  went  on,  "there  ought  to  be 
plenty  of  laughs.  But,  please— don't  say 
I  called  it  'comedy.'  I  called  my  part 
in  'Stage  Door'  'comedy'  once,  and  Greg- 
ory LaCava  read  about  it.  Did  he  get 
me  told!  He  said  I  didn't  know  a  char- 
acter part  even  when  I  played  one!" 

But  if  Ginger  doesn't  know  this  char- 
acter part  in  "The  Primrose  Path,"  then 
she's  certainly  putting  up  a  wonderful 
bluff.   She's  dug  deeper  into  it  than  she's 


Nelson  Eddy  is  fast  gaining  a  reputation  as  a  sculptor.   Here  he's  putting  finishing 
touches  on  a  bust  of  Director  Van  Dyke  between  scenes  of  "New  Moon." 


68 


MODERN  SCREEN 


ever  done  before  for  any  picture.  She's 
taken  personal  charge  of  getting  down  to 
brass  tacks  in  a  brassy,  tacky  part. 

The  no  make-up,  for  instance,  was 
Ginger's  own  idea.  She  confided  in  a 
screen  cameraman  she  knew;  together 
they  shot  three  tests.  Then,  keeping  their 
secret,  they  ran  them  off  for  LaCava. 
One  test  was  minus  make-up  and  that 
was  the  one  they  all  picked.  Ginger 
feels  pretty  proud  about  that. 

The  dyed  hair  was  Ginger's  idea,  too. 
She  knew  that  minus  make-up  she'd  be 
flat  without  dark  hair.  They  fixed  a  wig 
for  her  but,  as  Ginger  says,  "It  looked 
like*  I  was  wearing  a  fur  hat."  She  had 
no  illusions.  'My  face  is  too  small  for 
a  wig,"  she  concluded  realistically.  "I'll 
dye  my  hair!"  It  will  take  six  months 
before  she  can  hope  to  regain  her  fiery 
top. 

For  atmosphere,  Ginger  and  the  dia- 
logue writer  wandered  around  the  water- 
front districts  of  Monterey  and  the  fish 
cannery  centers,  picking  up  the  lingo 
and  learning  to  talk  like  a  toughie. 
"Which  was  a  cinch,"  grinned  Ginger, 
"and  very  natural  for  me."  Still,  to  whip 
off  a  few  "I  ain't  et  yets"  and  "don't  care 
nohows"  with  the  greatest  of  ease  took 
practice. 

The  only  time  Ginger  got  caught,  in- 
cognito, was  when  she  bought  her  "ward- 
robe" at  Sears  Roebuck.  It  all  came  to 
$18.73,  with  the  tax.  As  Ginger  was 
slipping  out  of  the  mail-order  store  with 
her  modest  bundle  of  factory-cut  crea- 
tions, a  girl  who  had  been  standing  next 
to  her  yelled,  "Hey,  you!" 

Ginger  whirled,  along  with  the  rest  of 
the  store,  as  the  girl  shouted,  "Ain't 
you  Ginger  Rogers?"  Ginger  answered, 
"Yes,"  in  a  weak  voice,  as  all  the  cash 
customers  stared  at  her  and  wondered 
why  in  the  world  she  had  to  buy  her 
clothes  at  Sears  Roebuck.  The  incident 
stripped  her,  Ginger  swears,  of  any  pos- 
sible glamour  she  might  have,  as  far  as 
her  public  is  concerned. 

HOWEVER,  it  isn't  glamour  that 
Ginger  is  after  right  now,  either  pro- 
fessionally or  personally.  And  that 
is  one  change  that  she  readily  admits. 
After  all  the  repetitious  roles  in  the  lav- 
ishly staged  Astaire  pictures,  Ginger  be- 
gan to  taste  glamour  in  her  breakfast  food 
and  find  it  under  her  pillow  at  night. 

Professionally,  "The  Primrose  Path" 
makes  her  happy  because  it  is  a  new, 
different  job  to  conquer.  Personally,  all 
she's  asking  for  is  peace.  She  thinks 
she  has  it,  too.  "Because,"  as  she  said, 
"I'm  not  even  interested  in  love  or  mar- 
riage. I  haven't  a  thing  to  worry  or  tor- 
ment me.  It  sounds  like  an  old  gag,  but 
I'm  really  all  wrapped  up  in  my  work. 
There's  nothing  in  the  romance  depart- 
ment to  bother  me.  And,  believe  me, 
it's  a  great  relief,"  sighed  Ginger,  mean- 
ing it,  too,  I  think. 

Because,  as  everyone  knows  who 
knows  Ginger,  she  has  always  been  and 
still  is  a  kid  for  comfort.  Mentally,  phys- 
ically and  emotionally.    She  slips  into 


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slacks  and  an  old  sweat  shirt  at  the 
slightest  provocation.  Even  on  her  hon- 
eymoon with  Lew  Ayres,  Ginger  shed 
her  Paris  gown  right  after  the  ceremony 
and  hopped  right  into  beach  dungarees, 
a  sweater,  leather  coat  and  beret  for  the 
motor  trip.  She  used  to  tear  along  Hol- 
lywood Boulevard  in  a  sailor's  navy 
blue  jacket,  and  still  does.  She's  always 
hated  fussing  around  or  sacrificing  com- 
fort for  looks.  For  years,  Ginger  has 
been  going  on  shopping  sprees,  buying 
gorgeous  evening  gowns  and  hanging 
them  in  her  closet  until  she  finally  has 
to  give  them  away,  still  unworn. 

That  attitude  toward  clothes  carries 
over  into  every  phase  of  her  life — ex- 
cept her  career.  Ginger  will  eagerly  do 
anything  an  acting  job  demands  with- 
out a  whimper.  In  her  home  life,  "Well, 
frankly,"  confessed  Ginger,  "I  like  to  take 
it  easy."  As  for  social  struttings,  the 
fact  is  she  just  doesn't  give  a  darn. 
Never  has  given  a  darn. 

GINGER  and  Lew  Ayres  were  known 
all  their  married  life  as  Hollywood's 
most  unexciting  couple.  They  lived 
a  pretty  humdrum  home  life,  by  Holly- 
wood standards,  playing  parlor  games 
with  their  small  circle  of  friends,  tak- 
ing in  a  neighborhood  movie  every 
now  and  then.  Since  Lew  and  she  sep- 
arated, Ginger  hasn't  altered  the  formula 
very  noticeably.  Her  home,  perched  on 
the  very  top  of  Beverly  Hill,  where  "Gee- 
Gee"  (that's  Ginger)  lives  with  "Lee- 
Lee"  (that's  Ginger's  mother),  is  more 
than  ever  her  whole  private  life. 

She  manages  the  household  to  quiet 
any  domestic  urges,  looks  after  her  Af- 
ghan hound,  "Sharma,"  if  she  feels  ma- 
ternal. Most  of  her  spare  minutes  are 
spent  in  her  current  mania  for  sculptur- 
ing. She  just  finished  a  bust  of  her  mother. 
And  the  greatest  thrill  she's  had  in 
months,  she  admitted,  was  when  Joyce, 
Florence  Lake's  little  girl,  ran  into  the 
parlor,  stared  at  the  Rogers  work  of  art 
and  babbled,  "Look  —  it's  Aunt  Lee- 
Lee!" 

"I  knew  then,"  grinned  Ginger,  "I'd 
really  arrived." 

Ginger  has  the  same  friends  she  has 
always  had.  Her  family  group  is,  of 
course,  Mama  Lela,  Lela's  sister,  Jean, 
and  her  husband,  Jack  Arnold,  and 
W.  L.  Owens,  Ginger's  grandfather.  Next 


to  the  family  circle  come  old  friends 
like  Florence  Lake,  Ben  Alexander,  Billy 
Bakewell  and  then  the  Ray  Millands,  the 
Leland  Haywards  (Margaret  Sullavan), 
Jimmy  Stewart,  Cesar  Romero,  the 
Henry  Potters,  the  Arthur  Hornblows 
(Myrna  Loy) ,  and  a  few  scattered  others. 

When  they  get  together,  which  isn't 
too  often,  because  somebody's  always  too 
busy,  they  usually  play  games,  or  read 
ask-me-another  quizzes,  run  off  new 
movies  in  Ginger's  professional  projec- 
tion room,  or  hang  around  her  soda 
fountain  to  mix  giant,  jumbo  malts  and 
elaborate,  sticky  concoctions.  Or,  if  it's 
daytime,  the  swimming  pool  and  ping- 
pong  table  are  kept  busy,  with  Giriger 
knitting  furiously  during  the  rest  periods. 

Ginger's  bedtime  is  10:30  most  nights, 
and  the  last  hour  and  fifteen  minutes 
goes  to  a  book,  because  that's  a  rigid 
daily  reading  rule.  Her  wiry  constitution 
ticks  along  as  easily  as  ever.  She  never 
gains  or  loses  a  pound.  She  eats  every- 
thing and  anything  without  a  tummy 
tremor  and  sleeps  like  a  child.  But  she 
never  gets  enough  of  Morpheus.  "If  you 
would  like  to  know  my  ambitions  for 
the  future,"  cracked  Ginger,  "they're  a 
couple  of  months  in  bed!" 

Well,  as  a  matter  of  fact,  I  had  wanted 
to  know  a  thing  or  two  about  Ginger 
and  her  private  hopes  for  the  new  year. 
After  all,  if  the  professional  pattern 
change  of  "The  Primrose  Path"  should 
work  too  well,  how  do  I  know  if  I'll  ever 
see  Ginger  in  another  of  those  swingy 
Astaire-Rogers  dance  symphonies  of  the 
good  old  days?  Nor  can  you  tell  me  that, 
on  the  personal  page  of  the  future  book, 
it's  written  that  anyone  as  vital  and  at- 
tractive as  Virginia  Catherine  Rogers  is 
going  to  keep  on  living  alone  and  liking 
it  forever.    Personal  peace  or  no  peace. 

Ginger  exploded  my  thoughts  neatly, 
as  she  swung  down  from  the  big  set  par- 
allel and  hurried  off  at  LaCava's  call. 
"I'm  planning  on  playing  this  next  scene 
as  well  as  I  can  do  it,"  she  said.  "That's 
all  the  advance  plans  I've  got.  I  never 
make  plans.  The  things  that  interest  me 
are  right  now.  About  the  future — well, 
Scarlett  O'Hara  had  a  pretty  good  line 
about  that,  'Tomorrow  is  another  day!' 

"And  meanwhile,"  shouted  Ginger, 
from  the  other  end  of  the  set,  "you  can 
say  that  all's  right  with  Rogers."  And 
so  I  do.  Because  I  think  it's  the  truth. 


All  the  women  in 
Eddie  Cantor's 
home  seem  to 
have  immunized 
him  utterly,  even 
to  the  advances, 
of  these  lovely 
Eves.  The  beau- 
teous bribers  are 
Bonita  Granville, 
Martha  O'Dris- 
coll,  Charlotte 
Munier,  and 
Louise  Seider, 
one  tenth  of  the 
"  Forty  Little 
Mothers."  This  is 
Cantor's  first 
movie  in  two  and 
a  half  years. 


70 


MODERN  SCREEN 


THE  ROSALIND  ROAD 
TO  SDCCESSVILLE 

(Continued  from  page  29) 


been  humored.  Had  she  been  interested 
in  theology,  well,  the  interest  would 
have  been  a  respectable  one.  But  acting 
— never! 

She  went  to  the  American  Academy 
of  Dramatic  Arts.  Her  mother  thought 
she  was  studying  to  be  a  teacher.  But 
when  she  graduated,  her  eyes  had  that 
dreamy,  klieg-light  look.  She  kicked 
over  the  traces  and  joined  a  tent  show. 
Over  the  back-fences  at  Waterbury  only 
one   comment  was  made— "Tch-tch!" 

Then  she  rebelled  again.  She  was 
told  she  was  ready  for  Broadway.  A 
producer  offered  her  a  big  lead.  Some- 
thing that  might  make  her  overnight. 
She  refused!  "I  knew  I  needed  more 
experience.  I  wanted  to  start  at  the  bot- 
tom of  the  ladder. 

"Too  many  people  have  pretentions 
about  acting.  I  always  treated  it  as  a 
business.  When  I  made  Broadway,  I 
heard  a  lot  of  nonsense  about  having  to 
sacrifice  or  give  Up  something  for  the 
theatah!  Deah,  deah!  What  baloney!  I 
decided  you  don't  have  to  give  up  any- 
thing for  a  stage  career.  That  was  the 
old-fashioned  idea.  An  elderly  actress 
was  telling  me,  the  other  day  that,  when 
she  started,  her  mother  told  her  that 
she  could  never  marry,  that  she  was 
wedded  to  the  stage.  But  that  idea  went 
out  with  horse-and-buggy  and  bloomers. 

"It  comes  down  to  a  question  of  mod- 
eration. Then  you  can  have  your  cake 
and  eat  it,  too.  You  don't  have  to  cut 
your  friends  for  your  career.  You  just 
don't  see  them  as  often.  You  don't  have 
to  quit  going  to  night-clubs.  You  just 
go  once  in  a  while  instead  of  regularly. 

"The  night  before  last,  I  went  out  for 
the  first  time  in  three  months.  That's 
not  much  dating.  But  it  was  still  a  date. 
I  wasn't  giving  that  up  for  the  theatah!" 

ROZ  smiled.  The  outside  corners  of  her 
eyes  crinkled  as  she  smiled.  When 
persons  have  that  gay  crinkle,  they  cer- 
tainly cannot  be  the  type  to  rob  blind- 
men,  scare  little  children  or  hold  up 
trains.  People  whose  eyes  crinkle  at 
the  corners  when  they  smile  are  usually 
awfully  nice  people.  Roz  is  nice  people. 

I  learned  a  lot  of  things  about  her 
from  our  chat.  Her  favorite  actress  is 
Helen  Hayes.  She  thinks  Helen  Hayes 
really  digs  into  characters.  Roz  is  a  bug 
on  politics.  Her  house  is  papered  with 
sheets  screaming  with  headlines.  In  Lon- 
don she  lived  in  Parliament,  chummed 
with  Ambassadors,  and  rebelled  against 
orders  forbidding  a  trip  to  Hungary. 
(P.S.  She  was  shooed  out  on  the  first 
troop  train!)  If  Roz  could  be  any  other 
woman  alive,  she  would  be  Dorothy 
Thompson,  the  political  columnist,  be- 
cause— "She's  got  a  head.  She's  brilliant 
— and  still  remains  feminine.  The  perfect 
combination!" 

Roz  lives  alone  in  her  corner  house 
in  Beverly  Hills.  She  goes  into  the  bed- 
room or  kitchen  and  discusses  all  sorts 
of  things  with  her  two  negro  maids. 
When  she  isn't  discussing  her  latest  role, 
or  the  Mittel  Europa  problem,  she  is 
playing  the  piano  or  marching  around 
the  living-room  hunting  stray  flies.  (She 
hates  flies.) 

Roz  is  extremely  clever.  She  doesn't 
strain  for  it  or  depend  upon  it.  Like 
freckles,  it's  just  there.  She  owns  a 
wire-haired  terrier  named  "Cracker" 
whose  litter  is   called   "The  Crumbs." 


Ml  ABNER 


h 

AL  CAPP 


COME  QUICK,  LI'L  \  THA^-CGl/lP.') 

ABNER -OUR  HOU5E 1  TOO  BAD .  AH 
IS  AFIRE- AN'      7  LOVES  NELLIE 
NELLIE  LOU  AN'  <<  LOU  AN'  HER 
HER  HELPLE5S     ^  CHILE-  BUT 
CHILE  IS  TRAPPED /NATCHERLY  AH 
INSIDE.?''       ^nv-^CAIN'T  NOT  RES- 
KEW  NOBODY  BEFO' 
JJREAKFU57 


HYAR/SON.^EAT  THIS 'NEW" 
5-MINUTE  CREAM  OF  WHEAT  WHUT. 

AH  JEST  COOKED  x~7 — "   • 

UP  IN  5"  MINUTES-  )  (  YIPPAY^ 
THEN  GO  AN'  MAKE  /  W  J 
TH'  RES-KEW.'T'r 


KEEP  YO'OHIN  UP  NELLIE. 

LOU/-AH  AIMS  T'  RES-KEW 
BOTH  YO' AN'  YO'  HELPLESS  M 
CHILE//"     ,   ^1 


EF  COOKiN'MAM  BREAKFUS'  ) 
HAD  TOOK  A  MINUTE  MO'  / 
WE'D  OF  RES-KEWEb  A  \ 
PLATTER  O'  FRIED  CHICKEN  ) 
AN' A  POACHED  AIG 'STEAD  / 
O'  NELLIE  LOU  AN'  HER  J 
HELPLES5  \ 
CHILE.C    )  ^ 


AH  DON'T  GIVE 
A  HOOT  WHUT 
MAMMY  GIVES 
MEFO'BREAKFUS 
AS  LONG  AS  IT'S 
CREAM  OF 
WHEAT.C 


YOU  GOT  SUMPIN'  THERE  LI'L  ABNER! 
"NEW  5-MINUTE"  CREAM  OF  WHEAT 
NOT  ONLY  TASTES  RICHER.  BUT  IT 
GIVES  YOU  EXTRA  MINERALS  AND 
VITAMIN  Bi...AND  YO"  MAMMY 
COOKS  IT  TO  FULL  DIGESTIBILITY 
IN  ONLY  5  MINUTES .'  YET 
IT  COSTS  NO  MORE  » 


NOW 


TWO 


KINDS  — 


'NEW"  and  "REGULAR' 


CREAM  of  WHEAT 


"CREAM  OF  WHEAT''  REG.  U.  S.  PAT.  OFF. 


71 


MODERN  SCREEN 


PYREX  SETS 

AT  NEW  SAVINGS! 


CHECK  THIS  NEW  VALUE !  Economy  Set  #179.  9-piece 
Ovenware  set  contains  6  custard  cups  (4-oz.)  in  a 
handy  cooking  rack,  pie  plate,  and  new  ■»  ft  j, 
8-oz.  level-full  red-marked  measuring  cup!  Ill  y 
Grand  start  for  cooking  in  glass.  Gift  packed.  ' 


SPRING  SPECIAL!  Service  Set  #129. 10  selected  Py- 
rex  dishes.  6  custard  cups  (4-oz.),  new  8-oz.  level- 
full  red-marked  measuring  cup,  934"  pie  plate,  l}4 
qt.  casserole  with  utility  pie  plate  cover. 
Total  value  of  individual  pieces  $1.35.  Now 
packed  in  colorful  new  gift  box,  only. 


$129 


BRAND-NEW  COMBINATION!  Gift  Set  #245.  11 
pieces:  a  special  Pyrex  ware  value,  containing  9/4 
loaf  pan  l\i.  quart  knob  type  casserole,  10H"  utility 
dish,  9}4"  pie  plate,  six  4-ounce  custard  ffrt^E 
cups,  and  handy  new  &%"  cake  dish  with  3>  /tO 
handles.  Gift  packaged,  only   ™ 


OVBffWAR£ 


slacks  and  an  old  sweat  shirt  at  the 
slightest  provocation.  Even  on  her  hon- 
eymoon with  Lew  Ayres,  Ginger  shed 
her  Paris  gown  right  after  the  ceremony 
and  hopped  right  into  beach  dungarees, 
a  sweater,  leather  coat  and  beret  for  the 
motor  trip.  She  used  to  tear  along  Hol- 
lywood Boulevard  in  a  sailor's  navy 
blue  jacket,  and  still  does.  She's  always 
hated  fussing  around  or  sacrificing  com- 
fort for  looks.  For  years,  Ginger  has 
been  going  on  shopping  sprees,  buying 
gorgeous  evening  gowns  and  hanging 
them  in  her  closet  until  she  finally  has 
to  give  them  away,  still  unworn. 

That  attitude  toward  clothes  carries 
over  into  every  phase  of  her  life — ex- 
cept her  career.  Ginger  will  eagerly  do 
anything  an  acting  job  demands  with- 
out a  whimper.  In  her  home  life,  "Well, 
frankly,"  confessed  Ginger,  "I  like  to  take 
it  easy."  As  for  social  struttings,  the 
fact  is  she  just  doesn't  give  a  darn. 
Never  has  given  a  darn. 

GINGER  and  Lew  Ayres  were  known 
all  their  married  life  as  Hollywood's 
most  unexciting  couple.  They  lived 
a  pretty  humdrum  home  life,  by  Holly- 
wood standards,  playing  parlor  games 
with  their  small  circle  of  friends,  tak- 
ing in  a  neighborhood  movie  every 
now  and  then.  Since  Lew  and  she  sep- 
arated, Ginger  hasn't  altered  the  formula 
very  noticeably.  Her  home,  perched  on 
the  very  top  of  Beverly  Hill,  where  "Gee- 
Gee"  (that's  Ginger)  lives  with  "Lee- 
Lee"  (that's  Ginger's  mother),  is  more 
than  ever  her  whole  private  life. 

She  manages  the  household  to  quiet 
any  domestic  urges,  looks  after  her  Af- 
ghan hound,  "Sharma,"  if  she  feels  ma- 
ternal. Most  of  her  spare  minutes  are 
spent  in  her  current  mania  for  sculptur- 
ing. She  just  finished  a  bust  of  her  mother. 
And  the  greatest  thrill  she's  had  in 
months,  she  admitted,  was  when  Joyce, 
Florence  Lake's  little  girl,  ran  into  the 
parlor,  stared  at  the  Rogers  work  of  art 
and  babbled,  "Look  —  it's  Aunt  Lee- 
Lee!" 

"I  knew  then,"  grinned  Ginger,  "I'd 
really  arrived." 

Ginger  has  the  same  friends  she  has 
always  had.  Her  family  group  is,  of 
course,  Mama  Lela,  Lela's  sister,  Jean, 
and  her  husband,  Jack  Arnold,  and 
W.  L.  Owens,  Ginger's  grandfather.  Next 


to  the  family  circle  come  old  friends 
like  Florence  Lake,  Ben  Alexander,  Billy 
Bakewell  and  then  the  Ray  Millands,  the 
Leland  Haywards  (Margaret  Sullavan), 
Jimmy  Stewart,  Cesar  Romero,  the 
Henry  Potters,  the  Arthur  Hornblows 
(Myrna  Loy) ,  and  a  few  scattered  others. 

When  they  get  together,  which  isn't 
too  often,  because  somebody's  always  too 
busy,  they  usually  play  games,  or  read 
ask-me-another  quizzes,  run  off  new 
movies  in  Ginger's  professional  projec- 
tion room,  or  hang  around  her  soda 
fountain  to  mix  giant,  jumbo  malts  and 
elaborate,  sticky  concoctions.  Or,  if  it's 
daytime,  the  swimming  pool  and  ping- 
pong  table  are  kept  busy,  with  Ginger 
knitting  furiously  during  the  rest  periods. 

Ginger's  bedtime  is  10:30  most  nights, 
and  the  last  hour  and  fifteen  minutes 
goes  to  a  book,  because  that's  a  rigid 
daily  reading  rule.  Her  wiry  constitution 
ticks  along  as  easily  as  ever.  She  never 
gains  or  loses  a  pound.  She  eats  every- 
thing and  anything  without  a  tummy 
tremor  and  sleeps  like  a  child.  But  she 
never  gets  enough  of  Morpheus.  "If  you 
would  like  to  know  my  ambitions  for 
the  future,"  cracked  Ginger,  "they're  a 
couple  of  months  in  bed!" 

Well,  as  a  matter  of  fact,  I  had  wanted 
to  know  a  thing  or  two  about  Ginger 
and  her  private  hopes  for  the  new  year. 
After  all,  if  the  professional  pattern 
change  of  "The  Primrose  Path"  should 
work  too  well,  how  do  I  know  if  I'll  ever 
see  Ginger  in  another  of  those  swingy 
Astaire-Rogers  dance  symphonies  of  the 
good  old  days?  Nor  can  you  tell  me  that, 
on  the  personal  page  of  the  future  book, 
it's  written  that  anyone  as  vital  and  at- 
tractive as  Virginia  Catherine  Rogers  is 
going  to  keep  on  living  alone  and  liking 
it  forever.    Personal  peace  or  no  peace. 

Ginger  exploded  my  thoughts  neatly, 
as  she  swung  down  from  the  big  set  par- 
allel and  hurried  off  at  LaCava's  call. 
"I'm  planning  on  playing  this  next  scene 
as  well  as  I  can  do  it,"  she  said.  "That's 
all  the  advance  plans  I've  got.  I  never 
make  plans.  The  things  that  interest  me 
are  right  now.  About  the  future — well, 
Scarlett  O'Hara  had  a  pretty  good  line 
about  that,  'Tomorrow  is  another  day!' 

"And  meanwhile,"  shouted  Ginger, 
from  the  other  end  of  the  set,  "you  can 
say  that  all's  right  with  Rogers."  And 
so  I  do.  Because  I  think  it's  the  truth. 


All  the  women  in 
Eddie  Cantor's 
home  seem  to 
have  immunized 
him  utterly,  even 
to  the  advances, 
of  these  lovely 
Eves.  The  beau- 
teous bribers  are 
Bonita  Granville, 
Martha  O'Dris- 
coll,  Charlotte 
Munier,  and 
Louise  Seider, 
one  tenth  of  the 
"Forty  Little 
Mothers."  This  is 
Cantor's  first 
movie  in  two  and 
a  half  years. 


70 


MODERN  SCREEN 


THE  ROSALIND  ROAD 
TO  SDCCESSVILLE 

(Continued  from  page  29) 


been  humored.  Had  she  been  interested 
in  theology,  well,  the  interest  would 
have  been  a  respectable  one.  But  acting 
— never! 

She  went  to  the  American  Academy 
of  Dramatic  Arts.  Her  mother  thought 
she  was  studying  to  be  a  teacher.  But 
when  she  graduated,  her  eyes  had  that 
dreamy,  klieg-light  look.  She  kicked 
over  the  traces  and  joined  a  tent  show. 
Over  the  back-fences  at  Waterbury  only 
one   comment  was  made—  "Tch-tch!" 

Then  she  rebelled  again.  She  was 
told  she  was  ready  for  Broadway.  A 
producer  offered  her  a  big  lead.  Some- 
thing that  might  make  her  overnight. 
She  refused!  "I  knew  I  needed  more 
experience.  I  wanted  to  start  at  the  bot- 
tom of  the  ladder. 

"Too  many  people  have  pretentions 
about  acting.  I  always  treated  it  as  a 
business.  When  I  made  Broadway,  I 
heard  a  lot  of  nonsense  about  having  to 
sacrifice  or  give  up  something  for  the 
theatah!  Deah,  deah!  What  baloney!  I 
decided  you  don't  have  to  give  up  any- 
thing for  a  stage  career.  That  was  the 
old-fashioned  idea.  An  elderly  actress 
was  telling  me,  the  other  day  that,  when 
she  started,  her  mother  told  her  that 
she  could  never  marry,  that  she  was 
wedded  to  the  stage.  But  that  idea  went 
out  with  horse-and-buggy  and  bloomers. 

"It  comes  down  to  a  question  of  mod- 
eration. Then  you  can  have  your  cake 
and  eat  it,  too.  You  don't  have  to  cut 
your  friends  for  your  career.  You  just 
don't  see  them  as  often.  You  don't  have 
to  quit  going  to  night-clubs.  You  just 
go  once  in  a  while  instead  of  regularly. 

"The  night  before  last,  I  went  out  for 
the  first  time  in  three  months.  That's 
not  much  dating.  But  it  was  still  a  date. 
I  wasn't  giving  that  up  for  the  theatah!" 

ROZ  smiled.  The  outside  corners  of  her 
eyes  crinkled  as  she  smiled.  When 
persons  have  that  gay  crinkle,  they  cer- 
tainly cannot  be  the  type  to  rob  blind- 
men,  scare  little  children  or  hold  up 
trains.  People  whose  eyes  crinkle  at 
the  corners  when  they  smile  are  usually 
awfully  nice  people.  Roz  is  nice  people. 

I  learned  a  lot  of  things  about  her 
from  our  chat.  Her  favorite  actress  is 
Helen  Hayes.  She  thinks  Helen  Hayes 
really  digs  into  characters.  Roz  is  a  bug 
on  politics.  Her  house  is  papered  with 
sheets  screaming  with  headlines.  In  Lon- 
don she  lived  in  Parliament,  chummed 
with  Ambassadors,  and  rebelled  against 
orders  forbidding  a  trip  to  Hungary. 
(P.S.  She  was  shooed  out  on  the  first 
troop  train!)  If  Roz  could  be  any  other 
woman  alive,  she  would  be  Dorothy 
Thompson,  the  political  columnist,  be- 
cause— "She's  got  a  head.  She's  brilliant 
— and  still  remains  feminine.  The  perfect 
combination!" 

Roz  lives  alone  in  her  corner  house 
in  Beverly  Hills.  She  goes  into  the  bed- 
room or  kitchen  and  discusses  all  sorts 
of  things  with  her  two  negro  maids. 
When  she  isn't  discussing  her  latest  role, 
or  the  Mittel  Europa  problem,  she  is 
playing  the  piano  or  marching  around 
the  living-room  hunting  stray  flies.  (She 
hates  flies.) 

Roz  is  extremely  clever.  She  doesn't 
strain  for  it  or  depend  upon  it.  Like 
freckles,  it's  just  there.  She  owns  a 
wire-haired  terrier  named  "Cracker" 
whose   litter  is   called   "The  Crumbs." 


COME  QUICK,  Li  L 

ABNER-OUR  HOUSE 
IS  AFIRE- AN' 
NELLIE  LOU  AN' 
HER  HELPLESS 
CHILE  15  TRAPPED 


INSIDE.?" 


THA'bSCGl/LP/) 
TOO  BAD.  AH 
LOVES  NELLIE 
LOU  AN'  HER 
CHILE- BUT 
NATCHERLY  AH 


CAIN'T  NOT  RES 
KEW  NOBODY  BEFO' 
BREAKFU5'/ 


HYAR.SON.^EAT  THIS 'NEW" 
5-MINUTE  CREAM  OF  WHEAT  WHUTy 

AH  JEST  COOKED  v~7 — "   - 

UP  IN  5T  MINUTES-  )  (  YlPPAYr 
THEN  GO  AN' MAKE  /  V-  *  J 

TH'  RES-KEW.7V 


KEEP  YO'CHIN  UP  NELLIE, 

LOUf-AH  AIMS  T'  RES-KEW 
BOTH  YO' AN'  YO'  HELPLESS 
CHILES 


EF  COOKIN'  MAH  BREAKFUS'  ) 
HAD  TOOK  A  MINUTE  MO'  < 
WE'D  OF  RES-KEWED  A  \ 
PLATTER  O'  F-RIED  CHICKEN  1 
AN' A  POACHED  AIG 'STEAD  / 
O'  NELLIE  LOU  AN'  HER  J 
HELPLESS  J 


AH  DON'T  GIVE 
A  HOOT  WHUT 
MAMMY  GIVES 
ME  FO' BREAKFUS' 
AS  LONG  AS  IT'S 
CREAM  OF 
WHEATS 


YOU  GOT  SUMPIN'  THERE  U'L  ABNER! 
"NEW  5-MINUTE"  CREAM  OF  WHEAT 
NOT  ONLY  TASTES  RICHER.  BUT  IT 
GIVES  YOU  EXTRA  MINERALS  AND 
VITAMIN  B,...  AND  YO'  MAMMY 
COOKS  IT  TO  FULL  DIGESTIBILITY 
IN  ONLY  5  MINUTES.'  YET 
IT  COSTS  NO  MORE  ! 


NOW  TWO  KINDS  — 

'NEW"  and  "REGULAR' 


CREAM  of  WHEAT 


"CREAM  OF  WHEAT"  REG.  U.  S.  PAT.  OFF. 


71 


MODERN  SCREEN 


l4w  *to  haA^c 

EYES  MEN  ADORE 


There  I  was  — spending  another  Satur- 
day night  reading  a  magazine!  I  saw 
the  words  "Eyes  Like  Stars— try  WINX." 


I  bought  some  WINX  Mascara  and  found 
it  gorgeously  easy  to  put  on.  My  lashes 
looked  naturally  longer  and  darker! ... 


"Why  didn't  I  notice  those  big,  beauti- 
ful eyes  before!"  said  Bob  the  next  time 
we  met. "How  about  a  date  fordancing?  " 


r 


GETthe  new  WINX 
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Change 


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THE  FINER  QUALITY  MASCARA 


$1260  toS  $2100  Year 

Men — Women  ,  franklin  institute- 

„          .                           /    Dept.   B256,   Rochester,   N.  V. 
Many  Appointments    v     Sirs:    Rush    without    charge.  (1) 
Each  Year                o    32-page  book  wilh  list  of  Govern- 
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Today  Sure    ,  Address  

72 


Now  I'm  not  addicted  to  repeating  goo, 
so  you  can  take  it  for  the  McCoy  when 
I  remind  you  that  Rosalind  is  the  most 
beloved  lady  in  Hollywood.  She  has 
never  been  known  to  do  a  mean  thing. 
She's  always  going  out  of  her  way  for 
others.  All  the  technicians,  prop  men, 
and  cameramen,  who  have  worked  with 
Roz,  are  mad  about  her. 

A  few  days  before  seeing  Roz,  I  had 
talked  with  Stanley  Dunn,  property  head 
at  Columbia.  We  got  to  chewing  it  about 
actresses  and  I  asked  him  for  his  fa- 
vorite. He  didn't  hesitate. 

"I've  been  here  fifteen  years,"  he  said. 
"The  finest  actress  I've  ever  watched  at 
work,  and  the  nicest  woman  I've  ever 
met  in  person,  is  Roz  Russell.  She's  so 
regular.  Doesn't  strain  for  the  common 
touch.  She  just  has  it.  There's  only  one 
word  for  her — genuine." 

I  repeated  this  to  Roz.  She  flushed. 
Honestly,  she  did.  "I  would  rather  have 
the  people  I  work  with  for  my  friends 
than  any  others  on  earth,"  she  con- 
fessed. "I  would  rather  sit  in  this  room, 
and  spend  my  time  with  good  honest 
company,  than  do  anything  on  earth. 
But  whoa,  I  better  not  go  soft  on  you!" 

WE  TALKED  some  more  about  her 
career.  She  said  that,  while  few 
people  realized  it,  she  was  an  extremely 
thorough  person.  She  dug  down  into 
things.  In  her  most  recent  picture  with 
Cary  Grant,  the  slap-bang  newspaper 
story,  "His  Girl  Friday,"  she  portrayed 
one  of  the  inky-fingered  sect.  "I  really 
do  try  to  break  a  part  down.  In  an  effort 
to  get  away  from  Sylvia." 

Speaking  of  difficulties,  Roz,  wagging 
a  finger  in  her  typical  manner,  shifting 
all  over  the  couch,  explained  her  great- 
est stumbling  block.  "Weak  parts,"  she 
said.  "It's  so  discouraging  to  be  bur- 
dened with  a  watered  and  dull  charac- 
ter. There's  nothing  to  sink  your  fangs 
into.  Remember  'Night  Must  Fall?'  I 
had  the  third  part  in  that.  However,  I 
consider  it  one  of  my  best  performances. 

"An  actress  really  faces  a  test  when 
she  has  little  to  do — and  does  it  well! 
Take  Jean  Arthur.  That  girl  should 
have  won  ten  Academy  Awards  for  what 
she  did  in  'Mr.  Smith  Goes  to  Wash- 
ington.' I  really  mean  it,  and  I'll  stand 
on  rooftops  and  bellow  it  to  the  world! 

"Jimmy  Stewart  did  a  magnificent  job, 
but  remember,  his  part  was  the  star 
part.  The  action  and  situations  centered 


on  him.  But  all  Jean  Arthur  was  per- 
mitted to  do  was  to  sit  behind  desks, 
typewriters  and  in  the  Senate  gallery. 
A  secondary  role.  Yet,  she  did  brilliant- 
ly. She  gave  that  part  a  barrel  of  charm, 
motion,  sex  appeal — oh,  just  everything. 
That's  what  I  call  trouping. 

"Every  actress  gets  a  certain  quota 
of  those  parts.  How  well  she  does  with 
them  is  the  measuring  rod  of  her  abil- 
ity. I  hope,  when  those  parts  come,  I 
can  inject  flesh  and  blood  into  them.  I 
won't  rebel  against  weak  roles;  they're 
a  challenge.  I  will  rebel  against  the 
same  type  of  roles;  they're  a  graveyard 
of  monotony." 

Roz  made  two  predictions,  concerning 
(a)  feminine  independence,  (b)  the  state 
of  matrimony  versus  R.  Russell. 

About  feminine  independence:  "It's 
not  here  to  stay.  It'll  go  the  way  of 
wasp-waists,  mah  jong  and  yo-yos.  I 
may  be  a  fighter,  but  I'm  not  too  inde- 
pendent. It's  an  utterly  abnormal  thing 
for  women.  Tell  me,  what  woman  wants 
to  go  on  paying  her  own  bills  all  her 
life.  Freedom  for  women  may  have 
helped  industry,  but  certainly  not  the 
individual.  The  girls  will  get  darn  sick 
of  being  so  free  one  of  these  days." 

About  matrimony  and  herself:  "While 
I'm  not  stepping  out  with  any  special 
person  right  now,  and  while  I'm  still 
alone  and  at  liberty,  I  do  expect  to 
marry.  When?  Oh,  eventually.  Maybe 
soon.  Just  watch  and  see.  I've  no  spe- 
cial type  of  man  in  mind.  There's  no 
way  to  know  what  you  really  want.  If 
I  swear  I  won't  marry  an  actor,  I'm 
liable  to  wind  up  with  the  biggest  ham 
in  town.  Who  can  tell  what'll  happen? 
But  this  I  know — when  it  happens  to 
me,  when  I  get  the  glow  in  my  glim- 
mers, I  don't  give  a  so-and-so  who  he  is, 
where  he  is  or  what  he  is — I'll  just  grab 
him!" 

I  had  forgotten  about  Roz  the  Rebel. 
I  had  forgotten  about  the  Roz  who  would 
refuse  stardom,  who  would  continue 
toward  success  evenly  and  sanely. 

Roz  the  Rebel  and  Roz  the  Actress 
were  gone.  There  was  only  a  beautiful, 
slender  woman,  with  a  jumping-jack 
voice,  who  was  alone — who  didn't  intend 
to  remain  alone. 

I  straightened  my  tie,  slicked  back  my 
hair. 

"I  hope  you  get  a  great  man,  Roz,"  I 
sighed.    She  will,  of  course. 
Some  gal,  that  Roz.  And  lucky  guy! 


Frank  Morgan,  turning  the  tables  on  the  lady  stars  who  wear  trousers,  can't 
get  a  rise  out  of  Ann  Rutherford,  his  pretty  daughter  in  "Hooray,  I'm  Alive!" 


rauuLiin    s  u  n  1 1  w 


STYLE  YOUR  LIPS 

(Continued  from  page  44) 


features  under  perfect  control  they  can 
then  portray  any  feeling  or  emotion  they 
are  called  upon  to  register.  Such  facial 
discipline  is  a  great  aid  to  beauty  and 
you  don't  have  to  be  an  actress  to  prac- 
tice it.  All  you  need  is  a  little  presence 
of  mind  and  a  few  spare  moments 
snatched  from  the  routine  of  every  day. 

First  of  all,  when  you  talk,  open  your 
mouth  and  speak  out.  Make  your  lips 
form  every  syllable  separately  and  clear- 
ly. The  ancient  and  time-honored  device 
that  was  good  enough  for  Demosthenes 
— the  business  of  trying  to  talk  distinctly 
through  a  mouthful  of  pebbles  (modern 
substitutions  permissible) — is  still  widely 
recommended  by  diction  teachers  for 
limbering  tight  cheek  and  lip  muscles. 

Chewing  gum  is  a  wonderfully  simple 
and  effective  way  to  strengthen,  shape 
and  improve  weak,  sagging  mouth 
muscles.  And  whistling  is  excellent  for 
loosening  tight,  unattractive  lips.  Purse 
your  lips  in  an  exaggerated  pucker. 
Practice  blowing  gently  and  vigorously 
by  turns.  Even  a  good,  old-fashioned 
snarl  with  lips  pulled  back  over  your 
teeth  and  corners  extended  as  far  as 
possible  is  a  grand  beauty  exercise,  be- 
lieve it  or  not.  These  two  latter  tricks, 
though,  you'd  better  practice  in  the  se- 
questered seclusion  of  your  own  room — 
any  one  seeing  you  going  through  them 
might  get  the  notion  that  you  are  just  a 
mite  "fetched"  in  the  head. 

Open  your  mouth  slowly,  then  close  it 
tight.  Turn  up  the  corners  in  an  exag- 
gerated smile,  then  relax  completely.  If 
you  have  a  mouth  which  droops  in  the 
corners,  place  a  little  finger  in  each  end 
and  pull  gently.  This  won't  stretch  or 
injure  delicate  tissues  if  done  carefully. 
Hold  a  bit  of  fruit  or  the  like  in  front 
of  your  mouth  but  just  out  of  reach. 
Then,  with  puckered  lips,  attempt  to  bite 
it.  When  you  get  up  in  the  morning  and 
again  at  night,  with  cold  creamed  fingers, 
massage  around  your  mouth  in  a  rotary 
motion.  And  every  day,  as  often  as  you 
can,  turn  up  the  corners  of  your  mouth 
and  smile.  Let  loose  a  good  genuine 
laugh  every  once  in  a  while,  too.  It's 
good  for  more  than  your  lips. 

IF  your  lips  are  soft,  mobile  and  expres- 
sive, you  needn't  worry  about  their 
shape.  That's  where  lip-rouge  comes  to 
the  rescue.  A  few  tips,  a  few  tricks,  and 
a  little  practice  and  you'll  look  like  a 
different  girl.  First,  go  to  a  mirror,  pull 
your  hair  back  and  decide  what  type 
of  face  you  have:  round,  oval,  long, 
broad,  square,  pointed,  heart  or  diamond 
shaped,  and  whether  your  nose  is  long 
or  short.  Then  rouge  your  lips  to  suit 
your  type.  Never,  of  course,  try  to 
change  that  type.  Accent  it,  dramatize 
it,  play  it  up  to  the  hilt — but  don't  ignore 
it.  Nature  is  a  pretty  smart  old  lady 
and  she  knew  what  she  was  about  when 
she  put  you  together.  Be  wise,  find 
out  what  she  had  in  mind,  then  play 
up  your  good  features,  play  down  your 
weak,  but  don't  get  silly  and  try  to 
change  your  pattern. 

If  your  face  is  round  like  Marjorie 
Weaver's,  your  mouth  will  look  best 
rather  wide  and  gently  curved.  If  your 
face  is  oval  like  Bette  Davis',  your  lips 
should  be  full  and  natural  but  not  too 
brightly  colored.  If  you  have  a  long, 
narrow  face,  like  Ginger  Rogers  or 
Dorothy  Lamour,  make  up  your  lips  to 
be  fairly  wide,  especially  the  lower  one, 
and  be  sure  to  carry  plenty  of  color 


1 .  1ST  FRIEND:  Great  heavens!  Susie's  hav- 
ing trouble  again! 

2ND  FRIEND:  Well,  what  can  you  expect! 
Raising  a  first  baby  at  her  age!  She's  too 
set  in  her  ways,  I  always  said. 


3.  AT  SUSIE'S  HOUSE. 

1ST  FRIEND:  Susie  darling,  we  heard  you 
were  upset  about  your  baby.  And  we 
thought  we'd  show  you  some  of  the  new 
things  we  learned  raising  our  babies. 
SUSIE:  New  thing's?  Name  one! 


5.  SUSIE:  A  special  babies'  laxative!!! 
1ST  FRIEND:  Sure!  It's  FLETCHERS  CAS- 
TORIA!  And  it's  designed  especially  for  a 
baby's  needs.  It  has  no  harsh  "adult"  drugs, 
so  it  just  can't  cramp  or  gripe.  And  believe 
me,  it's  safe! 


2.  1ST  FRIEND:  Don't  be  silly!  Being  up- 
to-date  is  not  a  question  of  age!  It's  a  state 
of  mind.  And  I'm  going  to  tip  her  off  right 
now. 

2ND  FRIEND:  She'll  never  listen.  Mark  my 
words. 


4.  1ST  FRIEND:  Well,  for  instance,  there's 
all  this  special  care  the  doctor  has  been  talk- 
ing about  lately.  He  says  a  baby's  system 
is  too  delicate  to  experiment  with.  So  every- 
thing he  gets  should  be  made  especially  for 
him  .  .  .  from  special  baby  food  all  the  way 
to  a  special  baby  laxative! 


6.  SUSIE:  But  what  about  the  taste?  My 
little  Indian  fights  any  medicine  that  comes 
near  him. 

1ST  FRIEND:  Don't  you  worry  about 
Fletcher's  Castoria.  Even  the  taste  is  made 
especially  for  children  .  .  .  Try  it.  You'll 
wonder  how  you  ever  got  along  without  it! 


C%aAi^£eZE&eA  CASTORIA 

The  modern  — SAFE  —  laxative  made  especially  for  children 

73 


MODERN  SCREEN 


1<K  and  25^ 

AT  LEADING  5  &  10* 
STORES  ONLY 


•  Also  ask  for  FLAME- GLO  ROUGE  in  harmonizing  colors! 


*  SHAMPOO 

i4ril  enouqA 


™dM,(mb,  /ifeieM-lominqrtcuA, 

IUT,  dull  hair  will  shine  like  satin  and  drab 
'  hair,  like  pale  cheeks,  only  needs  a  little 
makeup  to  have  a  healthy,  peppy  look  or  to  hide  a 
premature  sprinkle  of  gray.  These  thrilling  features 
can  be  had,  by  using  the  New  Golden  Glint  Shampoo 
and  Rinse.  The  splendid  new  certified  colors  in  the 
New  Golden  Glint  are  exciting  and  safe  to  use — like 
makeup,  it  washes  out  but  won't  rub  off.  Woman's 
most  irresistible  charm  is  bright,  radiant  hair,  full  of 
lovely,  soft-glowing,  colored  highlights.  Get  the  New 
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Address. 


City  and  State  

PLEASE  RUSH.  Enclosed  find  Ten  Cents  (10c)  in 
:>in  for  handling  charges.  My  shade  of  hair  is  

□  Brunette  □  Blonde    □  White  or  Platinum 

□  Brownette       Q  Auburn    Q  Lustre  (Colorless) 


mi  nPM  rci  imt.  622  rainier  avenue, 

UULUCII   ULIIII  *  SEATTLE.  WASHINGTON, U.S.A. 


right  into  the  corners.  If  you  have  a 
broad  chin  and  cheek  but  a  narrower 
forehead  like  Ann  Sothern,  make  your 
lips  appear  both  wide  and  long  with  up- 
ward curves  at  the  corners.  If  your 
whole  face  is  square,  like  Joan  Craw- 
ford's, avoid  any  suggestion  of  a  square 
mouth.  Let  your  mouth  be  graceful  but 
full  enough  to  match  your  face.  If  your 
chin  is  pointed,  like  Carole  Lombard's, 
stick  to  your  natural  lip  line  with  curves 
that  are  on  the  wide  and  soft  side. 
Heart-faced  girls  like  Virginia  Bruce 
should  have  lips  that  are  softly,  grace- 
fully heart-shaped,  too,  with  medium, 
never  heavy,  color.  Then  there  is  the 
diamond-shaped  face  like  Merle  Oberon's 
which  needs  lips  with  center  fullness, 
soft  curves  and  moderate  color  again. 

A  long,  straight  nose,  like  that  of  Bar- 
bara Stanwyck,  needs  a  lower  lip  slight- 
ly wider  than  the  upper  one,  whereas 
short,  retrousse  noses  like  cute  Jane  Wy- 
man's  or  Alice  Faye's  should  have  a 
slightly  wider  upper  lip.  If  you  have  a 
long,  straight  upper  lip,  round  it  out  ever 
so  little  and  curve  your  lower  lip  grace- 
fully, too.  A  full  lower  lip,  on  the  other 
hand,  needs  a  rounded  upper  to  bal- 
ance it. 

LIP  rouge,  whether  stick,  paste  or 
liquid,  should  be  applied,  after  other 
make-up  is  on,  to  a  clean  dry  skin,  re- 
cently washed  with  soap  and  water, 
cleansed  with  cream  and  finished  off 
with  a  bit  of  skin  freshener.  One  layer 
on  top  of  another  will  never  bring  satis- 
factory results.  Apply  color  to  the  upper 
first,  then  press  both  lips  firmly  together. 
This  transfers  the  excess  and  prevents  that 
solid,  gummy,  artificial  look  which  makes 
so  many  husbands,  friends  and  sweet- 
hearts gasp  with  justifiable  indignation. 

If  you  like,  you  may  outline  your  lips 
with  a  lip  pencil.  But  no  matter  what 
you  use,  stick,  cream  or  liquid  rouge,  be 
sure  to  soften  the  edges  slightly  with 
your  finger  or  a  bit  of  tissue,  for  hard, 
over-dramatic  lips  are  terribly  offensive. 
Professional  models  and  theatrical  peo- 
ple often  have  to  use  such  sharp  outlines, 
but  there's  no  excuse  in  the  world  for  it 
in  everyday  walks  of  life.  Lip  make-up 
requires  skill,  practice  and  good  taste 
and  if  you  haven't  got  these — well,  you'd 
better  acquire  them. 

After  both  lips  are  filled  in,  blot  off 
any  excess  color  on  a  tissue  placed  be- 
tween the  lips.  Some  girls  "set"  the  color 
with  a  dash  of  cold  water,  others  like  to 
finish  off  with  a  puff  of  powder.  Of 
course  you  know,  no  doubt,  that  to 
make  lips  look  longer,  the  color  should 
be  extended  right  into  the  corners.  To 
shorten  their  appearance  color  should  be 
shaded  off  subtly  before  reaching  the 
corners.  To  make  a  full  lower  lip  look 
smaller,  concentrate  color  near  the  cen- 
ter, fading  it  gradually  toward  the  cor- 
ners. To  widen  a  lip  extend  color  ever 
so  slightly  over  the  edges.  To  narrow, 
keep  color  well  within  the  natural  lip 
lines.  And  always  be  sure  to  extend 
color  far  enough  inside  both  lips  so  that 
no  artificial  line  will  show  when  you 
talk  or  smile.  One  last  word,  don't  smear 
your  lip  rouge  and  don't  get  it  on  your 
teeth! 

As  for  colors,  the  basic  predominating 
tones  of  your  own  skin  will  give  you  an 
unerring  guide  to  your  most  becoming 
lip  make-up.  For  example,  if  your  skin 
has  underlying  tones  of  ivory,  cream, 
gold,  tan  or  brown,  wear  lip  rouge  in 
the  clear  red  or  orange-red  range. 
Whether  light  or  dark  depends  on  the 
intensity  of  your  individual  coloring.  If 
your  underlying  skin  tones  are  blue, 
white,  pink  or  one  of  the  florid  family, 
you  will  look  best  in  one  of  the  blue- 
red  lip  rouges.  If  you're  an  unswerving 


neutral  as  to  skin,  hair  and  eyes,  true, 
bright  reds  will  bring  out  hidden  high 
lights. 

A  good  lip  rouge  is  perfectly  harmless. 
Few  cosmetics  are  safer  to  use.  The 
emollient  base  helps  to  protect  the  deli- 
cate lip  membranes  and  the  bright  color 
not  only  makes  you  look  healthier  and 
more  vital  but  also  gives  you  a  definite 
"lift."  So  much  new  eourage  and  sparkle 
have  seldom  been  achieved  by  so  simple 
a  means.  Learn  to  use  it  discreetly  and 
intelligently.  For  daytime,  lips  should 
look  simply  natural,  not  too  wide,  too 
vivid,  or  in  any  other  way  exaggerated. 
Night  is  the  time  for  glamour.  Exotic 
colors  and  lush  outlines  go  with  soft 
lights  and  formal  costumes.  Conservative 
shades  will  get  you  much  further  in  day 
light.  And  no  matter  where  else  you 
hurry,  use  skill  not  speed  in  applying  lip 
rouge.  Make-up  is  an  art  and,  when 
you  deny  it,  the  result  is  either  comedy 
or  burlesque  of  what  might  have  been 
you  at  your  dramatic  best. 


Now  that  Spring  is  almost  here,  aren't 
you  becoming  more  complexion  con- 
scious by  the  minute?  We  are.  So  you 
can  imagine  our  delight  recently  when 
we  tried  a  thrilling  new  complexion  lo- 
tion that  serves  a  remarkable  triple  pur- 
pose. First,  it  soothes,  smooths  and 
cleanses  your  skin;  second,  it  covers  up 
surface  blemishes  such  as  large  pores, 
blackheads,  pimples  and  the  like;  and 
third,  it  forms  a  perfect  powder  base 
upon  which  to  complete  your  make-up. 

BZemish.es  that  mar  the  smooth  per- 
fection that  every  girl  covets  for  her  skin 
can  cause  a  great  deal  of  self-conscious- 
ness and  discomfort.  But  you  can  avoid 
such  embarrassment  because  this  un- 
usual formula,  for  years  part  of  the 
costly  treatment  in  the  exclusive  salon 
of  a  famous  dermatician,  is  now  available 
to  everybody  everywhere.  Although  spe- 
cially compounded  to  heal  and  hide  those 
heart-breaking  blemishes  and  to  clear  up 
excessive  oiliness,  this  thin,  flesh-tinted 
lotion  also  gives  your  skin  that  smooth, 
freshly  powdered  look  that  is  so  attrac- 
tive. Men  like  to  use  the  lotion  too,  for 
it  soothes  smarting,  tender  "after-shave" 
skin  and  at  the  same  time  hides  and 
heals  unsightly  blemishes.  It  stays  on 
without  being  the  least  bit  noticeable, 
which  is  another  great  advantage  from  a 
man's  point  of  view.  A  post  card  from 
you  will  bring  the  name  of  this  excep- 
tional formula. 


Another  Spring  note — and  an  impor- 
tant one.  Nothing  is  quite  as  detrimental 
to  the  illusion  of  feminine  daintiness  as 
the  whiff  of  offensive  odors  on  either 
your  clothes  or  your  person.  Perspira- 
tion not  only  menaces  a  girl's  chances  for 
personal  popularity,  it  also  ruins  her 
dresses.  Even  with  the  best  efforts  of  _ 
your  favorite  cleaner,  more  clothes  are 
permanently  damaged  this  way  than  any 
other. 

How  needless  and  inexcusable  all  this 
is  in  these  days  of  efficient  deodorants! 
There  is  one  particularly  effective  cream 
preparation  which  we'd  like  to  recom- 
mend to  you  right  now,  for  it  not  only 
eliminates  those  annoying  odors  but  also 
actually  stops  perspiration  for  from  one 
to  three  days.  This  greaseless,  odorless 
new  preparation  is  entirely  safe,  too.  It 
soothes  tender  skin  and  will  not  stain  or 
rot  your  best  dresses.  It  is  absorbed  im- 
mediately, and  can  be  easily  applied  as 
often  as  you  find  necessary.  Why  don't 
you  try  protecting  yourself  and  your 
clothes  with  this  handy  new  double- 
purpose  deodorant?  We'll  be  glad  to 
send  you  the  name.  Write  us  today. 


74 


MAKING  IT  PAY 

(Continued  from  page  32) 


weather,  elaborate  grooming  parlors,  hos- 
pitalization, and  training  in  house  man- 
ners. 

Charlie  founded  the  kennels  when  he 
discovered  his  own  backyard  was  too 
small  to  accommodate  the  twenty  dogs 
he  had  personally  acquired.  Today  there 
are  two  offshoots  of  the  original  under- 
taking. The  first  is  the  Ruggles-owned 
Terrier  Shop  in  Santa  Monica,  which  ca- 
ters to  dog  fanciers.  The  second  is  the 
daily  delivery  service  of  food  prepared 
at  the  kennels  for  pets  living  at  home. 
The  whole  set-up  is  paying  off  nicely, 
confides  Mr.  R.  And  he  also  admits  he 
enjoys  his  position  as  Hollywood's  reign- 
ing master  of  the  hounds — all  150  of  them! 

Connie  Bennett's  doing  all  right,  too, 
thank  you.  About  four  years  ago,  after 
smearing  some  extremely  costly  creams 
on  her  lovely  face,  Connie  shook  her 
head  and  said,  "Foo!  I  don't  like  this 
stuff."  And  it's  no  sooner  said  than  acted 
upon  where  Miss  Bennett's  concerned. 
Very  shortly  thereafter  she  rented  a  two- 
room  shop  in  Hollywood,  hired  a  single 
chemist  and  went  to  work  making  her 
own  cosmetics. 

TO  her  great  satisfaction,  the  result 
was  some  really  splendid  goo.  Connie 
was  so  delighted  she  loaned  her  creams 
to  a  few  friends,  and  they  were  so  de- 
lighted they  urged  her  to  commercialize 
the  venture.  In  addition  to  giving  her 
the  urge,  they  gave  her  both  financial 
aid  and  publicity,  and  pronto  the  Con- 
stance Bennett  Cosmetic  Company  was 
launched. 

Connie's  main  products  are  her  special 
face  mask,  a  cleansing  cream  and  a  tissue 
cream  which  sell  from  50c  to  $6  the  jar. 
Distribution  is  national  and  international 
through  department  and  drug  stores.  Al- 
though she  has  about  one  hundred  people 
working  for  her  in  the  considerably  ex- 
panded laboratory  and  close  to  two  hun- 
dred demonstrators  doing  promotion  and 
display  work  throughout  the  country, 
Connie  says  her  business  is  practically 
a  babe; 

Recently  Boss  Bennett  ran  a  contest 
for  the  salespeople  in  the  organization. 
Four  trips  to  the  film  capital  were  the 
prizes,  and  the  gleeful  quartet  who  won 
were  entertained  royally  with  parties  and 
trips  to  the  studios.  When  she  sent  them 
home,  they  were  rooting  for  her  two  hun- 
dred per  cent. 

Allan  Jones'  trailer  tells  his  business 
tale.  It  simply  isn't  trailing  any  more. 
Instead,  it's  been  converted  into  head- 
quarters for  the  Bollan  Stables,  a  flour- 
ishing boarding  house  for  horses  which 
is  owned  and  operated  by  Jones  and  his 
well-known  partner,  Mr.  Robert  Young. 
The  boys  accidentally  got  into  the  stable 
business  when  they  jointly  bought  a  few 
old  stalls  and  leased  the  land  attached 
thereto,  intending  to  provide  a  home  for 
their  own  mounts.  Several  friends  liked 
the  idea  and  asked  permission  to  bring 
their  horses  around  too — offering  a  finan- 
cial settlement,  of  course.  Bob  and  Allan 
said  okay,  fixed  the  priced  at  $40  a  month, 
and  in  three  months  had  the  stables  mov- 
ing along  at  a  profit! 

The  stalls  have  been  enlarged  several 
times  and  at  present  the  proprietors  are 
lodging  fifty  horses,  thirty-two  of  which 
are  paying  guests.  The  remaining  eight- 
een belong  to  the  firm  and  are  hired  out 
to  non-horse  owners  at  $1.50  for  the  first 
hour  and  $1  for  each  additional  hour. 
Clients  include  the  cream  of  the  Bel -Air  | 


MODERN  SCREEN 

PERSONAL   INTERVIEWS    WITH    THE  BEAUTIFUL 


How  Linda  Darnell's 

Beauty  Nightcap  keeps  Glamour 

in  her  skin...  Lovely  Linda  reveals  her  discovery  of  the 

Woodbury  Beauty  Nightcap  (a  night  treat- 
ment with  Woodbury  Cold  Cream)  to 

Louella  Parsons 

Famous  Movie  Columnist 


LINDA  DARNELL,  STAR  OF  20th  CENTURY-FOX  PICTURE,  "TWINKLE,  TWINKLE  LITTLE  STAR' 


li 


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I.  Linda's  a  darling!  She's  only  17,  you 
know,  and  like  a  smart  girl,  wants  to 
guard  her  beauty.  At  a  recent  luncheon 
she  met  a  skin  specialist,  quizzed  him 
about  complexion  care.  He  advised, 
"Take  a  Woodbury  Beauty  Nightcap." 


2.  "This  Beauty  Nightcap,  with  Wood- 
bury Cold  Cream,"  the  specialist  said, 
"gives  a  3 -way  service  —  cleanses,  lubri- 
cates, invigorates."  Now  Linda  gives  her 
skin  this  nightly  care,  says  a  Woodbury 
Beauty  Nightcap  keeps  a  good  skin  good! 


Woodbury  continues  where  other 
creams  leave  off 

Woodbury  Cold  Cream  gives  your 
skin  the  three-way  service  vitally 
needed  for  bedtime  beauty  care.  It 
cleanses  thoroughly.  A  special  ingre- 


dient keeps  it  germ-free.  Woodbury 
smooths  as  it  lubricates  —  its  oils  melt 
at  skin  contact.  Woodbury  invigo- 
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75 


MODERN  SCREEN 


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right  after  shaving. 

3.  Instantly  stops  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  white,  greaseless,  stainless 
vanishing  cream. 

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grow  so  fast  you  must  change  to  new  shoes  often. 
Baby  doctors  all  over  America  tell  mothers  to 
buy  Wee  Walkers,  those  CORRECT 
baby  shoes  which  cost  so  little. 
Infants'  Wear  Dept.  of  the  following 
low-profit  stores.  Birth  to  shoe  size  8. 

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Wee  WALKERS  for  the  tuee  walker 


horsy  set,  but  the  facilities  of  the  stables 
are  open  to  everyone.  Oddly  enough, 
Bollan  draws  few  tourists  though  infested 
with  big  names — so,  if  you're  ever  out 
that  way,  put  it  on  your  list! 

Victor  McLaglen's  Fresno  Ranch  is 
another  hobby  that  grew  up.  Only  eight 
months  ago,  McLaglen  bought  the  place 
with  the  idea  of  using  it  merely  as  a  re- 
treat from  picture -making,  but  gradually 
his  eyes  opened  wide  to  its  handsome 
commercial  possibilities. 

The  ranch  represents  an  investment  of 
nearly  a  quarter  of  a  million  dollars  and 
covers  740  acres,  500  of  which  are  planted 
in  crops.  When  the  last  harvest  time 
came,  Vic  realized  he  couldn't  feed  all 
the  products  of  the  land  to  the  chickens. 
Some  had  to  be  sold — and  if  the  dollars 
rolled  in,  who  was  he  to  stop  them? 

The  cropless  acres  are  used  to  graze 
cattle,  sheep,  and  hunting  and  racing 
horses.  Horse-breeding  has  long  been  a 
particular  interest  of  Vic's  and  he's  go- 
ing into  that  more  seriously,  too.  So 
seriously,  that  the  ranch  has  already  been 
expensively  ornamented  with  his  own 
private  race-track. 

Reginald  Denny  used  to  fuss  around 
with  toy  airplanes.  One  day  he  noticed 
a  lot  of  other  people  fussing  around  with 
them  too.  "Hmmm,"  said  Reggie.  "They 
gotta  buy  'em  from  someone.  Might  as 
well  be  me!"  So  he  scooped  up  $50,000 
(movie  actors  can  do  that)  and  into  busi- 
ness he  went. 

Today,  the  Reginald  Denny  Industries, 
Inc.,  enjoy  an  annual  gross  of  $150,000, 
with  an  estimated  10  per  cent  net  profit. 
And  that's  just  kid  stuff.  According  to 
Mr.  Denny,  his  retail  store  on  Hollywood 
Blvd.  and  his  factory  in  Glendale  have 
already  outgrown  the  walls  that  enclose 
them.  In  the  nearby  future  he  intends 
to  move  to  larger  quarters. 

Reggie  reports  that  department  stores, 
toy  shops  and  hobby  shops  are  his  heav- 
iest buyers,  while  his  retail  business  is 
divided  pretty  evenly  between  children 
and  adults.  About  three  hundred  planes 
are  manufactured  monthly  in  both  kit 
and  ready-built  form.  Prices  range  from 
10c  to  $100  and  shipments  are  made  to 
every  state  in  the  union  and  every  coun- 
try in  the  world. 

Not  long  ago,  a  huge  order  was  pre- 
pared for  rush  delivery  to  a  buyer  in 
British  South  Africa.  Cartons  bearing 
the  stamp  "model  airplanes"  were  care- 


fully packed  and  scooted  to  a  ship  Tor 
immediate  selling.  To  Denny's  surprise, 
the  boat's  captain  refused  to  carry  the 
cargo,  contending  that  Nazi  subs  would 
regard  it  as  sufficient  excuse  for  firing 
torpedoes!  The  shipment  was  finally  la- 
beled "toys";  the  captain  accepted  it. 

Chief  engineer  of  the  Denny  company 
is  Walter  Righter,  member  of  the  Society 
of  Automotive  Engineers  and  a  graduate 
of  the  California  Institute  of  Technology. 
He  and  Reggie  cooperate  on  developing 
new  ideas  and  last  year  turned  out  a 
radio-controlled  model  plane  that  has 
been  purchased  by  the  United  States 
Army.  Details  of  the  invention  can't  be 
secured,  since  they  are  a  deep,  dark 
government  secret. 

Denny-made  miniatures  also  include 
submarines  and  battleships,  part  of  a  new 
line  that  sprang  from  interest  in  the 
European  war,  and  model  racing  cars 
which  are  very  popular  among  the  movie 
folk.  The  cars  sell  from  $23.50  to  $100 
each,  and  have  been  run  at  a  record  speed 
of  62.23  miles  per  hour.  In  the  past  few 
months,  Eleanor  Powell,  Gary  Cooper 
and  William  Powell  were  a  few  of  the 
stars  who  ordered  these  playthings. 

OF  the  20,000  items  handled  by  the 
company,  Reggie's  pride  is  the 
Dennymite  motor,  a  one-cylinder,  two- 
cycle  miniature  airplane  engine.  He  de- 
signed it  all  by  himself. 

Dolores  Del  Rio  has  requested  that  her 
interest  in  a  Santa  Monica  pottery  shop 
be  touched  on  lightly.  Several  years  ago 
she  made  a  necessary  loan  to  the  friend 
who  runs  the  shop  and  now  receives 
dividends  on  her  original  investment. 
The  luscious  Mexican  has  taken  a  deep 
interest  in  the  store  because  it  handles 
the  art  of  her  native  country.  She  spends 
a  great  deal  of  time  there,  both  as  a  cus- 
tomer and  adviser  and,  if  she  isn't  a 
come-on  for  the  shoppers,  we'd  like  to 
know  what  would  be! 

Yes,  these  movie  people  really  know 
how  to  make  ends  meet.  But  what,  you 
ask,  is  the  secret  of  their  business  suc- 
cess? That's  easily  explained.  All  you 
do  is  dabble  with  your  favorite  hobby 
and  keep  your  mind  absolutely  free  of 
greedy  or  mercenary  thoughts.  Then, 
along  comes  Fate  and  lays  a  wreath  of 
solid  gold  at  your  feet!  After  twelve 
years  of  stamp-collecting,  we're  going  to 
sit  back  and  wait  for  the  gravy.  


Richord  Greene 
and  "Spunky" 
spend  a  quiet 
evening  at  home. 
The  twenty -five- 
year-old  Britisher 
is  currently  star- 
ring in  "I  Was  An 
Adventuress," 
opposite  Zorina. 


76 


MODERN  SCREEN 


SCOUTIN'  AROUND 
FOR  TALENT 

(Continued  from,  page  51) 


His  name  is  Bob  Prins.  We  put  him 
under  contract,  then  sent  him  back  to 
finish  out  his  senior  year.  Watch  for 
Prins." 

Scout  Baiano  hopped  to  his  swivel 
chair,  sat  down,  swiveled  a  moment  and 
went  on: 

"Actually,  though,  we  find  talent 
everywhere.  Jane  Bryan  was  found  in 
Jean  Muir's  Workshop  Theatre.  Wayne 
Morris  and  Julie  Stevens,  in  the  Pasa- 
dena Playhouse.  One  of  our  New  York 
scouts  found  Brenda  Marshall  in  a  Fed- 
eral Theatre  back  East.  Talent  is  every- 
where— tent  shows,  ribbon  counters! 
Yesterday  I  saw  a  prospect,  a  girl  at  a 
hot  dog  stand  down  by  Laguna  Beach. 
I  bought  a  hot  dog  from  her  and  en- 
gaged her  in  conversation.  I  judged  her 
personality,  the  angles  of  her  face,  her 
speech.  I  won't  stand  for  bad  English. 
If  a  girl  uses  "dese,  dem,  dose"  she's 
hopeless.  We  have  a  hard  enough  time 
teaching  newcomers  acting,  let  alone 
English. 

"There  was  Lana  Turner.  Publicity 
people  say  she  was  found  eating  lunch 
in  a  cafe  across  from  Hollywood  High. 
That's  not  true.  I  found  her  myself,  so 
I  ought  to  know.  One  day  I  went  into 
Lloyd's  Lingerie  Shop  on  Hollywood 
Boulevard  to  buy  my  wife  a  pair  of 
stockings — and  there  was  Lana  Turner. 
That's  how  and  where  she  was  found! 

"But  to  prove  that  you  never  can  tell, 
I'll  give  you  an  unusual  locale  for  my 
last  discovery.  I  dropped  in  at  the  Bliss- 
Hayden  Little  Theatre  to  catch  the  last 
act  of  a  show.  There  wasn't  anyone  on 
the  stage  I  liked.  Disinterested,  I  al- 
lowed my  gaze  to  wander  over  the 
audience.  And  there  she  was,  four  seats 
away  from  me,  two  rows  back.  She  at- 
tracted me.  After  the  show  I  made 
inquiries.  Her  name  was  Marilyn  Mer- 
rick. She  had  never  acted.  She  had  just 
signed  at  the  Bliss-Hayden,  and  would 
be  in  her  first  play  within  two  weeks. 
I  took  her  to  the  studio.  She  was  tested 
and  passed.  Now  she's  under  contract. 
And  I  found  her  in  an  audience!  Tie 
that!" 

SOLLY  BAIANO  explained  that  scouts 
brought  Warners  from  two  to  three 
hundred  "finds"  a  year.  Of  these,  per- 
haps fifty  were  screen  tested  and  about 
eight  signed  to  contracts. 

"Locating  three  hundred  prospects  is 
a  job  too  big  for  just  Mr.  Golder  and 
myself.  Consequently,  we  have  hundreds 
of  unofficial  scouts  all  over  the  nation, 
in  every  little  village  and  big  city.  All 
our  friends  and  our  relatives  are  scouts. 
A  Professor  of  Dramatics  may  give  me 
tips.  I  would  trust  him,  because  he 
understands  acting.  Or  Romain,  the  fa- 
mous photographer  in  San  Francisco, 
may  take  a  picture  of  someone,  like  it 
and  forward  the  portrait  to  me.  Inci- 
dentally, I  advise  all  our  unofficial  scouts 
to  send  pictures.  I  always  demand  four 
unretouched  pictures  at  our  expense; 
one  of  each  profile,  a  bust  and  a  full- 
length.  If  the  photos  interest  me,  I  send 
someone  or  go  myself  to  interview  the 
prospect. 

"We  discover  many  actors  and  actresses 
through  photographs.  I  saw  Linda  Win- 
ters staring  at  me  out  of  my  morning 
paper.  She  was  in  a  small  play  at  Car- 
mel,  California.  I  sent  a  man  up  to  see 
her,  and  she  clicked.  Here,  look  at  this 


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This  world-famous  lipstick 
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77 


MODERN  SCREEN 


Now 


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compare  them  with 
the  much-higher- 
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been  buying.  Geneva 
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by    new  processes — in 
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that  ourprofit-per-knife 
is  small,  our  volume  tre- 
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dime  or  hardware  store 
for  Geneva  Forge  Knives 
(see  the  Geneva  Forge  em- 
blem with  starson  the  blade) 
and  you'll  never  go  back  to 
ordinary  cutlery. 
Geneva  Forge  blades  are  furnace 
hardened  and  drawn-tempered 
stainless  steel.  Imported  Cocobolo 
handles  are  "non-staining".  Par- 
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and  slicers  25c  to  50c. 

GENEVA  FORGE,  INC. 
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clipping  on  my  desk.  It's  from  the  so- 
ciety page  of  the  Examiner.  Photo  of  a 
girl  whose  engagement  was  just  an- 
nounced. One  of  our  unofficial  scouts 
mailed  it  to  me." 

"I'll  tell  you  about  our  craziest  dis- 
covery. It  was  made  by  one  of  our 
unofficial  scouts,  my  cousin,  big  Zeke 
Bonura,  who  used  to  play  first-base  for 
the  Chicago  White  Sox.  He  wrote  me 
about  a  radio  announcer  who  was  spiel- 
ing games.  He  said  the  announcer  was 
coming  West  for  spring  training  with 
the  Cubs,  and  that  I  should  be  sure  to 
see  him.  'He's  a  real  prospect,'  wrote 
Bonura.  Well,  I  wasn't  too  sure  of 
Bcmura's  taste;  so  I  skipped  it.  One  day, 
with  nothing  else  to  do,  I  went  out  to 
see  an  exhibition  game.  The  announcer 
was  there.  Now,  as  a  rule,  I  don't  like 
radio  announcers  for  the  movies.  They 
punch  their  words  too  hard.  Their  styles 
are  choppy.  But  this  fellow  had  what  I 
like — and  now  he's  with  us,  thanks  to 
cousin  Zeke  Bonura.  The  announcer's 
name?   Oh,  you  know,  Ronald  Reagan!" 

"If  you  want  to  be  found  by  a  Warner 
Brothers  scout,  go  to  a  sizable  city,  join 
a  decent  theatre  that  you  are  positive 
isn't  a  racket  and  act  day  in  and  day 
out.  Constant  acting  will  give  you  ease 
and  naturalness.  And  if  you  have  any- 
thing, we'll  find  you — some  day!" 

AT  Metro-Goldwyn-Mayer,  in  a  bung- 
alow, I  met  the  greatest  hunter  of 
thespians  in  the  world.  Only  he  doesn't 
like  to  be  called  a  talent  scout.  "It  makes 
me  feel  like  some  Daniel  Boone  with  a 
fur  cap  and  raccoon  tail  down  the  back. 
I'm  not  only  a  scout,  but  I'm  a  doctor 
and  top-sergeant  to  talent.  I'm  an  agent 
within  these  walls,  trying  to  sell  my 
finds  to  the  producers.  I'm  a  million 
things."  He's  also  Billy  Grady,  a  word- 
punching  Irishman  with  an  encyclopedic 
mind. 

Grady,  from  behind  his  huge  fortress- 
like desk,  told  me  the  story  of  the  new 
M-G-M  sensation,  blue-eyed  Ilona  Mas- 
sey.  A  studio  scout  saw  her  in  a  Vienna 
opera.  He  promptly  sent  the  following 
cable  to  Hollywood:  "Test  Ilona  Mas- 
sey.  She's  marvelous.  She's  the  kind  of 
dame  who  would  look  naked  wearing  a 
fur  coat!" 

Ilona  Massey  came  to  the  United 
States,  to  Bill  Grady.  "She  had  every- 
thing," he  admitted.  "Looks,  voice,  per- 
sonality— and  142  pounds!  The  first 
thing  I  taught  her,  after  she  was  signed, 
was  how  to  eat.  No  more  fats,  sweets, 
European  pastries.  In  two  weeks  she 
was  down  to  126.  Then  I  taught  her 
English.  She  knew  only  two  words. 
When  she  first  came  into  my  office  and 
met  me,  she  said,  'Good-bye,'  and  when 
she  left  my  office,  she  said,  'Hello.'  That 
was  Ilona  Massey,  and  look  at  her  now, 
after  'Balalaika.' 

"You  see,  I'm  not  just  a  talent  scout. 
I've  got  to  develop  the  stars  to  the  point 
where  a  producer  will  sign  them  and  put 
them  on  a  screen.  And  incidentally, 
Ilona's  case  gives  you  a  fair  idea  of  how 
thoroughly  our  scout  department  covers 
the  world.  We  found  her,  I  remind  you, 
in  Vienna.  But  that  was  nothing.  We 
have  375  branch  offices,  or  exchanges, 
scattered  throughout  the  entire  world, 
looking  for  talent.  We  even  have  one  in 
India.  Each  of  these  exchanges  has  ten 
scouts  on  the  payroll.  We  are  not  cov- 
ering Europe  now,  because  of  the  War. 
Our  main  sources  for  new  people  are 
Hollywood  and  New  York." 

"We're  different  than  most  studios. 
We  don't  pay  attention  to  outside  tips. 
Here's  the  way  I  feel.  Only  a  master 
craftsman  can  pick  talent.  I'll  give  you 
an  idea.  You're  not  a  carpenter,  yet 
when  I  ask  you  about  the  chair  I'm 


sitting  in,  you  say  it  looks  good.  Sure. 
Because,  to  your  uneducated  eye,  this 
chair  does  look  good.  But  what's  be- 
neath the  surface?  You're  not  a  crafts- 
man, so  you  don't  know.  Bring  an 
expert  in,  a  carpenter,  and  he'll  give 
you  a  real  opinion  about  this  chair; 
The  same  with  talent  scouts.  They  are 
experts.  They  are  craftsmen,  trained  for 
their  jobs. 

"Laymen,  are  poor  judges.  They  think 
talent  consists  of  beauty.  They  can't  see 
the  intangibles — inherent  ability  and 
personality.  And  I'll  tell  you  another 
thing  about  actresses.  Don't  let  any  of 
those  books  make  you  believe  actresses 
are  developed.  No  sirree.  Actresses  are 
born,  not  made.  They  are  actresses  right 
in  the  pink  cradle,  when  they  begin  fak- 
ing tears  for  an  extra  bottle  of  milk!" 

"I  find  most  of  my  talent  in  little 
theatres.  Take  my  word,  the  little 
theatre  is  the  foundation  and  future  of 
the  movies.  In  the  old  days,  when  I 
wanted  talent,  I  covered  a  vaudeville 
show  or  visited  the  burlesque.  That's 
dead.  And  now  I  depend  on  little  thea- 
tres. They're  swell — if  they  don't  teach 
kids  to  act.  Get  me?  Little  theatres  are 
good  if  they  just  give  kids  a  chance  to  be 
natural  and  have  an  audience. 

"The  steady  school  diet  of  Shakespeare 
is  no  good.  And  too  much  diction,  word 
mouthing,  is  terrible.  When  a  girl  walks 
through  that  door  over  there,  I  can  tell 
if  she  is  good  or  bad.  If  she  gives  me 
the  old  hip  swing,  the  eye  and  that 
drama  class  affectation,  well,  she  hasn't 
a  chance,  not  with  Bill  Grady.  But  if 
she's  sincere,  natural,  regular,  I'll  over- 
look a  dozen  other  faults. 

'And  God  help  any  prospect  that  lies 
to  Billy  Grady!  I've  been  in  this  game 
forty  years.  I've  seen  every  decent  play 
there  ever  was  to  see.  I've  a  record  of 
every  one  produced,  and  covered  by 
M-G-M.  If  someone  comes  in  here  with 
a  cock-and-bull  story  about  experience 
on  Broadway,  in  such-and-such  a  show, 
four  years  ago,  well,  here's  what  I  do — " 

Billy  Grady  got  to  his  feet,  navigated 
around  his  desk  to  a  wall  case.  He 
pointed  to  rows  of  black  bound  books. 

"These  books  contain  complete  reports 
of  every  Broadway  show.  I  check  on  the 
stories  my  prospects  tell.  If  they  are 
fibbing,  out  they  go,  on  their  ears." 

THE  veteran  scout  took  one  of  the 
volumes  from  the  shelf,  brought  it 
over  to  me.    He  flipped  it  open. 

"Take  a  peek.  Here  are  our  scout 
reports  for  1933.  A  play  called  "The  Cur- 
tain Rises.'  Our  scout  calls  it,  'Lousy.' 
Here,  below,  is  a  criticism  of  every 
player.  Here,  further  down,  a  paragraph 
about  a  new  actress  named  Jean  Arthur. 
It  reads,  'The  greatest  prospect  in  years. 
She  has  what  Helen  Hayes  has.  Grab 
her.'  And  that  was  seven  years  ago!" 

"I'll  never  forget  Patsy  Kelly.  She  was 
rehearsing  a  play.  She  had  on  a  rose 
coat,  a  red  dress,  and  there  were  holes 
in  her  stockings.  Her  hair  was  a  mess. 
She  was  drinking  milk,  and  it  dribbled 
down  her  chin,  and  spilled — but  she  just 
remained  unaffectedly  nonchalant.  It 
made  an  impression. 

"There  was  Ruby  Keeler,  hoofing  in  a 
line.  She  tripped,  fell,  almost  broke  her 
neck.  Flustered?  Upset?  Naw.  She  just 
got  up,  neatly,  easily,  got  back  into  line 
and  continued.  I  admired  her  poise.  I 
found  Virginia  Grey,  in  a  Ziegfeld 
chorus.  They  were  resting  between  re- 
hearsals. Most  of  the  kids  smoked,  talked 
about  themselves,  played  poker.  Vir- 
ginia went  into  a  corner  by  her  lone- 
some and  tapped.  She  was  signed. 

"The  stand-out  discovery  in  my  mind 
was  Eleanor  Powell.  Oh,  I  can't  say  too 
much  for  her.  I  first  saw  her  in  a  mis- 


78 


MODERN  SCREEN 


erable  rehearsal  hall  in  Atlantic  City. 
She  was  practicing  new  steps,  hour  after 
hour.  When  she  was  through,  her  mother 
pulled  off  her  shoes.  The  feet  of 
Eleanor's  stockings  were  vivid  with  wet 
blood.  Yet,  the  next  morning  at  8:30, 
she  was  back  in  the  hall — practicing. 
How  can  you  help  but  notice  a  girl  like 
that? 

"People  don't  have  to  worry  about  be- 
ing found.  I  love  my  job.  I  live,  talk  and 
eat  my  job.  It's  a  religion  with  me.  I'm 
looking  for  new  people!" 

I  believed  him. 

And  later,  I  also  believed  Julius  Evans, 
the  new  talent  scout  at  RKO,  when  I 
sat  with  him  in  his  swank  office  and 
listened  to  his  soft-spoken  opinions. 

"A  talent  scout  must  be  able  to  see 
below  the  exterior,"  Julius  Evans  pointed 
out.  "He  must  have  a  great  instinct. 
When  a  boy  or  girl  with  a  smile  breezes 
into  the  room,  the  scout  must  know  if 
he  is  greeting  star  stuff.  But  he  mustn't 
depend  on  a  first  impression.  I  always 
see  a  person  two  or  three  times  before 
making  a  final  decision. 

"Why,  some  of  our  best  people  make 
terrible  initial  impressions.  I've  seen 
Helen  Hayes  as  dead  as  a  doorknob 
among  new  company.  She  was  tightened 
and  nervous.  On  a  first  impression,  she'd 
be  thrown  out  of  this  office,  but  observe, 
she's  one  of  our  greatest  stage  stars. 

"When  I  travel  and  meet  new  actors, 
I  try  to  dig  under  shy  exteriors.  And  I 
make  it  a  rule  never  to  resent  cocky 
persons.  In  fact,  I  sometimes  like  brash- 
ness.  Because  such  people,  with  obvious 
personalities  that  register  immediately, 
are  often  easiest  to  sell." 

"We  have  a  curious  system,"  he  said. 
"We  don't  work  by  ourselves,  but  with 
the  aid  of  RKO  theatre  managers.  For 
example,  the  manager  of  your  neighbor- 
hood theatre  may  be  one  of  our  scouts. 
We  welcome  and  expect  his  tips  and 
suggestions.  Sometimes  an  exhibitor  will 
finance   some   really   talented  person's 


Now  that  none  of  the  money  that  Amer- 
ican studios  have  in  England  can  be 
taken  out  of  that  country,  it  is  being  put 
into  the  production  of  films  over  there. 
Bob  Montgomery,  among  the  first  to  be 
sent  over,  is  shown  with  his  wife  en 
route  to  make  "Busman's  Honeymoon." 


Sure  to  be  "Soul  Mates"  .  your  Skin 

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MODERN  SCREEN 

trip  to  Hollywood.  More  often,  we  send 
someone  to  check  up  on  tips. 

"Between  exhibitors  and  our  depart- 
ment, we  cover  the  country.  I  am  al- 
ways impersonal  in  studying  a  new  girl. 
But  if  you  think  looking  at  beautiful 
girls  all  day  long  is  a  soft  job,  you're 
mistaken.  It's  an  awful  strain.  I  know, 
by  now,  that  beautiful  girls  are  often 
vacuous,  because  they  depend  entirely 
on  their  looks  and  don't  develop  other- 
wise. On  the  other  hand,  girls  not  too 
good-looking,  as  a  compensating  ges- 
ture, become  deeper  and  more  poised. 
I'll  take  this  type  any  day. 

"In  the  old  days,  the  movies  had  to 
have  pretty  faces.  Those  days  are  gone 
forever.  Now  a  Spencer  Tracy  or  a  Jim 
Cagney,  neither  one  pretty,  can  go  far. 
Tracy  and  Cagney  aren't  Apolloesque, 
but  they  have  manliness  and  personality 
instead.  They  need  not  be  good-looking 
or  even  highly  photogenic,  as  long  as 
they  possess  the  more  essential  assets. 

"To  find  such  people,  we  don't  go  only 
to  little  theatres.  A  star  may  be  found 
in  the  most  unbelievable  or  most  ordi- 
nary place.  And  I  don't  say  this  just 
to  be  encouraging.  I  saw  a  woman  shop- 
ping in  a  butcher  shop  once  and  had 
her  tested.  There  was  a  young  man  be- 
ing shaved  in  a  barber  shop.  He  ap- 
pealed to  me  and  was  tested." 

JULIUS  EVANS  was  reminded  of  a  re- 
cent discovery  in  an  unusual  place. 
In  his  own  office!  It  seemed  a  woman 
named  Harrington  from  Detroit  was 
visiting  in  Hollywood  with  her  little 
daughter.  She  had  a  letter  to  a  producer 
at  RKO,  and  to  get  rid  of  her,  the  pro- 
ducer turned  Mrs.  Harrington  over  to 
Julius  Evans. 

"She  came  in  one  morning  with  her 
daughter,"  recalled  Evans.  "The  little 
daughter,  Mary  Lou,  was  a  bad  imitation 
of  Shirley  Temple,  even  to  curls  and 
gestures.  I  was  about  to  dismiss  her, 
when  something  occurred  to  me.  I  told 
her  mother  to  leave  the  room,  then  I 
said,  'Listen,  Mary  Lou,  take  your  curls 
and  pull  them  back  over  your  ears, 
tightly.  Now  I  know  your  mother  and 
family  told  you  a  lot  of  things  to  say 
and  to  do.  Forget  them.  Just  come  here 
and  talk  to  me." 


"After  ten  minutes,  sans  curls  and—af- 
fectation, she  was  marvelous.  You'll  see 
her  with  Cary  Grant  and  Irene  Dunne 
in  'My  Favorite  Wife.'  It  illustrates  how 
important  naturalness  is." 

The  RKO  scout  emphasized  good  pos- 
ture, proper  breathing  and  better  dic- 
tion. He  claimed  that  recent  discoveries 
like  Linda  Hayes,  an  ex-hat  check  girl, 
and  Helene  Whitney,  of  the  Reynolds  to- 
bacco millions,  had  these  strong  points. 

"To  be  found  by  a  talent  scout,"  he 
advised,  "you  must  have  strength  deep 
within  yourself.  You  must  be  sincerely 
charming  and  popular,  first  with  family, 
then  with  relatives,  then  with  friends 
and  outsiders.  Thus  your  sphere  of  in- 
fluence will  grow,  more  and  more,  until 
Hollywood  recognition  will  come.  Obtain 
a  qualified  coach.  Not  one  who  has  read 
a  book  on  dramatics  and  set  up  a  school, 
but  a  reliable  coach.  And  if  you  are  too 
poor  for  even  this,  don't  be  discouraged. 
Start  your  own  local  play  group.  No- 
body may  hear  of  it  for  awhile.  But  one 
day,  I  may  be  in  your  audience,  and 
RKO  may  want  you!" 

And  so,  after  seeing  Solly  Baiano,  Billy 
Grady  and  Julius  Evans,  I  learned  one 
thing:  That  Hollywood  has  the  most  de- 
cent and  efficient  men  in  the  world  look- 
ing for  people  to  act  in  its  pictures.  And 
I  learned  that  Hollywood  is  anxious  to 
have  its  human  bloodhounds  run  you 
down,  stop  you,  and  date  you — -for  star- 
dom. Billy  Grady  spends  a  million  dol- 
lars a  year  and  hires  3,750  men  to  watch 
for  you. 

No,  you  don't  have  to  worry  about  be- 
ing found.  If  you've  got  the  stuff,  your 
day  will  come,  maybe  tomorrow,  maybe 
one  year  from  tomorrow.  Billy  Grady 
is  sure  of  that.  But  he's  not  sure  of 
what'll  happen  to  you  after  you  get  a 
contract.  That's  why  he  has  that  sign 
hanging  over  his  desk.  Myrna  Loy, 
Clark  Gable  and  Joan  Crawford  have  all 
read  that  sign.  It  says:  "A  halo  has  only 
to  fall  a  few  inches  to  become  a  noose." 

EDITOR'S  NOTE:  After  you've  been 
"discovered"  by  a  talent  scout,  what 
happens  next?  Where  do  you  go  from 
there?  You'll  find  the  answer  in  the 
second  article  of  this  informative  series. 
It  will  appear  in  the  May  Modern  Screen. 


Director  Ruggles 
can't  decide 
whether  to  let 
Fred  MacMur- 
ray,  right,  or  Mel- 
vyn  Douglas  get 
the  girl  in  the 
final  fadeout  of 
"Too  Many  Hus- 
bands." We  think 
pistols  for  two, 
instead  of  books, 
would  be  more 
appropriate  — 
with  Jean  Arthur 
the  lady  in  the 
case. 


f  <©     HAIR  OIL 

Md»M9»  &  Scalp  Conditioner 
HOLLYWOOD,  CALIFORNIA 


MODERN  SCREEN 


MOVIE  REVIEWS 

(Continued  from  page  15) 


*★  Green  Hell 

Take  a  steaming  equatorial  jungle  in- 
habited by  six  perspiring  males  and  into 
this  masculine  background  introduce,  not 
just  a  woman;  which  would  be  illogical 
enough,  but  Joan  Bennett,  which  is  go- 
ing too  far,  and  you  might  have  some- 
thing on  the  order  of  Universal's  "Green 
Hell." 

-  The  boys  are  looking  for  Inca  ruins 
and  gold,  but  what  they  actually  uncover 
is  one  of  the  most  inexhaustible  bonanzas 
of  banality,  both  in  situation  and  dia- 
logue, since  the  invention  of  the  cinema. 
Your  worst  expectations  are  borne  out 
when  Miss  Bennett  is  borne  in  on  a 
stretcher,  looking  both  feverish  and 
glamorous — that  is  to  say,  running  more 
of  a  temperament  than  a  temperature. 
And  after  that,  it's  romantic  Douglas 
Fairbanks,  Jr.,  against  a  field  of  five 
predatory  males. 

Did  we  say  that  "Green  Hell"  is  a 
veritable  heaven  for  the  cliche  hunter? 
Following  is  an  incomplete  list:  When 
George  Sanders  brings  white  orchids 
from  the  jungle  and  lays  them  at  the 
Bennett  shrine,  Doug,  Jr.,  cattily  ob- 
serves to  Alan  Hale,  the  elderly  and 
therefore  practically  neutral  prospector- 
archaeologist:  "Don't  you  think  Forrester 
is  being  just  a  bit  obvious?"  Then,  look- 
ing out  soulfully  at  the  excavations  in 
the  moonlight  (she's  supposed  to  be  in 
mourning  for  a  dead  husband) ,  Miss  Ben- 
nett murmurs,  in  voice  that  would  make 
even  an  archaeologist  shiver:  "It  muse  be 
fascinating  digging  in  those  ruins,  not 
knowing  what  you  may  find." 

And  finally,  when  the  drums  start 
throbbing  in  the  jungle,  like  a  sinister 
pulse,  old  Doc  Alan  Hale  takes  the  Grand 
Prix  in  the  bromide  sweepstakes  by  ex- 
claiming: "That  means  we're  in  for  it!" 
At  this  point  only  the  most  intrepid 
tropical  hellion  is  going  to  be  able  to 
resist  the  cowardly  impulse  to  call  to- 
gether his  beaters  and  gunbearers  and 
start  making  his  way  laboriously  over 
intervening  knees  and  laps  back  to  civili- 
zation. Directed  by  James  Whale. — 
Universal. 

Brother  Rat  and  a  Baby 

"Brother  Rat  and  a  Baby"  is  a  post- 
graduate "Brother  Rat."  It  is  a  con- 
tinuation of  those  light-hearted  and  ami- 
able characters  who  seemed  to  be  pretty 
well  concluded  in  the  original  opus, 
which  dealt  with  the  academic  and  amor- 
ous tribulations  of  cadets  at  Virginia 
Military  Institute.  Here  is  Wayne  Mor- 
ris again  as  Billy  Randolph,  ostensibly  in 
business  with  his  father,  but  still  emo- 
tionally unsettled,  owing  to  the  disturb- 
ing Southern  charm  of  Priscilla  Lane.  He 
is  still  plagued  by  his  unparalleled  gift 
for  getting  himself  and  his  school  friends 
into  complicated  jams.  And  here  is  Eddie 
Albert  as  the  slightly  vacant  but  end- 
lessly likeable  "Bing"  Edwards,  with 
Jane  Bryan  as  his  mouse-like  wife. 
Their  son,  "Commencement,"  played  by 
a  new  baby  star,  Peter  B.  Good,  is  a 
winning  young  gentleman,  a  veritable 
Orson  Welles  of  infants. 

Making  the  best  of  a  tough  assignment 
— something  like  a  surgeon,  repeating  an 
operation  in  the  same  vital  spot,  as  an 
encore — the  authors  have  scraped  the 
bottom  of  the  idea-bin  and  have  come 
up  with  very  thin  fare.  Essentially,  the 
plot  is  nothing  but  a  series  of  embarass- 


Love's  Wisdom -keep  your  HANDS 
SOFT  AND  SATIN -SMOOTH 


Have  coaxing  soft  "Hollywood  Hands"! 
Masculine  hearts  are  wax  to  their 
caressing  touch. 

Even  the  snappiest  cold,  and  constant 
use  of  water,  can't  roughen  and  coarsen 
your  pretty  hands  if  you  use  Jergens  Lotion 
regularly.  Jergens  furnishes  beautifying 
moisture  for  your  skin;  supplements  de- 
pleted natural  moisture. 
Helps  guard  the  delightful  soft 
smoothness  of  your  hands. 

Many  doctors  use  2  fine  in- 
gredients to  help  smooth  and 
soften  harsh,  roughened  skin. 
Both  these  ingredients  are  in 


FOR  SOFT,  ADORABLE  HANDS 

For  satin-smooth^  kissable  complexion — 
use  the  new  Jergens  Face  Cream. 
Cleanses  expertly,  swiftly.  Vitamin  Blend 
helps  vitalize  drab,  dry  skin.  500,25c,  100. 


(Popular 
Hollywood 
Star) 


this  famous  Jergens  Lotion.  Apply  Jergens 
after  every  handwashing. 

Smooth  on  well  on  wrists  and  finger  tips. 
Takes  no  time!  Leaves  no  stickiness !  Jergens 
soon  helps  you  have  hands  whose  soft  touch 
thrills!  Start  now  to  use  Jergens  Lotion. 
50tf,  25tf,  I0t— $1.00,  at  beauty  counters. 
Get  Jergens  Lotion  today,  sure. 


More  women  use 
Jergens  nowadays 
than  any  other  Lo- 
tion. It's  so  effec- 
tive for  lovable  soft 
hands!  Easy  to  use! 
Never  feels  sticky. 


TREE!  PURSE-SIZE  BOTTLE 


(Paste  coupon  on  a  penny  postcard,  if  you  wish) 
See — at  our  expense — how  Jergens  Lotion  helps  you 
have  adorable,  soft  hands.  Mail  this  coupon  today  to: 
The  Andrew  Jergens  Co.,  3714  Alfred  St.,  Cincinnati, 
Ohio.  (In  Canada:  Perth,  Ont.) 


Name- 
Street- 
City— 


Stale- 


81 


MODERN  SCREEN 


EASY  FOR 
TOTHER 


Lhebje  is  nothing  new  about  Sani- 
Flush.  It  has  been  used  for  28  years 
to  do  this  job.  It  is  still  the  easiest  and 
best  known  way  to  keep  toilet  bowls 
sparkling  clean  and  sanitary. 

Use  Sani-Flush  twice  a  week.  Don't 
scrub  or  scour.  Don't  even  touch  the 
bowl  with  your  hands !  Sani-Flush 
does  the  work  for  you.  Rust,  stains 
and  incrustations  vanish.  Sani-Flush 
even  cleans  the  hidden  trap.  Cannot 
injure  plumbing  connections.  (It  is 
also  effective  for  cleaning  out  auto- 
mobile radiators.)  See  directions  on 
can.  Sold  by  grocery,  drug,  hardware 
and  5-and-10c  stores.  10c  and  25c 
sizes.  The  Hygienic  Products  Com- 
pany, Canton,  Ohio. 


Sam-Flush 

CLEANS  TOILET  BOWLS 
WITHOUT  SCOURING 


GIVE  YOUR  LAZY 

LIVER  THIS 
GENTLE  "NUDGE" 

Follow  Noted  Ohio  Doctor's  Advice 
To  Feel  "Tip-Top"  In  Morning! 

If  liver  bile  doesn't  flow  freely  every  day  into 
your  intestines — constipation  with  its  head- 
aches and  that  "half-alive"  feeling  often  result. 
So  step  up  that  liver  bile  and  see  how  much 
better  you  should  feel!  Just  try  Dr.  Edwards' 
Olive  Tablets  used  so  successfully  for  years  by 
Dr.  F.  M.  Edwards  for  his  patients  with  con- 
stipation and  sluggish  liver  bile. 

Olive  Tablets  being  purely  vegetable,  are  won- 
derful! They  not  only  stimulate  bile  flow  to 
help  digest  fatty  foods  but  also  help  elimina- 
tion.  Get  a  box  TODAY.  15^,  30j^  and  60j. 

mn 

The  new  sensation  in  men's  shoes  — 
The  Chippewa  Clipper.  It  zips  on  and 
off  in  a  "jiffy".  Right  now  is  the  right 
time  to  get  into  a  dignified  and  highly 
profitable  shoe  business  of  your  own 
with  this  fast  seller,  and  a  complete  line  of  almost 
250  styles  of  dress,  work  and  sports  shoes.  Prices 
as  low  as  SI  98  a  pair.  Free  10-second  demon- 
strator  sells  super-comfort  air-cushion 
shoes  like  magic. 

Manufacturer  established  35  years 
wants  salesmen.  No  experience  needed. 
Write  for  complete  sales  kit.  It's  free! 

MASON  SHOE  MANUFACTURING  CO. 

X?epL  H-0.  Chippewa  Falls,  Wiscoosin 


ing  contretemps  into  which  Wayne  (who 
is  getting  too  unjuvenile  looking  to  be- 
have like  that)  precipitates  everybody 
while  trying  to  promote  the  job  of  head 
coach  at  the  old  Alma  Mater  for  his 
friend,  Albert. 

The  sequel  is  hardly  to  be  compared 
in  comical  effectiveness  with  its  prede- 
cessor, in  which  a  baby  was  merely 
threatened.  Indeed,  whether  you  con- 
sider its  forced  and  synthetic  situations 
comical  at  all  will  be  largely  a  matter 
of  individual  taste  and  of  immediate 
background  in  the  field  of  boisterous, 
post-prep-school  humor.  The  final  ver- 
dict might  range  all  the  way  from  hi- 
larious, if  you've  been  in  seclusion  lately, 
to  unbeasably  dull,  if  you're  exception- 
ally blase.  Directed  by  Ray  Enright. — 
Warner  Brothers. 

**  He  Married  His  Wife 

At  the  beginning  of  the  picture,  Nancy 
Kelly  has  just  divorced  Joel  McCrea  be- 
cause of  his  fondness  for  horses.  They 
are  supposedly  through  with  each  other, 
until  Nancy  has  Joel  thrown  into  jail 
for  not  paying  the  alimony  on  time.  Be- 
cause she's  really  still  in  love  with  him, 
she  bails  him  out  and  he  gets  busy  fig- 
uring out  a  way  to  get  her  married  to 
another  man  so  that  he  can  escape  the 
alimony  checks. 

The  men  that  enter  into  the  story  at 
this  point  are  Lyle  Talbot  and  Cesar 
Romero,  both  carrying  on  a  campaign 
to  win  the  fair  Nancy.  Joel  is  helping 
them  with  the  aid  of  his  lawyer,  Roland 
Young.  Mary  Boland  is  doing  all  she 
can  to  help,  too,  by  inviting  the  entire 
group  out  to  her  country  estate.  The 
action  from  there  on  is  fast  and  furious. 
There's  lots  of  hilarity  and  screwy  com- 
edy, so  if  you  feel  like  having  a  laugh, 
look  up  "He  Married  His  Wife."  Di- 
rected by  Roy  Del  Ruth. — 20th  Century- 
Fox. 

itit  Invisible  Stripes 

If  you  like  George  Raft  in  a  convict 
role,  then  "Invisible  Stripes"  is  your  pic- 
ture. He  is  discharged  from  Sing  Sing 
and  headed  home  to  his  family.  When  he 
gets  home,  he  discovers  all  the  problems 
that  face  an  ex -convict. 

When  his  kid  brother,  who  is  strug- 
gling to  collect  enough  money  to  marry 
Jane  Bryan,  almost  strays  into  a  career 
of  crime,  Raft  goes  back  to  his  old  gang 
to  collect  enough  money  for  his  family 
to  have  the  things  they  want.  He  suc- 
ceeds but  pays  with  his  life.  Humphrey 
Bogart  as  his  cynical  and  very  crooked 
partner  in  crime  is  excellent.  But  the 
supporting  roles  are  overshadowed  com- 
pletely by  the  fine  characterization 
turned  in  by  Flora  Robson  as  the  mother 
of  Raft  and  Holden.  Other  members  of 
the  cast  are  Margot  Stevenson,  Paul 
Kelly,  Lee  Patrick,  Henry  O'Neill, 
Frankie  Thomas  and  Moroni  Olsen.  Di- 
rected by  Lloyd  Bacon. — Warner  Bros. 

ifk  The  Invisible  Man  Returns 

Guaranteed  to  scare  the  living  day- 
lights out  of  you,  "The  Invisible  Man 
Returns"  provides  a  field  day  for  thrill 
seekers.  This  time  the  plot  concerns  a 
titled  Englishman,  Vincent  Price,  who  is 
about  to  be  hung  for  the  murder  of  his 
brother.  Nan  Grey,  his  fiancee,  and 
John  Sutton,  his  best  friend,  try  every- 
thing in  their  power  to  prove  his  inno- 
cence, and  finally  resort  to  the  use  of 
some  mysterious  fluid  which  makes 
Price  invisible.  The  hero  fades  from 
the  picture,  to  the  delight  of  the  audi- 
ence and  the  complete  mystification  of 


Scotland  Yard.  From  then  on,  the  plot 
is  a  series  of  escapades,  some  as  horrible 
as  can  be  imagined,  others  hilarious. 
The  complicating  factor  is  this:  Unless 
an  antidote  is  discovered,  Price  will  go 
completely  mad. 

In  the  cast,  all  give  good  accounts  of 
themselves — almost  too  convincing  in 
spots.  Sir  Cedric  Hardwicke  is  note- 
worthy in  a  supporting  role.  Special 
mention  should  be  given  the  trick  pho- 
tography. Directed  by  Joe  May. — Uni- 
versal. 

itit  Adventure  In  Diamonds 

The  South  African  locale  of  this  pic- 
ture gives  it  a  special  appeal.  The  beau- 
tiful-at-times  Isa  Miranda  is  one  of  those 
mysterious  and  glamorous  diamond 
thieves.  Her  accomplice  in  crime  is  John 
Loder.  Together  they  baffle  the  mine 
owners,  the  police  and  George  Brent. 

Brent  is  a  friend  of  Nigel  Bruce,  head 
of  the  local  police,  who  asks  Brent's  aid 
in  capturing  the  ring  of  experts.  Since 
Brent  has  already  fallen  for  the  bewitch- 
ing Miranda,  he  agrees  to  trap  her  friends 
and  free  her  from  their  clutches.  He 
fulfils  his  promise  and  succeeds  in  win- 
ning the  affections  of  Miss  Miranda. 

Story  action,  the  really  interesting  in- 
formation on  diamond  mining,  Nigel 
Bruce  and  George  Brent  give  the  pic- 
ture enough  sparkle  to  make  it  pleasant 
entertainment.  Directed  by  George  Fitz- 
maurice. — Paramount. 

Music  In  My  Heart 

Tony  Martin's  singing  and  Andre  Kos- 
telanetz's  conducting  make  "Music  in  My 
Heart"  worthwhile.  There  are  several 
lilting  tunes  that  will  probably  enjoy 
great  popularity. 

The  story  doesn't  make  much  sense 
or  a  lot  of  difference.  Martin  is  headed 
for  the  boat  docks  and  deportation  from 
the  United  States  when  his  taxi  collides 
with  another  taxi  carrying  Rita  Hay- 
worth  to  the  same  boat  where  she  was 
supposed  to  meet  her  intended  husband. 
They  miss  the  boat,  but  don't  miss  fall- 
ing in  love.  And  believe  it  or  not,  the 
jilted  millionaire  goes  big-hearted  and 
fixes  everything  up  for  the  happy 
couple. 

In  the  supporting  cast,  George  Tobias 
does  the  best  work  among  names  that 
include  Edith  Fellows,  Alan  Mowbray, 
Eric  Blore  and  Joseph  Crehan.  Directed 
by  Joseph  Santley. — Columbia. 

Nick  Carter,  Master 
Detective 

Who-dun-it  fans  of  the  horse  and 
buggy  era  will  gasp  in  amazement  at  the 
streamlined  Nick  Carter.  Walter  Pidgeon 
is  a  smooth  detective  and  the  plot  is 
every  bit  as  exciting  as  the  old  dime 
novel  thrillers. 

The  story  opens  and  closes  with  fast 
chases  over  land  and  ocean,  and  when 
Nick  Carter  climbs  into  an  airplane  to 
capture  the  robbers,  his  modernization 
is  complete.  The  mystery  concerns  for- 
eign spies  bent  on  stealing  plans  for  a 
new  type  wing  for  airplanes.  When  de- 
signs for  planes  are  stolen  right  from 
the  factory,  Nick  Carter  sets  to  work 
to  trap  the  clever  smugglers. 

Donald  Meek  as  Bartholomew,  the  Bee 
Man,  succeeds  in  stealing  nearly  every 
scene  in  which  he  appears.  He  helps 
Carter  capture  the  villains  and  sees  to  it 
that  Rita  Johnson  gets  Carter.  Good 
support  is  offered  also  by  Henry  Hull, 
Stanley  C.  Ridges  and  Addison  Richards. 
Directed  by  Jacques  Tourneur. — Metro- 
Goldwyn-Mayer. 


82 


(Continued  from  page  65) 


NAME 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

YEAR 

FAVORITE 
SPORT 

HOBBY 

So1  ADDRESS 

Ebsen,  Buddy 

Dancer 

Broadway  Melody  of 
1936 

1935 

Rowing 

Carpentry 

TCF 

Home — 10360  Rochester 
Ave.,  Beverly  Hills 

Eddy,  Nelson 

Advertising  copy- 
writer 

Dancing  Lady 

1933 

Baseball 

Sculpture 

M  GM 

Home— 805  N.  Alpine, 
Beverly  Hills 

Eilers,  Sally 

Dancer 

Goodbye  Kiss 

1929 

Dancing 

Breeding  Scotties 

RKO 

Home— 609  N.  Maple, 
Beverly  Hills 

Ellison,  James 

Film  Vault  Boy 

Play  Girl 

1935 

Riding 

Raising  Horses 

RKO 

Studio— 780  Gower  St., 
Hollywood 

Erikson,  Leif 

Stage  Actor 

Wanderer  of  Waste- 
land 

1935 

Football 

Collecting  Minia- 
ture Steamships 

P 

Studio— 5451  Marathon 
Street,  Hollywood 

Ernest,  George 

Student 

Human  Side 

1934 

Hockey 

Collecting  Minia- 
ture Elec.  Trains 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Erwin,  Stuart 

Reporter 

Mother  Knows  Best 

1928 

Golf 

Raising  Thorough- 
breds 

TCF 

Home— 603  N.  Foothill 
Drive,  Beverly  Hills 

Fairbanks, 
Douglas 

Writer 

Stephen  Steps  Out 

1927 

Tennis 

Writing  Magazine 
Articles 

RKO 

Home— 1425  Monoco  Dr., 
Pacific  Palisades 

Farmer,  Frances 

Student 

Too  Many  Parents 

1936 

Swimming 

Collecting  Old 
Jewelry 

P 

Studio— 5451  Marathon 
Street,  Hollywood 

Faye,  Alice 

Chorus  Girl 

Scandals 

1934 

Bicycling 

None 

TCF 

Home— 1100  Benedict 
Canyon  Dr.,  Beverly 
Hills 

Fazenda,  Louise 

Chorus  Girl 

The  Bat 

1926 

Hiking 

Stamp  Collecting 

W  B 

Studio — First  National 
Studios,  Burbank 

Fellows,  Edith 

Student 

Madame  X 

1929 

Roller  Skat 
ing 

"Doll  Collecting 

c 

Studio— 1438  N.  Gower 
St.,  Hollywood 

Field,  Betty 

Stage  Actress 

What  a  Life 

1939 

Riding 

Raising  Dogs 

P 

Studio— 5451  Marathon 
Street,  Hollywood 

Field,  Virginia 

Student 

The  Lady  Is  Willing 

1934 

Tennis 

Collecting  Lucky 
Charms 

c 

Studio— 1438  N.  Gower 
St.,  Hollywood 

Fields,  W.  C. 

Juggler 

Sally  of  the  Sawdust 

1925 

Fishing 

Juggling 

u 

Studio — Universal  City, 
Cal. 

Fitzgerald, 
Geraldine 

Stage  Actress 

Dark  Victory 

1939 

Golf 

Painting 

WB 

Studio — First  National 
Studios,  Burbank 

Flynn,  Errol 

Boxer 

Mutiny  on  the  Bounty 

1935 

Sailing 

Writing  Novels 

WB 

Home— 601  N.  Linden, 
Beverly  Hills 

Fonda,  Henry 

Scene  Painter 

Farmer  Takes  a  Wife 

1935 

Handball 

Making  Airplane 
Models 

TCF 

Home — 255  Rockingham 
Ave.,  Brentwood  Hts. 

(Continued  on 

page  85) 

PEPSI  ^ 

PETE 

^    THE   PEPSI-COLA  COPS| 

Champion  Guest  Greeter 

When  it  comes  to  making  guests 
feel  at  home,  Pepsi-Cola  is  tops. 
It's  the  bigger  drink  with  the 
better  flavor.  Buy  the  economical 
6-bottle  home  carton  and  give 
your  guests  a  real  welcome. 

 1 

If  your  dealer  cannot  supply  you, 
fill  in  his  name  and  address  and 
mail  to  Dept.  E2,  Pepsi-Cola  Co., 
Long  Island  City,  N.  Y. 


BIG  BIG  BOTTLE 


Dealer's  Name  . 
Address  


I     City  State . 


83 


MODERN  SCREEN 


/fc/eati/ng  house 
gets  wearisome 

try  F/ovorJbiMS 
cfe/icious  gum 

Tired?  Jittery?  Take  the  time  to 
refresh  and  rest  yourself  with 
Beech-Nut  Gum.  Six  delicious 
kinds.  Peppermint,  Spearmint, 
Oralgum  and  3  flavors  of  candy- 
coated  BEECHIES:  Peppermint, 
Spearmint,  Pepsin.  Below  is  the 
"flavor"  town  of  Canajoharie, 
N.  Y.,  famous  for  Beech-Nut 
quality  and  flavor. 


Beech-Nut 
Gum 


SHY  BUT  SLY 

(Continued  from  page  27) 


He  felt  uncomfortable  with  girls,  so  he 
thought  they  must  feel  uncomfortable 
with  him.  Particularly  when  they  talked 
all  the  time  about  handsome  movie  stars, 
and  he  bent  down  to  look  in  his  mirror 
and  saw  no  reason  to  hope  he  could  ever 
be  in  the  movie-star  class.  He  didn't 
think  much  of  his  face. 

It  was  at  that  time  that  he  decided 
to  become  a  writer.  Nobody  reading 
a  story  cared  whether  the  author  was 
tall  or  short,  fat  or  thin,  handsome  or 
homely. 

His  father,  a  tall  man,  remembered 
suffering  similar  growing  pains  until  he 
went  to  college  and  learned  how  to 
handle  himself.  Amused,  but  sympathet- 
ic, he  cut  short  the  mortifications  of 
high  school  for  Jimmy,  and  sent  him  off 
to  a  boys'  school,  Mercersburg  Academy. 

JIMMY  felt  more  natural  there.  It  was 
a  bigger  school,  and  made  him  feel 
smaller.  And  the  absence  of  girls  helped. 
Among  fellows,  a  fellow's  size  didn't 
matter  much.  All  that  mattered  was 
whether  or  not  he  was  a  good  sport. 
Jimmy  had  no  trouble  being  that. 

At  Mercersburg,  there  was  an  English 
teacher  named  Cass,  who  thought  Jimmy 
ought  to  be  able  to  act.  His  essays 
showed  imagination,  and  he  could  read 
well.  All  he  needed  was  confidence. 
Cass  drafted  him  for  a  school  play. 
Jimmy  managed  to  get  on  and  off  the 
stage  without  stumbling  over  anything. 
But  Jimmy  wasn't  sure  he  could  do  it 
over  again. 

He  went  to  Princeton  because  his 
father  had  gone  there.  He  chose  to  study 
architecture  because  by  that  time  he 
thought  any  talents  he  had  for  self- 
expression  ran  to  drawing,  something  a 
man  could  do  in  private. 

Jimmy  wasn't  a  misfit  at  Princeton. 
He  wasn't  a  recluse  or  a  grind.  He  got 
out  with  the  boys.  After  the  normal 
manner  of  a  Princeton  man,  he  wore 
baggy  slacks,  sport  jackets  and  loud 
socks.  And  he  did  the  normal  Prince- 
ton things,  including  trying  to  steal  the 
clapper  of  the  bell.  (There  is  a  legend 
that,  any  day  the  bell  doesn't  ring,  there 
will  be  no  classes.) 

The  only  thing  he  didn't  do  was  to 
chase  proms.  He  still  felt  awkward  with 
girls.  Determined  to  conquer  self-con- 
sciousness at  any  cost,  he  took  up 
the  accordion.  That  he  still  plays  it — 
and  the  flute  besides — is  all  the  proof 
anyone  should  need  that  he  can't  be  as 
shy  a-  he  looks. 

A  determination  not  to  be  self-con- 
scious was  what  led  him  onto  the  stage 
at  Princeton.  That,  plus  the  fact  that 
every  year  the  Triangle  Club  took  its 
show  on  tour  to  nearby  cities.  Jimmy 
was  always  in  the  market  for  anything 
that  might  take  him  to  New  York.  It 
is  worth  noting  that  Jimmy  wasn't 
terrified  by  New  York,  which  has  a  repu- 
tation for  scaring  the  shy. 

For  a  time,  his  roommate  at  Princeton, 
was  Joshua  Logan,  who  was  a  class 
ahead  of  him.  Josh,  terrifically  sold  on 
"the  theatre,"  became  a  stage  director 
upon  graduation.  It  was  lucky  for 
Jimmy  that  they  kept  in  touch  with  each 
other. 

Jimmy  was  one  of  those  unfortunates 
who  graduated  from  college  at  the  height 
of  the  depression.  Architects  were  lay- 
ing off  old  assistants,  not  taking  on  new 
ones.  Logan  urged  him  to  come  up  to 
West  Falmouth,  Massachusetts  for  the 
summer,  and  work  with  the  stock  com- 


pany under  Logan's  management.  To 
keep  from  going  back  to  Indiana  job- 
less, Jimmy  grabbed  at  the  chance. 

The  company  operated  a  tearoom  in 
connection  with  the  theatre.  Jimmy 
earned  his  keep  by  playing  the  accordion 
in  the  tearoom.  In  his  leisure  time  he 
painted  scenery  and  listened  to  Logan, 
Henry  Fonda,  Margaret  Sullavan  and 
other  fellow-workers  expound  on  the  art 
of  acting.  He  was  a  good  listener.  He 
took  in  what  they  said.  They  said  that 
they  weren't  going  to  stop  being  healthy, 
wide-open  normal  people,  when  they 
became  actors;  they  were  going  to  be  so 
natural  that  no  one  could  tell  where  nat- 
uralness left  off  and  acting  began. 

A  New  York  producer  came  along  with 
a  play  for  the  company  to  try  out.  There 
was  one  part  left  over — that  of  a  chauf- 
feur, with  eight  lines  to  speak.  They 
gave  it  to  Jimmy.  Came  Fall,  and  the 
producer  wanted  to  take  the  company  to 
New  York  for  the  Broadway  production. 
Jimmy  went  along  "for  the  ride"  and 
because  the  eight-line  role  would  keep 
him  fed  while  he  looked  some  more  for 
architectural  work. 

When  architects  still  couldn't  use  him, 
Jimmy  began  to  wonder  if  he  could 
make  a  career  of  the  stage.  He  had  won 
his  first  role  completely  by  accident.  He 
couldn't  rely  on  any  more  chance  hap- 
penings. If  he  hoped  to  get  producers  to 
buy  his  services,  he  had  to  have  some- 
thing they  could  use. 

What  did  he  have  to  offer?  (1)  An  ac- 
cordion. (2)  A  sober  sort  of  face,  not 
handsome.  (3)  A  physique  like  a  bean- 
pole. (4)  A  general  aspect  of  boyish  in- 
experience. (5)  A  habit  of  looking  self- 
conscious,  even  when  he  felt  sure  of 
himself. 

He  looked  about  him  at  other  juven- 
iles. They  were  sleek  boys,  self-pos- 
sessed. He  could  try  to  be  like  them,  or 
he  could  try  to  make  good  on  the  West 
Falmouth  theory  of  homely  naturalness. 
He  had  his  choice.  He  chose  the  West 
Falmouth  technique.  He  was  smart 
enough  to  see  that  it  would  give  him 
something  that  no  one  else  had — if  he 
could  fit  his  mannerisms  and  his  way  of 
talking  to  the  impression  he  gave. 

He  submerged  the  sophisticate  that  he 
had  become,  and  let  the  small-town  boy 
that  he  had  been  emerge  again.  Cir- 
cumstances abetted  him.  He  didn't  be- 
come prosperous  of  a  sudden.  He  starved. 
He  had  simple  habits  forced  upon  him. 
So  much  so  that  those  habits  became 
natural. 

HE  won  a  certain  amount  of  success  on 
Broadway,  but  it  was  in  Holly- 
wood that  he  came  into  his  own.  Seem- 
ing naturalness  is  rare  in  Hollywood,  but 
seeming  self- consciousness  is  even  rarer. 
Hollywood  is  dedicated  to  the  greater 
glory  of  self-sure  heroes.  Hollywood 
had  Jimmy  neatly  tagged  for  weakling 
parts.  Remember  his  roles  in  "Rose 
Marie"  and  "After  the  Thin  Man?"  But 
fans  took  an  unexpected  liking  to  him, 
because  he  reminded  them  of  the  boy 
next  door. 

That  is  now  the  press  agents'  favorite 
phrase  about  Jimmy,  "He's  like  the  boy 
next  door."  And  so  he  is,  in  a  great 
many  ways.  But  he  isn't  self-conscious, 
except  about  being  seen  in  a  bathing 
suit.  And  he  isn't  shy. 

He  achieves  the   effect   of  self-con- 
sciousness   by    a    simple  method — he 
doesn't  show  off.    He  lives  in  a  modest 
house  in  a  modest  district.    He  doesn't 
(Continued  on  page  86) 


84 


(Continued  from  page  83) 


MODERN  SCREEN 


NAME 

PREVIOUS 

FIRST  FEATURE- 
LENGTH  MOVIE 

LbllM  i  n     III  V  «  1  b 

YEAR 

FAVORITE 
SPORT 

HOBBY 

PsjS  address 

Fontaine,  Joan 

Student 

Quality  Street 

1936 

Swimming 

Print  Drawing 

RKO 

Home— 700  N.  Linden, 
Beverly  Hills 

Foran,  Dick 

Railroad 
Investigator 

Stand  Up  and  Cheer 

1934 

Riding 

Raising  Horses 

WB 

Studio — First  National 
Studios,  Burbank 

Foster,  Preston 

Reporter 

Last  Mile 

1932 

Polo 

Collecting  RecordsU 

Studio — Universal  City, 
Cal. 

Francis,  Kay 

Social  Secretary 

Gentlemen  of  the 
Press 

1929 

Tennis 

Knitting 

RKO 

Home — 8341  Delongpre, 
Hollywood 

Gaal,  Franciska 

Musical  Comedy 
Star 

The  Buccaneer 

1937 

Hunting 

None 

P 

Studio — 5451  Marathon 
Street,  Hollywood 

Gable,  Clark 

Factory  Time- 
keeper 

What  Price  Glory 

1926 

Fishing 

Taxidermy 

MGM 

Home — 4525  Petit, 
Encino 

Garbo,  Greta 

Saleslady 

The  Torrent 

1926 

Swimming 

Giving  Musicals 

MGM 

Home — 165  Mayberry, 
Santa  Monica 

Garfield,  John 

Stage  Actor 

Four  Daughters 

1938 

Baseball 

Debating 

WB 

Studio — First  National 
Studios,  Burbank 

Gargan,  William 

Private  Detective 

Animal  Kingdom 

1932 

Boxing 

Collecting  Minia- 
ture Sailboats 

U 

Studio — Universal  City, 
Cal. 

Garland,  Judy 

Student 

Broadway  Melody  oi 
1938 

1937 

Swimming 

Designing  Floral 
Decorations 

MGM 

Home— 1298  Stone  Can- 
yon Dr.,  Bel-Air 

Garson,  Greer 

Office  Worker 

Goodbye,  Mr.  Chips 

1939 

Basketball 

Knitting 

MGM  Studio— Culver  City,  Cal. 

Gaynor,  Janet 

Theatre  Usher 

The  Johnstown  Flood 

1925 

Riding 

Designing  Cos- 
tume Jewelry 

U  A 

Home— 10424  Valley 
Spring  Lane,  No. 
Hollywood 

George,  Gladys 

Dancer  , 

Red  Hot  Dollars 

1920 

Football 

Dancing 

WB 

Studio — First  National 
Studios,  Burbank 

Gleason,  James 

Writer 

A  Free  Soul 

1931 

Ice  Hockey  Horse  Raising 

RP 

Home— 807  Alpine  Dr., 
Beverly  Hills 

Gleason,  Russell 

Student 

Flying  Fool 

1929 

Handball 

Flying 

RP 

Studio— 4024  Radford 
Ave.,  N.  Hollywood 

Goddard,  Paulette  Model 

A  Kid  from  Spain 

1932 

Golf 

Designing  Minia- 
ture Sets 

U  A 

Home— 1085  Summit  Dr., 
Beverly  Hills 

Grable,  Betty 

Student 

Hold  'Em  Jail 

1932 

Tennis 

Dancing 

P 

Home — 250  Chadbourne, 
Brentwood 

Grant,  Cary 

Acrobat 

This  Is  the  Night 

1932 

Riding 

Performing  Card 
Tricks 

C 

Home — 1018  Ocean 
Front,  Santa  Monica 

Granville,  Bonita 

Student 

Westward  Passage 

Swimming 

Collecting  Ivory 
Elephants 

MGM  Studio— Culver  City,  Cal. 

(Continued  on 

page  87) 

/A/ a  iady  mm  a  past/  \ 


WHXJUST  A  FEW  MONTHS  A60... 


DONT  RUB  IT  IN,  SUE!  OF  COURSE  m 
I  HAVEN'T  A  BID  TO  THE  CLUB  1 
DANCE. YOU  KNOW  PERFECTLY  WELL  J 
WHAT  A  DUD  I  AM  « — sSaeL... — -/ 
WITH  THE  BOYS! 


AMY*  CHECKS  UP. 


COLGATE'S  COMBATS  BAD  BREATH 
.MAKES  TEETH  SPARKLE/ 


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helps  your  toothbrush 
clean  out  decaying 
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saliva  odors  that  cause  much  bad 
breath.  And  Colgate's  safe  polish- 
ing agent  makes  teeth  naturally 
bright  and  sparkling!  Always  use 
Colgate  Dental  Cream — regularly 
and  frequently.  No  other  dentifrice 
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85 


MODERN  SCREEN 


^  How  to  Get  ^ 

FASTER  SPARKLE 

^  with  less  work^5 


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with  the  ONE -TWO 
CLEANING  AC- 
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cause it's  made  with  Seismo- 
tite.  It  is  kind  to  hands,  too. 
Order  a  supply  today. 


WM.  A.  ROGERS  PURE  SILVERPLATE 

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This  beautiful  piece  of  silverware  is 
perfect  for  the  correct  serving  of  cakes, 
pies,  brick  ice  cream  and  salads.  You'll 
be  delighted  with  the  rich  "Croydon" 
pattern,  the  handsome  hollow  handle 
and  the  sparkling  Mirror  Stainless 
Steel  blade.  Actual  size  9%  inches  long. 
Ideal  for  gifts.  Send  coupon  today. 


i     Order  as  many  of  these  Servers  as  you  wish. 
HV      Each  Server  requires  only  60c  [7oc  in  Canada] 
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86 


In  in  II   S  find  C*' 


(Continued 

drive  a  flashy  car.  His  socks  are 
still  loud,  but  otherwise  he  doesn't  dress 
in  a  bizarre  fashion.  His  collars  invari- 
ably look  as  if  his  mother  had  ironed 
them.  And  he  has  been  known  to  wear 
one  suit  three  years.  He  doesn't  try  to 
look  like  a  movie  star.  He  doesn't  call 
new  feminine  acquaintances  "honey"  or 
"darling."  He  never  talks  about  money. 
He  has  to  be  urged  to  talk  about  him- 
self and  then  humorously  belittles  him- 
self. 

He  doesn't  go  out  of  his  way  to  at- 
tract attention.  In  college  he  studied 
psychology.  And  one  of  the  elemental 
lessons  in  psychology  is  that,  in  a  shout- 
ing throng,  the  silent  person  attracts  at- 
tention. 

Between  scenes,  he  doesn't  duck  for 
his  dressing-room  and  its  privacy.  He 


from  page  84) 

mingles  with  everybody  on  the  set.  He 
eats  in  the  studio  commissary,  never  by 
himself.  He  isn't  nervous  at  work. 
Everybody  else  may  "blow  up,"  but  he 
is  sure  of  his  lines.  He  likes  radio  work, 
which  is  a  form  of  torture  to  self-con- 
scious people. 

In  his  pictures,  he  is  invariably  a  one- 
girl  boy.  Once  he  finds  a  lovable  com- 
panion who  seems  to  prefer  him,  he 
doesn't  wander  off  in  search  of  others. 
But  Jimmy,  in  person,  is  close  to  being  a 
one-man  Hollywood  escort  bureau.  He 
doesn't  go  out  with  pretty  beginners, 
who  would  be  easily  dazzled  by  him. 
He  calls  up  glamour  queens — the  Norma 
Shearers,  the  Loretta  Youngs,  the  Mar- 
lene  Dietrichs  and  Olivia  de  Havillands. 

If  he  isn't  married  yet,  it  must  be  be- 
cause of  slyness,  not  because  of  shyness. 


CASHING  IN  ON  NATURALNESS 

(Continued  from  page  47) 


notes,  we  see  that  we  were  sufficiently 
impressed  by  this  fact  to  underscore  it. 
However,  the  important  thing  was  that 
for  the  first  time  in  our  life,  there  we 
were,  contemplating  that  world-girdling 
Ameche  grin,  not  merely  in  close-up, 
but  in  person.  It  is  a  fine,  expansive, 
generous  grin — a  grin  which  we  can  only 
describe  as  that  of  a  well-fed  Cheshire 
cat,  with  a  good  sense  of  professional 
timing.  And  if  it  has  a  certain  compla- 
cency, we  attribute  that  to  the  fact  that 
its  owner  is  the  father  of  a  bona-fide 
family,  instead  of  one  of  those  synthetic 
adopted  broods  which  are  all  the  rage 
in  Hollywood  these  days,  like  snoods, 
Technicolor  and  Orson  Welles. 

The  three  Ameche  boys  are  Donny, 
who  is  six;  Ronny,  who  is  four;  and 
Tommy,  a  newcomer,  who  is  just  five 
months  old.  Their  mother,  Mrs.  Dominic 
Felix  Amici,  if  you  want  to  be  formal — 
was  born  Honore  Prendergast,  and  was 
Don's  boyhood  sweetheart  back  in  Du- 
buque, Iowa,  where  Don  went  to  school. 
The  Ameches  have  been  married  for 
seven  years,  and  though  that  falls  short 
of  the  Hollywood  record,  it  is  still  worthy 
of  mention  in  this  day  and  age.  Inciden- 
tally, rumor  has  it  that  Don  is  one  of 
the  most  attentive  husbands  in  Holly- 
wood among  those  who  are  most  atten- 
tive to  their  own  wives,  though  we  hate 
to  repeat  gossip. 

WE  wish  to  note  here  that  Don 
shakes  hands  firmly  but  not  too 
athletically,  and  we  are  also  happy  to 
report  that  in  a  room  flowing  with  ten- 
year-old  Scotch,  he  ordered  a  glass  of 
milk,  and  ordered  it  quietly,  apparently 
because  he  really  likes  milk.  Moreover, 
we  sat  there  and  watched  to  make  sure 
that  he  drank  it  down;  we  never  let  a 
screen  star  get  away  with  just  ordering 
a  glass  of  milk.  Needless  to  add,  this  is 
a  habit  which,  if  persisted  in,  can  hardly 
break  down  his  health.  But  the  chances 
of  any  kind  of  a  breakdown  in  Don's 
case  appear  to  be  very  slim  indeed,  un- 
less it  might  be  a  fashionable  nervous 
one  brought  on  by  overwork. 

It  appears  that  a  scant  three  months 
before  our  meeting  in  Manhattan,  Don 
had  been  a  far  different  man  from  the 
smiling,  rosy-cheeked,  bright-eyed  boy 
whom  we  looked  upon  that  afternoon. 
The  strain  of  too  many  labors,  taking 
its  gradual  toll,  had  reduced  him  to  the 
appearance  of  a  man  in  a  patent- 
medicine  advertisement:  haggard,  hol- 
low-eyed, rundown,  sallow.   The  symp- 


toms were  obvious  to  everybody  except, 
of  course,  to  Don  himself.  In  fact,  Don 
would  have  gone  right  on,  blindly  mak- 
ing pictures,  playing  assorted  dialect 
parts  and  singing  duets  or  engaging  in 
witty  repartee  with  Dorothy  Lamour  and 
other  glamour  girls  on  the  radio,  if  his 
studio  had  not  paternally  stepped  in, 
and  ordered  him  to  take  three  months 
off,  whether  he  liked  it  or  not. 

Rudely  torn  from  his  beloved  drug, 
poor  Don  was  like  a  caged  beast  for  the 
first  two  or  three  days.  Indeed,  during 
the  early  adjustment  period,  it  was 
feared  that  they  might  have  to  break 
him  of  work  gradually,  starting  with  a 
few  milligrams  of  leisure  at  a  time  and 
carefully  increasing  the  dose  till  he  could 
stand  a  whole  day  of  loafing.  But  the 
studio,  which  has  no  provisions  for  such 
cases,  insisted  on  a  clean  break,  and  that 
was  probably  the  saving  of  Don.  When 
it  was  put  to  him  like  that,  on  the  basis 
of  loyalty  to  old  Twentieth  Century-Fox, 
he  sternly  buckled  down  to  doing  noth- 
ing until  he  had  mastered  the  art. 

P)ON  AMECHE  stiU  plugs  faithfully 
*S  away  at  a  professional  career 
which  began  suddenly  twelve  years  ago. 
At  that  time,  recommended  by  his  col- 
lege dramatic  coach,  he  stepped  into  a 
part  in  "Excess  Baggage"  vacated  by  an 
injured  member  of  a  stock  company 
playing  in  Madison,  Wis.  Given  twenty 
"sides,"  or  pages  of  dialogue  to  learn  at 
noon,  Don  played  a  3  o'clock  matinee 
without  a  slip-up  and  when  the  man- 
ager offered  him  the  part  for  the  dura- 
tion of  the  play's  run,  Don  "chucked  his 
law  books  out  the  window." 

Since  that  fateful  day,  Don  has  been 
a  man  in  love  with  his  work.  That  is 
why,  although  he  obediently  went  and 
shot  at  small  game  in  the  High  Sierras, 
as  his  studio  had  ordered,  dutifully  took 
one  of  those  cruises  to  South  America 
(the  shortest  one  he  could  find)  and 
meekly  haunted  the  blistered  shores  of 
the  Salton  Sea,  he  never  really  learned 
to  like  what  his  Italian  forefathers  would 
call  "dolce  far  niente."  In  fact  the  only 
consideration  which  seems  to  have  en- 
abled him  to  stand  up  under  the  strain 
of  relaxing  over  such  a  prolonged  period 
was  the  comforting  thought  that  when 
he  finally  did  return  to  work,  it  would 
be  with  a  new  spring  in  his  step,  a  new 
gleam  in  his  eye,  and  an  increased  effi- 
ciency. 

Now,  Ameche  is  back  again  at  his 
old  vice:  working  too  hard  and  liking  it. 


MODERN  SCREEN 


(Continued  from  page  85) 


tlHIVlC 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

yc  AD 
1  CHn 

FAVORITE 
SPORT 

harry         PRESENT  AnnRFCC 

flUDDI                 STUDIO  MUUnCdO 

Gravet,  Fernand 

Stage  Actor 

King  and  the  Chorus 
Girl 

1937 

Fencing 

MlnfatSls1^11113"^  G  M  Studio-Culver  City,  Cal. 

Greene,  Richard 

Stage  Actor  (in 
England) 

Four  Men  and  a 
Prayer 

1938 

Badminton 

None                    T  C  F 

Studio— Box  No.  900, 
Beverly  Hills 

Grey,  Nan 

Student 

Firebird 

1935 

Dancing 

Drawing  U 

Studio — Universal  City, 
Cal. 

Gurie,  Sigrid 

Stage  Actress  (in 
Norway) 

Adventures  of  Marco 
Polo 

1936 

Ping  Pong 

Crocheting  U 

Studio — Universal  City, 
Cal. 

Hale,  Alan 

Stage  Actor 

Cowboy  and  the  Lady 

1922 

Riding  . 

Inventing              W  B 

Studio — First  National 
Studios,  Burbank 

Hall,  Jon 

Student 

Hurricane 

1937 

Swimming 

Magic                   U  A 

Studio — 1041  N.  Formosa 
Ave.,  N.  Hollywood 

Hardwicke, 
Sir  Cedric 

Stage  Actor 

Dreyfus 

1931 

Golf 

Manuscript  Col-  tj 
lecting 

Studio — Universal  City, 
Cal. 

Hardy,  Oliver 

Stage  Actor 

The  Rogue  Song 

1928 

Golf 

Horse  Breeding     U  A 

Home — 621  Alta  Drive, 
Beverly  Hills 

Hayward,  Louis 

Stage  Actor 

The  Flame  Within 

1935 

Tennis 

Directing  Amateur  tj  ^ 
Groups 

Studio — 1041  N.  Formosa 
Ave.,  N.  Hollywood 

Hayward,  Susan 

Model 

Beau  Geste 

1939 

Hiking 

Collecting  Dolls  P 

Studio — 5451  Marathon 
Street,  Hollywood 

Hayworth,  Rita 

Dancer 

Dante's  Inferno 

1935 

Dancing 

Writing  Poetry  C 

Studio — 1438  N.  Gower 
St.,  Hollywood 

Heifetz,  Jascha 

Musician 

They  Shall  Have 
Music 

1939 

Riding 

Composing            U  A 

Studio — 1041  N.  Formosa 
Ave.,  N.  Hollywood 

Henie,  Sonja 

Professional 
Skater 

One  m  a  Million 

1935 

CM  :  •  — 

Skiing 

Designing  Jewelry  T  C  F 

Home — 10451  BaLagio 
Rd.,  Beverly  Hills 

Henry,  William 

Stage  Manager 

Adorable 

1933 

Football 

Book  Collecting  P 

Studio— 5451  Marathon 
Street,  Hollywood 

Herbert,  Hugh 

Vaudevillian 

Goodbye  Again 

1927 

case  bail 

Raising  Livestock  U 

Home— 12321  Moorpark, 
North  Hollywood 

Hersholt,  Jean 

Stage  Actor 

Girl  on  the  Barge 

1929 

Fishing 

Collecting  First     -d  v  r\ 
Editions  RKO 

Home— 612  N.  Rodeo  Dr., 
Beverly  Hills 

STUDIO  ADDRESSES:  (C)  Columbia,  1438  N.  Gower  St.,  Hollywood,  Cal;  (MGM)  Metro-Goldwyn-Mayer,  Culver  City, 
Cal.;  (M)  Monogram,  4516  Sunset  Blvd.,  Hollywood,  Cal.;  (P)  Paramount,  5451  Marathon  St.,  Hollywood,  Cal.;  (R)  Re- 
public, 4024  Radford  Ave.,  N.  Hollywood,  Cal.;  (RKO)  RKO-Radio,  780  Gower  St.,  Hollywood,  Cal;  (TCF)  20th  Century- 
Fox,  Box  No.  900,  Beverly  Hills,  Cal.;  (UA)  United  Artists,  1041  N.  Formosa  Ave.,  Hollywood,  Cal.;  (U)  Universal,  Uni- 
versal City,  Cal.;  (WB)  Warner  Bros.,  First  National  Studios,  Burbank,  Cal. 

WATCH  FOR  THE  SECOND  HALF  OF  THIS  INTIMATE  CHART!    IT  WILL  APPEAR  IN  THE  MAY  ISSUE 


CLARE  POCKMAN,  SENIOR  AT  SKIDMORE  COLLEGE,  SAYS: 


Tito's  (mmmwwi  iw  tfcaf 
wwcLriM.  vtoWat  lock  I 


AND  IT'S  YOURS  WITH  THIS  FACE  POWDER 
YOU  CHOOSE  BY  THE  COLOR  OF  YOUR  EYES! 


Women  have  learned  that  there  is 
no  allure  more  universal  than  the 
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87 


HAJW,  YOU  EVER 
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MODERN  SCREEN 


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FOR 


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OF  MOUSE  AND  MEN 

(Continued  from  page  38) 


TISSUE 
STRONGER .  MORE  ABSORBENT 


TRY  OUR  NEW 

SITROUX 

BEAUTY  CREAMS 


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BUY  SITROUX  CREAMS  WHERE 
YOU  BUY  SITROUX  TISSUES 


I've  made  a  lot  of  plans  in  my  time,  but 
they've  never  worked  out." 

She  recalled  the  day  she  took  it  on 
the  lam  from  Manhattan's  P.  S.  84.  She 
had  absorbed  all  the  arithmetic  she  could 
stand  and  was  committing  a  sin  known 
to  all  young  spitball  hurlers  as  "playing 
hookey."  The  truant  officer  searched  all 
the  haunts  of  Manhattan's  roughneck 
West  Side,  but  he  never  thought  of  look- 
ing for  her  on  the  stage  of  the  Capitol 
Theater,  which  is  where  she  had  landed. 

"I  had  it  in  my  blood,  I  guess,"  she 
says.  "I  wanted  to  be  on  the  stage.  I 
didn't  care  how  I  got  there  or  what  I 
did  after  I  got  there,  just  as  long  as 
I  was  on  it.  Well,  Chester  Hale  needed 
dancing  girls,  and  there  I  was." 

FROM  this  simple,  pointless,  thirteen- 
year-old  start  Alice  Faye  soared  to 
her  present  heights  as  one  of  Hollywood's 
first  ten  attractions. 

She  didn't  climb.  She  didn't  plan. 
Things  just  happened — and  she  soared. 

She  worked  at  the  Capitol  for  about 
two  years;  then  she  passed  through  the 
night  club  stages  to  become  a  chorine  in 
George  White's  Scandals. 

"I  was  in  Atlantic  City  when  it  opened. 
Let's  see,  there  was  quite  a  cast;  Willie 
and  Eugene  Howard,  Everett  Marshall, 
Ethel  Merman,  Rudy  Vallee  .  .  . 

"I've  never  told  anyone  how  I  first 
shifted  from  dancing  to  singing.  It  was 
all  by  accident.  Rudy  Vallee's  lawyer, 
Hymie  Bushel,  gave  a  party  for  the  cast 
when  we  came  to  New  York.  He  had 
just  bought  one  of  those  home-recording 
machines,  and  he  made  records  of  every 
girl  at  the  party  singing  a  song.  When 
he  played  the  records  back  Rudy  was 
listening.  One  of  them  interested  him 
above  all  the  others.  It  was  mine. 

"So  I  took  voice  lessons  and  joined  the 
Vallee  band  at  the  Hollywood  Restaurant 
and  sang  on  the  air.  After  that  Rudy 
took  me  to  Hollywood  with  the  band  to 
make  a  picture  of  the  Scandals.  It  was 
Rudy  who  arranged  for  me  to  sing  'Nasty 


Man.'  Then  I  was  offered  a  movie  con- 
tract by  Mr.  Zanuck,  and  I  don't  know 
any  man  who  would  have  done  what 
Rudy  did.  He  tore  up  my  contract  with 
him  so  that  I  could  sign  one  with  Twen- 
tieth Century-Fox  and  he  wished  me 
all  the  luck  in  the  world." 

It  is  ironic  and  it  sort  of  illustrates 
Miss  Faye's  no-plan  philosophy,  that 
while  Rudy  Vallee  strove  and  spent  for- 
tunes trying  to  be  a  movie  actor,  the 
little  songstress  in  his  band  slid  into  the 
industry's  top  brackets. 

At  first  Hollywood  cast  her  almost 
solely  in  singing  roles,  but  Miss  Faye 
has  come  a  long  way  since  then.  Her 
films  provide  plenty  of  evidence  of  her 
acting  worth  and  of  the  long  hours  she 
has  spent  under  the  kliegs.  And  if  you 
don't  think  Mr.  Zanuck  got  his  money 
back  on  his  investment,  then  the  poll 
for  the  biggest  box-office  money-making 
stars  of  1939  is  wasted  paper,  because  it 
places  Miss  Faye  seventh. 

Though  an  Academy  "Oscar"  seems 
nowhere  within  Miss  Faye's  reach  at  the 
moment,  she  blandly  admits  that  she 
would  like  to  win  one  some  time,  if  it 
were  only  to  prove  to  her  own  quiet 
satisfaction  that  she  can  act  and  that 
the  happenings  of  the  last  few  years  are 
not  a  dream. 

All  this  reads  like  such  a  rapid,  easy 
and  early  success.  Dispel  the  impres- 
sion. Think  of  a  cute  little  Tenth  Avenue 
kid  with  a  lot  of  talent.  All  Tenth 
Avenue  kids  with  talent  seem  to  have  a 
lot  of  relatives,  particularly  when  they 
are  making  money,  and  Alice  Faye  is 
no  exception.  It  would  take  a  comptom- 
eter to  figure  out  the  "pals"  who  climbed 
aboard  her  starwagon  for  a  free  ride 
when  Miss  Faye  started  toward  success. 
And  it  took  a  lot  of  work  to  feed  them. 

"I  want  to  be  successful,"  she  declares. 
"Perhaps  it's  because  I  want  to  submerge 
this  shyness.  Or  maybe  it's  because  I 
like  to  work.  But  I  never  mind  it  greatly 
when  my  vacation  plans  are  killed,  as 
they  always  are.  When  Mr.  Zanuck  calls 


Hi  ya,  Duchess! 
This  lovely  bit  of 
nobility  is  Helen 
Gilbert  who  plays 
the  Duchess 
Diana  in  "Flor- 
ian"  opposite 
Robert  Young.  A 
newcomer  to 
stardom,  Helen 
used  to  be  the 
only  woman  cel- 
list in  a  large 
studio  symphony 
orchestra.  She 
never  aspired  to 
movie-fame,  but 
was  invited,  no 
less,  to  sign  a 
contract.  Her 
greatest  hope  is 
one  day  to  play 
in  Carnegie  Hall. 


MODERN  SCREEN 


me  for  a  picture  I  am  all  on  edge  and 
bubbling  over  with  gratitude.  I  feel  that 
the  only  way  I  can  thank  him  is  to 
plunge  into  the  part  and  work  like  a 
ditch-digger  to  make  good." 

She  has  made  good,  and  apparently 
taken  care  of  all  her  "pals"  because,  to 
date,  blackmail  seems  to  be  the  one 
misery  Alice  Faye  has  been  spared.  She 
has  been  hit  by  swinging  booms  and  fall- 
ing lamps  in  the  making  of  pictures. 
She  has  had  ptomaine  poisoning,  la 
grippe,  nervous  indigestion,  influenza, 
and  falls  down  staircases,  and  has  taken 
her  banging  around  on  the  lot  with  pa- 
tient resignation. 

"You  see,  there  isn't  much  that  any- 
body can  do  to  me  that  will  really  mat- 
ter, so  much  has  happened  already," 
Miss  Faye  reminds,  though  she  will  ad- 
mit without  any  reluctance  that  a  certain 
New  York  movie  critic  can  get  her  as 
"mad  as  all  hell." 

"I  don't  know  what  he  has  against  me 
— unless  he  was  there  the  day  I  spotted 
the  mouse.  Anyway,  I'd  like  to  meet 
him  some  time." 

She  says  she  ducked  the  parties  at  the 
studio  this  year  in  order  to  be  with  her 
husband,  who  was  working  in  New  York. 
It  was  the  longest  stretch  they  had  had 
together  since  their  marriage  in  1937, 
and  the  way  they  made  eyes  at  one 
another  on  their  few  prowls  in  the  night 
clubs  ought  to  cancel  divorce  rumors  for 
some  time  to  come. 

"It  was  a  swell  trip  this  time,  except 
that  I  got  the  usual  cold.  But  it  served 
as  a  good  excuse  to  stay  home  and  rest. 
We  don't  have  much  of  a  married  life, 
I  guess,  the  way  things  on  both  of  our 
schedules  get  jammed  up,  but  every 
now  and  then  we  have  a  real  time  of 
it  together. 

Despite  her  isolation  both  in  New  York 


Jane  Withers  turns  her  back  on  Gene 
Autry,  her  co-star  in  "Shooting  Highf 
—  but  just  for  an  autograph!  She 
collects    them    by    the  dozens. 


and  in  Hollywood,  it  is  considered  self- 
imposed  and  unimportant  at  the  studio. 
Other  stars  love  to  pass  the  time  of  day 
with  her,  and  among  the  minor  charac- 
ters at  the  studio  she  is  nothing  short 
of  a  goddess. 

She  was  pleased  with  the  prospect  of 
getting  back  to  work  the  day  she  left 
New  York.  The  weather  was  bad  here, 
but  on  top  of  that  there  is  always  the 
friendly  nonsense  around  the  studio,  at 
which  she  is  rather  adept.  She  still  has 
a  score  to  settle  with  Don  Ameche.  It 
started  a  few  months  back  with  his  per- 
fuming her  dressing  room  with  garlic — 
split  and  rubbed  on  the  walls  and 
furniture. 

"Then,  too,  there  is  always  the  refresh- 
ing thought  of  getting  up  at  five  again 
every  morning.  Ah,"  she  sighs  in  mock 
delight.  "Ah,  and  getting  my  hair  done 
every  morning  before  nine.  And  then 
rushing  into  the  arms  of  some  leading 
man  for  a  terrific  love  scene  at  nine  in 
the  morning.  Ah  nuts.  There  are  times 
when  I've  sat  back  and  wondered  what 
life  might  have  been  if  I  had  finished 
school  and  taken  up  typing.  How  simple 
everything  would  have  been. 

"No  reporters,  no  getting  fitted  for  cor- 
sets for  Lillian  Russell  until  you  choke 
and  your  eyes  pop  out,  no  autograph 
hunters.  .  .  .  Ooogod!" 

Something  occurred  to  Miss  Faye  quite 
suddenly.  She  remembered  that  her 
maid  had  sat  up  at  the  window  the  night 
before  when  Nancy  Kelly,  who  also 
stops  at  the  Sherry-Netherlands,  was 
coming  home.  It  was  freezing,  but  Miss 
Kelly  obliged  about  fifty  autograph 
collectors. 

"I  guess  I'd  better  get  my  little  pencil 
and  go  out  on  the  corner  and  do  my  bit 
for  Twentieth  Century-Fox,"  was  her 
parting  shot. 


jWHos  on  the  Oufslvifh  my  Husboni 

1...BUT  THE  DIME*  STORE  SETTLED  OUR  PROBLEM 


A  complete  line:  36x6  size,  ready  to  attach  to 
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roller  with  washable  oil  finish:  Clopay  Fab- 
Tex — 29c;  Clopay  Lintone -Washable  —  35c; 
Fabray  Pique — 45c.  Some  items  slightly  higher 
.   Denver  and  West. 


THANKS  TO  CLOPAY,  WE  WON'T  QUARREL 
OVER  WINDOW  SHADE  COSTS  AGAIN! 

VI/THEN  I  told  Joe  you  could  get  at- 
^*  tractive  Clopay  window  shades 
for  as  little  as  10c,  he  said:  'That's  the 
greatest  bargain  news  yet! '  But  the  big- 
gest surprise  was  when  I  showed  him 
the  lovely,  washable  Clopays  I  bought 
.  .  .  for  our  sunroom  that  gets  so  much 
dust .  .  .  for  only  3  5c.  How  I  bless 
the  day  I  discovered  that  complete 
Clopay  window  shade  department  at 
the  dime*  store.  It  saved  me  dollars!" 

CLOPAY  Shades' 


*BUY  WINDOW  SHADES 
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89 


MODERN  SCREEN 


I1FI1IITII1  DESK 

 am 


HINT  from  HOLLYWOOD! 


geraldine  Fitzgerald,  featured  in  Warner 
Bros,  picture  "WE  SHALL  MEET  AGAIN"—  with 
make-up  by  Perc  Westmore. 

Your  Best  Beauty  Moments 
Can  Last  All  Day! 

WESTMORE  FOUNDATION 
CREAM  instantly  gives  that 
smooth,  velvety,  alluring  look 
.  .  .  lasts  all  day!  Created  by 
Hollywood's  famous  make-up 
men,  the  Westmores.  Now  at  a 
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size,  each  50tf.  At  variety  stores,  25 tf. 

SEND  FOR  Perc  Westmore's  Make-Up 
Guide  — has  measuring  wheel  to  tell 
you  your  face  type.  Gives  make-up 
rules  used  by  the  Hollywood  star  of 
your  type.  If  not  on  sale  near  you, 
send  25t'  to  House  of  Westmore,  Inc., 
Dept.  B-4,  730  Fifth  Ave.,  N.  Y.  C. 


*Westmoreu 

HOLLYWOOD 


Use  Oatmeal 
to  cleanse 

OILY 
SKIN 


m 


Use  Lavena,  for  a  few  days  in- 
stead of  soap  or  cream  for  Oily 
Skin.  See  how  much  better  your 
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and  specially  processed  for  reg- 
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Get  Lavena  at  leading  10c  stores. 
For  free  information  write 
Lavena  Corporation,  Dept.  109, 
141  W.  Jackson,  Chicago. 


n  iw)  n  a  OATMEAL 

a  ire  n  a  SKin  cleanser 


NO 
DULL 
DRAB 
HAIR 

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4.  Helps  keep  hair  neatly  in  place. 
Lovalon  does  not  dye  or  bleach.  It  is  a 
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LLOVALON®, 


Note:  If  you  desire  a  reply  by  mail,  send 
a  stamped,  self-addressed  envelope  to 
Information  Desk,  Modern  Screen,  149 
Madison  Avenue,  New  York,  New  York. 

lames  Packard,  Chicago,  111.  Judy  Gar- 
land is  getting  to  be  a  big  girl.  She  is 
five  feet  three  and  weighs  one  hundred 
and  ten  pounds.  Her  eyes  are  brown 
and  sparkling  and  her  hair  is  brown  too, 
with  reddish  glints.  As  for  her  likes 
and  dislikes:  She  loves  the  "funnies"  and 
particularly  "Little  Orphan  Annie,"  all 
forms  of  sports,  even  baseball,  chocolate 
cake  and  ice  cream,  flowers,  mountains, 
and  the  color  green.  She  doesn't  like 
onions,  two-faced  people,  getting  up  in 
the  morning,  and  thunderstorms. 

Carole  Choitz.  Chicago,  HI.  Billy  Halop, 
the  Terrible  "Tommy"  of  the  Dead  End 
gang,  is  seventeen  and  hails  from  Ja- 
maica, Long  Island.  His  father  is  a  law- 
yer and  his  mother  used  to  be  a  dancer. 
It  was  she  who  taught  him  all  he  knows 
and  who  started  him  off  as  a  radio 
prodigy  when  he  was  six.  She  fancied 
him  a  pocket-edition  of  the  great  Caruso, 
and  for  a  long  while  Billy  sang  over 
station  WOR.  Later,  he  played  the  part 
of  Bobby  Benson,  the  hard-riding  little 
cowboy  on  a  certain  network.  He  also 
appeared  with  Colonel  Johnson's  Rodeo 
at  Madison  Square  Garden.  He  went  to 
Hollywood  at  Goldwyn's  bidding  and  has 
proved  himself  an  actor  of  no  mean 
ability.  His  hobbies  are  mechanics, 
horseback-riding  and  tennis.  He  also 
likes  coffee  and  girls,  especially  Judy 
Garland  and  Helen  Parrish. 

Scotty,  Jackson,  Michigan.  The  boy  who 
played  the  part  of  Carlos,  Movita's 
brother  in  "The  Girl  From  Rio"  is  A]  an 
Baldwin.  You  and  your  friends  can 
reach  him  at  Monogram  Studios,  4516 
Sunset  Boulevard,  Hollywood,  Calif. 

Virginia  lones,  Columbus,  Ohio.  Yes,  that 
was  Gene  Reynolds  playing  the  part  of 
Robert  Taylor  as  a  little  boy  in  "The 
Crowd  Roars."  He  did  his  own  singing 
too.  This  little  man  has  one  of  the  most 
publicized  faces  in  the  country,  having 


appeared  since  he  was  two  on  health 
food  and  milk  advertisements.  He  is  just 
fifteen,  and  is  hazel-eyed  and  brown- 
haired.  Gene  claims  that  his  Scotch- 
Irish  -  Dutch  -  German  -  French  ances- 
try makes  him  Ail-American. 

Matt  Helreich.  Philadelphia,  Pa.  You  will 
find  pictures  galore  of  "darling  Betty 
Grable"  and  also  a  few  good  stories  about 
her  in  the  August,  1938,  issue  of  Modern 
Screen.  Write  to  the  Subscription  De- 
partment, Dell  Publishing  Co.,  149  Madi- 
son Avenue,  New  York  City,  inclosing 
ten  cents,  and  it  will  be  sent  to  you. 
Susan  Hayward  is  twenty-one  years  old 
and  is  something  of  a  miracle  woman,  in 
that  she  landed  the  leading  feminine 
role  in  "Beau  Geste,"  without  having  had 
one  bit  of  movie  experience.  She  was 
seriously  considered  for  the  part  of 
Scarlett  O'Hara,  but  was  eventually  rele- 
gated to  the  ranks  of  also-rans,  in  such 
good  company  as  Jean  Arthur  and  Nor- 
ma Shearer.  She  used  to  be  a  textile 
designer  and  more  recently  a  model.  She 
hails  from  Brooklyn  and  is  the  second 
Brooklyn  redhead  to  make  good  out 
Hollywood  way.  The  first  was  Clara 
Bow. 

George  Catcott,  Rockford,  Illinois.  Your 
idea  of  what  a  "movie-still'  is  is  quite 
correct.  It  is  a  scene  from  a  movie, 
about  eight  by  ten  inches  in  size.  You 
may  obtain  one  from  a  studio  by  send- 
ing them  ten  cents  per  still. 

Dora  Monday,  Fouke,  Arkansas.  William 
Boyd  was  born  in  Cambridge,  Ohio,  on 
June  5,  1898.  He  is  six  feet  tall,  weighs 
one  hundred  and  eighty  pounds,  and  has 
blonde  hair  and  blue  eyes.  He  is  di- 
vorced from  his  first  two  wives  and  is 
now  married  to  Grace  Bradley.  He  has 
not  been  temperamental  since  his  initial 
appearance  on  the  stage,  when  he  burst 
into  tears  and  caused  a  near-riot.  We 
can  forgive  him  though,  as  he  was  only 
sixteen  months  old  at  the  time.  He  has 
been  in  Hollywood  since  1919,  and  you 
may  reach  him  at  Paramount  Studios, 
5451  Marathon  Street,  Hollywood,  Cali- 
fornia. 


WE'RE  THE  SMARTIES  WHO  KNOW  ALL  THE  ANSWERS 
SO  FIRE  AWAY  AND  WE'LL  GIVE  YOU  A  PERSONAL  REPLY 


90 


MODERN  SCREEN 


Jean  Padgett,  Washington,  D.  C.  Yes, 
Mickey  Rooney  is  quite  a  song -writer. 
He  has  written  a  good  many  of  them,  but 
probably  the  best  is  one  called  "Oceans 
Apart"  which  he  has  sold  to  Irving  Ber- 
lin Publications.  Judy  Garland  is  seven- 
teen, and  her  birthday  is  January  10. 

Marie  Hasselhan,  Maple  Shade,  N.  J. 
Frankie  Thomas,  that  incidentally  is  his 
real  name,  was  born  in  New  York  City, 
on  April  9,  1922.  He  made  his  stage  de- 
but at  the  age  of  nine  months  when  he 
was  carried  on  by  his  mother,  a  profes- 
sional actress  named  Mona  Bruns.  Be- 
ing a  child  of  two  professionals,  Frankie, 
like  Charlie  McCarthy,  spent  most  of  his 
life  in  a  trunk.  His  education  was  ob- 
tained in  fits  and  starts.  The  lead  in 
"Wednesday's  Child"  was  his  first  big 
Hollywood  part,  and  in  that  he  proved 
himself  worthy  of  his  talented  parents. 
His  hobbies  are  dogs  and  ponies,  and  he 
is  very  fond  of  all  sports,  especially  box- 
ing. He  is  under  contract  to  Warner 
Brothers,  so  we  should  be  seeing  plenty 
of  him  for  the  next  few  years. 

Miss  Burg,  Bridgeport,  Conn.  The  actor 
who  portrayed  the  television  inventor  in 
"Television  Spy"  is  William  Henry.  No 
wonder  you  liked  his  acting;  he's  been  at 
it  since  he  was  eight.  Write  him  at 
Paramount  Studios,  5451  Marathon 
Street,  Hollywood,  Calif. 

Gernae  Kausch,  Jersey  City,  N.  J.  Mickey 
Rooney's  real  girl  is  a  certain  little  blond 
high  school  student  whose  name  Mr.  R. 
won't  divulge.  He  says  he  doesn't  want 
to  give  her  any  unfavorable  publicity. 
Yes,  he  likes  Judy  Garland  too,  and  con- 
siders her  one  of  his  good  friends. 
Twenty-five  cents  must  always  accom- 
pany requests  for  pictures  to  cover  the 


Incredible  but  true!  That's  relaxation 
Ann  Sheridan  is  indulging  in.  The  mur- 
derous-looking apparatus  is  a  leaning- 
board    to    keep    dresses  unmussed. 


cost  of  mailing.  For  stills  from  "Babes  In 
Arms"  write  to  Metro-Goldwyn-Mayer, 
Culver  City,  Calif.,  and  for  some  from 
"First  Love"  write  Universal  Studios, 
Universal  City,  Calif.  Enclose  ten  cents 
for  each  still  that  you  wish. 

Eileen  Butts,  Sandusky,  Ohio.  Jeffrey 
Lynn's  violin  and  piano  playing  in  "Four 
Wives"  were  strictly  camera  illusions. 
The  ex-track  star  from  Massachusetts  is 
not  particularly  musical,  although  sing- 
ing is  one  of  his  favorite  hobbies. 

Eileen  Brown,  Rosemont,  Montreal.  A 
telegram  to  David  Niven's  studio  would 
no,  doubt  be  forwarded  to  him  as  quickly 
as  possible.  We  have  no  other  address 
for  him  and  do  not  believe  he  has  any 
definite  address  at  present,  being  at  the 
front  at  this  writing.  He  is  thirty  years 
old  and  was  born  March  1  in  the  eastern 
Highlands  of  Scotland;  was  named  David 
because  he  was  born  on  St.  David's  Day. 
He  had  one  line  to  say  in  his  first  pic- 
ture, "Barbary  Coast."  The  role  he  most 
enjoyed  was  that  of  David  Merlin  in 
"Bachelor  Mother."  The  quality  he  most 
enjoys  in  people  is  naturalness,  whereas 
he  despises  affectation.  He  is  very  light- 
hearted  and  went  off  to  England  smiling 
and  confident  that  he  will  return  before 
long.  "Hitler  has  orders  to  shoot  around 
me,"  he  says. 

Laurian  M.  Richter,  Beacon  Falls,  Conn. 
That  was  James  Corner  who  took  your 
eye  as  Mickey  Allen  in  "Winter  Car- 
nival." Betty  Field,  who  played  opposite 
Jackie  Cooper  in  "What  a  Life",  is 
twenty-two. 

Charles  Maynard,  Jr.,  Bedford,  Mass.  As 
far  as  we  can  discover  there  has  never 
been  a  movie  patterned  almost  identi- 


IF  YOU  WANT  TO  BE  SOMEBODY'S 


DON'T  LET  YOURSELF  GET  DRY, 
LIFELESS   "MIDDLE-AGE"  SKIN! 


WHY  THIS  SOAP  MADE  WITH  OLIVE  OIL 
HELPS  KEEP  SKIN  SMOOTH,  ALLURING! 


you  don t  know 
how  lucky  you  are 
mary,  to  have  that 
lovely  "schoolgirl 

complexion"! 
my  dry,  lifeless, 
old-looking  skin 

would  never 
attract  any  man  ! 


BUT  YOU  DON  T 
NEED  TO  HAVE 
SKIN  LIKE  THAT! 
MAYBE  YOU'RE 

USING  THE 
WRONG  SOAP- 
WHY  DON'T  YOU 
TRY  PALMOLIVE? 


YOU  SEE,  PALMOLIVE  IS  MADE  WITH  OLIVE 
AND  PALM  OILS,  NATURE'S  FINEST  BEAUTY 

AIDS.  THAT'S  WHY  ITS  LATHER  IS  SO 
DIFFERENT,  SO  GOOD  FOR  DRY,  LIFELESS 
SKIN!  PALMOLIVE  CLEANSES  SO 
THOROUGHLY,  YET  SO  GENTLY  THAT  IT 
LEAVES  SKIN  SOFT  AND  SMOOTH.,. 
COMPLEXIONS  RADIANT  ! 


MADE  WITH 

TO  KEEP  SKIN  SOFT,  SMOOTH 


91 


MODERN  SCREEN 


YOUR  EYES 


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bigger,  beautifully  expressive!  Won'tsmear. 
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Lana  Turner's 
cute  flame-red 
satin  swim  suit 
may  look  like  the 
"don't-go-near- 
the-water"  va- 
riety, but  it  is  de- 
er id  ed  I  y  sea-go- 
ing. Lana,  cur- 
rently featured  in 
"Two  Girls  on 
Broadway"  with 
George  Murphy, 
is  a  swimming 
fanatic.  Who 
wouldn't  be — 
with  her  figure? 


cally  after  "They  Made  Me  a  Criminal." 
You  suggest  that  it  might  have  been 
"The  St.  Louis  Kid"  starring  James  Cag- 
ney;  we  can  tell  you  definitely  that  any 
similarity  between  these  two  pictures  is 
purely  coincidental.  Warner  Brothers 
produced  them  both  and  they  tell  us 
that  the  two  stories  are  entirely  different. 

Mrs.  Ida  Wetzel,  Brewster,  N.  Y.  Barbara 
O'Neil,  whose  splendid  acting  as  Boyer's 
wife  in  "When  Tomorrow  Comes,"  has 
brought  her  into  the  public  eye,  is 
twenty-eight  and  has  been  acting  for  at 
least  twenty  of  those  years.  Her  first 
role  was  that  of  "Mustard  Seed"  in  an 
amateur  performance  of  "A  Midsummer 
Night's  Dream."  When  she  first  came  to 
Hollywood  she  was  given  one  mother 
role  after  another,  but  finally  was  cast  in 
more  suitable  parts.  Watch  for  her  as 
the  countess  in  "All  This  And  Heaven, 
Too."  It  is  quite  possifcle  that  she  is  the 
daughter  of  the  people  you  mention,  as 
St.  Louis  is  her  native  town. 

Katherine  Apkins,  Slickville,  Pa.  Ingrid 
Bergman,  twenty-two-year-old  Swedish 
star  of  "Intermezzo,"  is  so  unlike  the 
usual  "foreign  importation"  that,  coup- 
ling her  unostentatious  behavior  with 
her  perfect  English  pronunciation,  it  is 
hard  to  believe  she  isn't  100%  American. 
Ardently  devoted  to  her  art,  Ingrid's  fa- 
vorite diversion  is  music,  and  she  is  an 
accomplished  pianist.  She  likes  simple, 
tailored  clothes,  the  color  white,  and 
corn  on  the  cob— which  is  still  a  delight- 
ful novelty  to  her. 

Annette  Lantergne,  Shirley,  Mass.  Joan 
Blondell's  son,  Norman,  is  six.  He  is  a 
native  Californian.  Barbara  Stanwyck's 
seven-year-old  son,  Dion,  is  adopted. 
They  are  devoted  to  each  other,  and 
every  night  Barbara  slips  a  note  under 
his  nursery  door.  Dion  calls  Robert  Tay- 
lor "Gentleman  Bob." 

Emma  J.  O'Neill,  Torrington,  Conn.  There 
are  six  "Dead  End  Kids,"  or  "Mad  Rus- 
sians," as  their  director  calls  them: 
Billy  Halop,  Bobby  Jordan,  Bernard 
Punsley,  Gabriel  Dell,  Huntz  Hall  and 
Leo  Gorcey.  No,  indeed,  there  are  no 
girls  in  the  "gang."  No  mere  female 
could  stand  the  pace! 


Kathryn  Irmscher,  Ridgewood,  N.  Y.  Kenny 
Baker,  the  dashing  KoKo  of  Mikado 
fame,  was  born  on  September  30,  1912. 
That  is  his  real  name  and  he  is  American 
both  "by  birth  and  by  cherce."  He  is  six 
feet  tall,  weighs  one  hundred  and  sixty 
pounds,  has  blue  eyes,  and — don't  swoon 
with  jealousy — naturally  curly  brown 
hair.  He  is  married  to  a  non-professional. 

Ed  Dunn,  Cleveland,  Ohio.  Ann  Ruther- 
ford, she  of  the  enormous  brown  eyes 
and  long  dark  hair,  was  born  in  Toronto, 
Canada,  on  November  2,  1920.  She  is 
Californian  by  adoption,  having  moved 
there  at  the  age  of  four  months.  She  is 
five  feet  three,  weighs  one  hundred  and 
ten  pounds,  and  is  a  very  fine  little  ath- 
lete. Her  tennis  is  above  average  and 
Robin  Hood  didn't  have  a  thing  on  her 
when  it  comes  to  archery.  She  loves 
dancing  and  going  to  the  movies.  Her 
hobbies  include  raising  turtles  and 
canaries,  playing  the  piano  (very  well, 
too)  and  writing  poetry.  She  doesn't 
diet,  drinks  nothing  stronger  than  to- 
mato juice,  and  doesn't  smoke  because 
she  "hasn't  got  time."  She  is  as  natural 
as  the  Hollywood  sunshine  and  one  of 
the  most  popular  gals-about-town. 
Write  to  her  at  M-G-M,  Culver  City, 
California. 

Louise  Ellis,  Meridian,  Miss.  Deanna  Dur- 
bin  and  the  "Dead  End  Kids"  all  have  at 
least  one  private  secretary.  It  does  seem 
funny,  doesn't  it,  for  youngsters  to  have 
secretaries,  but  naturally  they  could  not 
possibly  handle  all  their  own  mail,  as 
they  get  hundreds  of  letters  each  week, 
and  you  know  what  a  chore  just  one 
little  letter  is! 


INFORMATION  DESK 
MODERN  SCREEN 

149  Madison  Ave.,  New  York.  N.  Y. 

Please  send  me  your  up-to-date  chart 
listing  the  heights,  ages,  birthdays  and 
marriages  of  all  the  important  stars.  I 
enclose  5c  (stamps  or  coin)  to  cover  cost 
of  mailing. 

Name  

Street   

City  State  


92 


MODERN  SCREEN 


THE  TAMING  OF  A  TOUGH  GUY 

(Continued  from  page  37) 


he  felt  that  the  boy  could  understand 
him.  Crude  in  some  ways,  Julie  was 
in  others  mature  beyond  his  years.  Mr. 
Mann  had  a  problem  on  his  hands — on 
his  head,  rather.  He  was  turning  gray, 
which  was  bad  for  his  business,  and  had 
toyed  with  the  idea  of  dyeing  his  hair. 
It  was  a  problem  he  wouldn't  have  dared 
lay  before  his  daughters,  who  would 
have  been  horrified.  He  felt  no  shyness 
about  consulting  Julie,  who  advised  him 
against  it  but  wasn't  horrified. 

Roberta,  however,  had  no  intention  of 
letting  her  parents'  feeling  influence  her. 
Roberta  is  small  and  she  talks  quietly, 
but  after  five  minutes  of  conversation 
you  begin  to  realize  the  fund  of  con- 
trolled strength  behind  her  dark,  vivid 
face.  She  could  make  up  her  own  mind. 
Woe,  in  fact,  to  anyone  who  tried  to  make 
it  up  for  her. 

Julie  no  longer  frightened  her,  but  she 
still  thought  he  was  queer.  You  could 
never  tell  what  he  might  do  next.  One 
warm  night  they  were  sitting  on  the 
roof  of  her  house.  "I'm  going  to  Chicago," 
said  Julie. 

He  had  no  money.  Graduation  was 
just  around  the  corner.  "You're  crazy," 
said  Roberta.  A  couple  of  weeks  later  she 
got  a  card  from  him,  postmarked  Chicago. 
The  medal  destined  for  him  at  the  Patri 
graduation  exercises  was  put  back  into 
the  safe. 

Having  been  dropped  from  the  Civic 
Repertory  roster,  he  decided  that  his  mo- 
ment had  come  to  see  the  world.  Penni- 
less, he  started  hitch-hiking  across  the 
country.  Roberta  would  get  a  card  from 


Nebraska — "I'm  working  in  the  wheat- 
fields,"  from  Austin,  Texas — "I'm  doing 
six  days  for  vagrancy,"  from  the  San 
Joaquin  valley — "I'm  picking  fruit.  Wish 
you  were  here." 

What  could  you  do  with  a  boy  like 
that?  There  was  no  counting  on  him. 
But  when  she  heard  that  he'd  stumbled, 
sick,  into  his  father's  house  and  had 
been  sent  to  the  public  ward  of  a  hos- 
pital, she  raced  down  to  see  him.  His  eyes 
were  bright,  and  she  sat  on  the  edge  of 
his  bed  while  he  talked  his  head  off.  His 
hair  was  tumbled,  and  she  lent  him  her 
comb.  Next  day  they  wouldn't  let  her 
in.  Julie  had  typhoid.  Why  she  didn't 
get  it  is  one  of  those  mysteries  only  a 
germ  could  explain. 

JULIE'S  convalescence  was  an  eye- 
opener  to  Roberta.  She'd  been  used  to 
seeing  him  alone  or  with  two  or  three 
friends.  To  think  of  him  in  connection 
with  ether  girls  had  never  occurred  to 
her.  Now  they  surrounded  his  bed, 
laughed  with  him,  teased  him,  brought 
him  gifts.  Hm,  what  a  lot  of  girls  he  knew 
and  how  they  went  for  him.  That  little 
one  in  red  was  certainly  making  a  play 
for  him,  putting  her  hand  on  his  fore- 
head, pretending  she  wanted  to  feel  his 
temperature.  Who  did  she  think  she  was 
fooling?  Julie,  maybe?  A  pang  shot 
through  Roberta,  and  vanished  as  Julie's 
eyes  sought  hers. 

He  was  different,  anyway,  after  his 
illness.  More  grown-up,  more  subdued, 
better  integrated.  Almost  straight  from 
his  hospital  bed,  he'd  gone  to  assault  the 


door  of  a  producer.  "How  do  I  know  you 
can  act?"  he'd  been  asked.  "How  do  I 
know  you  can  produce?"  he'd  retorted. 
Maybe  the  producer  liked  them  fresh. 
Anyway,  Julie  got  a  part  in  "Lost  Boy" 
at  twenty-five  a  week,  then  a  job  with 
the  road  show  of  Counsellor-at-Law." 

He  would  spend  his  New  York  week- 
ends with  the  Manns,  and  was  looked 
upon  as  one  of  the  family.  He  had  never 
proposed  to  Roberta  in  so  many  words, 
she  had  never  accepted  him.  But  they 
were  together  as  constantly  as  his  work 
permitted,  and  they  understood  each 
other.  "When  are  you  two  getting  mar- 
ried?" their  friends  would  ask,  to  which 
the  comeback  was,  "When  are  you?" 

Julie  had  come  to  know  certain  mem- 
bers of  the  Group  Theatre,  which  spon- 
sored the  plays  of  Clifford  Odets.  His 
spirit  was  fired  by  their  ideas.  They  were 
alive  and  honest  and  produced  plays  that 
had  something,  significant  to  say.  He 
wanted  nothing  so  much  as  to  join  them. 
On  the  day  he  was  invited  to  become  a 
member  of  the  Group,  he  tore  uptown  in 
a  frenzy  to  tell  Roberta. 

He  appeared  in  "Waiting  for  Lefty"  and 
"Johnny  Johnson,"  then  started  rehear- 
sals for  "Awake  and  Sing."  One  night 
Roberta  came  home  to  find  a  cosy  group 
gathered  round  the  table — father,  mother 
and  Julie,  drinking  tea  and  talking  about 
weddings.  She  went  over  to  stand  beside 
Julie,  who  put  his  arm  around  her.  "How 
about  it?" 

"Okay  by  me,"  said  Roberta. 

As  she  looks  back  on  it,  it  was  a  funny 
(Continued  on  page  95) 


Poor  Complexion  —  Noxzema  is  a  grand 
aid  in  healing  Pimples  and  other  ex- 
ternally caused  skin  irritations. 


NURSES  DISCOVERED  A  BEAUTY  SECRET  THAT'S 
HELPED  THOUSANDS  TO  LOVELIER  COMPLEXIONS 

Famous  Medicated  Cream  Helps 
Restore  Natural  Skin  Beauty  —  Over 
15,000,000  Jars  Used  Yearly! 

IF  YOUR  skin  is  rough  or  chapped  —  if 
it's  marred  by  large  pores  or  externally 
caused  blemishes  —  if  you  want  a  softer, 
smoother  complexion  —  try  this  extraor- 
dinary medicated  cream — Noxzema! 

Remarkable  Story 

Nurses  were  the  first  to  discover  how  grand 
Noxzema  was  for  Chapped  Hands  and  what 
a  marvelous  improvement  it  made  in  many 
Poor  Complexions.  Today  millions  "of  wo- 
men are  using  Noxzema  as  a  many-pur- 
pose cream. 

How  it  works  —  Noxzema  helps  soften 
coarse,  rough  skin — its  soothing  medica- 
tion aids  in  healing  blemishes  from  ex- 
ternal causes.  Using  Noxzema  as  directed 
retards  the  formation  of  blackheads— its 
mild  astringents  help  shrink  enlarged  pores. 

Massage  Noxzema  into  the  skin  at  night. 
In  the  morning  rinse  your  face  thoroughly 
with  cold  water  and  apply  Noxzema  as  a 
protective  powder  foundation.  Let  Nox- 
zema work  for  you  24  hours  a  day!  Use 
Noxzema  for  one  month  and  see  if  your 
skin  isn't  clearer,  smoother,  lovelier.  For 
a  limited  time  you  can  get  a  generous  25^ 
trial  jar  for  only  19{f.  Get  a  jar  today  at  any 
drug  or  department  store. 

NOXZEMA 


Chapped  Hands  are  Cut  Hands  —  Smooth 
Noxzema  into  tiny  skin  cracks.  Feel 
the  soothing  relief.  See  how  much 
softer,  whiter  your  hands  become. 


What  Users  Say . 


Roughness  Disappears— "My  skin 
was  very  rough  and  scaly 
and  I  tried  almost  everything 
with  no  results.  Finally  I  tried 
Noxzema  and  I  was  amazed. 
After  only  the  third  applica- 
tion my  face  was  almost  all 
cleared  up."—  Mrs.  Grace 
Glyn,  Marlboro,  Mass. 

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OUR  PUZZLE  PAGE 


79. 

81. 

82. 


ACROSS 

1.  First  name  of  star  pic- 
tured 

6.  An  Italian  silver  coin  33 
11.  Last  name  of  our  star  35] 

17.  Roger  in  "Too  Busy  To  87 
Work" 

18.  Signs  88. 

19.  Actorin"FlyingDeuces"  89 
2C.  Star  of  "Goodbye  Mr. 

Chips"  91. 
21.  Removal  from  office  93. 

23.  What  we  love  to  hear  94' 
Deanna  sing  96 

24.  One  of  "The  Women"  :  99' 
init.  10L 

25.  One  of  "Four  Wives'  103. 

27.  Garbo's  rival  in  "Nin-  jQ4. 
otchka" 

28.  Lovely  girl  in  "Career"  jqS. 

30.  "Always  -  -  odbye" 

31.  Woof  in  weaving  iQg_ 
33.  One  who  rants 

35.  Famed  107 

37.  "The  Thin  " 

38.  Bark 

40.  "Strange  s" 

41.  Nights  preceding  great 
events  1 ■ 

42.  Rita    Hayworth's    real  2. 
name  is  sino  3. 

43.  Heroine  of  "Here  I  Am  4. 
A  Stranger"  5. 

45.  Secretary  of  "Mr.  Smith 

Goes  To  Washington"  6. 

47.  1,000  feet  of  film 

48.  Great  lake  7. 
50.  She's  a  reporter  in  "His  8. 

Girl  Friday"  '  9. 
53.  Frenchy  in  "Destry  10. 

Rides  Again" 
56.  "Cardin  -  -   Richelieu"  11. 
57'.  Alice  F--- 

58.  -  Bone  12. 

59.  "Metropoli  -  -  n" 

60.  Craved  13. 
63.  He's  opposite  45  across  14. 

66.  Scat ! 

67.  Stringy  15. 

68.  Merited 

72.  Head  of  a  publication  16. 

75.  Sped 

76.  Glenda  Farrell's  birth-  17. 
place 

78.  "Man  of  "  21. 


Puzzle  Solution  on  Page 

Leading  man  of  "Holly- 
wood Cavalcade" 
A  turf 

English  actor  in  "Ad- 
venture in  Diamonds" 
In  the  future 


105 


Born 

Daughter  of  Fred 
Stone :  init. 
Cattle 

"Fifteen  Ma  n 

Lane" 

Charles  lin 

"Wee  Wi  -  -  ie  Winkie" 

Group  of  eight 

Different 

Harasses 

Labored 

Shirley  

Melanie  in  "Gone  With 
The  Wind" 

With  our  hero  in  "The 
Little  Princess" 
He  and  Andy  Devine 
make  a  grand  team 
With  1  across  in  "My 
Lucky  Star" 


DOWN 


"The  Star  Maker" 

Joan  B  ett 

To  shut  close 

Mrs.  Manuel  Del  Campo 

Star   of   "Remember" : 

init. 

Martha    Raye's  latest 

team-mate 

Referee 

 Ames 

Mad 

She's  featured  in 
"Honeymoon  In  Bali" 
"Swiss   Family  --bin- 
son" 

The    Original  Charlie 

Chan 

Mud 

"The  D  -  -  -  1  Is  A 
Woman" 

Actor  in  "Brother  Rat 

And  A  Baby" 

He  writes,  directs  and 

acts  for  RKO 

She's  in  "Drums  Along 

The  Mohawk" 

Star  of  "Raffles" 


22.  After  a  lapse  of  time 
26.  Plot  of  grass 
29.  Cozy  corner 

32.  "  In  Arms" 

34.  Le  Gallienne 

36.  Eggs 

37.  She  plays  "dumb 
blonde"  roles 

39.  Chief  executive  :  abbr. 

42.  One  of  Shirley's  famed 
features 

44.  Star  of  "Broadway  Mel- 
ody Of  1940" 

46.  The  "woo  woo"  comedian 

47.  Reigns 

49.  Recorded  item 

50.  Star  of  "French  With- 
out Tears" 

51.  Caustic  substance 

52.  Guided 

53.  Joan  Blondell's  title  in 
private  life 

54.  Small  island 

55.  Consume 

61.  Forward 

62.  Kind  of  horse 

64.  Director  Sam  

65.  Protecting  garment 
against  soil 

69.  Gas  for  theatre  signs 

70.  Concluded 

71.  "Each  Dawn  I  " 

72.  Before 

73.  To  move  nimbly 

74.  Measure  of  length 

75.  Ates 

77.  Chauffeur 

78.  Star  of  "Vigil  In  The 
Night" 

80.  Girl's  name 

81.  With  our  star  in  "Fron- 
tier Marshal" 

82.  John  

84.  Large  bird 

86.  Mrs.  Charles  Laughton 
88.  The  ashes  of  seaweed 
90.  Handle 
92.  Ache 

95.  Former  western  star 
97.  Girl  in  "The  Light  That 

Failed" 
9S.  He  plays  Charlie  Chan's 

son 

100.  56  :  Rom.  num. 

102.  Olivia  --  Havilland 

104.  Exclamation  of  surprise 


MODERN  SCREEN 


(Continued  from  page  93) 
four  weeks.  At  the  time  siic  was  1,00  in- 
furiated to  see  the  joke.  For  she  spent 
the  month  before  her  marriage  in  froity 
isolation,  refusing  to  talk  to  her  bride- 
groom, her  parents  or  her  sister. 

Mr.  and  Mrs.  Mann  wanted  a  formal 
wedding.  Roberta  loathed  the  idea.  She 
wasn't  going  to  have  a  lot  of  people 
gaping  at  her.  She  and  Julie  would  go 
down  to  City  Hall,  and  be  married  with 
dispatch  and  no  trimmings.  It  was  strict- 
ly their  business. 

How  he  got  married  was  a  matter  of 
indifference  to  Julie.  But  he  wanted  his 
parents-in-law  to  be  happy.  "You  always 
take  their  side  against  me,"  stormed  the 
bride.  "Whose  wedding  is  this  anyway?" 

Julie  laughed.  They  all  laughed.  "She'll 
get  over  it,"  said  Mrs.  Mann.  She 
severed  communication  with  her  loved 
ones.  Her  sister  sent  out  the  invitations. 
Her  mother  ordered  the  dress.  One 
morning  Julie  ushered  her  into  a  taxi, 
and  they  drove  down  to  the  License 
Bureau.  The  legalities  attended  to,  he 
steered  her  to  a  bar,  ordered  drinks, 
and  gravely  proposed  a  toast  to  their 
coming  union.  In  silence  she  drank  it, 
and  in  silence  rode  home.  It  wasn't  until 
three  days  before  the  wedding  that  her 
sense  of  perspective  overtook  her  and 
tumbled  her,  giggling,  from  her  high 
horse. 

They  were  as  happy  as  they  had  hoped 
to  be.  Julie  was  with  the  Group  he 
loved.  They  hadn't  much  money,  but 
never  having  had  much,  they  didn't  miss 
it.  It  was  enough  to  be  part  of  an  ex- 
citing world.  Outside  producers  began  to 
notice  Julie,  and  he  was  offered  the  lead 
in  "Having  A  Wonderful  Time."  He  took 
it  on  condition  that  he  could  return  to 
the  Group  when  they  put  on  Odets' 
"Golden  Boy." 


Movie  offers  came  in,  and  he  turned 
them  down.  He  was  afraid  of  Hollywood, 
afraid  of  stereotyped  parts  in  stupid  pic- 
tures, afraid  of  earning  too  much  and 
getting  soft.  Then  Warner  Bros,  sent 
him  the  script  of  "Four  Daughters,"  and 
he  was  tempted.  He  and  Roberta  sat  far 
into  the  night,  weighing  pros  and  cons. 
She  too  was  opposed  to  Hollywood,  but 
she  knew  that  Julie  made  his  own  de- 
cisions. Her  part  was  to  keep  his  en- 
thusiasm from  obscuring  his  view.  Even 
when  she  agreed  with  him,  she  argued 
against  him,  to  make  sure  he  saw  both 
sides.  The  script,  for  instance.  "Don't 
be  silly,  Julie.  They  can't  possibly  leave 
it  the  way  it  is.  It  dumps  the  whole 
picture  right  in  your  lap." 

YOU  know  what  happened.  This  is  the 
story,  not  of  John  Garfield  and  his 
screen  triumphs,  but  of  Julie  and  Ro- 
berta. They're  in  Hollywood  now.  How 
long  they'll  stay  is  a  touchy  point  with 
both  the  studio  and  Garfield.  He  wants 
fine  scripts,  lines  and  characters  he  can 
believe  in,  more  than  he  wants  big  parts. 
He  insisted  on  a  clause  in  his  contract, 
giving  him  the  right  to  do  one  play  a 
year.  He's  forever  on  the  prowl  for  a 
play.  "I'd  die,"  he  says,  "if  I  didn't  think 
I  could  go  back." 

Roberta  eggs  him  on.  "You're  spine- 
less," she  taunts  him.  "You  sit  here, 
dashing  off  one  part  after  another.  It's 
beginning  to  look  easy."  She  feels  that 
such  goading  is  part  of  her  job  as  his 
wife.  Yet  she  knows  it  would  be  sense- 
less for  him  to  go  back  till  he  finds  the 
right  play.  For  herself,  she'd  like  to 
spend  the  summer  on  the  coast  and  the 
winter  in  New  York.  "If  only  to  wear  my 
fur  coat.  In  New  York  I  never  had  one. 
Now  I've  got  the  coat  and  no  weather  to 
wear  it  in." 


She  still  says,  as  she  said  on  the  roof 
that  night,  "Go  on,  you're  crazy,"  when 
Julie  broaches  one  of  his  more  spec- 
tacular projects. 

She  finds  him  an  easy  husband  to  get 
along  with,  his  spirits  uniformly  good  ex- 
cept when  he's  been  stepped  on  so  hard 
that  nobody  else  could  stand  it.  Even 
then,  a  natural  effervescence  makes  re- 
covery rapid. 

According  to  their  lights,  they  live 
modestly  in  a  rented  house.  The  night 
spots  don't  know  them.  They  play  bad- 
minton, go  to  the  movies  and  keep  open 
house  for  their  intimates.  If  two  people 
come  in,  Julie  will  oblige  with  a  strip 
tease  all  his  own.  If  two  more  follow, 
he'll  oblige  all  over  again.  A  music- 
worshipper,  he  has  an  ingenious  reason 
for  denying  himself  a  Capehart.  "Once  I 
buy  that  hunk  of  furniture,  I'll  be  stuck 
here  with  it.     It's  too  hard  to  move." 

He's  definitely  uneasy  in  his  role  as  an 
employer  of  labor,  and  harasses  Roberta 
about  whether  the  maid  gets  enough 
money,  rest  or  time  off.  He'll  wander 
into  the  kitchen  and  tell  her  to  beat  it, 
because  he  and  Roberta  are  staying  in 
that  evening.  He  refuses  to  ring  a  bell 
for  her,  saying  it  smacks  of  feudalism, 
and  yells  instead.  Roberta  doesn't  care 
much  for  bell-ringing  either.  "But  I  don't 
know  that  yelling  is  any  politer,  and  it's 
certainly  noisier." 

"Chummier  too,"  grins  Julie.  "She  can 
yell  back." 

They  have  one  excellent  reason  for 
lingering  in  California.  She's  the  second 
woman  in  Julie's  life.  Her  name  is 
Katherine,  she  was  born  fourteen  months 
ago,  and  spends  most  of  her  time  in 
a    play-pen,    cultivating   her    sun  tan. 

To  Julie,  the  baby  is  a  thoroughgoing 
miracle.  "How  can  anything  look  so  much 
like  me,"  he  marvels,  "and  be  pretty?" 


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96 


MOVIE  SCOREBOARD 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.  4-^-  means  very  good;  3"^-,  good;  2jr,  fair;  1-^-,  poor. 
C  denotes  that  the  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Picture  GRX,' 

*Abe  Lincoln  In  Illinois  (RKO)   3* 

*  Adventure  In  Diamonds  (Paramount)   2  -k 

Adventures  of  Sherlock  Holmes  (20th  Cent.-Fox) . .    3  * 

Allegheny  Uprising  (RKO)   2* 

Amazing  Mr.  Williams,  The  (Columbia)  

Another  Thin  Man  (M-G-M)   3* 

Babes  In  Arms  (M-G-M)  C  3* 

Bachelor  Mother  (RKO)  C  3V2* 

Balalaika  (M-G-M)   3* 

Barricade  (20th  Century-Fox)   3-* 

Beachcomber,  The  (Mayflower)  3*/^  Ik- 
Beau  Geste  (Paramount)  C     3  + 

Beware  Spooks  (Columbia)   2-* 

Big  Guy,  The  (Universal)  2Vzir 

Blackmail    (M-G-M)   2* 

Blondie  Brings  Up  Baby  (Columbia)   2* 

Bluebird,  The  (20th  Century-Fox)  C  3* 

Brother  Rat  and  a  Baby  (Warners)   2* 

Call  a  Messenger  (Universal)  iVz-k 

Calling  All  Marines  (Republic)   2* 

Cat  and  the  Canary,  The  (Paramount)  ZVz-k 

Charlie  Chan  at  Treasure  Island  (20th  Century-Fox)    2  * 

Charlie  McCarthy,  Detective  (Universal)   3  * 

Child  Is  Born,  A  (Warners)   3* 

♦Cisco  Kid  and  the  Lady,  The  (20th  Century-Fox)  2* 

Coast  Guard  (Columbia)   2* 

"Congo  Maisie  (M-G-M)   3* 

Dancing  Co-ed  (M-G-M)  2V2* 

Day  the  Bookies  Wept,  The  (RKO)   2* 

Daytime  Wife  (20th  Century-Fox)   3* 

Destry  Rides  Again  (Universal)   3-k 

Disputed  Passage  (Paramount)   3-k 

Drums  Along  the  Mohawk  (20th  Century-Fox)..  3* 

Dust  Be  My  Destiny  (Warners)  2'  2* 

Each  Dawn  I  Die  (Warners)   3* 

*Earl  of  Chicago,  The  (M-G-M)   2* 

Elizabeth  and  Essex  (Warners)   4* 

Escape,  The  (20th  Century-Fox)  2l/2* 

Espionage  Agent  (Warners)  2Vi* 

Eternally  Yours  (United  Artists)  2V2* 

Everything  Happens  at  Night  (20th  Century-Fox).  .3* 

Everything's  on  Ice  (RKO)   2* 

Fast  and  Furious  (M-G-M)   2  ★ 

Fifth  Avenue  Girl  (RKO)   3* 

Fighting  69th,  The  (Warners)   3* 

First  Love  (Universal)   3-fc 

Flight  at  Midnight  (Republic)   2* 

Flying  Deuces  (RKO)   2* 

Four  Feathers  (United  Artists)  3V2* 

Four  Wives  (Warners)   3*- 

Full  Confession  (RKO)   2* 

Geronimo  (Paramount)   3  + 

Girl  from  Rio  (Monogram)   2* 

Golden  Boy  (Columbia)   3  Ik- 
Gone  With  the  Wind  (M-G-M)   4* 

Goodbye  Mr.  Chips  (M-G-M)  C  4* 

Great  Victor  Herbert,  The  (Paramount)   3-fc 

*Green  Hell  (Universal)   2* 

Gulliver's  Travels  (Paramount)  C  3-fc 

Hawaiian  Nights  (Universal)   2* 

Heaven  With  a  Barbed  Wire  Fence  (20th  Cen.-Fox)    2  ★ 

He  Married  His  Wife  (20th  Century-Fox)   2* 

Here  I  Am  a  Stranger  (20th  Century-Fox)  2V2* 

Heroes  In  Blue  (Monogram)   2* 

*High  School  (20th  Century-Fox)  C  3* 

His  Girl  Friday  (Columbia)   3-fr 

Hunchback  of  Notre  Dame,  The  (RKO)   3* 

Indianapolis  Speedway  (Warners)  2'/2* 

In  Name  Only  (RKO)  3V2* 

Intermezzo,  A  Love  Story  (United  Artists)   3Vk 

Invisible  Man  Returns,  The  (Universal)   2* 

Invisible  Stripes  (Warners)   2-k 

Irish  Luck  (Monogram)  2V4* 

Jamaica  Inn  (Paramount)   3* 

Joe  and  Ethel  Turp  Call  on  the  President  (M-G-M)    2  * 

Judge  Hardy  and  Son  (M-G-M)  C  3* 

Kid  Nightingale  (Warners)   2* 

Lady  of  the  Tropics  (M-G-M)   2* 

Light  That  Failed,  The  (Paramount)   3* 

Little  Accident  (Universal)  2V2* 

Lone  Wolf  Strikes,  The  (Columbia)   2* 

Llano  Kid,  The  (Paramount)  2Vi* 

Magnificent  Fraud  (Paramount)   2* 

Main  Street  Lawyer  (Republic)  2V2* 

Man  in  the  Iron  Mask  (United  Artists)   3  Ik- 

Man  Who  Wouldn't  Talk,  The  (20lh  Century-Fox) .  2V2  ★ 

Marshal  of  Mesa  City  (RKO)  2V2* 

Marx  Bros,  at  the  Circus  (M-G-M)   3  * 

Meet  Dr.  Christian  (RKO)  2V2* 

Mexican  Spitfire  (RKO)  Hi* 

Mickey,  the  Kid  (Republic)   2* 


pjcture  Genera. 

Midnight  (Paramount)   3-k 

Mikado,  The  (Universal)  C  3* 

Million  Dollar  Legs  (Paramount)   2  Ik- 
Miracles  For  Sale  (M-G-M)   2V2* 

Missing  Daughters  (Columbia)   2  + 

Missing  Evidence  (Universal)   3  -k 

Mr.  Smith  Goes  to  Washington  (Columbia)   4* 

Mr.  Wong  in  Chinatown  (Monogram)   2  ■*■ 

Music  In  My  Heart  (Columbia)   2* 

Mutiny  on  the  Blackhawk  (Universal)   2* 

Nick  Carter,  Master  Detective  (M-G-M)   3* 

Night  of  Nights,  The  (Paramount)  2V2* 

Ninotchka    (M-G-M)   4* 

No  Place  To  Go  (Warners)   2* 

Nurse  Edith  Cavell  (RKO)   4* 

Of  Mice  And  Men  (United  Artists)   3* 

Oklahoma  Frontier  (Universal)   2* 

Oklahoma  Kid,  The  (Warners)   3* 

Old  Maid,  The  (Warners)   4* 

On  Borrowed  Time  (M-G-M)   3* 

On  Dress  Parade  (Warners)   2* 

One  Hour  to  Live  (Universal)   2  + 

SI, 000  a  Touchdown  (Paramount)   2-Ar 

On  Your  Toes  (Warners)  2V2* 

Our  Leading  Citizen  (Paramount)  21  2  * 

*Our  Neighbors — The  Carters  (Paramount)....  Mr 

Pack  Up  Your  Troubles  (20th  Century-Fox)  2V2  + 

Pride  of  the  Blue  Grass  (Warners)  2V2* 

Quick  Millions  (20th  Century-Fox)  C  2* 

Raffles  (United  Artists)   2* 

Rains  Came,  The  (20th  Century-Fox)   3* 

Range  War  (Paramount)   2ik 

Real  Glory,  The  (United  Artists)   2* 

Remember?  (M-G-M)  2V2* 

Remember  the  Night  (Paramount)   3  + 

Reno  (Universal)   2  Ik 

Rio  (Universal)  2V2* 

Roaring  Twenties,  The  (Warners)   3~k 

Rulers  of  the  Sea  (Paramount)  3V2-*- 

Sabotage  (Republic)  2>  2  * 

Santa  Fe  Marshal  (Paramount)  1V2-<r 

Second  Fiddle  (20th  Century-Fox)  C  3* 

Secrets  of  Dr.  Kildare  (M-G-M)   3* 

She  Married  a  Cop  (Republic)   2 1k 

Shop  Around  the  Corner,  The  (M-G-M)   3* 

6,000  Enemies  (M-G-M)  2'/2* 

*Slightly  Honorable  (United  Artists)   3* 

Smashing  the  Money  Ring  (Warners)  2V2^k 

Spellbinder,  The  (RKO)   2* 

Spirit  of  Culver,  The  (Universal)  C  2V2-)k 

Stagecoach   (United   Artists)   4-Ar 

Stanley  and  Livingstone  (20th  Century-Fox)  3V21k 

Star  Maker,  The  (Paramount)  C  2V2* 

Stolen  Life  (Paramount)  2V2* 

Stop,  Look  and  Love  (20th  Century-Fox)   2* 

Stranger  From  Texas  (Columbia)  2V2"Ar 

Stronger  Than  Desire  (M-G-M)  2!/2  Ik- 
Sun  Never  Sets,  The  (Universal)   2* 

Susannah  of  the  Mounties  (20th  Century-Fox).  .C     3  * 

Swanee  River  (20th  Century-Fox)   3* 

Tarzan  Finds  a  Son  (M-G-M)  C  2V2* 

Television  Spy  (Paramount)  2V2-<k 

That's  Right,  You're  Wrong  (RKO)  C  3* 

These  Glamour  Girls  (M-G-M)  2V2* 

They  All  Came  Out  (M-G-M)  2V2* 

They  Shall  Have  Music  (United  Artists)  C  3V2* 

Those  High  Grey  Walls  (Columbia)  2V2* 

Three  Smart  Girls  Grow  Up  (Universal)  C     3  * 

Three  Sons  (RKO)   3* 

Thunder  Afloat  (M-G-M)  2V2* 

Too  Busy  To  Work  (20th  Century-Fox)  C  2V2* 

Torchy  Plays  With  Dynamite  (Warners)  2'/2* 

Tower  of  London  (Universal)   2-k 

Tropic  Fury  (Universal)   2* 

20,000  Men  a  Year  (20lh  Century-Fox)   3* 

Two  Bright  Boys  (Universal)   2* 

U-Boat  29  (Columbia)   3* 

Undercover  Doctor  (Paramount)  2'2  + 

Underpup,  The  (Universal)  C  3-A- 

Unexpected  Father  (Universal)   2* 

Union  Pacific  (Paramount)  3Vi  Ik- 
Wall  St.  Cowboy  (Republic)  2V2* 

Waterfront  (Warners)   2  ★ 

We  Are  Not  Alone  (Warners)  3»/2* 

What  a  Life  (Paramount)   3  * 

When  Tomorrow  Comes  (Universal)  2V2ik- 

Winter  Carnival  (United  Artists)  2V2* 

Wizard  of  Oz,  The  (M-G-M)  C  4* 

Woman  Is  the  Judge  (Columbia)   2* 

Women,  The  (M-G-M)   3* 

You  Can't  Get  Away  With  Murder  (Warners).  .2V2* 
Young  Mr.  Lincoln  (20th  Century-Fox)  C  3V2* 


MODERN  SCREEN 


"No  EXPERIMENTS 

for  Me  When  My  Child 

CATCHES  <4C0LD  I " 


NOTICE  TO  MOTHERS  :  :  :  Today  3  out 
of  5  mothers — knowing  how  foolish  it 
is  to  experiment  with  untried  medications 
or  constantly  dose  delicate  stomachs — 
use  this  home-approved  external  poul- 
tice-vapor treatment  to  relieve  distress 
of  colds. 

WHEN  a  cold  makes  your  child  feel  miserable, 
all  stuffed  up  —  causes  muscular  soreness  or 
tightness,  irritation  in  the  upper  bronchial  tubes 
or  spasms  of  coughing— let  the  experience  of  other 
mothers  help  you  to  relieve  the  distress. 

Here's  what  you  do:  At  bedtime,  rub  the  child's 
throat,  chest  and  hack  with  Vicks  VapoRub.  And 
see  what  morning  brings! 

Acts  2  Ways  at  Once  .  .  .  Almost  immediately 
VapoRub  starts  stimulating  like  a  good  old-fash- 
ioned poultice.  And,  at  the  same  time,  pleasing- 
helpful  —  medicinal  vapors  are  released  by  body 
heat  and  breathed  direct  into  the  cold-irritated  air 
passages. 

Then  for  hours  this  poultice-vapor  action  con- 
tinues. It  invites  refreshing  sleep.  And  when  you 
see  how  it  relieves  distress  you  will  understand 
whv  Vicks  VapoRub  is  a  family  standby  in  3  out 
of  5  homes.  Why  Take  Needless  Chances! 


IDEAL  FOR  CHILDREN  .  .  .  JUST  AS  GOOD  *OR  ADULTS 


A  DOLLAR  FOR 
YOOR  THOUGHTS 

(Continued  from  page  17) 


accomplished  figure.  He  has  all  Valen- 
tino's talents  with  far  greater  charm  and 
intelligence.  In  a  word,  he  is  the 
Screen's  handsomest  actor. — A.  Lenox, 
Washington,  D.  C. 

Short  And  Sweet 

You  asked  for  it.  Since  frankness  is 
the  backbone  of  your  column,  I  want 
to  contribute  my  two  cents'  worth  of 
criticism: 

Dorothy  Lamour:  Dotty  had  better 
brush  up  on  her  acting.  People  in  Holly- 
wood who  depend  on  beauty  and  curves 
do  not  last  very  long. 

Ann  Sheridan:  Annie,  throw  away 
your  "oomph!"  You  have  real  ability. 
Make  them  let  you  use  it! 

Greta  Garbo:  Three  cheers  to  you  for 
proving  that  you  can  make  us  laugh, 
too! 

Tyrone  Power:  We've  got  to  hand  it 
to  you.  All  the  miscasting  you  have  been 
through  would  have  completely  ruined 
any  other  star,  but  you  have  survived. 

Rosalind  Russell:  Well,  it's  about  time 
you  got  a  break  as  Sylvia  Fowler  in 
"The  Women,"  and  opposite  Cary  Grant 
in  "His  Girl  Friday."   You  deserved  it! 

Hollywood:  Thanks  for  making  such 
grand  books  as  "Gone  With  the  Wind," 
"The  Rains  Came"  and  "Rebecca"  into 
pictures.  We  do  appreciate  them. — Rich- 
ard Mayfield,  Milford,  Ohio. 

Bing's  Appeal 

Every  time  I  hear  some  one  say  that 
Bing  Crosby  can't  act,  I  burn  up!  And 
as  for  his  being  a  proud  father  harming 
his  screen  appeal — that's  ridiculous. 
Suppose  Bing  isn't  a  wonderful  actor,  it's 
his  naturalness  that  endears  him  to  us. 
One  thing  sure,  you  can  always  depend 
upon  him  for  good,  clean  entertainment. 

Yes,  Bing  is  a  father,  but  this  cer- 
tainly doesn't  rob  him  of  his  handsome, 
wide-eyed  expression  of  youth.  I'd  be 
willing  to  wager  that  when  most  of  the 
great  actors  and  "streamlined  Romeos" 
are  forgotten  characters,  Bing  Crosby, 
with  his  low,  melodious  voice  and  en- 
thusiastic smile,  will  still  be  in  good 
standing  at  the  box  office. 

So  here's  to  continued  success  for  the 
man  who  hasn't  let  Hollywood,  fame  or 
fortune  increase  his  hat  size.  The  man 
who  takes  pride  in'  his  lovely  wife,  chil- 
dren and  home  as  well  as  his  work.  As 
Bing  might  put  it,  when  speaking  of 
another,  he's  one  of  Hollywood's  too  few 
"solid  citizens." — Willow  Dean  Wheeler, 
Jacksonville,  Fla. 

Robert  Stack 

Words  fail  me  when  I  start  to  describe 
that  new  and  delightful  actor,  Robert 
Stack. 

His  performance  in  "First  Love"  is 
something  to  write  home  about.  Robert's 
chief  charm  lies  in  his  naturalness  and 
his  youth. 

He  was  perfectly  cast  for  his  debut. 
Here's  hoping  Hollywood  will  continue 
to  cast  him  in  roles  opposite  actresses  his 
own  age.  In  fact,  why  need  the  studio 
look  further  than  Deanna  Durbin  as  a 
permanent  co-star  for  him?  They  are 
really  a  perfect  pair.  In  any  case,  please 
don't  give  him  leading  ladies  such  as  Joan 


Present  in  LURE: 

Perc  Westmore,  Hollywood's  beauty  ex- 
pert tells  you  how  to  find  your  face  type 
and  how  to  make  up  to  it. 

Margaretta  Byers.  author  oi  "Designing 
Women,"  gives  you  the  low-down  on  how  i 
to  choose  your  clothes  that  do  the  most  for 
your  figure.  j 

Walter  Thornton,  leading  model  agent,  ,1 
tells  what  makes  any  woman  lovely  to  be- 
hold. 

Helena    Rubinstein,    beauty  specialist, 

gives  some  tips  to  girls  who  wear  glasses. 

Also — "New  Clothes  From  Old."    How  to  j 
look  your  best  with  a  cold.    Knitting  in- 
structions and  patterns.    Personality  ques- 
tionnaire. I 

LURE 

SIMPLIFIED  STEPS  TO  I 
BEAUTY   AND  STYLE 
NOW  ON  SALE.  .  10$ 


Are  you  always  well  groomed? 
Do  you  look  alluring  in  glasses? 
Does  your  make-up  always  stay  put? 
Can  you  make  over  your  clothes  effectively? 

Are  you,  in  fact,  interested  in  looking  your  best,  even 
on  a  limited  budget?  Then  LURE  is  your  magazine,  for 
LURE  gives  you  definite,  down-to-earth  fashion  and 
beauty  helps — practical  suggestions  that  you  can  use  every 
day  of  the  year. 


97 


MODERN  SCREEN 


Here's  the 

SIMPLE  COOKING  SECRET 

that  made  me  famous 


It's  an  open  secret  that  I  use 
Sun-Maid  Raisins  to  add  new  appeal  to 
simple,  everyday  dishes.  For  example, 
I  wouldn't  think  of  making  rice  pudding 
without  Sun-Maid  Raisins — or  cup 
cakes,  either;  or  pot  roasts.  Scores  of 
ordinary  dishes  like  these  are  given 
new  goodness  and  flavor  simply  by 
adding  Sun-Maid  Raisins. 

REMEMBER:  All 

Raisins  aren  H  alike. 
Say  "Sun-Maid"  to 
your  grocer.  Look 
for  the  Girl  on  the 
package  when  you 
buy.  Write  today 
for  free  booklet  of 
delicious  raisin 
recipes.  Simply 
address  Sun-Maid 
Raisin  Growers 
Ass'n.,  Dept.  D24, 
Fresno,  California. 


%6 

SUN-MAID  HaUiM. 


Midget  radio  fits  your  pocket  or 
purse.  Smaller  than  cigarette  pack- 
age. Receives  stations  with  clear, 
natural  tone.  "AUDIO-PHONE  ' 
gives  superior  performance.  EN-. 
Tl RELY  NEW  PATENTED  DESIGN. 
Has  enclosed  geared  luminous  dial. 
ONE  YEAR  GUARANTEE! 
Sent  complete  ready  to  listen  with  instructions  5or  use  in 
homes,  offices,  hotels,  in  bed.  etc.  TAKES  ONLY  A  SEC- 
OND TO  CONNECT— NO  ELECTRICITY  NEEDED! 
CEUn  Wrt  UOMFYI  pay  postman  only  $2.99  plus  post. 
stND  ™°  MONET!  ae|  on  arrival  or  send  $2.99  (Check, 
MLO.^^CastO^and  yours  will  be  sent  postpaid.     A  VALUE! 

Dept.   W-4  KEARNEY,  NEBR. 


Write  Stories 

Mrs. Grace  Blanchard  had        *  9    0 

an  IDEA  for  a  story.  We       fHSl    .^fc         ■  ■ 

criticized  her  story.  Rave  IMfU  f^hbb 
it  a  new  title  and  told  her 

WHERE  TO  SEND  IT.  She  sot  a  substantial  check  THE  FIRST  TIME 

OUT.  That  is  a  THRILL  many  of  oar  graduates  have  each  month. 
Let  22  years  of  experience  guide  YOU.  Endorsed  by  Jack  London. 

FREE  BOOKLET  SJWSWSE 

■  »»v»»»»"-»-  ■    nation  of  our  personal 

criticism  and  manuscript  sales  service.  No  obligations.  Writel 
Hoosierlnstitute(.£st.J927),  Hoosier  Building,  731-735 
 Sheridan  Rd„  Div.  4984,  CHICAGO,  ILL.  

Wi  1 1  ems 
EYEBROW  BALM 


Takes  the  "Ouch!"  out 
of  Eyebrow  Plucking. 

It  softens  the  tissue  and  makes 
tweezing  easy.  No  sneezing,  no 
tears.  No  swelling,  no  redness. 
Keep youreyebrows well  groom- 
ed by  pluckingthem  often.  After 
you  have  once  tried  Willems  Eyebrow  Balm  you  will  never 
be  without  it.  Easy  to  apply.  If  your  10  cent  store  hasn't  it 
ask  the  manager  to  order  it  for  you  ...  or  send  coupon. 

WILLEMS  CO.,  Dept.  10-O,  208  S.  LaSalle  St.,  Chicago,  III. 

Please  send  me  tubes  of  Willems  Eyebrow  Balm. 

I  enclose  10c  for  each.    (Canada  15c) 

Name  


Crawford,  Norma  Shearer,  since  they're 
so  much  older  than  he!  Such  a  mistake 
was  made  when  Ginger  Rogers  was  given 
Tim  Holt  for  her  love  interest  in  "Fifth 
Avenue  Girl."  It  looked  as  though  she 
were  robbing  the  cradle. — Amy  Ragsdale, 
Oregon  City,  Ore. 

In  Defense  of  Richard 

Who  says  Dick  Greene  is  a  sissy?  Just 
because  he  plays  love  interests  is  no 
reason  why  people  should  feel  that  way 
toward  him. 

I  have  always  liked  and  admired  him. 
One  look  at  him  is  enough  to  knock  me 
off  my  feet.  It  isn't  only  looks  that  make 
me  like  him — there's  something  so  simple 
and  irresistible  about  him  which  draws 
me  to  him.  His  unaffectedness  sets  him 
apart  from  the  majority  of  stars,  and,  to 
my  mind,  his  unassuming  boyishness  is 
his  great  charm. 

I  frankly  admit  that  he  isn't  a  great 
actor  like  Tracy,  Muni  or  Gable.  But 
why  should  he  be?  They're  old-timers 
in  the  business,  while  he's  a  young  kid. 
Furthermore,  none  of  his  parts  have 
called  for  a  great  deal  of  dramatic  ability 
and  who  knows  whether  he  is  a  potential 
Academy  Award  winner  or  not?  Of 
course,  he  has  plenty  to  learn  and  with  a 
few  more  years  experience,  I  feel  con- 
fident that  he'll  outdo  any  of  them. 

With  those  dimples  and  that  wonder- 
ful smile,  he's  bound  to  get  somewhere 
and  I  know  he  can! — Grace  O'Halloran, 
New  York,  N.  Y. 

Alan  Curtis 

Now  and  then,  you  see  a  small  part 
performed  to  perfection.  I  am  referring 
especially  to  Alan  Curtis'  role  of  Nicky 
in  "Hollywood  Cavalcade."  His  fine  act- 
ing, his  good  looks  and  his  sympathetic 
attitude  toward  Alice  Faye  (Molly)  all 
combine  to  make  him  stand  out. 

Ever  since  I  saw  the  movie  a  few 
months  ago,  I  have  not  been  able  to 
understand  why  Mr.  Curtis  is  not  starred 
in  more  pictures.  I  am  sure,  if  he  is  given 
a  chance  to  play  the  lead,  he  will  give  a 
brilliant  performance.  All  he  needs  is 
the  chance  to  show  his  acting  ability. 

Here's  wishing  him  the  best  of  luck  in 
the  near  future. — Eleanor  Troiani,  Pitts- 
burgh, Pa. 


WRITE  A  LETTER- 
WIN  A  PRIZE 

So  you've  just  left  a  movie  and  are 
bursting  to  tell  the  world  about  it! 
Fans,  take  pen  and  paper  and  speak 
your  piece!  Was  it  the  best  one 
you've  ever  seen?  Was  it  the  poorest 
you've  ever  sat  through?  Did  some 
newcomer  give  you  the  thrill  of  "dis- 
covering a  star?"  Was  it  a  supporting 
role  of  a  veteran  that  entranced  you? 
All  the  fans  in  the  country  are  curious 
to  know  what  you're  thinking.  You 
have  your  favorite  and  pet  peeves 
and  so  have  they.  They'll  argue  with 
you,  but  that's  the  fun!  Then,  too, 
there's  the  chance  of  winning  a  $1.00 
prize  awarded  each  month  to  ten 
writers  of  the  most  original  and  in- 
teresting letters.  Just  one  thing — we 
expect  you  to  play  fair  with  us  and 
not  copy  or  adapt  letters  or  poems  al- 
ready published.  This  is  plagiarism 
and  will  be  prosecuted  as  such.  Send 
your  letter  or  poem  to:  A  Dollar  For 
Your  Thoughts,  Modern  Screen,  149 
Madison  Ave.,  New  York,  N.  Y. 


Rita  Johnson  actually  lounges  at  home 
in  this  softly  draped  yellow  negligee! 
Those  amazing  open  sleeves  relieve  the 
dramatic  severity  of  the  neckline,  and 
the  knotted  belt  helps  Rita  to  achieve 
the  fashionable  tiny  mid-riff.  A  fash- 
ion note  is  the  double  front  panel 
formed  by  yards  and  yards  of  sash. 


98 


MODERN  SCREEN 


THE  CAPTAIN'S  DAUGHTER 
CAME  TO  SEE 

(Continued  from  page  8) 


You  wouldn't  let  your  slip  show 

'Why  not  be  just  as  careful 
about  your  letter-paper? 

Eaton's  Highland  Linen  letter-paper  expresses  a 
personality  careful  in  the  little  things— speaks  of 
your  charm,  your  daintiness,  your  glamour  in  a 
way  that  your  own  words  can  not! 

Don't  let  cheap,  shoddy  writing  paper  give  the 
wrong  impression  of  yon  .  .  .  Eaton's  Fine  Letter 
Papers  are  always  correct .  .  .  cost  as  little  as  50c 
the  box  in  your  favorite  stationery  department. 


Mr.  B.,  himself,  was  lyrical  at  the  great 
find.  After  a  nice  "Haven't  we  met  be- 
fore?" he  scooped  her  up  with  an  en- 
thusiasm which  was,  frankly,  quite 
un-British.  The  opus,  he  told  her,  was 
to  be  called  "Stand  Up  and  Sing." 

Anna  Neagle  heeded  the  title  and  then 
some.  She  also  danced.  You  would  have 
thought  that  the  crochety  London  critics 
had  got  religion  overnight,  if  you  had 
read  the  reviews  after  the  opening. 

"Too  many  seasons  have  waxed  and 
waned  since  we  have  been  permitted 
to  behold  anything  like  the  apparition 
listed  on  the  programs  as  Miss  Anna 
Neagle,"  one  amiable  typewriter  tyrant 
set  down  for  his  astonished  readers.  And 
then,  more  cautiously,  "This  lady  is 
eminently  capable,  and  one  dares  proph- 
esy great  things." 

ANNA  NEAGLE  had  arrived,  egged 
•  on  by  ambition,  the  exotic  Ameri- 
can brand.  And  the  "great  things" 
foreshadowed  by  the  critic  came  to  in- 
clude such  honors  as  Darling  of  British 
Musicals,  Dancer  Incomparable,  and  First 
Lady  of  the  English  Screen.  In  time, 
her  roles  ranged  from  naughty  Nell 
Gwynn  to  good  Queen  Victoria  and  were 
so  admired  in  this  country  that  RKO 
imported  her  to  serve  as  centerpiece  of 
"Nurse  Edith  Cavell." 

A  sea  captain's  daughter  in  the  habili- 
ments of  Queen  Victoria,  with  His 
Majesty's  government  throwing  open  for 
her  use  the  castles,  towers,  country 
houses,  palaces  and  all  the  appurtenances 
of  the  late  monarch,  is  something  less 
than  cricket.  "It's  amazing,"  as  she 
insists. 

No  one  is  more  surprised  at  her  suc- 
cess than  is  Anna  Neagle.  She  was  born 
Marjorie  Robertson,  thirty-four  years 
ago,  in  modest  Forest  Gate,  London. 
Many  ancestors  had  served  in  the  royal 
navy,  but  her  father  had  a  definite  lean- 
ing toward  the  Mercantile  Marine.  In 
fact,  he  captained  the  boat  that  first 
brought  her  to  America. 

For  a  seafaring  man's  daughter,  she 
led  a  tranquil  life  minus  adventure  or 
excitement.  Came  1928  and  she  had 
settled  down  to  the  noble  profession  of 
gymnasium  teacher.  Then,  suddenly,  her 
father  became  ill  and  the  family  needed 
money.  Somewhat  reluctantly  she  parted 
with  her  calling  and  looked  for  a  better 
paying  field  than  teaching. 

One  of  her  friends  reminded  her  that 
she  had  a  fair  face,  trim  torso  and  a 
vast  amount  of  verve. 

"Why  don't  you  get  a  job  in  a  chorus? 
You  can't  miss." 

Timidly  she  dropped  around  and  inter- 
viewed the  impresario  of  a  scheduled 
revue  called  "Bubbly."  He  was  impressed 
no  end. 

"You're  quite  all  there,"  is  how  the  man 
expressed  it  with  wondrous  restraint. 

From  "Bubbly"  she  went  into  the 
chorus  of  London's  chic  Trocadero  Cafe. 
Then  there  came  her  brittle  glory  as  a 
member  of  Mr.  C.  B.  Cochran's  "Young 
Ladies."  She  was  simply  one  of  the 
lovelies  in  the  "line,"  as  we'd  say. 

Finally  she  was  hired  to  carry  that 
poster  in  Charles  Cochran's  "Wake  Up 
and  Dream,"  the  very  show  which  took 
her  to  the  United  States  where  she 
bumped  into  our  fabulous,  native  ambi- 
tion. Which  is  where  we  came  in,  re- 
member? 


England's  Anna  Neagle  is  a  radiant 
somebody  with  a  heart-shaped  face, 
svelte  figure,  trim  ankles  and  a  debonair 
quality  that  belies  her  age  by  ten  years. 
Dense  dark  brows  overhang  her  blue 
eyes  which  lean  toward  cobalt.  By  all 
odds  England's  most  popular  dramatic 
film  star,  thanks  to  her  scampering 
through  the  pages  of  history  and  breath- 
ing life  into  amorous  Nell  Gwynn,  irre- 
pressible Peg  Woffington  and  the  awe- 
some Victoria  among  others,  she  is  noth- 
ing if  not  unspoiled. 

When  she  made  her  first  trek  to  New 
York  as  a  leading  light  of  the  British 
cinema,  she  was  accessible  to  everyone 
who  wanted  to  quiz  her,  a  shy,  trem- 
bling fledgling  from  the  high  school 
paper  over  in  Trenton,  the  cookery 
editor  of  the  Herald  Tribune  or  free- 
lance journalists. 

THE  interviewers  were  struck,  en 
masse,  by  her  smart  clothes,  her  cor- 
diality but  especially  her  ease.  She  was 
very  plain  on  at  least  one  point. 

"I  have  no  use  for  glamour,  because 
to  me  it  implies  artificiality.  I  prefer  to 
come  down  to  earth." 

Whenever  she's  in  New  York,  she 
proves  it.  Quite  likely  she  will  slip  into 
casual  togs  and  go  walking,  afternoons, 
in  Central  Park.  No  sun  glasses,  no 
slacks,  no  disguises — nothing  to  attract 
attention.  She  feeds  the  ducks,  visits  the 
cheetah,  talks  with  attendants  and  has 
herself  a  grand  time. 

Her  chief  hobby  is  her  work.  As  soon 
as  she  gets  assigned  to  a  role,  she  begins 
to  live  the  part.  A  trip  to  the  library 
and  she  is  in  possession  of  all  available 
material  on  her  subject.  To  recreate  Nell 
Gwynn  she  spent  months  in  devouring 
the  historians  and  scouring  all  records 
that  carried  the  slightest  critical  refer- 


ence to  King  Charles'  stage-struck  girl 
friend. 

"Nurse  Edith  Cavell'  gave  her  a  lib- 
eral education.  Not  only  did  she  master 
the  geography  of  Belgium,  where  the 
Germans  performed  the  execution,  but 
she  also  studied  the  war  records.  Along 
with  this  she  read  the  memoirs  of  Brand 
Whitlock,  American  minister  to  Brussels, 
and  of  Hugh  Gibson,  his  secretary  of 
legation.  Then  she  ferreted  out  numer- 
ous letters  written  by  nurses  who  had 
known  Edith  Cavell  and  had  described 
her  tragic  death.  She  even  uncovered  an 
anonymous  account  of  the  execution  by 
a  German  participant. 

"Audiences  know  good  acting  from 
bad,  no  matter  what  great  names  are  cast 
in  the  star  roles,"  she  feels  sure.  "I  try 
hard  to  make  audiences  believe  me." 

Portrayer  of  noted  English  women 
though  she  is,  in  her  native  England  she 
lives  quietly,  undramatically  in  a  little 
cottage  at  Shenley,  miles  removed  from 
London.  Here  she  has  neither  swimming 
pool  nor  retinue  of  servants.  One  maid 
serves  her  amply. 

She  loves  to  cook.  As  a  moppet  of 
twelve,  she  used  to  help  her  mother  with 
the  culinary  chores.  She's  wild  about 
pies,  the  American  type,  that  is,  "with 
oceans  of  filling."  English  pies,  she  pro- 
tests, are  small  affairs — more  like  tarts. 
Her  favorites  are  lemon  and  cranberry. 

She  crusades  for  moderation  in  food 
consumption. 

"I  think  the  majority  of  people  eat  far 
too  much,"  she'll  tell  you.  "I  find  it 
practical  to  skip  lunch.  It  makes  one 
heavy  and  lazy — or  at  least  it  did  me. 
My  principal  meal  is  dinner  which  I  love 
and  enjoy.  I  have  an  enormous  appetite 
and  eat  practically  anything  that  I  want. 
Fortunately  I  don't  have  to  worry  about 
calories.  I  don't  take  on  weight  easily." 


99 


MODERN  SCREEN 


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As  a  former  gym  teacher  (she  calls  it 
gym  mistress)  she's  naturally  sold  on 
exercise.    She  recommends  games. 

"But  the  idea  is  to  discover  which 
games  benefit  one  most."  When  in  doubt, 
she  insists,  try  walking. 

She's  the  idol  of  her  English  public 
and  that  goes  double.  They  flood  her 
with  gifts,  telegrams,  letters  and  "God- 
bless-you's"  when  they  catch  a  glimpse 
of  her  on  the  street.  The  feeling  comes 
close  to  being  veneration.  So  much  so 
that  when  her  studio  announced  plans 
whereby  Miss  Neagle  would  bring  to  the 
screen  the  lusty  life  and  adventures  of 
Marie  Lloyd,  a  music  hall  performer, 
there  was  general  rebellion  in  the  ranks 
of  her  fan  hordes.  Newspapers  wrote 
editorials.  After  all,  they  argued,  Britain's 
first  lady  of  the  cinema  could  hardly 
condescend  to  play  a  mere  music  hall 
troubadour! 

To  the  logical  come-back  that  the  same 
lady  had  pirouetted  as  the  slightly-scarlet 
Nell  Gwynn,  the  Neagle  worshipers  re- 
minded their  opponents  that  the  Gwynn 
woman,  after  all,  was  the  playmate  of  no 
less  a  personage  than  good  Charles  II, 
God  rest  his  soul. 

Miss  Neagle  will  not  do  "Marie  Lloyd." 
Instead,  even  as  you  read  this,  she  is  in 
the  midst  of  tapering  off  her  starring 
assignment  in  RKO's  cinema  version 
of  "Irene,"  that  identical  smash  musical 
which  was  on  view  in  Manhattan  two 
decades  ago  when  our  doughboys  re- 
turned from  Over  There. 

"I  simply  love  my  role,  and  my  dance 
numbers  are  really  exciting,"  Miss  Neagle 
wants  you  to  know. 

The  pleasure,  in  all  probability,  will  be 
definitely  ours. 


EGGS-ACTLY  RIGHT 
FOR  MICKEY 

(Continued  from  page  11) 


Place  one  of  these  rings  on  each  ham- 
spread  circle.  Brush  bread  generously 
with  melted  butter.  Place  these  rings 
on  greased  baking  tin.  Break  an  egg 
carefully  into  the  center  of  each  circle. 
Sprinkle  with  salt,  pepper  and  a  little 
paprika.  Bake  in  moderate  oven  (375°F.) 
12-15  minutes  or  until  eggs  have  set  to 
desired  consistency.  Meanwhile  cook  one 
package  processed  cheese  with  %  cup 
rich  milk,  in  top  of  double  boiler,  until 
melted.  Season  to  taste  and  pour  over 
the  cooked  Dinner  Eggs.  Garnish  with 
parsley  and  serve  immediately. 

HOT  LEMON  PUDDING 

1  tablespoon  butter 

2  tablespoons  flour 

1  cup  milk 
%    cup  sugar 

3  eggs,  separated 

2  tablespoons  milk 

2  teaspoons  grated  lemon  rind 

3  tablespoons  lemon  juice 

Melt  butter,  add  flour.  Blend  well.  Add 
the  cup  of  milk,  cook  and  stir  until 
smooth  and  thickened.  Remove  from 
heat.  Add  sugar,  stir  until  melted.  Sep- 
arate the  eggs.  Beat  the  yolks  with  the 
2  tablespoons  milk;  add  to  first  mixture. 
Add  grated  rind  and  lemon  juice.  Fold 
in  stiffly  beaten  egg  whites.  Turn  into 
ungreased  baking  dish.  Set  dish  con- 
taining pudding  in  a  pan  containing  an 
inch  of  boiling  water.  Bake  in  moderate 
oven  (350  °F.)  45  minutes  or  until  puffed 
and  firm.  Serve  hot,  and  top  with 
whipped  cream  if  desired.  You'll  love  it! 


Breath-taking  Hedy  Lamarr  appears 
sans  Oriental  trappings  in  "I  Take  This 
Woman."  This  tailored,  sheer  wool 
dinner  dress  is  in  two  tones  of  grey 
and  features  an  exceptionally  high 
waist  and  a  softly  draped  bodice. 
The  full  bracelet-length  sleeves  add 
an  interesting  and  very  feminine 
note  to  this  lovely  Adrian  creation. 


100 


MODERN  SCREEN 


RETOUCHinG  FOR  SFlIlfi 


No.  2402 — Below,  collar  and 
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No.  2419 — Bows  and  choir 
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No.  2404 — Below,  cascading 
jabot — frothy  and  feminine. 


No.  2403 — Frilly,  dainty  cro 
chet  to  pep  up  your  frocks 


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101 


MODERN  SCREEN 


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KEEPING  UP  WITH  BETTE 

(Continued  from  page  35) 


the  most  profound  satisfaction  in  life.' 

"That  day  I  went  to  Butternut  alone, 
I  knew  what  my  friend  meant.  And  I 
knew  that  I'd  know  it  more  and  more 
deeply  as  the  years  would  go  by.  Yes, 
it's  the  best  thing  that  has  ever  hap- 
pened to  me.  So,"  laughed  Davis,  her 
face  flushed,  her  eyes  shining,  "you  can 
tell  people  that  Davis  went  home!" 

From  the  next  room  we  could  hear, 
now  and  then,  a  baby's  voice,  making  the 
noises  babies'  voices  make.  Into  that 
nursery  Bette  had  taken  me  as  soon  as 
I  arrived.  It's  her  sister  Bobby's  baby, 
four  months  old,  named  Ruth  Favour 
after  the  girls'  mother.  "The  baby  is  with 
me,"  Bette  said,  "until  Bobby  is  stronger; 
she's  been  so  ill  since  the  baby's  birth. 
It's  the  first  time  I've  ever  had  a  baby 
in  my  house  and  I  love  it.  Yes,  she  does 
look  like  me,  even  I  can  see  it."  I  no- 
ticed that,  characteristically,  Bette,  who 
never  does  anything  by  halves,  had  com- 
pletely converted  the  room  into  a  nurs- 
ery; had  ripped  down  drapes,  moved  out 
furniture,  even  had  had  shelves  built  for 
the  toys  small  Fay  will  not  be  playing 
with  for  some  months  to  come. 

NOW  I'm  back  in  Hollywood,"  Bette 
went  on.  "Glad  to  be  here.  Do  you 
know  that  I've  bought  a  house  here,  too? 
Another  thing  I've  always  said  I'd  never 
do.  It's  a  little  house,  a  little  brick  house, 
walled  in.  It  doesn't  mean  to  me,  of 
course,  what  Butternut  means  but  it's  a 
place  to  live  in  while  I'm  here  working. 
It's  quiet;  it's  a  retreat. 

"I've  been  in  the  thick  of  things  ever 
since  I  got  back,"  said  Bette.  "Good 
thing  for  me  I'm  equipped  with  all  this 
health  and  pep.  I'm  still  studying  French 
for  my  role  of  Henriette  in  Rachel  Fields' 
'All  This  And  Heaven,  Too.'  Lives  there 
a  girl  who  wouldn't  be  thrilled  at  play- 
ing opposite  Charles  Boyer?  I  doubt  it," 
laughed  Bette.  "I  very  much  doubt  it. 
And  speaking  of  French,  his  French  is 
but  divine.  We  are,  I  think,  very  much 
the  same  kind  of  people  in  the  way  we 
work,  at  least.  We  both  work  intensely; 
we  are  both  absorbed  into  and  by  the 
character  we  play. 


"Henriette,  by  the  way,  is  the  least 
violent  woman  I've  ever  played,  which 
makes  her  rather  a  job  for  me.  With 
the  exceptions  of  Gaby  in  'Petrified 
Forest'  and  the  elder  sister  in  'The 
Sisters,'  the  women  I've  played  have  all 
been  violent  about  their  emotions.  As  I 
am,"  grinned  Davis.  "As  perhaps  I 
shall  continue  to  be  because  I  don't 
believe  in  destroying  the  very  thing  that 
makes  us  what  we  are.  One  picture  I 
will  always  love  is  'Dark  Victory'  be- 
cause Judy  Traherne  is  what  I'm  like. 
She  was  at  least  ninety  per  cent  me. 

"And  I'm  being  very  gay,  dear," 
mocked  Bette,  at  herself,  as  I  gathered 
myself  together  for  the  take-off.  "I'm 
going  out,  as  you've  doubtless  read  in 
the  columns.  But  that's  all  there  is  to 
it — just  going  out.  I'm  doing  very  well 
for  me.  I've  been  out  two  or  three 
times  since  I  got  back. 

"This  is  the  first  time  in  my  life, 
really,  that  I've  been  free  and  able  to 
have  fun,  have  dates,  have  romances.  I 
married  so  young,  and  have  worked  so 
hard.  Now  I  can  play  and  flirt  and  be 
the  Young-woman-about-town  and  what 
do  I  do?  Comes  ten  o'clock  and  I'm  so 
doggone  tired  I  sit  in  a  restaurant  and 
all  I  can  think  of  is  my  little  white  bed,  i 
turned  down,  and  my  book  on  the  bed- 
table." 

"Proving  what?"  I  asked. 

"Proving  that,  for  me,"  said  Bette, 
her  gayety  fading  a  bit,  "there's  only  one 
thing  in  the  world,  really,  and  that's 
being  married." 

"Meaning,"  I  said,  "that  you  want  to 
marry  again  some  day?  That  you  intend 
to  marry  again  some  day?" 

"I  hope  so,"  said  Bette.  She  added  with 
a  funny  little  laugh,  "Butternut  should 
have  a  little  girl  picking  buttercups  in 
its  fields,  you  know,  and  a  little  boy 
shinnying  up  its  trees.  Then,  maybe, 
later  on,  I'd  live  there  all  the  time  and 
do  a  play  now  and  then,  perhaps  three 
or  four  plays  in  all,  just  to  prove  that  I 
could.  That's  how  I'd  like  to  finish  this 
career  of  mine,  that's  how  I'd  like  to 
end  it  all.  I  told  you,"  said  Bette,  "that 
I've  found  my  way." 


"Buck"  Benny  sports  a  tuxedo  instead  of  his  "chaps"  for  an  evening  of  night- 
spotting  with  Mary  Livingstone,  his  wife.  Jack's  just  had  a  look  at  the  check! 


102 


MODERN  SCREEN 


GOOD  NEWS 

(Continued  from  page  57) 


FATE  COMES  TO  JEFF'S  AID 

No  doubt  about  it,  Jeffrey  Lynn  is  smitten 
with  the  charms  of  one  Annie  Sheridan. 
For  a  long  time  he  hasn't  been  reticent  about 
the  fact  that  "Oomph"  Sheridan  is  his  fa- 
vorite actress,  but  he  didn't  have  the  nerve 
to  ask  her  for  a  date.  When  it  was  an- 
nounced that  the  two  were  cast  in  "It  All 
Came  True,"  Jeffrey  was  overcome  with 
bashfulness.  How,  he  asked  his  pals,  could 
he  ever  get  up  enough  nerve  for  their  love 
scenes.  The  mere  thought  of  holding  Ann 
in  his  arms  was  enough  to  scare  stronger 
men  than  himself.  Came  the  day,  however, 
when  the  picture  was  scheduled  to  start  and 
the  first  shot  was  a  love  scene.  Jeffrey 
■  timidly  started  to  kiss  the  star,  then  put  his 
arms  around  her  and  kept  right  on  the  job. 
"Hey,"  yelled  the  director.  "Whadya  think 
we  got  on  this  picture — a  'Gone  With  The 
Wind'  production  schedule?" 

OLIVIA'S  LUCK 

Word  comes  from  Olivia  de  Havilland's 
studio  that  she's  caught  the  biggest  sword- 
fish  of  the  season  on  one  of  her  weekly 
deep-sea  fishing  jaunts.  Imagine  landing  the 
biggest  fish  and  Jimmy  Stewart  in  the  same 
season! 

TACTFUL  SHIRLEY 

Shirley  Temple  exemplified  the  gracious 
hostess  the  other  day  when  a  little  girl  was 
brought  on  the  set  to  meet  her.  The  child 
looked  at  Shirley  and  said,  "Why,  I  thought 
you  had  blue  eyes.  I  saw  you  on  Holly- 
wood Boulevard  one  day  and  you  had  blue 
eyes."  Shirley  patted  the  little  girl  on  the 
head  and  said  kindly,  "Maybe  you're  right. 
Maybe  I  was  wearing  my  blue  eyes  that 
day." 

AN  ORCHID  (?)  FOR  BING 

Gary,  oldest  of  the  Crosby  hopefuls,  was  the 
hit  of  the  annual  show  staged  by  the  Black 
Fox  Military  Academy.  Gary  crooned  "An 
Apple  for  the  Teacher"  in  an  even  throatier 
tone  than  Bing's  and  brought  down  the 
house.  "It's  an  awful  silly  song,"  Gary  told 
his  father  that  night,  "but  with  this  bad  cold 
of  mine  I  sounded  enough  like  you  to  put  it 
over."    Was  Bing  surprised! 

PRIZE  CRACK 

Prize  crack  of  the  month  was  Mischa  Auer's 
when  a  certain  star  came  into  the  Victor 
Hugo  the  other  evening.  As  she  swept  past 
the  Auer  table,  deigning  no  glances  for  the 
common  rabble,  Mischa  gazed  after  her 
thoughtfully  and  remarked,  "I  have  never 
seen  a  face  that's  fallen  in  so  many  direc- 
tions."   Now,  Mischa! 

NICK'S  WAITING 

Though  Marie  Wilson  is  still  away  on  that 
personal  appearance  tour,  Nick  Grinde  is 
doing  all  the  night-spots  in  town  regularly 
— and  alone.    The  other  evening  Errol  Flynn 


left  his  party  at  the  Trocadero  and  went  over 
to  Grinde's  table  to  ask  the  writer  to  join  his 
party.  Grinde  thanked  him  but  shook  his 
head  at  the  invitation.  "What's  the  matter," 
Errol  asked,  "waiting  for  something?"  "Yes. 
Same  thing  I've  been  waiting  for  for  a  year," 
said  Nick  gloomily.  "For  Marie  to  say  she'll 
marry  me." 

MARTYRS  FOR  ART 

Lon  Chaney,  Jr.,  took  a  beating  the  other  day 
on  the  set  of  "1,000,000  B.  C,"  the  prehistoric 
picture  now  in  front  of  the  cameras.  .  As 
head  man  of  his  clan,  Lon  was  required  to 
tear  into  huge  hunks  of  roast  pork  for  a  feast 
scene.  The  scene  was  started  first  thing 
in  the  morning  and  by  afternoon  Lon  was 
paling  at  the  very  sight  of  pork.  "Look,"  he 
begged  director  Hal  Roach,  "can't  I  have  a 
little  barbecue  sauce  on  it  for  a  change?" 
Mr.  Roach  looked  completely  disgusted. 
"Haven't  you  any  artistic  appreciation? 
Barbecue  sauce,"  he  pointed  ,  out,  "is  about 
as  prehistoric  as  a  drive-in  sandwich  stand." 
Carole  Landis,  who  plays  Lon's  cave  gal  in 
the  picture,  admitted  right  off  that  she  had 
no  artistic  appreciation  of  her  role.  "How 
can  I,"  she  asked  the  director,  "when  this 
leopard  skin  doesn't  hide  my  bow-legs?" 
Carole  says  she's  always  disguised  them 
before  by  standing  with  one  leg  slightly 
bent,  the  heel  off  the  ground  and  the  knee 
turned  in.  "But  I  can't  do  it  in  this  picture," 
she  wailed.  "A  cave,  woman  stood  on  her 
two  feet  and  didn't  give  a  hang  whether  her 
legs  were  straight  or  had  a  permanent  wave 
in  them." 

CUPID  DEPT. 

Bill  Powell's  wedding  gift  to  his  young  bride, 
Diana  Lewis,  was  a  matching  ring,  pin  and 
clips  set  with  ruby  stones  .  .  .  Hal  Roach, 
Jr.,  is  taking  Mary  Beth  Hughes  to  night  clubs 
.  .  .  William  Holden  is  still  escorting  the 
beauteous  Brenda  Marshall  around  town 
.  .  .  June  Lang  is  giving  all  her  dates  to 
Lew  Ayres  .  .  .  Lee  Bowman  is  seeing  to 
it  that  Phyllis  Brooks  forgets  all  about  Cary 
Grant  .  .  .  Ann  Sheridan  is  doubling  up  on 
the  dates  she  gives  to  Jeffrey  Lynn  .  .  . 
Barbara  Brewster,  twin  sister  to  Gloria,  is 
scheduled  to  marry  Dr.  Lee  Siegel  .  .  . 
Bette  Davis  won't  admit  any  romantic  in- 
terest in  Robert  Foulk,  the  New  York  stage 
director,  but  she's  spending  a  lot  of  time 
with  him  these  evenings  .  .  .  Rudy  Vallee 
doesn't  have  eyes  for  anybody  but  Patricia 
Dane  .  .  .  Marlene  Dietrich  is  dividing  her 
spare  time  between  Eric  Maria  Remarque 
and  Orson  Welles  .  .  .  Joan  Fontaine  and 
Brian  Aherne  are  still  in  the  honeymoon 
stage,  and  hold  hands  wherever  they  go 
.  .  .  Jane  Withers  has  fallen  hook,  line  and 
sinker  for  Gene  Autry  .  .  .  Ann  Rutherford 
is  turning  her  smiles  on  Rand  Brooks  .  .  . 
Penny  Singleton  is  taking  more  than  the 
usual  interest  in  the  producer  of  her  pictures, 
Bob  Sparks,  who  says  he  thinks  every  really 
good  producer  should  spend  as  much  time 
as  possible  with  his  star  .  .  .  Priscilla  Lane 
and  Oren  Haglund  have  agreed  to  agree 
from  now  on,  and  they're  both  beaming  these 
days.    It's  good  to  see  them  together  again. 


! 


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WOW! 

At  a  recent  Trocadero  party,  the  guests  were 
asked  to  present  cards  of  admission  at 
the  door.  When  George  Raft  and  Norma 
Shearer  arrived,  Raft  explained  to  the  girl 
who  was  checking  the  guest  list  that  he  had 
forgotten  his  card.  "But,"  he  said  with  a 
Raftish  smile,  "I'm  sure  it's  all  right  for  us 
to  go  on  in."  The  girl  gave  him  an  icy 
stare.  "Those  are  not  my  instructions.  I 
shall  have  to  present  your  name  to  the  host," 
she  said.    "What  names  shall  I  give  him?" 

WHAT  THEY  DRIVE 

Charlie  Chaplin  can  always  be  spotted  when 
driving  around  town.  His  is  the  oldest  Rolls 
Royce  in  existence,  bar  none  .  .  .  Lana  Tur- 
ner -changes  the  model  of  her  car  but  the 
color's  always  the  same— titian,  to  match 
her  hair  .  .  .  Clark  Gable  always  has  the 
newest  and  sportiest  model  on  the  market, 
with  chromium  gadgets  all  over  it  .  .  . 
Madeleine  Carroll  bangs  around  town  in  one 
of  the  less  expensive  makes  of  car — and  it's 
three  years  old  at  that  .  .  .  John  Carradine 
has  a  lemon-colored  Duesenberg  that  has 
seen  better  days  but  it's  the  swankiest  car 
in  town  for  a'  that  .  .  .  Myrna  Loy  dotes  on  a 
small  coupe  that's  just  big  enough  for  her- 
self, the  groceries  and  her  Irish  setter. 

THE  BOYERS 

Happiest  man  around  is  Charles-  Boyer. 
Says  that  nothing  in  the  world  can  compare 
to  the  grand  and  glorious  feeling  of  being 
a  civilian.  He  and  Pat  Paterson  have  rented 
a  home  in  Westwood  Hills,  where  they'll 
stay  until  the  lease  is  up  on  their  own 
home  which  was  rented  when  Boyer  went 
off  to  the  wars.  The  Boyers  have  slipped 
back   into   their   Hollywood   routine    as  if 


they  had  never  been  away,  with  Boyer 
working  hard  on  his  radio  and  screen  roles, 
Pat  accepting  an  occasional  studio  assign- 
ment and  the  two  going  over  to  the  Tyrone 
Powers'  house  every  Thursday  night  for  the 
weekly  bridge  bout. 

MEET  A  NEW  PHOTOG 

When  Spencer  Tracy  appeared  at  the  Lux 
Radio  Theatre  for  a  rehearsal  the  other  day, 
he  was  besieged  by  amateur  camera  fans. 
Tracy  obligingly  posed  with  his  best  grin  for 
all  of  them.  When  they  asked  him  to  get 
co-star,  Bette  Davis,  out  on  the  steps,  Tracy 
refused  to  bother  her.  "But  tell  you  what 
I'll  do,"  he  said.  "Give  me  your  cameras 
and  I'll  get  a  picture  of  Bette  for  each  one 
of  you."  Eleven  cameras  were  thrust  at  him 
and  with  the  help  of  an  usher,  Tracy  got 
them  all  inside.  When  Bette  was  informed 
of  the  deal,  she  ordered  a  spotlight  set  up 
and  arranged  herself  with  a  bouquet  of 
prop  roses  and  an  angelic  expression  for 
cameraman  Tracy's  shots.  And  they  say 
Hollywood  stars  are  snobs! 

DID} A  KNOW 

That  Ann  Sheridan  never  wears  high  heels 
except  when  a  picture  role  demands  a  full 
length  shot  .  .  .  That  Leslie  Howard  had  his 
natural  blond  looks  tinted  the  right  shade 
of  strawberry  red  each  time  he  went  before 
the  camera  in  the  "Ashley  Wilkes"  role  .  .  . 
That  Orson  Welles  doesn't  live  next  door,  to 
Shirley  Temple  any  more  because  he  didn't 
like  the  ribbings  he  got  from  owning  a  home 
with  a  swimming  pool  .  .  .  That  twin  girls 
were  signed  for  the  "boy  baby"  role  in 
"Forty  Little  Mothers,"  and  Eddie  Cantor 
thinks  Director  Berkeley  did  it  on  purpose  .  .  . 
That  Errol  Flynn  saw  his  first  football  game 
at  the  Rose  Bowl  on  New  Year's  Day  .  .  . 


In  her  seventh 
picture,  "It's  A 
Date , "  opposite 
Lewis  Howard, 
Deanna  Durbin 
wea  rs  her  first 
period  costume. 
Of  black  chiffon 
velvet,  trimmed 
with  six  hundred 
ermine  tails,  and 
featuring  a  hoop 
skirt,  this  beauti- 
ful gown  is  one 
of  twenty  -  eight 
changes.  It  cost 
$1500  yet  ap- 
pears on  the 
screen  for  only 
three  minutes. 


104 


MODERN  SCREEN 


CORN  SUFFERERS 

should  know  these  facts... 


STYLES  CHANGE 

in  MANNERS,  Too! 


That  old  etiquette  book  you  in- 
herited is  as  out  of  date  as  the 
horse  car,  but  your  manners  are 
still  as  important  as  ever.  Like 
everything  else,  your  etiquette 
must  fit  in  with  the  times.  MOD- 
ERN MANNERS  will  help  bring 
you  up  to  date — and  up  to  par. 
Clear,  simple,  and  correct  in- 
struction is  given  on  all  phases  of 
present  day  living.  Included  are 
such  pertinent  chapters  as: 

•  INTRODUCTIONS  ARE  EASY 

•  THE  ETIQUETTE  OF  EATING 

•  PROCEDURE  IN  PUBLIC 

•  FOR  HOST  AND  HOSTESS 

•  THE  WELCOME  GUEST 

•  MIXED  COMPANY 

•  ENGAGEMENTS  AND 
WEDDINGS 

•  WHAT  TO  WEAR 
AND  WHEN 


modern 
manners 

IOc 

* 


On  sale  at  all  newsstands 
March  5th 


That  Ilona  Massey  is  getting  ten  proposals 
of  marriage  every  day  since  the  release  of 
"Balalaika"  .  .  .  That  Gary  Cooper  is  a  chain 
smoker  .  .  .  That  Jimmy  Stewart  hates  to 
write  letters  .  .  .  That  Jeanette  MacDonald 
winds  up  her  concert  tour  this  spring  with 
a  performance  in  Los  Angeles  which  marks 
her  first  local  appearance  in  a  concert?  .  .  . 
That  Dorothy  Lamour  says  she's  through 
with  radio  work  for  a  long,  long  time  and 
wants  to  devote  all  her  time  to  movies  .  .  . 
That  Freddie  Bartholomew  is  begging  his 
boss  for  a  chance  to  do  "Hamlet"  on  the 
screen? 

ONE-TAKE  DURB1N 

On  the  set  of  "It's  a  Date,"  we  watched 
Walter  Pidgeon  blow  up  on  his  lines  time 
after  time,  while  Deanna  Durbin,  in  the 
scene  with  him,  went  smoothly  through  her 
dialogue.  "Whew,"  Pidgeon  exclaimed 
after  the  ninth  take,  and  the  ninth  blow-up, 
"Deanna,  if  you'd  only  slip  up  on  a  comma 
sometime,  I'd  feel  a  lot  better."  No  doubt 
about  it,  the  little  Durbin's  poise  is  enough 
to  shatter  anyone's  assurance.  At  the 
studio,  they  say  Vaughn  Paul  is  the  only 
other  human  being  that's  cool,  calm  and 
collected  enough  to  take  it. 

STRICTLY  A  BACHELOR 
PROPOSITION 

When  word  got  around  that  Cary  Grant  was 
building  a  new  home  in  Santa  Monica,  he 
was  besieged  by  requests  to  tell  for  whom 
the  house  was  intended.  All  Grant  will  say 
is,  "It's  strictly  a  bachelor  proposition — and 
I  mean  strictly!"  Incidentally,  Phyllis 
Brooks  and  Cary  are  now  working  on  the 
same  lot.  They  see  each  other  daily  in  the 
RKO  commissary,  and  always  manage  to 
exchange  a  few  amiable  nods  so  as  to  leave 
no  doubt  that  they're  still  good  friends. 

SURPRISE  ENDING 

A  traffic  cop  on  Sunset  Boulevard  told  us 
that  the  other  day  Loretta  Young  came 
whizzing  down  the  street  at  fifty  miles  an 
hour.  He  pursued  her  for  half  a  block  and 
ran  her  to  the  curb.  "Gosh,  she's  pretty," 
said  the  cop  at  this  point  in  the  story.  "Those 
eyes!  and  how  she  can  roll  them!" 
Ummmmhmm,  we  thought,  be  a  movie  star 
and  get  away  with  anything.  But  our 
friend  hadn't  finished  his  story.  "I  just  had 
to  look  away,"  he  said,  "or  else  I  would 
have  torn  up  that  ticket." 

Solution  To  Puzzle  on  Page  94 


What  causes  corns  — 
How  to  get  rid 
of  them 


Corns  are  caused  by  pressure  and  friction,  be- 
come a  mass  of  dead  cells  packed  into  a  hard  plug 
(A)  whose  base  presses  on  sensitive  nerves  (B). 
Home  paring  only  gives  temporary  relief — means 
risk  of  infection.  But  now  it's  easy  to  remove  corns. 
Fit  a  Blue-Jay  pad  (C)  neatly  over  the  corn.  It  re- 
lieves pain  by  removing  pressure. 

The  special  Blue-Jay  medication  (D)  acts  on  the 
corn — gently  loosens  it  so  it  can  be  lifted  right  out. 
Then  simply  by  avoiding  the  pressure  and  friction 
which  caused  your  corns  you  can  prevent  them  from 
coming  back.  Don't  suffer  needlessly.  Get  Blue-Jay 
Corn  Plasters  —  25 ^  for  6.  Same  price  in  Canada. 


BAU£R£ 
BLACK 


BLUE-JAY 


CORN 
PLASTERS 


ITCH 

Quick  relief  from  itching  of  eczema,  rashes 
•ad  other  externally  caused  skin  troubles 

r  "Wney  back 


KIDNEYS 
MUST  REMOVE 
EXCESS  ACIDS 

Help  15  Miles  of  Kidney  Tubes 
Flush  Out  Poisonous  Waste 

If  you  have  an  excess  of  acids  in  your  blood,  your  13 
miles  of  kidney  tubes  may  be  over-worked.  These  tiny 
filters  and  tubes  are  working  day  and  night  to  help 
Nature  rid  your  system  of  excess  acids  and  poisonous 

When  disorder  of  kidney  function  permits  poison- 
ous matter  to  remain  in  your  blood,  it  may  cause  nag- 
ging backache,  rheumatic  pains,  leg  pains,  loss  of  pep 
and  energy,  getting  up  nights,  swelling,  puffiness 
under  the  eyes,  headaches  and  dizziness.  Frequent  or 
scanty  passages  with  smarting  and  burning  some- 
times snows  there  is  something  wrong  with  your 
kidneys  or  bladder. 

Kidneys  may  need  help  the  same  as  bowels,  so  ask 
your  druggist  for  Doan's  Pills,  used  successfully  by 
millions  for  over  40  years.  They  give  happy  relief  and 
will  help  the  15  miles  of  kidney  tubes  flush  out  poison- 
ous waste  from  your  blood.  Get  Doan's  Pills. 

BABY  COMING? 

Consult  your  doctor  regular- 
Jly.  Diet  and  exercise  should 
be  regulated  from  the  earli- 
est days  of  pregnancy.  Your 
doctor's  constant  advice  on 
l  the  right  foods  and  amount 
lean  control  your  weight  and 
Ikeep  the  baby  the  right  size 
ito  facilitate  birth.  Above  all, 
ask   a   doctor's    advice  on 
feeding  infant. 

SAFER  because 
easier  to  clean! 


105 


FASTER  than  Quinine 

To  relieve  distress  of  COLDS 

PROMPTLY  and  effectively,  lake 

Salico*  S  25c 

NO  Acetanilid,  NO  Acet phene tidin, 

NO  Quinine,    NO  Habit  Forming  Drugs 


MODERN  SCREEN 


All  joking  asidi 


JACK  &ETTC 


^^0%--^  EXTRAS  -^O  ^PMP- 
fOR  0O\M<3  NOTHING. 


Theqa  6ara  was  -tup  first 

wOwAN  *tO  S/iaOK£  A  cl<2ARETO 
OW  THE  SCREEN. 
THE  YEAR  WAS  1^/6 


SONJA  MEWIE  is  THE 
ONCf  ACTP-ES5  NUHO 
WAS  A  MAH  FOR  A 
"STAND  -  IN  « 


TH5=RE  ARE.  NEARLY  18,000  MOTION  PICTURE- 
THEATRES  IN  TH*2.  UNITED  STATES ,  AND  ONE  SEAT 
To  HVEP^  TWELVE 


PERSONS  / 
• 


106 


Printed  in  the  U.  S.  A.  by  the  Art  Color  Printing  Company,  Dunellen,  N.  J. 


Maybelline  Solid-form 
Mascara  in  stunning  gold- 
colored  vanity,  75c.  Re- 
fills 35c,  Shades —  Black, 
Brown,  Blue. 


Maybelline  Cream -form 
Mascara  (applied  with- 
out water)  comes  in 
dainty  zipper  case.  Black, 
Brown,  Blue — 75c. 


es  of  the  samC 

g«b  Halt,  nose    »    ^  see  .ha^  ^  duUness  ^  can  do 

^  fe"  °T  l«es<  ani  beaU  ^  ,  vbelUue  Eye  ^hVy^UlOC 

t^een  paction*  ^hat  tfaybeU1  ^th  iant. 

c^^r^Vo*         ey£S'tbTs  dark  s-eep-S1    t  ^ 

Don't  doubt  yo  ke  on  th«  eyes  app       shado*      a    p  cll. 


Maybelline  Smooth- 
marking  Eyebrow  Pencil 
in  Black,  Brown  (and 
Blue  for  eyelid  liner). 


Maybelline  Eye  Shadow 
in  six  flattering  shades. 
Blue,  Gray,  Blue  -  gray, 
Brown,  Green,  Violet. 


\  o  s 


Actual  color  photograph  — The  girls  help 
tie  the  leaves  in  bundles.  The  tobacco  is 
part  of  better-than-ever  crops  grown 
U.  S.  Government  methods. 


farmers  have  grown  the  finest  tobacco  in  300  year! 


...and  Luckies  always  buy  the 
A-l  grades/'  says  Tom  Smothers, 
20  years  a  tobacco  auctioneer 

THREE  SIMPLE  FACTS  tell  why  we  ask:  "Have  yc 
tried  a  Lucky  lately?" 

Fact  No.  1.  In  recent  years,  progressive  tobac( 
farmers  have  worked  closely  with  Uncle  Sam  lear 
ing  new,  scientific  growing  methods.  Result:  Tl 
finest  tobacco  in  history. 

Fact  No.  2.  Tom  Smothers,  15  years  a  Lucky  Stril 
smoker,  is  typical  of  the  independent  experts  —  au 
tioneers,  buyers,  warehousemen — who  pref 
Luckies,  2  to  1.  They  know  Luckies  buy  the  choic 
grades  of  these  improved  tobaccos.  Result:  Luckii 
are  better  than  ever! 

Fact  No.  3.  After  2  to  4  years  of  aging,  these  fini 
tobaccos  go  through  the  "Toasting"  procesf 
which  takes  out  certain  throat  irritants  found  J 
all  tobacco.  Result:  A  better-than-ever  smoke  pli 
throat  protection. 

Try  Luckies  for  a  week.  Check  each  fact.  You'l 
see  why  .  .  WITH  MEN  WHO  KNO\| 
TOBACCO  BEST- IT'S  LUCKIES  2  TO 


Copyright  1940,  The  American  Tobacco  Coiroany 


'THE  MILDER  THE  CIGARETTE,  THE  BETTER- 
SO  OF  COURSE,  CAMELS  ARE  MY  FAVORITE 


CAMELS  are  so  much  milder,"  says  Mrs. 
Vanderbilt.  "In  fact,  that's  what  first  at- 
tracted me  to  Camels— their  extra  mildness  com- 
bined with  their  fine,  delicate  taste  and  the  nice, 
cool  way  they  smoke." 

When  a  cigarette  is  as  mild  as  Camels,  you  just 
know  it's  slower-burning.  Camel  cigarettes  yield 
extra  mildness,  extra  coolness,  extra  flavor! 

"Every  time  I  smoke  a  Camel,"  Mrs.  Vanderbilt 
adds,  "I  enjoy  it— thoroughly .  Camels  are  gentle 
even  to  my  sensitive  throat.  Moreover,  like  all 
Camel  smokers,  I  welcome  that  extra  smoking 
in  every  pack  of  Camels!" 


Until  her  marriage,  Mrs.  Oliver  De  Gray  Vanderbilt  III  divided 
her  time  between  New  York  and  the  South.  She  is  now  making 
her  home  in  Cincinnati— will  soon  join  the  summer  colony  on 
Long  Island.  Mrs.  Vanderbilt  has  a  piquant  Southern  beauty— 
and  a  Southerner's  talent  for  gracious  living.  She  takes  pleasure 
in  running  a  household,  entertaining,  welcoming  friends  "just 
dropping  in  for  a  chat  and  a  smoke."  She  says:  "My  friends 
enjoy  Camels,  too.  And  /—well,  I  can  smoke  Camels  as  steadily 
as  I  please  and  never  tire  of  them.  They're  mild— these  Camels ! " 


In  recent  laboratory  tests, 
Camels  burned  25%  slower  than 
the  average  of  the  15  other  of 
the  largest-selling  brands  tested 
— slower  than  any  of  them. That 
means,  on  the  average,  a  smok- 
ing plus  equal  to 


5 


EXTRA  SMOKES 
PER  PACK! 


A  few  of  the  many  other  distinguished  women  who  prefer 
Catners  mildness  and  delicate  taste: 


Mrs.  Nicholas  Diddle,  Philadelphia 

Mrs.  Alexander  Black,  Los  Angeles 

Mrs.  Gail  Borden,  Chicago 

Mrs.  Powell  Cabot,  Boston 

Mrs.  Thomas  M.  Carnegie,  Jr.,  Philadelphia 

Mrs.  J.  Gardner  Coolidge  2nd,  Boston 

Mrs.  Anthony  J.  Drexel  3rd,  Philadelphia 


Mrs.  Chiswell  Dabney  Langliorne,  Virginia 
Mrs.  Malcolm  E.  McAlpin,  Neiv  Jersey 
Mrs.  Nicholas  Griffith  Penniman  III,  Baltimore 
Mrs.  Thomas  Edison  Sloane,  New  York 
Mrs.  Rufus  Paine  Spalding  III,  Pasadena 
Mrs.  Louis  Swift,  Jr.,  Chicago 
Mrs.  Kiliaen  M.  Van  Rensselaer,  New  '. 


<?pz6m  (Boo&iedd 


Copyright,  1940,  R.  J.  Reynolds  Tobacco  Co.,  Winston- Salem,  N.  C. 


fatntSMiwr       W  i  l  l  I  SLOWKR-BURNING  CAMKLS . . .  The  Cigarette  of  Long-Burning  Costlier  Tobaccos 


A  New  Easter  Bonnet  can  Halt  a  man 
but  a  Winning  Smile  can  Hold  him! 


Your  smile  is  yours  alone. ..far  too  precious  to  risk! 
Help  guard  it  with  Ipana  and  Massage! 


THE  EYE-CATCHING  smartness  of  a  new 
Easter  bonnet  — how  quickly  it  cap- 
tures a  man's  glance!  But  once  his  attention 
is  halted,  it  takes  a  bright  and  winning 
smile  to  hold  him. 

For  no  girl  can  make  a  lasting  impression 
with  a  dull  and  dingy  smile.  Don't  let  your- 
self in  for  this  tragic  mistake.  Never  neg- 
lect your  teeth  and  gums.  Never  dismiss 
lightly  that  warning  tinge  of  "pink"  on 
your  tooth  brush. 

Never  Ignore  "Pink  Tooth  Brush" 

If  your  tooth  brush  "shows  pink"—  see  your 
dentist  at  once!  It  may  not  indicate  anything 
serious,  but  let  him  decide.  Often,  he  will  tell 
you  your  gums  have  grown  tender,  flabby 


from  lack  of  exercise.  And  the  fault  fre- 
quently lies  with  our  modern  soft  foods. 
His  verdict  may  simply  be  "more  work  for 
those  weakened  gums"— and,  like  many 
dentists,  he  may  suggest  the  helpful  stimu- 
lation of  Ipana  Tooth  Paste  and  massage. 

For  Ipana  is  designed  not  only  to  clean 
the  teeth  but,  with  massage,  to  help  the 
gums  as  well.  Every  time  you  brush  your 
teeth,  massage  a  little  extra  Ipana  onto  your 
gums.  Feel  that  delightful  tang,  exclusive 
with  Ipana  and  massage,  as  circulation 
awakens  in  the  gums  — stimulates  them— 
helps  make  gums  firmer,  healthier. 

Get  a  tube  of  economical  Ipana  at  your 
druggist's  today.  Let  Ipana  and  massage  help 
you  to  have  a  smile  you  can  be  proud  of! 


IPANA  TOOTH  PASTE 


MAY,  1940 


3 


APR  -3  /940 


©C1B    4  51299^ 


PEARL  H.  FINLEY 

Editor 


ZAILA  SEGUIN 

Associate  Editor 


LOIS  SVENSRUD 

Hollywood  Editor 


ABRIL  LAMARQUE 

Art  Editor 


STORIES 

DON'T  GET  IN  THEIR  HAIR! 

—Elizabeth  Oldfield    6 

"I'M  NOT  BOY  CRAZY!" 

— James  Carson    26 

"WE  KNOW  TRACY" 

—Gladys  Hall    28 

THE  MEN  LORETTA  HAS  KISSED 

— James  Reid    30 

THE  STARMAKERS  SPEAK! 

— Irving  Wallace    32 

THE  VERVE  OF  THAT  GIRL 

— George  Benjamin    36 

ALL  WORK  AND  NO  PLAYBOY 

— Ralph  Richards    38 

LAMOUR'S  IN  LOVE 

— Ida  Zeitlin    40 

KEEP  YOUR  SMILE  IN  STYLE 

— Carol   Carter    44 

ON  HIS  TOES 

— Ryrtley  Baskette    46 

JUST  LEAVE  IT  TO  MARY 

-Radie  Harris    50 


FEATURES 

ACADEMY  AWARDS 

The  Year's  Winners   8 

INFORMATION  DESK 

Questions    Answered   10 

MOVIE  REVIEWS 

Our  Ratings      14 

CHARTING  THE  STARS 

Intimate  Data    16 

ON  THE  SET 

With  "Lillian  Russell"    34 

STRIKE  UP  THE  BAND 

A  Studio  Throws  a  Party   42 

HOW    HOLLY'D    SPENDS  ITS 
WEALTH 

Movietown's  Collection  of  Jewels  48 
GOOD  NEWS 

Movie  Chatter    54 

"WE  RE  IN  LOVE,  YOU  SEE  .  .  ." 

Lana  Turner  and  Artie  Shaw   58 

OUR  PUZZLE  PAGE 

Movie  X-Word    64 

FOODS  FROM  AFAR 

New  Recipes    74 

MOVIE  SCOREBOARD   84 

A  DOLLAR  FOR  YOUR 

THOUGHTS    98 


Vol.  20,  No  6,  May,  1940.  Copyright,  1940,  by  the  Dell  Publishes  Co.,  Inc.,  149  Madison  Ave.,  New  York.  Published  monthly.  Printed  in  U.  S.  A.  Office  of  publication 
at  Washington  and  South  Aves.,  Dunellen,  N.  J.  Single  copy  price  10c  in  U.  S.  and  Canada,-  subscription  price  $1.20  a  year,  foreign  subscription  $2.20  a  year.  Entered  as 
second-class  matter,  Sept.  18,  1930,  at  the  Postoffice,  Dunellen,  N.  J.  under  Act  of  March  3,  1879.  Additional  second  class  entries  at  Seattle,  Wash.;  San  Francisco,  Calif., 
Houston,  Texas;  Savannah,  Ga.  and  New  Orleans,  La.  The  publishers  accept  no  responsibility  for  the  return  of  unsolicited  material.  Names  of  characters  used  in  semi-fictiona1 
matter  are  fictitious.    If  the  name  of  any  living  person  is  used  it  is  purely  a  coincidence     Trademark  No.  301773. 


ONLY  A  FEW  YEARS  AGO,  A  BRIDE .. .TODAY,  DO  YOU  FACE 


SEE  ITS  GLORIOUS  RESULT  AT  YOUR 
BEAUTY  SHOP  —  WITHOUT  OBLIGATION.  Maybe  you'd 
like  to  see  an  application  of  Inecto-with-Lustrium  illustrated, 
before  you  have  it.  Just  visit  one  of  the  more  exclusive  beauty 
shops  near  you.  Ask  to  see  "Heartbreak  Age,"  their  thrilling 
Inecto-with-Lustrium  Presentation.  It  shows  you  every  step  in 
the  actual  application — to  the  final  glorious  result.  See  it  NOW! 


the  Srun ^  Jak  ASe'Th  Ped  sy«»PatViy7„  vntV 
J;  Then  you  *> »        der  of  £  con<^°- 
transforms        loong  *** 


•  colors  hair  inside 

•  hi-lights  hair  outside 


4 


MODERN  SCREEN 


MICKEY  ROONEY  as  "YOUNG  TOM  EDISON" 

with  Fay  Bainter,  George  Bancroft,  Virginia  Weidler,  Eugene  Pallette 
Original  Screen  Play  by  Bradbury  Foote,  Dore  Schary  and  Hugo  Butler 
Directed  by  Norman  Taurog  •   Produced  by  John  W.  Considine,  Jr. 
A  Metro-Goldwyn-Mayer  Picture 


MAY,  1940 


7  GET  in  THEIR  HAIR ! 


By  Elizabeth 
Oldf geld 


INTRODUCING  ANOTHER  HOLLYWOOD  HEADACHE— THE  PROBLEMS  CAUSED  BY  TOURISTS 


'TIS  SAID  all  roads  lead  to  Hollywood.  Certainly  the 
Chamber  of  Commerce  of  Southern  California  has  been 
trying  for  years  to  persuade  the  people  back  East  that  this 
is  so.  And  their  efforts  have  been  successful.  Tourists,  lured 
by  folders  showing  movie  stars  skiing  at  Lake  Arrowhead 
or  basking  in  the  warm  sunshine  of  Palm  Springs,  have 
nocked  to  the  movie  capital  at  the  rate  of  one  and  a  half 
million  yearly. 

Ninety-five  per  cent  of  the  visitors  have  the  same  idea; 
they  want  to  visit  the  picture  studios,  the  Brown  Derby 
and  shake  hands  with  their  favorite  star.  About  forty  per 
cent  seeking  admittance  to  the  studios  try,  sans  credentials, 
to  crash  the  gates  by  posing  as  exhibitors,  newspapermen 
or  stage  players.  Fifty  per  cent  come  armed  with  letters  or 
telegrams  from  important  people  in  their  home  towns.  The 
remaining  ten  per  cent  are  "biggies."  These  may  be  distin- 
guished or  titled  foreigners,  members  of  the  President's 
Cabinet,  Senators,  diplomats  or  Chief  G-Man  J.  Edgar 
Hoover  who  goes  for  theatrical  folk  in  a  big  way.  They 
arrive  in  Hollywood  following  an  editorial  bombardment  of 
the  Hays  Office  (the  clearing  house  for  the  moving  picture 
industry)  and  the  newspapers.  As  a  matter  of  fact  such 
important  personages  could  step  off  the  train  and  get  any- 
thing they  wanted,  but  most  of  them 
insist  upon  coming  heralded.  . 

Anyway,  by  the  time  they  arrive, 
film  folk  are  prepared  to  show  'cm  -  > 

Cary  Grant  in  action  and  to  feed  , ~~\*, 

them  at  the  Commissary  where  they 
may  marvel  at  Anita  Louise  eating 
roast  beef  and   potatoes  just  like 
ordinary  folk.  The  stars  do  their  bit 
by  throwing  parties  or  inviting  the 
guests  for  the  week-end.    In  fact 
everybody  from  the  producer  down 
tries  to  sell  them  Hollywood.  The 
visitors  return  to  Washington  con- 
vinced that  everything  about  Holly- 
wood is  wonderful  and  that  its  people 
are  the  most  hospitable  in  the  world. 
And  they  are  right!  For  everybody 
in  che  moving  picture  industry  is  a 
super-salesman  bent 
on   selling  moving 
pictures  not  only  to 
"biggies"  but  to  the  v.; 
public  at  large.  Per-  ./Jv? 
haps  it  is  this  co- 
operation that  has 
made  the  industry 
the  fourth  largest  in 
the   United  States 
with  estimated  gross 
box  office  receipts 
of   one   billion — 
count  'em — dollars 
a  year! 

Statistics  show 
that  300  persons 
apply  daily,  to  the 
moving  picture  stu- 
dios for  permission 
to  enter  the  sacred 
portals.  Actually, 
only  thirty  make 
the  grade,  for  visi- 
tors, regardless  of 
their  importance, 
are  costly.  Accord- 
ing to  efficiency  ex- 


perts,  four  visitors  on 
the  set  cost  the  studio 
hundreds  of  dollars  in 
time  and  re-takes  (film- 
ing the  picture  over 
again).  Why  this  should 
be,  will  be  explained 
later.  First,  we  will  go 
into  a  bit  of  motion  pic- 
ture history. 

In  the  pie-slinging 
days  when  Hollywood 
Boulevard  was  flanked 
by   daisy   fields,  when 
sound  was  unheard  of 
and  when  moving  pic- 
ture actors  were  looked 
upon  as  freaks,  produc- 
ers welcomed  visitors  to 
the  sets.  They  even  built 
balconies  around  the 
stages,  so  that  the  tour- 
ists might  get  a  good 
look  at  the  funny  folk 
who  banged  each  other  on  the  head  with  night 
sticks  or  flung  themselves  in  front  of  railroad 
trains.  Every  bus-load  of  sightseers  was  doubly 
welcome,  not  only  because  the  people  served  as 
unofficial  press  agents,  but  because  the  twenty- 
five  cents  admission  fee  they  paid  was  a  boon 
to  the  shoe-string  producer. 

The  actors  also  welcomed  the  visitors.  Most 
of  them  were  former  stage  players  accustomed 
to  the  response  of  an  audience,  and  the  boos  and 
laughs  of  the  sightseers  put  them  on  their  mettle. 

The  barkers  (who  beat  Rudy  Vallee  to  the 
punch  on  the  megaphone  idea)  would  shout  ex- 
planations of  what  the  actors  were  doing  and 
why.  It  was  swell  while  it  lasted,  but  it  didn't 
last  long.  As  the  full-length  picture  replaced 
the  one-reel  comedy,  actors  and  directors  found 
that  too  many  tourists  {Continued  on  page  101) 


6 


MODERN  SCREEN 


A  normal-sized  cat  becomes  a  huge  rav-  Angered  by  their  resistance,  Dr.  Cyclops  Dr.  Cyclops'  victims,  maddened  at  the  results  of 

ening  monster  to  the  helpless  victims'.  attacks  the  little  people  with  a  shovel!  their  size  reduction,  attack  the  gigantic  doctor! 


A  Paramount  Picture  with  Albert  Dekker  •  Janice  Logan  •Thomas  Coley  •  Charles  Halton 
Victor  Kilian  •  Frank  Yaconelli  •  Directed  by  Ernest  Schoedsack  -  Original  Screen  Play  by  Tom  Kilpatrick 


MAY,  1940 


7 


Producer  Selznick  and  his  prize-winning 
Vivien  Leigh  meet  at  the  Cocoanut 
Grove  to  accept  the  year's  highest 
awards.  Though  Robert  Donat  took 
top  male  honors  for  "Goodbye,  Mr. 
Chips,"  "Gone  With  The  Wind"  re- 
ceived 9  of  the  21  awards. 


Fay  Bainter  turns  over  one  of  the 
coveted  "Oscars"  to  Hattie  McDaniel, 
who  received  the  supporting  actress 
award  for  her  performance  as 
"Mammy"  in  "G.W.T.W."  This  marks 
the  first  time  a  member  of  her  race  has 
been  honored  by  the  Academy. 


Veteran  Award-Winner  Spencer  Tracy, 
who  left  a  sick  bed  to  make  some 
of  the  presentations,  congratulates 
Thomas  Mitchell.  44-year-old  Mr.  M. 
received  the  supporting  actor  award 
for  his  outstanding  work  as  the  doctor 
in  "Stagecoach." 


THE  11 1  GUT  OF  THE  OSCHRS 


EACH  YEAR,  the  Academy  of  Motion  Picture  Arts  and 
Sciences  distributes  about  12,000  ballots  to  people  connected 
with  the  motion  picture  industry.  Members  of  the  Screen 
Actors'  Guild  are  invited  to  vote  on  the  outstanding  acting 
performances  of  the  year,  members  of  the  Writers'  Guild  on 
the  outstanding  writing  jobs,  and  so  on.  Then,  to  avoid 
cries  of  "Fake,"  the  Academy  requests  that  all  voters  return 
their  ballots  not  to  them,  but  to  the  accounting  firm  of  Price, 
Waterhouse  &  Co.    There,  they  are  properly  audited  and  a 


member  of  that  firm  reveals  the  results  three  hours  before 
the  awards  are  made.  Not  even  the  President  of  the  Acad- 
emy knows  who  the  winners  are  going  to  be.  Despite  these 
precautions,  the  awarding  of  this  year's  "Oscars"  still  looked 
like  a  planned  affair,  with  the  King  of  England  and  David 
O.  Selznick  the  principal  conspirators — for  Vivien  Leigh 
and  Robert  Donat,  two  of  His  Highness'  loyal  subjects, 
took  the  highest  acting  awards,  while  Mr.  Selznick's  "Gone 
With  The  Wind"  strutted  off  with  almost  everything  else. 


Douglas  Fairbanks,  Jr.,  accepts  the  statuette 
awarded  his  father  for  "Outstanding  Contribution 
to  International  Development  of  Motion  Pictures." 


Mickey  Rooney  puts  his  own  stamp  of  approval  on 
Judy  Garland,  who  was  given  a  special  statuette 
for    "Outstanding    Performance    of   a  Juvenile." 


8 


MODERN  SCREEN 


\>VVWVVVWVVVWVVVWVVVVVVVVW\^ 

^/^^^^^.s^g-    Won't  you  please  help  your 

"NEW-BORN  SKIN" 


To  Keep  Its  PROMISE  of  NEW-BORN  BEAUTY  for  you? 


a2 


,/VVVV\\MVl/VVVl/\/VVVl/VV^^ 

Careful!  Your  new  skin  depends  on  you  to  help 
remove  those  tiny  flakes  of  older  skin  that  can 
"smother"  your  new-born  Beauty! 

EVERY  TIME  the  clock  ticks— every  time  you  breathe— your 
new  skin  is  crowding  eagerly  upward,  outward— and  soon 
will  make  its  bow  before  all  the  world— in  new  glory  and  new 
glamour,  if  you  will  do  your  part! 

Why  let  your  new  skin  be  "born  under  a  cloud,"  asks  Lady 
Esther— when  it  can  be  flattering— can  make  you  look  a  little 
younger,  fresher,  lovelier?  Yes,  each  coming  generation  of 
your  skin  can  bring  you  a  new-born  beauty— if— 

If  only  you  will  let  my  4-Purpose  Cream  help  you  to  re- 
move—tenderly and  gently— those  almost  invisible  flakes  of 
worn-out  skin  beclouding  your  complexion  today— conceal- 
ing the  glory  of  your  new  skin ! 

For  those  tiny  flakes  of  worn-out  skin  are  the  thieves  that 
steal  your  beauty.  Feel  with  your  fingertips  now  the  little 
rough  spots  they  leave  on  your  face.  They  can  make  you  look 
older,  for  they  keep  even  the  finest  powder  from  going  on 
smoothly— give  you  a  lifeless,  drab  complexion! 

My  4-Purpose  Cream  permeates  those  flakes.  Soothingly 
and  gently  it  whisks  them  all  away— loosens  embedded  impu- 
rities—cleanses the  very  apertures  of  your  pores— helps  your 
skin  to  be  smoother— lovelier— younger-looking. 

Ask  Your  Doctor  About  Your  Face  Cream 

If  he's  a  specialist  on  the  skin— all  the  better !  Follow  his  ad- 
vice if  you  have  a  vitamin  deficiency.  He  will  be  a  strange 
physician  indeed  if  he  tells  you  to  try  and  push  anything  like 
I  vitamins  or  hormones  into  your  skin  via  your  face  cream ! 

0.  Ask  him  if  every  word  Lady  Esther  says  isn't  absolutely 

true— that  her  cream  removes  the  dirt,  impurities,  and  worn- 
out  skin  beclouding  your  new,  young  skin  about  to  be  born! 
Then  try  my  face  cream  at  my  expense.  Continue  using  it 
|     twice  a  day  or  oftener  for  two  weeks.  See  if  your  powder 
M     doesn't  look  lovelier  day  by  day.  See  the  glamour  of  your  new- 
//::M;     born  skin  as  my  cream  helps  you  keep  your  Accent  on  Youth! 

Please  Accept  Lady  Esther's  10-Day  Sample  FREE! 


VIWVWWWVWWWVWVWWV  wvw 

The  Miracle 
of  Reborn  Skin 

Your  skin  is  constantly 
wearing  out — drying  up — 
flaking  off  almost  invisi- 
bly. But  it  is  immediately 
replaced  by  new-born  skin 
always  crowding  upward 
and  outward.  Lady  Esther 
says  you  can  help  make 
each  rebirth  of  your  skin 
a  true  Rebirth  of  Beauty ! 

aWVWA/VWV\A*W*A*WWWVI 


VlAWVVWVVWWVia'VVVlVVVVVVl'VVVWlW'Vl/VVVVV-^ 

(You  can  paste  this  on  a  penny  postcard)  (55) 

Lady  Esther,  7110  West  G5th  St.,  Chicago,  111. 

C  O  X7  Th  Please  send  me  your  generous 
_T  J\  __  d  sample  tube  of  Lady  Esther  Face 
Cream;  also  ten  shades  of  Face  Powder,  free 
and  postpaid. 

Name  


Address. 
City  


.State. 


(If  you  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont.) 


MAV;  *__t40 


9 


mFORfllHTIOn  DESK 

  am 


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lips  for  you  with  Irresistible  Lipstick... 
the  softer,  more  lasting,  non-drying  lipstick 
that's  WHIP-TEXT  for  greater  smoothness. 
Whipped  again  and  again  by  a  secret  new 
process  to  assure  that  tempting  dewy-fresh 
look  . . .  and  to  achieve  the  clearer,  lovelier 
colors  that  distinguish  Irresistible  Lipstick 
from  ordinary  lipsticks.  In  luscious  new 
FLASH  RED,  FUCHSIA  PLUM,  RED  OAK, 
ORCHID  and  other  smart  shades  with 
matching  rouge  and  face  powder. 


AT  ALL 
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IRRESISTIBLE  LIPSTICK 


Pi 

IRRI 


PUTS  THE  YOU  IN 
IRRESISTIBLE  YOUTHl 


Note:  Ij  you  desire  a  reply  by  mail,  send 
a  stamped,  self-addressed  envelope  to 
Informatioyi  Desk,  Modern  Screen,  149 
Madison  Avenue,  New  York,  New  York. 

Catherine  Maguire,  New  York,  N.  Y. 
Eighteen  years  ago  the  Coopers'  new- 
baby  was  christened  "Jack,"  but  when 
he  first  went  into  the  movies,  aged  five, 
the  impressive  "Jack"  became  the  little- 
boyish  "Jackie,"  which  will  probably 
stick  even  when  he  is  doddering  around 
playing  character  parts.  Jackie  Cooper 
is  five  feet,  ten  and  one-half  inches  tall 
and  weighs  155  pounds.  Those  mischiev- 
ous and  roving  eyes  are  hazel,  and  his 
hair  is  "dirty  blonde."  You'll  love  him  in 
"Seventeen"  with  Betty  Field. 

Florence  Ericson,  Roland,  Iowa.  Bing 
Crosby's  real  name  is  Harry,  but  he  won 
his  nickname  by  shouting  "Bing!  Bing!" 
louder  than  the  other  kids  in  the  game 
of  "Cowboys  and  Indians."  He  was  born 
in  Tacoma,  Washington,  May  2,  1904,  but 
considers  Spokane  his  home  town,  as  he 
was  just  a  baby  when  his  family  moved 
there.  He  made  his  stage  debut  in  the 
title  role  of  a  school  presentation  of 
"Julius  Caesar"  and  changed  the  play 
into  a  riotous  comedy  that  must  have 
made  Shakespeare  turn  over  in  his  grave. 
In  accordance  with  his  rehearsed  lines, 
Bing  died  nobly  on  the  stage  and  watched 
the  curtain  sweep  majestically  down — 
down  practically  on  top  of  the  "corpse." 
Bing  leaped  to  his  feet  and  bolted  back- 
stage, while  the  audience  howled  and 
clapped  him  back  for  five  encores.  Al- 
though his  parents  wanted  him  to  be  a 
lawyer,  Bing's  heart  was  in  singing,  and 
in  college  he  formed  a  partnership  with 
■  another  music  lover,  Al  Rinker,  with 
whom  he  left  college  and  eventually 
landed  in  Hollywood.  Al's  sister,  Mildred 
Bailey,  was  instrumental  in  starting  Bing 
on  the  road  to  success  via  small  cafe 
engagements,  Paul  Whiteman's  band  and 
the  Cocoanut  Grove.  Bing  is  married  to 
Dixie  Lee,  and  they  have  four  sons.  His 
hobbies  are  short-story  writing,  horse 
breeding  and  reading  detective  stories. 


Mildred  Dann,  Albany,  N.  Y.  The  little 
Idahoan  who  threw  such  a  bombshell  in 
our  midst  when  she  eloped  not  long  ago 
uses  her  middle  and  last  names  for  her 
nom  de  screen.  The  whole  thing  is  Judy 
Lana  Turner,  but  the  studio  thought  the 
Judy  was  too  chorus  girlish.  Lana 
Turner's  favorite  sport  is  swimming,  but 
she's  also  said  to  pedal  a  mean  bicycle. 

Mary  O'Neill,  New  York,  N.  Y.  Charlie 
McCarthy  was  born  nineteen  years  ago 
in  Chicago,  111.  He  cost  Eddie  Bergen 
thirty-five  dollars  and  is  now  insured 
for  upwards  of  $5,000.  Charlie  worked 
Eddie's  way  through  Northwestern  Uni- 
versity, and  since  then  the  two  have  been 
an  inseparable  and  irrepressible  pair. 
Bergen,  the  man  who,  Charlie  says,  is 
responsible  for  all  his  mistakes,  has  pro- 
vided for  his  side-kick  in  his  will  to 
the  tune  of  a  $10,000  bequest  which  will 
go,  through  Charlie,  to  the  Actors'  Fund 
of  America.  If  you  write  the  McCarthy 
a  fan  letter,  you  will  receive  a  delighted 
reply,  penned  on  his  own  stationery  and 
signed  with  a  distinguished  signature 
which  Bergen  has  devised  for  him.  Eddie 
got  his  inspiration  for  him  from  a  little 
newsboy  who  peddled  papers  near  his 
school.  His  name  was  Charlie  and  he 
had  a  brazen  manner  and  an  unpre- 
possessing but  appealingly  puckish  face 
that  Charlie's  creator — even  then  some- 
thing of  a  ventriloquist — felt  should  be 
immortalized  in  pinewood.  Charlie's 
devilish,  painted  face,  so  familiar  to  all 
of  us,  is  the  very  same  one  that  Bergen 
had  whittled  years  ago.  He  has  tried  to 
have  duplicates  made,  but  has  never  been 
satisfied  with  the  results. 

Eva  Asanoff,  Harrison,  N.  J.  Pictures  of 
Rudolph  Valentino  are  still  available. 
Send  fifteen  cents  per  picture  to  Art- 
cinema  Associates,  Inc.,  729  Seventh 
Avenue,  New  York,  N.  Y.  Specify  that 
you  would  prefer  stills  from  "The  Eagle" 
and  a  picture  of  him  with  Vilma  Banky, 
if  they  are  available.  We  are  sure  that  they 
will  be  only  too  glad  to  promptly  forward 
them  to  you.     (Continued  on  page  12) 


WE  REFUSE  TO  BE  STUMPED,  SO  COME  ON,  FANS, 
YOU  ASK  THE  QUESTIONS  AND  WE'LL  ANSWER  THEM 


MODERN  SCREEN 


Now!  CAMAY  brings  you  this  Great 
New  Improvement  in  Beauty  Soaps! 


Let  Camay  help  you  to  a  Lovelier  Skin  and 
a  More  Radiant  Complexion . . .  with  these 
three  Wonderful  Aids  to  Beauty  Cleansing! 


THE  MOMENT  you  open  a  cake  of  this  wonderful,  new 
Camay  you'll  know  it's  different.  There's  a  new,  en- 
trancing fragrance  that  just  lasts  and  lasts!  Note,  too, 
new  Camay's  abundant  lather,  its  unusual  mildness! 

Women  everywhere  are  turning  to  the  new  Camay . . . 
discovering  in  Camay  their  ideal  beauty  soap  .  . .  adopt- 
ing the  Camay  Way  to  Beauty.  Perhaps  you,  too,  can 
find  new  loveliness  by  following  this  Camay  beauty 
method  as  printed  on  the  back  of  the  Camay  wrapper. 

Camay's  3  Advantages  Proved  by  Tests! 

Our  tests  against  6  other  best-selling  toilet  soaps  proved 
Camay's  advantages.  Time  and  time  again,  Camay 
proved  it  possessed  a  greater  mildness  than  any  of 
them,  gave  more  abundant  lather  in  a  short  time,  had 
a  fragrance  that  most  women  preferred! 

Because  of  these  tests,  you  can  definitely  trust  your- 
self to  Camay's  gentle  cleansing  care  and  expect  it  to 
help  you  in  your  search  for  a  lovelier  skin,  a  more 
radiant  complexion,  new  allure! 

Go  to  your  nearest  dealer.  Look  for  Camay  in  its 
famous  yellow  and  green  wrapper.  It's  cellophane  cov- 
ered to  protect  freshness.  Get  3  cakes  of  Camay  .  .  . 
give  Camay  every  test  you  can  think  of  .  .  .  and  feel 
your  skin  responding  to  its  gentle  beauty  cleansing  care! 

Now  — more  than  ever 
THE  SOAP  OF  BEAUTIFUL  WOMEN, 


"A  PERFECT  BEAUTY  SOAP!" 

Read  this  interesting  letter  from 
Mrs.  George  D.  Lawrence,  Bronxville,  N.  Y. 

Your  new  Camay  is  so  wild,  gives  such  marvelous,  gentle 
lather,  and  has  such  a  lasting,  lovely  fragrance.  I  find  it 
a  perfecf  beauty  soap  to  help  keep  my  complexion 
wonderfully  soft  and  fresh  and  radiant. 

(Signed)  ELIZABETH  L.  LAWRENCE 
Bronxville,  N.  Y.  (Mrs.  George  D.  Lawrence) 


New,  long-lasting  Fragrance  that 
2  out  of  3  women  preferred! 

We  asked  hundreds  of  women  to  compare 
Camay's  fascinating,  new  fragrance  with  that 
of  6  other  famous  toilet  soaps.  Approximately 
2  out  of  3  women  voted  for  Camay.  You'll  like 
Camay's  new  fragrance,  too.  It  lasts  in  the  cake 
just  as  long  as  there  is  a  bit  of  soap  left! 


Beauty flews 
W (rf /WO titk  flew  Corny/ 

The  Camay  your  dealer  now  has  is  the  New,  Im- 
proved Camay.  No  change  in  the  familiar  green 
and  yellow  wrapper.  The  change  is  in  the  Soap. 


MAY,  1940 


11 


Why  risk  frowns 
when  you  could  have  kisses? 


Win— and  hold— his  love  with  lasting  charm! 
Keep  safe  from  underarm  odor— each  day  use  Mum! 


"AND  HE  fell  in  love  with  her  for  life!" 
j[\  A  story-book  ending?  Not  at  all! 
Lasting  love  comes  in  real  life  too . . . 
when  you're  lovely  to  be  near  always . . . 
when  you're  wise  enough  to  let  gentle 
Mum  guard  your  charm  each  day! 
Frowns  — or  kisses ...  just  which  you  get 
depends  on  you! 

So  don't  take  chances.  For  where  is  the 
girl  who  can  dare  risk  underarm  odor— 
and  expect  to  get  away  with  it? 

Don't  expect  even  a  daily  bath  to  pre- 
vent underarm  odor!  A  bath  removes 
only  perspiration  that  is  past.  To  avoid 
odor  to  come . . .  more  women  use  Mum 


than  any  other  deodorant.  Mum  is  so  de- 
pendable—keeps underarms  fresh  all  day! 
SAVES  TIME!  Takes  30  seconds.  And  you 
can  use  Mum  right  after  you're  dressed. 
SAVES  CLOTHES!  The  American  Insti- 
tute of  Laundering  Seal  tells  you  Mum 
won't  harm  fabrics.  And  it  does  not  harm 
your  skin. 

SAVES  ROMANCE!  Without  attempting 
to  prevent  perspiration,  Mum  prevents 
underarm  odor.  (Men  like  this  pleasant 
cream,  too.)  Get  Mum  at  your  druggist's 
today.  Use  it  for  underarms,  for  hot,  ten- 
der feet.  Mum  is  always  safe  and  sure . . . 
use  Mum  every  day! 


CONVENIENT! 


I  CAN  SLIP  INTO 
MY  DftESS  RIGHT 
AFTER  I'VE  USED 
MUM,  AND  KNOW 
THE  FABRIC'S 
SAFE 


Avoid  Embarrassment... 

Because  Mum  is  so  safe... and 
so  dependable . . .  more  women 
use  it  for  sanitary  napkins 
than  any  other  deodorant.  Try 
Mum  this  way,  too! 


Mum 


TAKES  THE  ODOR  OUT  OF  PERSPIRATION 


Jane  Richards,  Rome,  N.  Y.  That  hand- 
some Welshman,  Ray  Milland,  is  a  born 
adventurer.  Above  all  else  in  this  world, 
he  hates  monotony.  His  pre-screen 
career  was  very  colorful,  including  a  job 
on  a  potato  boat  which  cruised  around 
the  Channel  Islands,  training  horses  on 
his  uncle's  stock  ranch  and  riding  in 
the  ranks  of  King  George  V's  personal 
bodyguard.  Anita  Loos  saw  him  "ham- 
ming" in  some  mediocre  English  plays 
and  was  instrumental  in  getting  him  to 
Hollywood  in  1930.  With  a  few  time- 
outs to  return  to  his  native  land,  he  has 
been  steadily  employed  there  ever  since. 
Married  almost  ten  years,  thirty-three- 
year-old  Ray  still  hauls  in  plenty  of 
fan  mail  and  is  one  of  Hollywood's  most 
consistently  popular  stars.  Watch  for 
him  next  in  "Untamed"  with  Pat 
Morison  and  "Irene"  with  Anna  Neagle. 

John  Cappio,  Jr..  Philadelphia,  Pa.,  George 
Raft,  one  of  ten  children,  was  born 
in  New  York's  "Hell's  Kitchen."  His 
grandfather  introduced  the  merry-go- 
round  into  this  country,  and  George 
could  always  get  himself  and  his  chums 
free  rides  at  Coney  Island.  That  little 
item,  together  with  a  natural  quality  of 
leadership  and  a  pair  of  hard-hitting 
fists,  made  him  the  kingpin  in  his  neigh- 
borhood. He  had  dozens  of  jobs  before 
deciding  that  dancing  was  his  real  call- 
ing. He  still  claims  he's  just  a  hoofer 
and  not  an  actor  at  all.  After  ten  years 
of  successful  and  continuous  dancing, 
Raft  decided  to  take  a  rest  and  went  west 
to  combine  his  vacation  with  a  visit  to 
some  of  his  friends.  He  had  no  sooner 
arrived  and  was  having  a  quiet  bite  at 
the  Brown  Derby,  when  Rowland  Brown, 
the  director,  spotted  him  and  signed  him 
to  a  contract.  The  first  picture,  "Quick 
Millions,"  was  followed  by  several  others, 
but  it  took  "Scarface"  to  put  George 
irrevocably  on  the  map.  The  ex-baseball 
player,  ex-hoofer,  slick-haired  man- 
about-town  claims  to  have  no  fears  what- 
ever. Hard  as  nails  in  all  his  roles,  in 
reality  he  is  a  rank  sentimentalist.  He 
has  forty-five  suits,  an  entire  bureau 
drawer  of  imported  white  handkerchiefs 
and  he  favors  maroon  and  navy  ties.  He 
has  been  separated  from  his  wife  for 
years,  but  is  not  divorced. 

Mrs.  William  Patton,  Wissahickon,  Pa. 
Another  actress  with  the  name  Priscilla 
besides  Miss  Lane,  is  Priscilla  Lawson, 
now  playing  in  Westerns.  In  addition  to 
Neil  Hamilton,  other  actors  with  that 
last  name  include  Hale,  John  and  Mar- 
garet. There  are  two  other  Alexanders 
besides  Ben.  Katherine,  a  featured 
player,  and  Richard,  who  is  in  the  Buck 
Rogers  serials. 

Janice  Zwainz,  Los  Angeles,  Calif.  That's 
a  pretty  large  order  you've  given  us,  but 
we'll  see  what  we  can  do.  It  takes 
282,000  employees  to  run  the  picture 
show  business,  all  branches  included,  and 
they  average  an  annual  wage  of  $1,306.95. 
The  motion  picture  audience  is  estimated 
at  eighty  millions.  The  picture  retailers 
have  in  the  United  States  almost  eleven 
million  seats  and  each  of  those  is  occu- 
pied 7.78  times  a  week,  or  just  slight- 
ly more  than  once  a  day.  Incredible, 
though  it  may  seem  to  us,  the  moving 
picture  industry  is  forty-six  years  old 
this  year.  You  ask  where  the  stories 
come  from.  Well,  mostly  from  good  books 
or  plays  or  from  the  pens  of  studio 
scenarists.  Not  infrequently  they  start 
off  as  just  an  idea  and  more  or  less  write 
themselves  as  they  go  along,  with  every- 
one on  the  set  putting  in  his  two  cents' 

(Continued  on  page  103) 


12 


MODERN  SCREEN 


Selznick  International  presents 

Rebecca 

starring 

LAURENCE  OLIVIER  •  JOAN  FONTAINE 

hero  of  "Wuthering  Heights"  in  her  sensational  starring  debut 

with  GEORGE  SANDERS  •  JUDITH  ANDERSON  •  Directed  by  ALFRED  HITCHCOCK 

From  the  best-selling  novel  by  DAPHNE  DU  MAURIER  •  Released  thru  UNITED  ARTISTS 

PRODUCED  BY  DAVID  0.  SELZNICK 
WHO  MADE  "GONE  WITH  THE  WIND" 


mOVIE  REVIEWS 


****  Pinocchio 


All  the  charm  which  Hollywood  has  tried  so  hard  to  capture  with  living 
actors  in  fantasies  like  "The  Blue  Bird,"  is  present  in  the  animated  cartoons 
of  Walt  Disney.  "Snow  White,"  his  first  feature-length  production,  received 
the  most  extravagant  praise  ever  heaped  on  a  motion  picture.  "Pinocchio" 
surpasses  "Snow  White"  in  all  departments  save  possibly  musical  score  and 
multiplicity  of  characterization. 

And  perfectly  enchanting  it  is,  from  Jiminy  Cricket's  opening  tenor  solo 
(in  the  voice  of  Cliff  Edwards)  to  the  moment  of  his  final  splendor,  when  he 
receives  a  gold  badge  for  distinguished  service  as  Pinocchio's  official  con- 
science, from  the  Blue  Fairy.  She  occasionally  comes  to  earth  to  grant 
wishes  of  worthy  people  like  aged  and  lonely  Gepetto,  the  puppet-maker, 
who  wishes  that  his  masterpiece,  a  little-boy  puppet  named  Pinocchio,  would 
come  to  life;  and  like  worthy  Pinocchio  himself,  who  wishes  to  become  a  real 
boy  and  earns  his  wish  by  bravely  descending  to  the  sea-bottom  to  rescue 
Gepetto  from  the  belly  of  Monstro,  the  Whale. 

The  rest  of  the  cast  may  be  divided,  first,  into  Pinocchio's  friends:  Cleo,  the 
glamorous  gold-fish  and  Figaro,  the  frivolous  kitten.  And  second,  into 
Pinocchio's  enemies:  self-seeking  J.  Worthington  Foulfellow;  his  scatter- 
brained stooge,  Gideon;  Lampwick,  a  charming  hoodlum;  Stromboli,  the 
slave-driving  puppet  maestro  and  a  certain  Charles  Laughtonish  coachman. 

Disney's  voice  parts  are  as  delightful  as  his  drawings.  The  picture  is 
as  wonderful  to  look  into  as  the  fragile  machinery  of  an  old-fashioned  music 
box,  with  its  sweet  tinkle.  But  there  is  nothing  old-fashioned  about  the 
dialogue  or  his  wise-cracks!  Disney  has  outdone  himself  again. — RKO-Radio. 


***  Northwest  Passage 


Red  Injuns,  red  coats,  red  blood,  red  fire  of  burning  frontier  stockades,  red 
sunsets — these  are  one's  most  vivid  recollections  of  the  cinematic  tone  poem 
made  from  Kenneth  Robert's  best-selling  novel.  And  by  red  should  be 
understood,  not  a  feeble  russet  color,  but  a  flaming  Technicolor,  a  red  to 
stop  a  freight  train  or  to  set  fox-hounds  baying.  The  picture  has  other  ex- 
citing moments:  Major  Spencer  Tracy  marching  and  starving  with  his  men 
to  wipe  out  a  murderous  detachment  of  French  and  Indians;  Ranger  Robert 
Young  heroically  dragging  himself  across  country  with  a  bullet  wound  in 
his  vitals;  Walter  Brennan  being  comical  in  the  teeth  of  an  almost  certain 
pre-Revolutionary  demise. 

It  is  true  that  there  are  some  patches  of  blue,  green  and  yellow.  For 
instance,  during  the  picturesque  marches  across  mountainous  terrain  and 
through  dismal  swamps,  during  the  massacre  of  the  Indian  settlement,  and 
during  the  decorative,  weary,  trek  back  to  the  deserted  frontier  base.  But 
the  red  refrain  is  constantly  repeated  in  the  red  coats  of  the  British  troops, 
in  the  red  sides  of  beef  which  they  parade  before  the  starving  Rangers,  and 
finally,  even  in  the  surprisingly  uncolonial  shade  of  Ruth  Hussey's  lips 
which  Mr.  Young  finds  waiting  for  him  on  his  return  to  New  Hampshire. 
Oh,  yes,  we  forgot  that  Mr.  Young  is  a  painter,  and  there  is  also  the  red  of 
his  palette. 

Thanks  to  a  sound  screen  play  by  Laurence  Stallings  and  Talbot  Jennings, 
efficient  direction  by  King  Vidor,  an  excellent  cast  and  a  sumptuously  scenic 
production,  "Northwest  Passage"  is  saved  from  becoming  an  unrelieved 
chromatic    fantasy.      It's    well    worth    seeing.  —  Metro  -Goldwyn- Mayer. 


***Dr.  Ehrlich's  Magic  Bullet 


Although,  at  first  blush,  the  story  of  how  a  certain  compound  for  the  treat- 
ment of  a  hitherto  unmentionable  social  disease  was  developed  by  the 
German-Jewish  bacteriologist,  Dr.  Paul  Ehrlich,  might  seem  a  rather  special- 
ized subject  for  the  movies,  a  notable  picture  has  been  made  of  it.  Not 
since  "The  Story  of  Louis  Pasteur"  has  the  screen  lent  itself  so  auspiciously 
to  the  cause  of  science.  Don't  be  fooled  by  the  presence  of  Edward  G. 
Robinson  or  by  the  melodramatic  title.  In  spite  of  these  ambiguous  elements, 
the  picture  is  a  dignified  and  occasionally  stirring  account  of  a  brave  man's 
fight  against  human  fear  and  disease,  excellently  acted  by  a  splendid  cast, 
tightly  written  by  John  Huston,  Heinz  Herald  and  Norman  Burnside,  and 
directed  with  his  usual  mastery  by  William  Dieterle. 

On  the  other  hand,  conservative  medical  opinion  may  question  the  wisdom 
of  the  film's  climactic  implication  that  syphilis  has  been  destroyed  by 
Ehrlich's  arsenic  compound,  developed  after  606  experiments.  Also,  there 
may  be  those  who  will  deny  that  the  Germany  of  Dr.  Ehrlich's  day  was, 
with  the  exception  of  two  or  three  friendly  figures,  a  hot-bed  of  anti-Semitic 
and  bourgeois  obstructionism,  as  the  picture  makes  out. 

Mr.  Robinson,  in  a  beautiful  series  of  beards,  seems  as  much  at  home 
behind  this  scientific  shrubbery  as  Paul  Muni  himself.  Outstanding  also  is 
the  performance  of  seventy-year-old  Albert  Basserman,  a  German  refugee 
who,  without  knowledge  of  English,  learned  his  speeches  for  the  part  of  the 
great  Dr.  Koch  by  rote.  Otto  Kruger,  Ruth  Gordon,  Donald  Crisp,  Montagu 
Love  and  Maria  Ouspenskaya  are  other  prominent  members  of  the  cast. 
They  all  are  excellent. — Warner  Brothers.      {Continued  on  page  79) 


14 


MODERN  SCREE 


HIGH  SPOTS  AND  SIDELIGHTS  IN  THE  CAREERS  OF  THE  STARS  ON  REVIEW 


Walt  Disney 


Walt  Disney,  the  man  who  won't  let  us  grow  up,  arrived  in  Hollywood  in  1923  after 
a  varied  career  of  newspaper  selling,  ambulance  driving  and  illustrating  farm  journals. 
He  had  exactly  five  hundred  dollars  in  his  pocket  when  he  set  up  his  studio 
and  endeavored  to  sell  sophisticated  Hollywood  his  "Oswald  the  Rabbit."  Though  the 
next  few  years  were  lean  ones,  two  events  of  importance  did  happen.  First,  he  married 
Lillian  Bounds,  one  of  his  two  assistants,  and  then,  following  a  long  friendship  with 
office  mice,  he  evolved  his  masterpiece,  Master  Mickey.  "All  women  hate  mice," 
reasoned  the  producers,  "therefore,  they'll  boycott  your  films."  But  Mickey  made 
false  prophets  of  them  all  and  today,  at  twelve,  he's  carved  a  niche  for  himself  in 
the  Tussaud  Museum  in  London,  while  Walt,  at  thirty-nine,  has  acquired  honorary 
degrees,  Academy  Awards  and  a  six-figured  bank  balance. 

"Snow  White,"  his  first  feature-length  film,  represented  two  years  of  work  by  eight 
hundred  men.  "Bambi,"  Disney's  next,  has  an  army  of  twelve  hundred  workers.  These 
include  idea  men,  gagmen,  song  writers  and  animators.  The  last  named,  the  men  who 
make  the  Disney  actors  act,  receive  fifteen  dollars  a  week  while  taking  his  special  three 
year  art  course.  Their  average  age  is  twenty-six,  and  they  must  have  three  years  of 
regular  art  school  training  behind  them  before  Walt  considers  them  eligible  for  his 
course.  He  insists  on  this  long  apprenticeship,  although  he  confesses  that  his  own  art 
training,  excepting  brief  courses  at  the  Chicago  Academy  of  Fine  Arts,  was  negligible. 


Ruth  Hussey 


A  lady  endowed  with  an  abundance  of  beauty,  charm  and  talent  is  a  mighty  rare 
character,  but  that's  just  what  MGM  fell  heir  to  when  they  signed  Ruth  Hussey.  This 
lovely  brunette  New  Englander  never  even  aspired  to  movie  fame.  She  was  doing  an 
amazingly  good  job  of  Kay  in  a  road  company  performance  of  "Dead  End,"  when  the 
all-seeing  eye  of  a  talent  scout  settled  upon  her  approvingly.  A  few  weeks  later,  she 
had  her  first  screen  role  and,  from  less  than  a  dozen  featured  parts,  she  progressed 
to  her  current  and  much  coveted  role  of  Elizabeth  Browne  in  "Northwest  Passage." 

Miss  Hussey  is  one  of  those  unique  persons  who  could  have  been  a  success  in  a 
number  of  fields.  She  majored  in  art  at  Pembroke  College  and  her  deft  handling  of 
water  colors  and  oils  would  have  assured  her  a  future  in  painting.  Her  charming 
speaking  voice  made  her  a  good  bet  for  radio,  and  she  broadcast  a  fashion  program  for 
almost  a  year.  She  was  also  the  editor  of  her  high  school  magazine  and  college  year 
book,  to  say  nothing  of  having  turned  out  some  very  clever  advertising  copy  right  after 
she  won  her  diploma. 

She  really  sounds  too  good  to  be  true,  but  we  are  relieved  to  discover  that  she  is 
delightfully  human  in  spite  of  it  all.  A  candid  camera  fiend  par  excellence,  she  is 
the  terror  of  her  unfortunate  victims.  She  confesses  to  a  weakness  for  mangy,  stray 
cats,  and,  though  it  doesn't  seem  possible,  by  her  own  admission  she  is  this  world's 
"laziest  critter"  and  would  like  nothing  better  than  lounging  abed  till  noon  every  day. 


Edward  G.  Robinson 


Edward  G.  Robinson  doesn't  do  anything  on  a  small  scale.  At  an  age  when  most 
little  boys  are  modestly  aspiring  to  be  cops  or  firemen,  Eddie  had  three  ambitions — 
to  be  a  minister,  a  lawyer  and  a  teacher.  Far  from  struggling  with  one  required 
language,  he  mastered  seven  with  ease.  Eventually,  he  determined  to  make  acting 
his  profession  and  was  acclaimed  one  of  the  finest  performers  on  the  American  stage. 

Small  of  stature  but  great  of  accomplishment,  Eddie  is  the  very  antithesis  in  real 
life  of  the  "Little  Caesar"  roles  he  portrayed  for  so  many  hair-raising  years.  A  dyed- 
in-the-wool  family  man,  he  comes  home  every  night  laden  with  toys  for  six-year-old 
Mannie  and  perfume  for  Mrs.  Robinson.  The  man  who  is,  to  quote  him  in  an  enthu- 
siastic moment,  "nuts  about  music"  and  a  real  connoisseur  of  nineteenth  century 
French  painting,  revels  in  his  stick-em-up  portrayals.  He  likes  his  gangster  roles  but 
doesn't  object  to  playing  law-abiding  citizens  just  as  long  as  his  characters  are  real 
and  understandable,  and  he  can  smoke  a  cigar  in  the  part.  His  friends  say  the  only 
reason  Eddie  agreed  to  do  "Dr.  Erlich"  was  because  he  was  told  the  doctor  was  famous 
for  trailing  cigar  ashes  all  over  his  laboratory. 

Eddie,  when  questioned  about  his  plans  for  the  future,  cryptically  replies  in  that  terse, 
clipped  way  of  his  (the  only  hang-over  from  his  shady  past),  "I  want  to  be  a  guide  on 
a  round-the-world  tour."  If  anybody  could  lure  a  war-harried  world  out  cruising  on  a 
submarine-infested  sea,  we  think  that  person  would  certainly  be  Mr.  E.  G.  Robinson. 


MAY,  1940 


15 


ft  1 1  M  fiT "§  if  /*     T 1 1  r*    /if  1 

M.  #  flj  #  %  #  1 1 1  v    flit    «l  #  fl  #\  §/ 

THE  SECOND  HALF  OF  THE  INTIMATE  LISTING  WHICH  BEGAN  IN  OUR  APRIL  ISSUE 

NAME 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

YEAR 

FAVORITE 
SPORT 

HOBBY 

PRESENT 
STUDIO 

ADDRESS 

Hervey, 
Irene 

Student 

Stranger's 
Return 

1933 

Riding 

Singing 

U  niver- 
sal 

Home  120  North  Clift- 

1     1  \J  1  1  1  C               1   Mm  \J         M  U  1     III         \m*  Mil 

wood,  Brentwood  Heights 

Killer, 
Wendy 

Stage  Actress 

Pygmalion 

1938 

Badminton 

Cooking 

M-G-M 

Studio — Culver  City,  Cal. 

Hinds, 
Samuel  S. 

Lawyer 

Crime  of  the 
Century 

1  7iS 

C  -IX 

toolt 

Untangling 
Legal  Problems 

Univer- 
sal 

Studio — Universal  City, 
California 

Hodges, 
Joy 

S  i  n  cj  g  r 

Old  Man 
Rhythm 

1935 

Riding 

Collecting  Per- 
fume Bottles 

Univer- 
sal 

Studio — Universal  City, 
California 

Holden, 
Fay 

Stoge  Actress 

Sa  omv  Jane 

1923 

Tennis 

Gardening 

M-G-M 

Studio— Culvpr  Ci+v  Cnl 

Holden, 

\A/*I  1 ! 

William 

Student 

Golden  Boy 

1939 

Football 

Playinq  Violin 

Para- 
mount 

Studio — 5451  Marathon 
Mreet,  Hollywood 

Holt, 
Jack 

Rancnpr 

1  \w  1 1 VI  iv  1 

Light  of  the 
Western  Stars 

1918 

Polo 

Hunting 

Colum- 
bia 

Home — 168  Granville 
Ave.,  Bel-Air 

Holt, 
Tim 

otudent 

History  is  Made 
At  Night 

1  73/ 

Duo  m  inTon 

Raising  Cocker 
Spaniels 

RKO- 
Radio 

Studio — 780  Gower  Street, 
Hollywood 

Hope, 
Bob 

Vaudevillian 

Big  Broadcast 
of  1938 

1938 

Golf 

Amateur 
Photography 

Para- 
mount 

Studio — 5451  Marathon 
Street,  Hollywood 

Hopkins, 
Miriam 

Chorus  Girl 

i  ne  oesT  reopie 

173/ 

Dancing 

Painting 

Warner 
Bros. 

Home — 1400  Towergrove, 
Beverly  Hills 

Horton, 
Ed.  Everett 

Chorus  Singer 

Age  For  Love 

1933 

Sailing 

Dog  Raising 

20th  Cen- 
tury-Fox 

Home — 552 1  Amestoy, 
r  7 
cncino 

Howard, 
John 

Cl.J.-l 

oTuaenT 

r*„.  oo 

KsQr  77 

1  Vib 

n  „L_|| 

baseball 

Drawing 

Para- 
mount 

Studio — 5451  Marathon 
Street,  Hollywood 

Howard, 
Leslie 

Staae  Actor 

Outward  Bound 

1930 

Crirkpt 

VI  IvKC 1 

PnnTAnrnnnu 
r  iiuiuui  uiJiiy 

M-G-M 

Home — 724  Linden  Drive, 
Beverly  Hills 

Hudson, 
Rochelle 

Student 

Fanny  Foley 
Herself 

1930 

Swimming 

Collecting  Cor- 
sage Ribbons 

Colum- 
bia 

Home— 609   N.  Crescent 
Drive,  Beverly  Hills 

Hull, 
Henry 

Mining 
Engineer 

The  Man  Who 
Came  Back 

1 974 

Golf 

Architectural 
Designing 

M-G-M 

Sti  lH  i  a      fi  1 1  wo  r   l    i+\r     lr-  \ 

JIUUI  V         \m*  UI  TCI       Nm*  1  1  V  |      \m*  u  1  • 

Hull, 
Warren 

Singer 

Personal  Maid's 
Secret 

1935 

Rowina 

Growing 
Orchids 

Mono- 
gram 

Studio— 4516  Sunset  Blvd., 

1  a     II  1 

Hollywood 

Hunt, 
Marsha 

Student 

The  Virginia 
Judge 

1935 

Tennis 

Composing 
Music 

Mono- 
gram 

Studio— 4516  Sunset  Blvd., 
Hollywood 

Hunter, 
Ian 

Stage  Actor 

Downhill 

1928 

Riding 

Reading 

M-G-M 

Home — 126  Mayberry, 
Santa  Monica 

Huston, 
Walter 

Engineer 

Gentlemen  of 
the  Press 

1929 

Football 

Cabinet 
Making 

M-G-M . 

Studio — Culver  City,  Cal. 

Jaynes, 
Betty 

Student 

Sweethearts 

1938 

Tennis 

Collecting 
Charms 

M-G-M 

Studio — Culver  City,  Cal. 

Jean, 
Gloria 

Student 

The  Underpup 

1939 

Bicycling 

Doll  Collecting 

Univer- 
sal 

Studio — Universal  City, 
California 

Jenkins, 
Allen 

Stage  Actor 

Blessed  Event 

1932 

Sailing 

Raising  Dogs 

Warner 
Bros. 

Studio — Burbank,  Cal. 

^Continued  on  page  60) 

MODERN  SCREEN 


.SHE'S  R 


Featuring  a  gain 
. . .  the  most  singable,  swing- 
able  of  melodies 
latest  of  springtime  fashions 
and  a  !ove  story  that'll  sing 
its  way  into  your  he 


A 


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Ro/anrJ  Voung./i/an  Marshal  J 
May  fiobson-eillie  Burke  I 


/if 


CAST!. 


ARTHUR  TREACHER  ■  MARSHA  HUNT  • 
„„„  AN    SKO  «adio 

PRODUCED  AND  DIRECTED 


ISABEL  JEWELL  ■  DORIS  NOLAN 

BY  HERB.ERT  WILCOX 


MAY,  1940 


17 


snarling,  vicious, 
killer-breed ...  in  the 
eyes  of  the  law!  A 
hurt  and  embittered 
boy . .  .to  the  girl  who 
loves  him!  With  bite 
and  dynamite,  this 
drama  blasts  the  truth 
out  of  his  heart! 


'Tyrone  Dorothy} 

POWER  LAMOUR 


.  .  .  not  since  "Jesse  James" 
has  he  had  such  a  role! 


.  .  .  revealing  more  of  her 
allure  than  ever  before! 


A  20th  Century -Fox  Picture 
Darryl  F.  Zanuck  In  Charge  of  Production 


EDWARD  ARNOLD  .  LLOYD  NOLAN 

CHARLEY  GRAPEWIN  .  LIONEL  ATWILL 

Directed  by  Henry  Hathaway 
Associate  Producer  Harry  Joe  Brown    .     Screen  Play  by  Philip  Dunne 
and  Rowland  Brown  •  Original  Story  by  Samuel  G.  Engel  and  Hal  Long 
• 

Dorothy  Lamour  sings:  "This  is  the  Beginning  of  the  End"  by  Mack  Gordon 
and  "Dancing  for  Nickels  and  Dimes"  by  Lionel  Newman  and  Frank  Loesser 


18 


MODERN  SCREEN 


"II  HOT  BOV  CRHZV !' 

ASSERTS  JUDY  GARLAND,  DEBUNKING  THE  HOLLYWOOD  MATCH-MAKERS'  GOSSIP 


JUDY  GARLAND  plucked  the 
knife  from  its  place  beside  her  salad 
and  waved  it  dangerously.  Her  pert 
nose  quivered.  Her  dark  eyes 
sparked. 

"Honestly,  I  don't  know  why,  but 
all  the  gossip  writers  keep  painting 
me  as  if  I'm  boy  crazy!  Maybe  it's 
because  of  the  songs  I  sing.  Yes, 
that  must  be  it.  Those  songs  give 
the  wrong  impression.  But  gee,  I'm 
not  that  way  at  all! 

"Take  the  stories  about  Mickey 
Rooney  and  myself.  I'll  give  it  to 
you  straight.  The  columnists  keep 
saying  I'm  in  love  with  Mickey.  It 
upsets  me  so;  really  it  does.  Be- 
cause I'm  not  at  all  in  love  with 
him.  Not  a  single  bit.  Oh  sure, 
we're  swell  friends,  very  good 
friends.  Mickey  is  so  full  of  fun  and 
I  enjoy  working  with  him.  I'm  look- 
ing forward  to  our  next  picture, 
'Strike  Up  The  Band.'  But  outside 
of  pictures,  why,  I  rarely  even  see 
him!  Neither  one  of  us  cares  for 
the  other — except  as  pals.  And 
that's  the  truth!" 

Judy  Garland  put  the  knife  down, 
and  absently  contemplated  her  salad. 
When  she  looked  up,  she  gulped, 
glanced  around  to  see  if  anyone  at 
the  crowded  tables  in  the  M-G-M 
commissary  had  overheard  her  out- 
burst, and  then  looked  at  me  with 
her  shy  smile. 

"Gee,  you  understand,  don't  you? 
The  papers  have  it  wrong.  I  don't 
go  mooning  over  some  new  fellow 
every  other  day.  It's  all  so  unfair. 
Why,  right  now  I  haven't  got.  a  spe- 
cial boy  friend.  And  I  don't  even  go 
out  much. 

"Last  night,  for  example,  I  was 
home  reading  that  marvelous  book, 
'Masterpieces   of   Art'   by  Craven. 


Then,  this  morning — why — did  you 
see  this  morning's  paper?  Someone 
reported  that  last  night  I  was  at 
Victor  Hugo's  holding  hands  under 
the  table  with  some  person  t  don't 
even  know!  It's  very  confusing,  and 
I  hope  everyone  doesn't  believe  all 
those  things. 

"The  last  time  I  went  on  a  date 
was  over  a  week  ago.  A  concert 
violinist  named  Jimmy  took  me  to 
see  Katharine  Cornell  in  'No  Time 
for  Comedy.'  I  won't  be  going  out 
again  until  the  Ballet  Russe  comes 
to  town.  I  have  a  date  for  that.  I'm 
dying  to  see  the  Ballet  Russe.  Have 
you  seen  it?  I  can't  wait!" 

Judy  unclasped  her  light  fur 
jacket  and  allowed  it  to  fall  back 
over  her  chair.  She  went  at  the 
cottage  cheese  in  her  salad.  It  was 
her  favorite  cheese  and  it  seemed  to 
mellow  her. 

"I'm  really  not  very  enthused 
about  going  out  places,"  she  ex- 
plained. "Why  should  I  be,  when  I 
live  in  such  a  marvelous  home? 
Sometimes  I  see  different  boys,  may- 
be twice  a  week,  but  they  come  over 
to  the  house.  We  sit  in  my  music 
room  and  listen  to  symphony 
records.  Now  that's  real  fun! 

"Most,  of  my  friends  are  non- 
professionals. That  is,  they're  not 
movie  people.  After  all,  I  spent  nine 
years  in  vaudeville,  and  I  met  the 
finest  people  that  ever  lived.  They're 
still  my  best  friends." 

Judy's  red  hair  crept  out  from 
under  her  turban.  She  violently  put 
her  hair  in  its  place. 

"Do  you  really  want  to  know  how 
silly  those  rumors  about  me  are?" 
she  inquired,  dead  earnest.  "I'll  tell 
you.-  First  the  rumors  said  I  was  in 
love  with  Leonard  Suess,  a  musi- 


cian. Now  feature  that.  Why,  I've 
known  Leonard  for  ten  years!  He's 
a  sort  of  brother  to  me,  a  friend  of 
the  family.  He's  only  seventeen,  and 
he  supports  his  mother.  Sometimes 
he  works  in  my  pictures. 

"Then  the  rumors  said  I  was  in 
love  with  Peter  Hayes,  whose 
mother  manages  the  Grace  Hayes 
Lodge.  Well,  he's  really  a  nice  per- 
son. But  I  only  went  out  with  him 
three  times  in  my  life,  and  we  were 
only  pals. 

"That's  the  way  it  is  with  every- 
one. When  I  make  a  new  acquain- 
tance or  send  someone  I  admire  a 
note  or  flowers,  I  am  immediately 
rumored  madly  in  love.  Imagine 
what  people,  reading  about  those 
different  men  and  myself,  must 
think.  Boy  crazy  Judy,  they  must 
say.  And  I'm  not  at  all  like  that!" 

Judy's  intensity  left  her  breath- 
less. She  sat  back  against  her  fur 
jacket  and  took  a  deep  breath.  She 
was  a  young  girl  being  very  and 
delightfully  sincere. 

Suddenly  Judy  Garland's  eyes 
widened,  and  she  leaned  forward 
with  a  secret.  "But  one  day  I  am 
going  to  fall  in  love — and  it  won't 
be  a  rumor." 

Her  voice  quickened.  "The  man 
I'm  going  to  marry  is  going  to  be 
honest.  Yes  he  is.  He's  going  to  be 
a  colorful  and  exciting  man.  I  want 
him  to  have  strong,  sincere  opinions, 
even  if  they're  wrong.  And  as  for 
looks,  gosh,  how  a  man  looks  doesn't 
matter  at  all  with  me! 

"I've  always  vaguely  dreamed  of 
getting  married  at  twenty-four.  That 
age  sounds  just  right,  doesn't  it?  If 
I'm  still  good  enough  to  be  in  the 
movies,  I  wouldn't  want  to  retire 
when  I'm  married.   But  I  wouldn't 


Judy  premieres 
with  Barron  Po- 
lan,  one  of  her 
legion  of  non- 
professional ad- 
mirers. 


want  a  burdensome  contract,  either. 
My  big  dream  is  to  have  a  husband, 
a  big  family,  and  do  maybe  one 
picture  a  year.  That  sounds  ideal. 
Too  ideal,  I'm  afraid.  Maybe  it's 
only  a  fairy  tale  dream.  I  suppose 
things  never  happen  like  that,  do 
they?  But  I  pray  this  does." 

And  this  certainly  will.  For,  while 
Judy  is  only  sixteen,  and  much  will 
happen  to  her  as  it  does  in  all  young 
lives,  she  will  always  and  eternally 
be  the  same  Judy — quick  of  enthu- 
siasm, but  sound  of  judgment  and 
desire.  She  possesses  an  amazing 
sense  of  true  values  for  one  so 
young,  and  her  seriousness  and 
honesty  are  tempered  by  the  most 
precious  gift  of  all — laughter. 

But  Judy,  at  no  one's  expense, 
will  always  have  her  way  and  her 
desires,  because  she  will  always  be 
Judy. 

She  hasn't  changed  a  bit  since  she 
was  Frances  Ethel  Gumm  of  Grand 
Rapids.  Not  even  when,  some  seven 
years  ago,  she  played  on  a  vaude- 
ville bill  with  George  Jessel,  and  he 
said,  "You  can't  get  any  place  with 
a  name  like  that — Gumm.  Why,  it 
sounds  too  much  like  crumb,  bum 
or  dumb.,  I'll  christen  you  with  a 
new  name.  I'll  name  you  after  my 
best  friend,  the  drama  critic,  Robert 
Garland."  Even  when  she  came  to 
Hollywood  five  long  years  ago,  her 
feet  were  on  the  ground.  Even  when 
she  tried  to  sing,  and  they  said  she 
was  too  young,  and  she  sang  any- 
way— and  so  well  that  Mr.  Louis  B. 
Mayer  himself  was  dragged  in  to 
hear  her  and  to  sign  her. 

Today,  with  applause  loud  in  her 
ears  after  "Babes  in  Arms"  and 
"The  Wizard  of  Oz,"  with  critics 
and  polls  falling  all  over  themselves 
to  vote  her  among  the  best  ten  of 
the  past  year,  Judy  still  manages  to 
retain  the  old  values.  My  contention 
is  that,  if  the  past  five  years  haven't 
changed  her,  nothing  ever  will.  She 
may  be  the  great  Judy  Garland  to 
the  world  but,  in  her  heart,  she's 
still  plain  Frances  Gumm,  who  loves 
dill  pickles,  Debussy,  Bette  Davis, 
Italian  operas  (Cont'd  on  page  89) 


Believe  it  or  not, 
this  little  singer 
of  swing  is  a  trai- 
tor  to  "jive." 
She'd  much 
rather  listen  to 
the  classics! 


I'VE  HAD  the  most  delightful  week  gossiping  my  head  off 
about  Spencer.  "Psstt,"  I've  gone  around  saying  to  folks, 
"c'm  here  and  tell  me  things  about  Spencer  Tracy."  And 
really,  my  dears,  the  slants  you  do  get  on  Spence  when 
you  see  him  through  the  eyes  of  others! 

I  learned  things  about  Tracy  I  could  never  have  learned 
from  Tracy  himself.  You  cannot  get  Spencer  to  talk  about 
himself;  there's  no  use  trying.  Think  up  provocative  ques- 
tions as  you  will,  the  answer  is  "Ug"  or,  when  he  feels 
most  chatty,  "Glug."  That's  why  I  went  "psstting"  around 
behind  Spencer's  broad  back  and  how  I'm  able  to  pass 
on  to  you  more  information  about  Spencer  than  I  could 
possibly  have  gathered  in  any  other  way.  For  this  is 
Spencer  as  others  see  him.  And  moreover,  these  others 
are  the  people  who,  among  them,  live  the  clock  'round 
with  Spencer,  see  him  at  work  and  at  play,  in  every  mood, 
in  every  circumstance  of  his  life. 

Let's  begin  with  Hedy  Lamarr. 

"If  you  ask  me  what  I  think  of  him,"  said  Hedy,  "I  have 
to  say  it  in  one  word,  that  word  is  'Terreefic!'  In  every 
way,  terreefic!  What  is  his  attraction  for  women?  Oh, 
that  is  easy.  His  attraction  for  women  is  that  he  is  every 
inch  masculine. 

"But,"  said  Hedy,  and  very  seriously  now,  "this  is  not 

28 


the  most  truly  and  deeply  that  I  see  Spencer.  No,  what  I 
think  of  him  goes  deeper  in.  You  see,  when  I  first  started 
to  work  with  him  in  'I  Take  This  Woman,'  I  was  afraid  of 
him.  I  was  so  new  and  all;  he  had  such  experience  and 
greatness.  I  would  start  to  say  something  in  a  scene  and 
I  would  not  be  sure  how  to  say  it.  I  would  somehow  find 
myself  asking  him  how  I  should  say  it.  He  would  rehearse 
it  over  and  over  with  me,  so  kindly,  so  patiently,  not  as 
a  great  star  with  a  beginner,  but  as  a  friend  with  a  friend. 
I  was  not  afraid  of  him  any  more,  because  I  knew  that 
he  was  my  friend.  He  is  so  natural  himself,  that  you  can- 
not be  uneasy  when  you  are  working  with  him. 

"Like  all  truly  great  people,"  Hedy  said,  laughing  now, 
"Spencer  is  fun.  We  made  so  much  fun  and  laughing  on 
the  sets.  When  I  first  came,  I  did  not  pronounce  his  name 
right;  I  called  him  'Speenzer.'  So  then  he  called  me  'Hedl' 
and  it  was  Speenzer  and  Hedl  all  the  way  through.  If  I 
blew  up  on  my  fines  he  would  kid  me  to  death.  He  would 
look  at  me  so  funny  and  shake  his  head  very  solemnly 
and  say,  'I  don't  know,  Myrna  never  does  that!' 

"One  day  I  found  all  the  drawers  of  my  dressing  table 
filled  with  five-and-ten-cent  bars  of  candy.  Pretty  soon 
in  came  Speenzer  and  I  knew  who  had  put  them  there. 
So  we  took  a  bite  out  of  every  one  of  them  and  the  ones 


THE  STUDIO  GATEMAN,  A  WARDROBE  GIRL,  MR.  T's 
WAITRESS,  SECRETARY,  WIFE  AND  KIDS  TELL  TALES 
ON  SPENCE  'TIL  HE   HASN'T  A  SECRET  LEFT 


By 

Gladys  Hall 


we  didn't  like  we  put  back  in  the  drawer  and  the  ones 
we  did  like  we  ate  all  up  and  ordered  more! 

"We  had  great  laughs  about  our  eating.  In  the  picture 
we  had  a  breakfast  scene  and  when  Speenzer  came  to  the 
set  and  saw  only  grapefruit  on  the  table,  he  said  to  the 
prop  man,  'Is  this  all  you  got?  I  thought  we  would  have 
real  ham  and  eggs  and  coffee  and  flapjacks!'  When  he  was 
trying  not  to  eat  so  much  he  would  order  ice  cream  for 
me.  Then,  after  a  little,  he  would  come  around  to  my 
dressing-room  door  and  he  would  eat  some,  too.  I  gained 
six  pounds  on  that  picture,"  laughed  Hedy.  "One  night 
we  had  to  work  late  and  we  had  dinner  in  the  studio 
commissary — Speenzer,  Margaret  and  I.  We  were  all  get- 
ting fat.  We  made  plans  to  go  to  Switzerland  to  live  as 
peasants,  carrying  our  stomachs  on  wheelbarrows!  Oh, 
yes,  he  is  terreefic,"  sighed  Hedy. 

Then  I  went  out  to  the  quiet  valley  of  the  San  Fernando, 
through  the  plain,  white  wooden  gates,  up  the  short 
avenue  bordered  with  alternating  palms  and  oleanders.  I 
was  welcomed  by  eight  beautiful  red  setters,  and  then  by 
the  low,  rambling,  one-story  house  which  seems  to  hold 
out  its  arms  to  you.  In  the  lovely,  homey  living  and  din- 
ing room  combined,  there  were  chintz  divans,  neutral- 
toned,  woolly  rugs,  low  tables,  and  books  and  magazines 


everywhere.  There  were  pictures  of  children  here  and 
there  but  no  photographs  of  Spencer. 

I  talked  with  Louise  Tracy  who  makes  this  home.  What 
a  refreshing  person  she  must  be  for  an  actor  to  come 
home  to — out  of  artifice  and  applied  glamour  to  this  gray- 
eyed  young  woman  with  her  smooth-parted,  shining  hair, 
no  make-up  and  lovely  smile.  We  just  sat  and  talked,  as 
women  will,  about  husbands  and  children  and  the  special 
problems  they  present.  I  quite  forgot  Tracy,  the  star,  and 
found  myself  thinking  of  him  as  Spencer  Tracy,  the  hus- 
band and  father. 

Small  Susy,  for  instance,  her  mother  told  me,  recently 
made  a  record  of  herself  singing.  Entranced  with  the 
result,  she  decided  that  she  would  like  to  go  on  the  radio. 
She  asked  her  father,  "How  much  does  it  cost  to  go  on 
the  radio,  Daddy?"  Spencer  explained  (he  always  takes 
time  to  explain  things  to  the  children  in  detail)  that  it 
doesn't  cost  anything;  that  if  you  are  good,  the  radio  pays 
you.  Susy  then  wished  to  know  if  he  had  been  paid  for 
his  broadcasts.  Spencer  told  her,  yes,  they  had  paid  him. 

"How  much?"  demanded  Susy. 

Spencer  told  her. 

"Oh,  they  did  not!"  laughed  Susy,  doubling  up,  "they 
did  not!"  To  small  Susy,  Spencer  (Continued  on  page  77) 

29 


ft  e  i  d 

Loretta  tosses  off  scenes  like  these 
with  Robert  Taylor  (below)  and 
Charles  Boyer  (far  below)  without 
a  tremor.  "It's  just  work  to  me," 
she  says,  but  admits  it's  nice  work. 


'WAY  BACK  in  1933,  when  Loretta  Young  was 
twenty,  she  gave  an  interview  entitled,  "I  Have  Been 
In  Love  Fifty  Times!"  In  that  interview,  she  said, 
among  other  things:  "I  fall  in  love  with  all  my  lead- 
ing men.  If  I  fail  to  fall,  it  is  just  too  bad  for  me 
and  too  bad  for  my  love  scenes.  If  I  didn't  fall  a 
little  bit  in  love  with  the  men  I  play  opposite,  I 
could  not  do  love  scenes  with  them.  I  could  not  be 
fondled  and  caressed  and  kissed  by  any  man,  on  a 
set  or  off,  unless  I  felt  an  emotional  interest  in  him. 
It  would  be  impossible.  If  I  don't  feel  a  spontaneous 
attraction,  I  see  to  it  that  I  work  one  up." 

The  other  day,  on  the  set  of  "The  Doctor  Takes 
a  Wife,"  Loretta  was  amused  at  being  reminded  of 
what  she  had  once  said  about  herself  and  love  scenes. 
In  fact,  she  laughed  outright. 

"It  was  marvelous,"  she  said,  "what  press  agents 
could  persuade  actors  and  actresses  to  say  in  those 
days.  The  more  unexpected  things  we  said,  the 
more  'colorful'  and  'different'  people  thought  we 
were.  (At  least,  the  press  agents  said  so.)  We  all 
tried  frantically  to  make  amazing  statements,  but 
that  time  I  really  went  overboard." 

Which,  in  some  quarters,  might  also  be  considered 
an  amazing  statement.  No  feminine  star  today  is 
more  famous  for  her  love  scenes  than  Loretta.  When 
she  is  supposed  to  be  in  love  in  front  of  the  camera, 
she  has  an  eloquent  light  in  those  enormous  eyes — 
a  light  that  no  other  actress  seems  able  to  equal. 
But  then,  no  other  actress  has  been  in  front  of  the 
camera  with  so  many  of  Hollywood's  Great  Lovers. 
There  are  millions  of  people  unwilling  to  believe  that 
Loretta  is  only  pretending  every  time  she  plays  a 
love  scene. 

However,  that  is  what  she  insists  they  will  have  to 
believe.  She  laughs  at  any  other  notion.  She  laughs 
at  her  earlier  self  for  having  said  anything  to  the 
contrary  even  for  the  sake  of  startling  her  fans. 

MISS  YOUNG  KISSES  AND  TALKS! 


LOR ETTfl  HflS  KISSED 


"A  love  scene  is  work  like  any  other  scene,"  was  the 
way  Loretta  put  it.  "It's  nice  work,  if  you  can  get  it.  But 
it's  still  work." 

Work  to  be  held  close  by  Clark  Gable?  Work  to  listen 
to  Charles  Boyer's  caressive  voice?  Work  to  look  straight 
into  Tyrone  Power's  brown  eyes,  or  Robert  Taylor's  blue 
ones?  What  does  the  girl  mean? 

"Oh,  I  don't  mean  that  love  scenes  are  an  ordeal," 
Loretta  hastily  explained.  "All  I  mean  is  that  so  many 
other  things  enter  into  the  making  of  love  scenes  that 
personal  emotions  are  crowded  out. 

"There's  your  make-up  to  think  about,  and  your  hair. 
Your  clothes  have  to  be  just  so.  You're  subjected  to  a 
hundred  binding  lights,  glaring  down  on  you  from  all 
sides  with  blistering  heat.  A  microphone  hovers  over 
your  heads.  A  camera  stands  a  few  feet  away  and  you 
have  to  remember  to  stay  in  focus  with  it.  A  director 
tells  you  how  to  stand,  or  sit,  for  the  best  photographic 
effect.  A  script  tells  you  what  to  say.  Every  change  of 
expression,  every  movement  you  make,  even  the  angle  of 
your  kiss,  are  all  ordained  in  advance.  You  start  at  a 
signal,  and  you  stop  at  another  signal.  The  director  doesn't 
like  the  first  take.  So  you  do  the  whole  thing  over  and 
over,  and  then  you  do  close-ups  and  retakes  of  close-ups, 
working  harder  and  harder  all  the  time  to  keep  the  sheer 
repetition  of  lines  and  action  from  turning  you  into  two 
automatons. 

"Who  said  movie  stars  can't  help  falling  in  love  making 
love  scenes?  Did  I?  Imagine  having  personal  emotions 
at  such  a  time.  The  wear  and  tear  on  them  would  be 
simply  terrific.  As  long  as  everything  is  impersonal,  any 
amount  of  make-believe  is  possible. 

"That's  why  I  don't  have  to  become  acquainted  with 
an  actor  before  I  can  do  a  love  scene  with  him.  And 
why,  if  I  were  married,  I'd  hate  to  play  opposite  my 
husband." 

Loretta  paused  to  extract  a  cigarette  from  a  porcelain 
box  on  a  nearby  table.  Then  she  continued  to  reminisce. 


"The  first  time  I  did  a  love  scene,  I  was  so  self-conscious 
I  could  hardly  stand  it.  The  scene  was  with  Richard 
Barthelmess,  who  was  an  idol  of  mine.  His  mere  prox- 
imity was  enough  to  set  me  to  shaking,  to  say  nothing 
of  his  taking  me  in  his  arms  and  kissing  me. 

"He  sensed  how  wrought  up  I  was.  He  asked,  'Are  you 
embarrassed?'  I  managed  to  squeak,  'Terribly.'  He  said, 
'You  mustn't  be.  This  is  just  another  scene.  Just  part  of 
the  day's  work.' 

"I  suppose  every  beginner  goes  through  the  same  thing 
and  lives  to  see  the  scenes  as  part  of  the  business  of 
acting  and  nothing  else. 

"Heavens  knows  you  can't  go  on  being  embarrassed  by 
them  and  hope  to  be  an  actress.  Love  scenes  are  going 
to  be  an  important  part  of  movies  as  long  as  the  movies 
try  to  mirror  life.  Life,  with  most  people,  is  a  pursuit  of 
happiness.  And,  to  be  happy,  they  have  to  love  something 
or  somebody — usually  somebody." 

She  moved  an  ash  tray  within  striking  distance.  "Natu- 
rally, some  love  scenes  are  more  enjoyable  than  others. 
So  many  people  think  love  scenes  must  be  easy  or  difficult 
in  direct  proportion  to  the  amount  of  pleasure  you  find  in 
your  leading  man's  company.  That  doesn't  enter  into  it. 
What  makes  any  scene  easy  or  difficult  is  the  way  it's 
written. 

"The  most  difficult  love  scene  I've  had  in  years  was  one 
in  'Eternally  Yours'  with  David  Niven,  who  is  a  friend 
of  long  standing.  The  setting  was  a  bedroom.  That  always 
helps  to  make  things  difficult.  The  couple  were  having 
breakfast  on  the  bed.  He  started  to  pick  into  her  food. 
Then  there  were  other  light-hearted  suggestions  of 
intimacy,  ending  in  a  kiss.  It  was  one  of  those  borderline 
scenes.  Done  with  just  the  right  touch,  it  would  amuse 
audiences;  otherwise,  it  would  embarrass  them. 

"A  well-written  love  scene  is  a  delight  to  do  with  any- 
body— that  is,  short  of  someone  you  can't  abide.  I've  had 
some  leading  men  I  wasn't  crazy  about  and  the  feeling 
was  mutual,  but  we  were  able  to  (Continued  on  page  69) 


AND,  WHAT'S  MORE,  NOT  ONE  OF  THE  SCREEN'S  GREAT  LOVERS  IS  SPARED 

■ikw'  31 


IN  A  GLOOMY  private  projection  room,  in  the  corner  of  he  has  seen  something.  With  eyes  riveted  to  the  screen, 
some  Hollywood  studio,  a  middle-aged  man  slumps  in  a  he  pulls  the  curved  bell  of  the  dictaphone  to  his  lips 
leather  chair  and  watches  the  five  hundred  feet  of  film  and  speaks:  "Send  the  girl  in  Test  4783  to  my  office  to- 
unreeling  on  the  screen  before  him.                            •  morrow  morning.  I  like  her." 

In  this  room,  and  by  this  man,  every  potential  star  in  He  likes  her!  The  producer  has  spoken.  The  magic  is 

filmdom  is  found — or  forgotten.  already  taking  place.  And  a  star  is  in  the  process  of  being 

Here,  Cary  Grant  and  Vivien  Leigh  were  found.  Here,  born, 

also,  Deanna  Durbin,  Errol  Flynn,  Priscilla  Lane  and  Bill  But  what  did  the  producer  see,  as  he  sat  watching  the 

Holden  were  discovered.  short  screen  test?  What  quality  in  the  unknown  aspirant 

The  producer  watches  the  make-believe  on  the  screen  suddenly  arrested  his  attention?  What  attracted  him? 
before  him.  He  sees  close-ups  of  the  youngster,  every  You  want  to  know,  don't  you?  Because,  after  all,  one 
angle  of  her  face.  He  sees  her  walk,  turn,  sit  and  act.  He  day  that  person  in  Test  4783  may  be  you.  Oh,  yes,  it  may. 
isn't  moved,  just  tired — for  he  has  seen  ten  similar  tests  in  Joe  Pasternak,  head  of  Universal,  told  me  that  you  have 
the  past  week,  and  toiled  ten  nerve-wracking  hours  dur-  as  much  of  a  chance  as  the  experienced  entertainer,  and 
ing  the  past  day.  Now  he  is  weary,  thinking  perhaps  of  Hal  Wallis,  high  mogul  at  Warners,  insisted  that  you  don't 
his  indigestion,  reflecting  upon  whether  his  wife  will  go  have  to  be  good  looking.  Because  for  every  gorgeous 
to  Bermuda,  wondering  who  won  the  fifth  race  at  Ginger  Rogers  with  dancing  ability  and  for  every  hand- 
Santa  Anita.  some  Bob  Taylor  with  acting  experience,  there  have  been 

But  he  remains  alert.  Because  in  this  little  room,  when  a  hundred  like  Ellen  Drew,  whose  dramatic  background 

he  was  just  as  tired,  he  first  saw  Bette  Davis,  Gloria  Jean  was  limited  to  serving  chocolate  sodas,  or  like  Arleen 

and  Ginger  Rogers.  Whelan,  who  slaved  as  a  manicurist,  or  like  Fred  Mac- 

Suddenly,  the  man  sits  up.  He  leans  forward,  forgetting  Murray,  who  blew  himself  dizzy  on  a  saxophone.  They 

to  puff  on  his  expensive  cigar.  He  is  inwardly  excited,  for  didn't  have  extensive  stage  experience.  Some  didn't  even 


32 


THE 

STAR  ID  RUE  US 
SPEAK  ! 


HERE  IS  THE  SECOND  ARTICLE  OF  OUR  INFORMATIVE 


SERIES.    THE  TALENT  SCOUTS  MAY  DISCOVER  YOU,  BUT 


IT'S  ALWAYS  THE  BIG  BOSSES  WHO  HAVE  THE  FINAL  SAY 


Lucille  Ball 


Cary  Grant 


Susan  Hayward 


William  Holden 


Priscilla  Lane 


have  looks.  But  they  scored  in  screen  tests  because  they 
had  what  Artie  Jacobson,  Paramount's  talent  head,  calls 
"that  certain  something." 

You  may  have  "that  certain  something."  The  day  after 
tomorrow,  when  you  go  to  the  corner  for  a  magazine,  or 
stop  in  the  drugstore  for  a  milk-shake,  a  talent  scout  may 
see  you.  And  a  week  later,  you  may  be  in  Hollywood. 

Then  there  will  be  a  screen  test.  You  will  learn  that  a 
script  has  been  prepared  for  you,  a  set  built  for  you,  men 
hired  to  handle  you.  You  will  learn  that  a  producer  has 
spent  $750  to  photograph  you. 

There'll  be  a  camera,  and  those  hot  white  kleig  lights 
that  make  you  see  double,  and  technicians  who  are  not 
paying  any  attention.  You  will  start  playing  a  short  scene 
— part  of  a  one-act  play  like  "The  Valiant"  or  a  revised 
radio  script— and  you  will  have  to  make-believe. 

When  the  torture  is  over,  you'll  wait.  You  won't  have 
fingernails,  and  you'll  have  nerves  in  the  oddest  places. 
That  middle-aged  man  with  the  cigar  in  his  face  will  be 
sitting  in  his  40-foot  projection  room,  staring  at  500  feet 
of  celluloid  that  contains  your  image. 

Yes,  maybe,  one  day  soon,  you  will  be  the  lucky  girl  in 
Test  4783 — maybe  the  producer  will  see  "that  certain 


something"  in  you  to  start  you  out  on  a  movie  career! 

That  certain  something?  But  exactly  what?  The  answer 
depends  entirely  on  the  individual  producer.  In  the  past 
week,  I  went  from  studio  to  studio,  on  sets,  in  projection 
rooms,  in  ornate  offices,  chatting  with  those  unpublicized 
giants  who  select  and  hire  the  stars.  Each,  I  learned,  pos- 
sesses his  pet  ideas,  prejudices  and  theories.  And  each 
knows  specifically  and  definitely  the  qualities  he  wants  in 
you — that  is,  if  you  are  to  be  his  star. 

When  I  began  my  producer-hunt,  the  first  place  I  went 
to  was  Universal,  out  north  of  Hollywood  in  the  valley. 
There,  in  a  white  bungalow  on  the  lot,  was  Mr.  Headline 
himself,  Joe  Pasternak,  who  has  given  birth  to  eight  smash 
hits  out  of  eight  times  at  the  plate.  That's  batting  in  any 
league — and  this  is  the  majors! 

Discoverer  of  Deanna  Durbin  and  Gloria  Jean,  the  man 
who  upholstered  Marlene  Dietrich's  career,  Pasternak 
proved  to  be  a  two-legged  synonym  for  dynamite.  Slender, 
fast-talking,  vital,  this  ex-busboy  from  Simloul  Silvania, 
Hungary,  told  me  what  he  looked  for  in  Universal's  $800 
screen  tests. 

"Sincerity,  that's  what  I  want!"  he  exclaimed,  propping 
his  feet  on  his  desk.  "Good  looks  (Continued  on  page  91) 

33 


Oil  THE  SET 

WITH  "LILLIAN  RUSSELL,"  20th  CENTURY- 
FOX'S  NEW  $1,000,000  EXTRAVAGANZA 

LILLIAN  RUSSELL  was  vibrantly  beautiful.  Born  at  the 
dawn  of  the  Civil  War,  she  lived  her  life  with  a  boiling- 
point  fervor  which  made  that  beauty  felt  by  millions.  As 
the  most  wildly-adored  actress  of  her  day,  she  scorched 
the  headlines  with  her  escapades,  inspired  "Bahs"  and 
"Ahs"  with  her  extravagances,  and  won  four  attractive 
husbands  with  her  spine-tingling,  head-spinning  charm. 
Had  she  been  less  than  this  she  could  never  have  been 
nominated  for  Darryl  Zanuck's  Hall  of  Fame. 

Over  on  the  Will  Rogers  stage  of  the  Twentieth  Century- 
Fox  lot,  Mr.  Z's  cameramen  are  busily  recording  Lillian's 
career.  When  they  are  finished,  her  name  will  again  leap 
from  every  tongue  and  she  will  have  earned  her  greatest 
triumph,  the  right  to  stand  beside  those  other  Fox  im- 
mortals, Alexander  Graham  Bell,  Jesse  James  and  young 
Mr.  Lincoln. 

The  casting  of  "Lillian  Russell"  was  a  snap.  Any  steno 
could  have  run  her  finger  down  the  studio's  contract  fist 
and  done  the  job.  Alice  Faye  as  the  heroine  was  a  natural. 
According  to  the  publicity  boys,  she's  almost  an  exact 
counterpart  of  Russell — except  for  her  size.  True,  there's 
nothing  skimpy  about  Alice,  but  Lillian  was  still  a  good  28 
pounds  up  on  her.  You  may  be  certain,  however,  that 
this  is  one  historical  detail  which  will  be  blithely  over- 
looked by  the  producer. 

Also  overlooked  will  be  two  of  Lillian's  mates.  The 
researchers  fought  like  devils  to  get  every  point  down  pat 
but  somehow  husbands  No.  1  and  No.  3  were  lost  in  the 
scuffle.  Of  course,  news  that  the  survivors  are  being 
played  by  Don  Ameche  and  Henry  Fonda  is  enormously 
consoling  and  the  hapless  pair  probably  won't  be  missed. 

Lillian's  incidental  romances  will  be  more  conspicuously 
absent.  All  have  been  thoroughly  deleted  with  the  excep- 
tion of  Diamond  Jim  Brady.  With  Edward  Arnold  oh  the 
lot,  such  an  omission  would  have  been  unpardonable  so, 
as  the  walking  gold-mine  who  flooded  the  actress  with 
gifts  and  affection,  Eddie  will  eat  much  and  laugh  loudly 
and  never  get  to  first  base  with  our  LiL  It's  unfortunate 
about  the  others  but,  as  one  star  remarked,  "We  are  not 
only  dealing  with  history,  we  are  dealing  with  the  Hays' 
office!"  Yes,  you  can  bring  the  kiddies. 

As  is  usual  with  pictures  of  this  type,  the  producers 
have  gone  to  incredible  lengths  to  obtain  authenticity  of 
minute  details  which  few  movie-goers  can  check  anyway. 
William  Anthony  McGuire,  ace  Hollywood  writer,  worked 
two  years  on  the  screen  play,  devoting  at  least  half  of  that 
time  to  research  alone.  McGuire  is  a  man  who  is  entitled 
to  his  own  bit  of  fame  because  he  passes  up  the  typewriter 
and  writes  entire  scenarios  in  longhand.  When  he  com- 
pleted "Russell"  he  found  he'd  used  1,800  pencils  and  a 
few  score  erasers,  while  his  manuscript,  laid  sheet  on 
sheet,  measured  one  foot,  six  inches  from  the  floor! 

Packed  into  the  script  are  scenes  demanding  replicas  of 
many  of  Russell's  personal  possessions.  The  most  famous, 
for  obvious  reasons,  is  the  $3,900  corset  made  for  her  by 
Madame  Rosa  Binner.  The  original  was  an  ivory  brocade 
creation  with  flexible  gold  stays,  diamond  clasps  and  $700 
worth  of  Belgian  lace.  It  was  a  gorgeous  affair — as  corsets 
go — but  when  Madame  Binner  laced  Lillian  into  it  she 
found  that  it  bulged  unflatteringly  around  her  customer's 
well-rounded  thighs.  The  outcome  of  this  near  calamity 
was  the  first  corset  garter,  designed  to  keep  the  corset 
down — not  to  hold  the  stockings  up  as  we  of  the  two-way 
stretch  era  have  come  to  think.  Madame  Binner  is  in 
Hollywood  now  as  the  picture's  technical  adviser  on  cor- 
sets. She  will  supervise  the  reproduction  of  the  $3,900 
garment  and  estimates  that  its  (Continued  on  page  103) 


THE  VERVE 


In  her  new  picture, 
"Waterloo  Bridge," 
versatile  Vivien 
shows  a  "Scarlett" 
fever-stricken  world 
that  she  does  not 
intend  to  rest  on  her 
past  laurels. 


t 


VIVIEN  LEIGH'S  INSATIABLE 


THREE  HUNDRED  and  sixty-five 
days  ago,  Vivien  Leigh  was  the  girl 
no  one  wanted  to  see  as  Scarlett 
O'Hara.  Today,  she  is  the  girl  every- 
one is  feverishly  paying  to  see.  Pay- 
ing so  feverishly  that  already  the 
staggering  cost  of  "Gone  With  the 
Wind"— nearly  $5,000,000— has  been 
met.  And  the  picture's  travels  have 
hardly  begun. 

No  other  girl  ever  had  such  a 
triumph.  Yesterday,  the  most  unwel- 
come unknown  in  Hollywood  history; 
today,  not  only  Hollywood's  most 
sensational  star,  but  the  most  famous 
girl  alive! 

Vivien  herself  isn't  taking  her  tri- 
umph big.  She  sizes  it  up  this  way: 

"No  matter  what  I  do,  after  Scar- 
lett, it's  going  to  be  difficult  to  startle 
anybody.  I'll  try,  naturally.  But  in 
case  I  don't  succeed,  I  want  to  have 
something  to  show  for  my  efforts.  I 
want  to  be  sure  that,  meanwhile,  I'm 
learning  more  about  acting.  That's 
why  I  don't  care  what  roles  I  do,  as 
long  as  they  are  assorted. 

"I'm  not  going  to  start  being  afraid 
of  the  future,  until  I  find  a  role  that 

doesn't  teach  me  something  new." 
Anyone  capable  of  playing  Gerald 
O'Hara's  daughter  as  Vivien 
Leigh  played  her  should  have 
nothing  more  to  learn  about 
acting,  you  think.  Vivien 


A  quartette  of 
Britishers — Benita 
Hume,  Ronald  Col- 
man,  Laurence 
Olivier  and  Vivien 
Leigh.  The  Leigh- 
Olivier  merger 
's  anticipated 
in  August. 


OF  THAT  GIRL ! 


By  George  Benjamin 


ZEST  FOR  ACTING  IS  EXCEEDED  ONLY  BY  HER  UNBOUNDED  ZEST  FOR  LIVING 


doesn't  think  so.  That  she  doesn't  is 
a  tip-off  to  a  wide  streak  of  modesty 
behind  her  self-assurance.  It  is  also 
a  tip-off  to  something  else.  She  isn't 
acting  for  what  she  can  get  out  of  it. 
If  she  were,  she  would  leave  well 
enough  alone,  with  fame  here  and 
riches  on  the  way.  She's  acting  for 
what  she  can  get  out  of  herself. 

Here  is  no  "accidental"  actress,  who 
landed  on  the  stage  because  of  her 
face  or  figure,  made  good  by  courtesy 
of  the  Great  God  Luck  and  now  sud- 
denly has  acting  ambitions.  As  long 
,as  she  can  remember,  Vivien  has 
wanted  to  act.  Her  entire  fife  has 
revolved  around  that  one  urge. 

Her  earliest  memory  is  of  taking 
part  in  charity  shows  staged  by  Eng- 
lish exiles  in  India.  "You  know,  the 
sort  of  thing  given  on  the  terrace  of 
the  country  club  on  a  Saturday  after- 
noon. But  I  loved  them.  I  said  then 
that  I  was  going  to  be  an  actress  all 
my  life.  I  couldn't  have  been  more 
than  four  or  five  years  old." 

She  was  born  in  Darjeeling,  India, 
a  resort  town  in  the  foothills  of  the 
Himalayas,  whither  her  mother  had 
gone  to  escape  the  seasonal  heat  of 
Calcutta,  where  her  father  was  a 
stock  broker.  The  date  was  Novem- 
ber 5,  1913.  According  to  the  old 
jingle,  Vivien  should  be  "full  of  woe," 
for  she  was  born  on  a  Wednesday. 


The  press-agents  have  broadcast 
that  Vivien,  like  Scarlett,  teems  with 
French-Irish  blood.  Her  mother,  nee 
Gertrude  Robinson,  is  Irish,  right 
enough.  She  came  from  Connemara  in 
the  peat-bog  country.  "One  of  my 
father's  grandmothers  was  French,  so 
that  makes  him  one-quarter  French, 
which  isn't  enough  to  show.  No  one 
would  ever  take  him  for  anything  but 
a  Briton.  Especially  when  he  has  the 
name  Ernest  Richard  Hartley." 

From  neither  parent  did  she  inherit 
any  theatrical  blood.  "My  father 
wanted  to  be  a  singer  when  he  was 
young.  Both  he  and  my  mother  were 
interested  in  the  theatre  as  spectators. 
That  was  as  far  as  it  went.  There's  a 
story  out  that  they  objected  to  my 
becoming  an  actress.  That  isn't  true. 
Rather,  when  they  saw  which  way 
the  wind  was  blowing,  they  encour- 
aged the  twig  to  bend  that  way." 

Vivien's  memories  of  India  are  hazy, 
for  she  didn't  live  there  long.  She 
was  six  when  her  parents  decided  to 
get  her  out  of  the  tropic  sun  and  give 
her  a  chance  to  have  an  English  com- 
plexion and  an  English  education. 
Her  mother  took  her  to  England  and 
enrolled  her  in  the  Sacred  Heart  Con- 
vent at  Roehampton,  on  the  outskirts 
of  London. 

After  that,  for  several  years,  she 
saw  her  parents  but  once  a  year, 


when  they  "came  home"  to  be  with 
her  during  summer  vacations.  She 
grew  up  pretty  much  by  herself. 

Perhaps  you  have  a  mental  picture 
of  Vivien,  a  spitfire  of  a  child,  rebel- 
ling against  the  strict  discipline  and 
the  regimentation  of  the  convent. 

Vivien  shakes  her  head.  "I  know  it 
would  make  a  better  story  if  I  had 
been  a  little  more  like  Scarlett.  But 
I  wasn't  like  her  then,  any  more  than 
I  am  now.  I  loved  Roehampton.  It 
was  a  very  beautiful  place  with  enor- 
mous gardens.  And  the  mostx  terrible 
punishment  of  all  was  to  have  to  wear 
one's  own  clothes,  not  be  able  to  dress 
like  the  other  girls.  I  know;  it  hap- 
pened to  me.  What  I  had  done,  I 
don't  remember.  I  don't  remember, 
either,  what  I  had  done  the  year  I 
wasn't  allowed  to  see  the  Passion 
Play,  or  the  year  my  heart  was  prac- 
tically broken  because  I  wasn't  al- 
lowed to  hear  a  lecture  by  a  South 
Pole  explorer.  But  I'm  positive  I 
wasn't  a  rebel.  I'm  more  inclined  to 
believe  I  was  just  experimenting  with 
some  impulses." 

At  Roehampton  at  the  same  time 
was  Maureen  O'Sullivan.  The  press- 
agents  relate  that  both  of  them  were 
in  a  school  production  of  "A  Midsum- 
mer Night's  Dream,"  at  which  time 
Vivien,  aged  eight,  told  Maureen,  "I'm 
going  to  be  (Continued  on  page  66) 


i 


P  L  fl  Y  B  0  V 

IS  BOB  STACK,  WHO  JILTED  THE 
EASY  LIFE  OF  TRAVEL  AND  POLO 
FOR  THE  BUSINESS  OF  ACTING 


Robert  Stack's  first  role  before  the 
cameras  demanded  nothing  but  a 
school-boy  kiss.  "The  Mortal  Storm" 
gives  him  a  chance  for  dramatics. 


THE  BIGGEST  moment  in  my  life,"  confessed  21-year-old 
Robert  Stack,  "was  that  publicized  moment  when  I  gave 
Deanna  Durbin  her  first  movie  kiss.  Not  that  the  kiss 
itself  was  so  enjoyable  because,  God  knows,  I  was  too 
scared  to  realize  whether  it  was  fun  or  not.  But  that 
smack  on  the  hps  was  important  as  a  symbol — the  turning 
point  in  my  life.  It  was  a  sort  of  mental  hurdle  and,  when 
I  cleared  it,  I  knew  where  I  was  going." 

Robert  Stack,  of  course,  didn't  know,  then,  how  far  he 
was  going.    He  didn't  know  that  overnight  he  would  be 
on  the  receiving  end  of  countless  mash  notes  and  fan 
letters.    He  didn't  know  that  columnists  would  pick  him 
as  "the  best  discovery  of  the  past  year."   And,  of  course, 
he  didn't  know  how  quickly  he  would  graduate  from  the 
toothy  juvenile  in  "First  Love"  to  the  sullen  and  unsym- 
pathetic Nazi  in  "The  Mortal  Storm." 
And  it  all  began,  mind  you,  with  a  kiss.    Robert  Stack, 
with  the  body  of  a  weight-lifter  and  the  face  of  Apollo, 
tilted  back  on  his  chair  in  the  studio  mess  hall  and 
recalled  his  big  moment,  now  relegated  to  history. 
Clean-cut,  talented,  unknown,  Stack  had  been  taken 
from  the  stage  of  a  little  theatre  on  Hollywood  Boule- 
vard and  selected  to  commit  osculation  with  the 
comely  Miss  Durbin.    Before  the  kissing  scene, 
Stack  had  fortified  himself  for  the  ordeal  with  a 
lunch  of  clam  chowder.    Returning  to  the  set, 
he  was  told  by  a  director  that  he  reeked  of 
onions.  This  unnerved  Robert  to  the  extent 
of  making  him   miserable   and  uncom- 
fortable in  his  big  scene  and  lending  an 
authentic   touch   of   realism  which 
thrilled   moviegoers   from  Cali- 
fornia to  the  Cape. 

Producers  saw  some- 

38 


By    Ralph  Richards 


thing  else  in  him — a  latent  fire.  When  he  went  on  a  recent 
trip  to  Manhattan,  he  was  interrupted  by  a  telegram.  It  read: 
"You  have  been  loaned  out  to  M-G-M  stop  You  will  play 
with  Jimmy  Stewart  and  Margaret  Sulla  van  in  'The  Mortal 
Storm'  stop  My  faith  in  you  is  justified  stop  This  is  a  big  step 
so  keep  plugging  and  don't  stop  (signed)  Joe  Pasternak." 

And  so,  before  you  could  say  Frank  Borzage  who,  by 
the  way,  was  to  direct  the  epic,  Robert  Stack  jumped  into 
a  stray  airplane  and  flew  back  to  Filmtown.  It  took  him 
one  day  to  return.  M-G-M  didn't  bother  to  test  him  for 
the  new  role.  They  knew  he  was  good.  He  began  work 
the  following  morning. 

"I  read  the  script  a  dozen  times,"  Stack  told  me.  "The 
story  held  me  like  glue.  I  knew  it  would  be  a  great  picture 
and  a  great  opportunity.  'The  Mortal  Storm,'  you  know, 
is  from  the  best-seller  novel  of  the  same  name  by  Phyllis 
Bottome.   She  wrote  'Private  Worlds.' 

"This  movie  begins  in  the  home  of  a  typical  German 
family.  Have  you  been  out  on  the  set?  Well,  then  you 
saw  the  professor's  home,  with  all  the  old-fashioned  furni- 
ture and  framed  pictures  of  mattress-chinned  ancestors. 
A  setting  like  that  gets  you  in  the  mood." 

Robert  Stack,  blue-eyes  glistening,  became  a  story- 
teller. 

"  'The  Mortal  Storm'  begins  on  that  evening  in  1933  when 
Adolf  Hitler  came  into  power.  It  deals  with  a  brilliant 
Jewish  professor,  played  by  Frank  Morgan,  and  his  wife, 
who  is  an  Aryan. 

"The  professor  has  three  sons.  I've  been  playing  one 
of  them.  This  role  won't  get  me  any  nice  fan  letters  like 
my  role  in  the  Deanna  Durbin  picture  did.  It'll  get  me  a 
lot  of  hisses,  though.  I'm  a  young  Nazi  and  entirely  un- 
sympathetic. Margaret  Sullavan  plays  my  half-sister. 
Jimmy  Stewart  and  Bob  Young  are  her  suitors.  Jimmy 


"It's  a  funny  thing  in  Hollywood,"  says  Robert,  "but  you  go  with  a  girl  twice  in  a  week  and  everyone  has 
you  engaged.  .  .  .  Sometimes  those  rumors  give  girls  ideas."    You  really  can't  blame  them,  Mr.  S.  After 
all,  with  your  looks,  talent  and  the  cold  two  million  that  you  inherited  on  your  21st  birthday,  you'd  be  quite  a 
catch.    Above,  we  witness  cute  Peggy  Moran  giving  Bob  a  gentle  Leap  Year  warning. 


Stewart  is  on  the  side  of  tolerance  and,  despite  the  rise  of 
Hitler,  he  keeps  his  head.  Bob  Young  becomes  a  relentless 
Storm  Trooper — who  would  and  does  kill  a  member  of  his 
own  family  for  the  Party. 

"Believe  me,  it's  all  very  terrific.  The  picture  shows  how 
the  new  Nazi  regime  breaks  up  a  happy  intelligent  family 
and  brings  violence,  hate,  sorrow  and,  in  the  end,  death." 

Suddenly,  Robert  Stack  halted,  and  blushed.  "Gosh,  I 
guess  I  sound  like  a  trailer  for  the  picture.  But  if  the 
ending  is  left  intact,  I  really  have  some  meaty  scenes.  In 
the  past,  on  the  Stage,  and  in  my  one  picture,  I've  been 
confined  to  juveniles  and  wishy-washy  romantic  roles.  But 
now — well,  you  know  how  it  is,  every  comedian  wants  to 
be  a  tragedian,  and  every  leading  man  wants  to  be  a 
character  actor. 

"Another  thing,  which  I  suppose  you'll  find  pretty  hard 
to  believe.  You  know,  lots  of  fans  choose  Margaret  Sulla- 
van  and  Jimmy  Stewart  as  their  favorites.  Well,  not  so 
long  ago,  I  used  to  be  a  regular  fan  and,  so  help  me,  pre- 
cisely those  two  people  were  my  favorites.  But  now, 
instead  of  writing  letters  to  them,  I'll  be  on  the  same  set 
with  them. 

"During  the  shootings,  I've  learned  so  much  from  Mar- 
garet and  Jimmy.  The  only  trouble  is  that  I  don't  get 
enough  time  to  stand  off  and  watch  them  work.  I'm  in  so 
many  scenes  and  Borzage  won't  permit  me,  or  the  others, 
to  slack  down." 

An  hour  or  so  spent  with  Mr.  Stack  would  assure  you 
that  he  is  a  very  serious  young  man.  Not  that  he  can't  play 
a  gag  as  well  as  the  next  fellow,  because  he  is  quite  adept  at 
delivering  the  notorious  hot-foot  and  other  practical  jokes. 
But  he  is  dead  serious  about  his  work  and  his  future.  And 
with  the  certainty  of  youth,  he  has  everything  pretty  well 
figured  out  in  advance.    He  has  his  career  under  control. 


"For  example,  even  if  I  could,  I  wouldn't  want  to  star  in 
a  picture  during  my  first  year,"  he  admitted.  "It's  utterly 
stupid  to  think  of  trying  to  carry  an  entire  picture  when 
you  don't  understand  all  the  technique  and  know  all  the 
tricks  as  well,  f'r  instance,  as  Jimmy  Stewart  does. 

"And  I  have  so  much  to  learn!  Before,  when  I  was  on 
the  little  theatre  stage,  I  was  told  to  overact,  be  full  of 
voice,  broad  of  gesture.  Now,  before  the  cameras,  I  am 
told  to  underact,  to  speak  as  softly  as  I  am  speaking  to 
you  now,  to  be  entirely  natural. 

"I  love  the  movies  and  the  people  in  the  business.  They're 
more  alive  than  others.  More  interesting.  I  used  to  hang 
around  with  musicians — and  they  were  terrible!  I  like 
music,  but  when  the  musicians  gathered  around  and  spent 
hours  arguing  about  fugues,  movements  and  the  3rd  bar 
minor  in  such-and-such  symphony,  I  was  terribly  bored. 

"The  big-shots  in  Hollywood  are  democratic.    Look  at 
Spence  Tracy  over  there.   You  heard  him  stop  before 
and  ask  about  my  mother  and  everyone.  You  saw  him 
chatting  with  extras  and  technicians.  Would  the  stodgy 
head  of  a  business  firm  be  so  considerate  or  thoughtful? 

"I'm  in  films  only  because  I  love  the  work.  Monetary 
gain  is  not  the  issue.  I  think  you  have  to  approach 
acting  with  a  deep  love  for  it.   Do  you  know  Sam 
Hinds,  who  played  the  Mayor  in  'Destry  Rides 
Again?'    He  told  me  what  he  thinks  of  movie 
work.    'I  get  paid  for  having  a  good  time,'  he 
said.  That's  the  way  I  feel — though,  for  heav- 
ens sakes,  don't  tell  the  producers  that!" 

Mr.  Stack  is  six  feet  one  inch  tall,  and 
his  best  weight  is  about  172  pounds. 
He  looks  like  an  animated  Esquire 
ad.  He  is  poised,  cultured, 
(Cont'd  on  page  82) 


39 


l nm ours  in 


THEY  vised  to  call  her  Miss  Sobersides  at  the  studio. 
Not  any  more.  There's  a  new  lilt  in  Dorothy's  voice, 
a  new  sparkle  in  her  eye.  A  year  ago  she  was  like 
Klara  in  "The  Shop  Around  the  Corner" — "psycholog- 
ically mixed  up."  Now  the  kinks  are  ironed  out.  On 
the  screen  she  may  be  a  siren  in  a  sarong — a  silken, 
sultry  singer  of  torch  songs;  but  off  it,  she's  a  girl 
whose  happiness  brims  and  spills  over,  a  girl  who's  hav- 
ing fun  for  the  first  time  in  her  life. 

Bob  Preston  is  largely  responsible  for  this  release  of 
spirits.  It  was  his  finger,  anyway,  that  touched  the 
spring.  Through  her  childhood  and  early  girlhood,  her 
mother's  energies,  and  later  her  own,  were  engaged 
wholly  in  struggling  with  the  wolf  at  the  door.  Those 
years  left  their  logical  mark  on  Dorothy.  She  didn't 
know  how  to  be  gay.  She  turned  up  her  pretty  nose 
at  boys  of  her  own  age  and  their  callow  ways.  She 
went  out  with  older  men  because,  by  her  earnest 
standards,  they  had  more  sense. 

She  was  Herbie  Kay's  wife  when  Paramount  tagged 
her  for  pictures.  Warned  and  re-warned  against  the 
Hollywood  perils  of  marriage,  they  were  resolved  to 
preserve  their  own.  With  her  husband  away  most  of  the 
time,  Dorothy  could  scarcely  play  the  hermit.  So  when 
she  stepped  out,  she'd  wire  or  phone  Herbie  where  she 


When  they  were  cast 
in  "Typhoon, "Dorothy 
Lamour  and  Robert 
Preston  disliked  each 
other  on  sight.  Now, 
he  calls  her  Pete,  and 
she  calls  him  Pres. 
Says  Dotty,  "I'm  the 
best  friend  he  has  or 
ever  will  have." 


By  Ida  Zeitlin 


Though  her  name  has  been  linked  romantically 
with  one  escort  after  another,  since  her 
divorce  from  Bandleader  Herbie  Kay  a  year 
ago,  Lamour  of  the  36-inch-long  hair  has 
narrowed  the  field.  If  you  see  her  knitting 
a  masculine-looking  sweater  these  days,  you 
can  be  sure  it's  for  Pres. 


AND  THE  SULTRY  SIREN  OF  THE  SARONG  ADMITS  SHE'S 
HAVING  FUN  FOR  THE  VERY  FIRST  TIME  IN  HER  LIFE 


I  was  going  and  with  whom.  It  was  an  artificial  and 
\  rather  dreary  arrangement.  As  success  came  to  both 
|  and  separations  grew  longer,  they  did  try  desperately 
1  to  keep  their  marriage  going.  It  proved  to  be  a  losing 
battle. 

|    Dorothy  moped,  hiding  away  first  from  the  rumors, 
!  then  from  the  mechanics  of  divorce.  She  was  glad  to 
|  be  able  to  step  into  "Typhoon"  last  July,  after  the  de- 
i  cree  was  granted.  Bob  Preston,  fresh  from  his  triumphs 
j  in  "Union  Pacific"  and  "Beau  Geste,"  played  opposite 
j  her.  They  disliked  each  other  on  sight — or  in  Bob's 
case,  before  sight.    "Uh-huh!    Miss  Exotic!  Probably 
goes  round  dripping  glamour  all  over  the  place."  Feeling 
his  hostility,  she  stuck  her  own  nose  in  the  air.  And 
there  could  have  been  the  start  of  a  beautiful  feud. 
Except  that  one  day  Bob  took  her  unawares  with  a 
crack  that  hit  her  funnybone.  She  threw  her  head  back 
and  howled.   "My  God,  she's  human!"  gasped  young 
Mr.  Preston  to  himself.  So  it  was  the  beginning  of  a 
beautiful  friendship  instead. 

A  professional  cynic,  working  hard  at  his  profession, 
might  be  able  to  withstand  this  Dorothy  and  her  new- 
found glee.  She's  disarmingly  like  a  kid,  with  her  arms 
flung  open  to  wonders.  "All  of  a  sudden,"  she  says  (we 
were  about  to  write  "sings,"  for  it  has  the  effect  of  a 


carol) ,  "without  warning,  I  found  someone  with  whom  I 
could  have  fun.  We  just  look  at  each  other  and  laugh. 
If  I  feel  like  being  crazy,  it's  okay  with  Pres,  and  no 
questions  asked.  There  are  times  when  he  feels  like 
being  crazy,  too,  so  he  understands.  That's  one  of  the 
nicest  things  about  him.  He  understands  without  a  lot 
of  explanations. 

"He  knows  the  whole  story  of  why  Herbie  and  I 
divorced,  but  he  doesn't  talk  about  it,  and  I  don't  either. 
At  first,  we  used  to  go  to  night  clubs,  because  he 
thought  I  wanted  to,  and  I  thought  he  wanted  to.  Per- 
sonally, I  didn't  care  if  I  never  saw  another  night  club. 
One  evening  he  said,  'How'd  you  like  to  go  see  some 
friends  of  mine?  They  have  a  little  place  down  at  the 
beach.'  I  said  I'd  love  it. 

"We  never  went  to  a  night  club  again.  We  go  to 
visit  his  friends  or  we  go  horseback  riding.  When  we 
have  free  time,  we  pile  into  the  car  and  drive  a 
hundred  and  twenty-five  miles  to  San  Jacinto  to  play 
the  marble  machines.  Nobody  bothers  us  there;  it's 
nice  to  get  away  from  people  who  are  sure  to  stick 
you  into  a  gossip  column  next  morning.  If  we  have 
an  afternoon  off,  we  sometimes  drive  to  Santa  Barbara 
for  a  hot  dog  sandwich. 

"One  day  we  had  a  flat  tire.  (Continued  on  page  71) 


WHEN  A  COLOSSAL  studio  throws  a  mammoth  party, 
the  result  is  bound  to  be  something  for  which  there  is  not 
yet  a  word.  The  missing  term,  whatever  it  may  be,  is  the 
only  one  worthy  of  describing  the  sixth  annual  ball  held 
by  the  Warner  Club  at  the  nifty  Biltmore  Bowl  in  Los 
Angeles. 

Although  the  movie  colony  is  notorious  for  its  cults  and 
cliques,  the  Warner  Club  remains  one  of  the  most  inter- 
esting organizations  ever  to  spring  up  in  the  town.  It  was 
formed  twelve  years  ago  and  today  has  over  10,000  names 
on  its  roster.  Every  man,  woman  and  child  who  earns  his 
bread  at  Warner  Bros,  is  enrolled,  from  President  Harry 
Warner— who  earns  enough  for  butter,  also — to  the  girl 
who  files  requisitions  for  a  certain  leading  man's  new 
toupees. 

Membership  in  the  club  is  not  a  matter  of  "sign  up,  or 
else  .  .  ."  but  the  advantages  of  joining  are  so  numerous, 
not  even  the  stars  pass  up  the  opportunity  to  get  their  cut 
of  the  benefits.  For  a  quarter  a  month,  each  enroller  is 
entitled  to  $50  when  he  marries,  another  $50  every  time 
a  new  baby  hits  his  family  and  $15  and  a  bouquet  of 
flowers  whenever  he's  sick.  Since  weddings,  babies  and 


FASHIONS,  FOOD  AND  FLOOR-SHOW  VIE 


illnesses  are  as  common  with  the  studio  as  prison  pictures, 
the  dues  don't  do  very  much  about  counteracting  the  outlay, 
and  yearly  it  becomes  the  privilege  of  the  Brothers,  Harry, 
Jack  and  Albert,  to  dig  deep  into  their  own  trousers  and 
pull  up  nearly  $100,000  to  keep  the  fund  from  going  dry. 

The  ball,  in  keeping  with  the  rest  of  the  organization, 
always  offers  more  than  it  takes.  This  year,  tickets,  which 
were  sold  to  members  for  $3  and  to  outsiders  for  $5,  en 
titled  guests  to  an  expensive  dinner,  a  smooth  dance  floor, 
a  rhumba  orchestra,  a  swing  orchestra  and  a  lightning- 
fast  floor  show,  m-ceed  by  Rudy  Vallee  and  headed  by 
Eddie  Cantor,  Bob  Hope,  Ruth  Terry  and  the  inimitable 
"Rochester." 

Actresses,  mingling  for  the  occasion  with  studio  secre- 
taries, prop  girls,  wardrobe  mistresses,  local  glamour  hope- 
fuls, bit  players,  script  girls  and  wives  of  producers,  direc- 
tors and  cameramen,  had  to  depend  upon  their  beauty 
and  individuahty  to  steal  the  fashion  parade,  for  the 
gowns  of  the  unknowns  vied  with  those  of  the  famous  in 
their  striking  appearances.  However,  the  stars,  evidently 
taking  their  cue  from  studio  designers,  snubbed  extreme 
styles   and  wore   gowns   that  were   cut   simply,  but 


42 


:omingly — each  one  setting  off  its  wearer's  beauty. 
Bette  Davis,  the  studio's  ace  Academy  Award  winner, 
could  have  taken  another  prize  as  the  ball's  best-dressed 
woman.  She  looked  as  demure  as  a  small  girl,  dressed  in 
a  pink  and  black  slipper  satin  formal  with  a  large  black 
velvet  bow  catching  her  hair  in  back.  Her  gown  had  the 
new  "covered-up"  look,  with  little  puffed  sleeves,  squared 
neckline  and  tiny  waist. 

Dancing  to  the  rhumba  orchestra  with  her  new  husband, 
Actor  Ronald  Reagan,  Jane  Wyman  wore  a  pale  yellow 
crepe  gown,  accented  by  a  gold  bracelet  and  gold  earrings. 
Over  her  chair  was  slung  a  long  white  fox  coat  on  which 
she  had  pinned  a  single  huge  white  orchid. 

Screen  youngster  Judy  Garland  who  stopped  in  for  a 
short  while  was  not  in  formal  clothes  but  appeared  more 
sophisticated  than  many  of  the  older  stars  in  her  cherry- 
dyed  silver  fox  coat,  hat  and  muff.  Her  dress  was  black, 
but  she  kept  it  covered  during  the  evening  by  her  wrap. 

Rosemary  Lane  looked  like  the  first  breath  of  spring  in 
her  silk  jersey  print  formal  and  chartreuse  turban. 
Squared  neckline,  off-the-shoulder  sleeves,  soft  slurring 
on  the  hips  and  full  skirt  made  the  gown  as  striking  as 


Rosemary,  herself.  Around  her  neck  was  clasped  an  old- 
fashioned  cameo  and,  as  the  night  wore  on  and  the  room 
chilled,  she  slipped  into  a  full-length  mink  coat. 

The  fashions,  food  and  floor  show  were  all  good  enough, 
but  the  greatest  kick  of  the  party  was  the  unreeling  of 
screen  "blow-ups,"  a  hilarious  compilation  of  mistakes 
made  by  the  stars  during  the  enacting  of  scenes.  These 
shots  are  caught  by  enterprising  cameramen  who  continue 
to  grind  after  an  actor  or  actress  has  messed  up  his  lines. 
"Blow-ups"  never  get  to  the  screen  except  at  tike  Warner 
Club  balls,  and  there's  an  excellent  reason  for  keeping 
them  from  the  general  public.  Unfailingly,  performers 
both  male  and  female  express  their  disgust  with  their 
errors  by  flinging  out  cuss  words  and  gestures  that  are 
sufficiently  off -color  to  bring  the  Hays  office  and  the  cops 
a-running.  Such  well-mannered  ladies  and  lads  as  Bette 
Davis,  George  Brent,  Pat  O'Brien  and  Binnie  Barnes 
exhibited  an  amazing  but  enviable  knowledge  of  what  not 
to  say  in  polite  company.  Deep  blushes  bathed  the  faces  of 
some  of  the  "blow-uppers"  present;  others  laughed  good- 
humoredly,  and  the  party  broke  up,  as  even  the  best 
parties  will,  with  delicious  profanity  ringing  in  every  ear. 


43 


KEEP  YOUR  SflllLE  in  STYLE 

HERE'S  HOW  IT'S  DONE  IN  HOLLYWOOD  WHERE  TEETH  ARE  PRICELESS  ASSETS  TO  SUCCESS 


WHAT  A  lot  of  things  a  girl  has  to  think  about  if  she 
wants  to  be  really  beautiful!  Lovely  skin,  hair,  features 
and  figure  aren't  nearly  enough.  In  fact  they're  just  the 
beginning.  You  may  at  first  sight  appear  to  be  a  perfect 
paragon  of  all  that's  charming  and  desirable — until  you 
open  your  mouth.  But  what  then?  A  girl  can't  just  go 
around  looking  like  a  gallery  portrait  or  a  fragment  of 
old  porcelain,  however  exquisite  that  may  be.  She  has 
to  have  life  and  sparkle  and  animation.  She  has  to  smile 
and  talk  and  laugh. 

Haven't  you  often  been  enchanted  with  a  new  face 
only  to  have  an  awful  let-down  when  the  girl  opened  her 
mouth?  We  have,  and  it  isn't  pleasant.  Haven't  you  often 
seen  a  belle  with  perfect  but  "dead-pan"  features  and 
faultless  grooming  dropped  like  a  hot  potato  in  favor  of 
a  much  less  perfect  but  more  animated  and  vivacious  girl 
whose  smile  sparkled  and  whose  laughter  rang  with 
warmth  and  good  camaraderie?  We  saw  that  happen  re- 
cently and  felt  no  pity  for  the  flawless  beauty  until  she 
opened  her  mouth.  Then  we  understood.  That  girl  had 
been  afraid  to  laugh  and  "let  go."  She  couldn't  afford  to, 
because  she  had  discolored,  defective  teeth  which  utterly 
ruined  the  perfection  of  her  appearance. 

No  movie  beauty,  however  talented  or  otherwise  daz- 
zling, is  ever  allowed  to  pose  for  a  single  picture  until 
every  slight  imperfection  about  her  mouth  and  teeth 
has  been  entirely  corrected.  Can  you  imagine  Lana 
Turner,  Ann  Sheridan,  Deanna  Durbin  or  lovely  Linda 
Darnell  with  smiles  that  reveal  neglected,  unhealthy  teeth? 
Hardly! 

The  care  of  teeth  for  the  sake  of  both  health  and  beauty 
is  not  a  new  idea.  The  ancient  Egyptians  used  tooth 
brushes  twenty-five  thousand  years  ago,  the  Romans  made 
dentifrices  out  of  egg  shells,  pumice,  ashes  and  myrrh  and 
the  ancient  Hebrews  were  no  slouches  either  when  it 
came  to  dental  care.  It  remained,  however,  for  American 
dentists  and  manufacturers  of  the  last  twenty-five  years 
or  so  to  make  the  biggest  advances  in  knowledge  and  also 
to  educate  the  general  public,  not  only  to  the  importance, 
but  also  to  the  workable  simplicity  of  the  methods  neces- 
sary to  guard  and  beautify  smiles. 

There  are  three  important  points  to  remember  in  con- 
nection with  tooth  and  mouth  beauty.  The  first  is  cleanli- 
ness; the  second,  exercise;  the  third,  dentistry.  Cleanliness 
is  essential  not  only  to  tooth  beauty  but  also  to  your 
general  good  health.  And,  in  this  case  particularly,  you 
can't  have  the  former  without  the  latter.  It  doesn't  matter 
whether  you  use  paste,  powder  or  liquid  dentifrice.  That's 
a  matter  of  purely  personal  choice,  but  do  get  yourself  a 


dentifrice  that  you  like  and  enjoy  using — one  that  is  mild 
and  smooth,  free  from  excess  grit,  soap,  starch  or  sugar. 
The  teeth  should  be  brushed  at  least  twice  a  day,  morning 
and  evening.    After  each  meal  is  even  better. 

The  brush  you  use  is  important,  too.  Medium  stiff 
bristles  are  usually  best,  unless  you  have  some  special 
condition  which  calls  for  either  soft  or  hard  bristles.  Small 
to  medium-sized  brushes  are  preferable  to  large  ones  for 
most  mouths,  because  your  brush  should  be  small  enough 
to  get  around  all  the  curves  and  corners  comfortably  and 
thoroughly.  In  brushing  your  teeth  use  a  rotary  or  cir- 
cular motion,  neither  horizontal  nor  straight  up  and  down. 
Concentrate  on  a  few  teeth  at  one  time  and  brush  each 
group  thoroughly  on  both  inside  and  outside  surfaces. 

A  tooth  brush  should  be  dry  and  firm  every  time  you 
use  it.  If  possible,  keep  two  going  so  that  one  will  always 
be  dry.  Keep  your  brush  in  a  clean,  airy  place,  too — 
sunny,  if  possible.  Don't  bury  it  in  the  depths  of  a  dark, 
closed  cupboard. 

DON'T  FORGET  your  gums.  They  need  stimulation  and 
massage,  too.  You  see,  with  the  soft  foods  we  eat,  our 
teeth,  gums  and  muscles  don't  get  sufficient  natural  exer- 
cise. And  when  the  muscles  and  gums  lose  tone,  the  bones 
suffer.  This  weakens  the  teeth.  So  it  goes  in  an  end- 
less circle.  You  never  heard  of  Eskimos  having  tooth 
trouble,  did  you?  No,  because  they  haven't  yet  fallen  heir 
to  the  soft  living  and  soft  foods  that  we  enjoy.  However, 
you  can  enjoy  the  graces  of  civilization  and  still  have  good 
teeth,  if  you'll  counteract  your  luxuries  with  a  bit  of  extra 
care.  Good  teeth  are  well  worth  that  and  much  more. 

Another  good  way  to  exercise  teeth  and  muscles  is  by 
chewing  gum.  Many  dentists  as  well  as  beauty  experts 
advise  it,  and  so  do  the  elocution  teachers  who  train  your 
favorite  stars  in  Hollywood.  In  fact,  any  day  on  the  movie 
sets  you  can  see  practically  every  player  in  the  cast 
chewing  away  for  dear  life  both  to  loosen  up  her  facial 
muscles  and  to  exercise  her  teeth  as  well. 

Before  we  get  clear  off  the  cleanliness  subject,  don't  let's 
forget  dental  floss.  Even  if  you  slant  your  brush  diago- 
nally, rotate  it  with  a  circular  motion  and  do  all  the  other 
oral  gymnastics  in  the  best  prescribed  fashion,  those 
crevices  between  your  teeth  just  can't  be  reached  without 
floss.  Tartar  deposits  not  yet  solidified  can  be  reached  this 
way,  too.  But  don't  jerk  the  floss  or  you'll  cut  a  tender 
gum.  With  average  care,  however,  you'll  have  no  diffi- 
culty and  you  will  have  a  cleaner  mouth.  Don't  forget 
your  tongue  and  other  smooth  oral  surfaces,  for  many  a 
microbe  sets  up  housekeeping  and  (Continued  on  page  96) 


FACED  WITH  NEW  RESPONSI- 
BILITIES AND  A  CHALLENGE, 
DOUGLAS  FAIRBANKS  IS  RIGHT 


on  HIS  TOES 


LAST  DECEMBER  ninth  Douglas  Fairbanks,  Junior;  was 
thirty  years  old.  At  his  birthday  dinner,  his  father, 
"Doug"  to  the  world  but  always  "Pete"  to  his  son  and 
namesake,  celebrated  with  him  and  Mary  Lee,  his  wife. 
Two  nights  later,  without  fuss  or  farewells,  gallant,  joyous, 
incomparable  "Pete"  set  out  on  his  last  and  greatest 
adventure. 

The  death  of  his  famous  father  has  profoundly  affected 
Douglas  Fairbanks,  Junior.  Coming,  as  it  did,  when  he 
had  just  discarded  the  irresponsible  twenties,  when  he 
had  just  discovered  the  real  love  of  his  life  and  had  just 
learned  of  the  approaching  birth  of  his  first  child,  it  has 
brought  valid  maturity  to  Hollywood's  prince  of  precocity. 

For  Douglas  is  no  longer  "Junior,"  a  name  which  he 
resented  so  much  that  his  family  thought  up  "Jayar" 
(from  "Jr.")  to  please  him.  He  is  Douglas  Fairbanks  now. 
He  has  inherited  his  father's  famous  name  and,  with  it, 
new  responsibilities.  He  has  been  handed  a  challenge  to 
carry  on.  For  the  first  time  in  his  comparatively  care- 
free life,  Doug  must  meet  these  things,  face  to  face. 

The  other  afternoon,  I  discussed  these  new  responsibili- 
ties with  Doug.  It  was  in  the  Pacific  Palisades  home  he 
is  going  to  abandon  for  the  California  Riviera  estate  he 
recently  purchased  from  Elissa  Landi. 

It  was  the  first  time  that  Doug  had  talked  about  his 
father's  passing,  his  own  marriage  to  Mary  Lee  Epling 
Hartford  or  his  approaching  child.  He  was  still  officially 
in  mourning.  The  day  before,  Doug  had  gone  into  Beverly 
Hills  for  lunch.  It  was  his  first  appearance  in  public 
since  "Pete"  went  away. 

The  lines  are  deeper  around  his  mouth,  it  seems,  but 
little  good-natured  wrinkles  are  still  sketched  around  his 
eyes.  Nothing,  I  believe,  could  ever  eradicate  the  Fair- 
banks elan  or  destroy  the  Fairbanks  smile. 

"Yes,  I'm  settling  down,  all  right,"  admitted  Doug.  "But 
on  my  toes — ready  to  go  somewhere.  I'm  still  the  same 
sort  of  fellow  I  always  was,  I  guess,"  he  grinned.  "A  chap 
with  one  foot  on  a  cloud — and  the  other  on  a  banana  peel! 
I  mean,  I'm  bursting  with  plans  and  dreams  that  are  quite 
likely  to  slip  away  from  me.  But  whether  or  not  my 
plans  ever  materialize,  the  point  is — I  have  them!  Now, 
more  than  ever,  I  know  what  they  are  and  what  I.  want 
to  do  about  them! 

"The  last  time  'Pete'  and  I  sat  down  to  talk  things 
over,"  continued  Doug,  "we  talked,  as  we  often  had,  about 
me  and  my  future.  My  father  always  had  definite  ideas 
on  the  subject  of  my  career.  He  believed  I  should  be 
establishing  myself  on  the  screen  in  adventurous,  ro- 
mantic, dashing  roles.     I  don't  think  he  ever  wanted 


Independent  to  a  fault,  Doug  wants 
to  make  his  own  name  in  the  world 
and  not  trade  on  his  dad's. 

me  to  imitate  him.  He  was  unique.  It  would  seem  not 
only  sacrilegious  to  toe,  but  impossible  to  try  to  follow 
in  his  footsteps. 

"You  know,"  said  Doug,  warming  to  the  subject,  "I've 
been  running  'Pete's'  pictures  over  and  over  again  re- 
cently. I've  wanted  to  see  just  what  the  essence  of  his 
art  was,  and  if  I  had  any  of  it.  I've  come  to  realize  that 
my  father's  most  famous  'stunts'  were  not  acrobatics  at 
all.  They  were  dances — almost  ballets.  I  remember  now 
how  he  used  to  time  every  leap,  every  bound  to  a 
metronome.  Tick — here — tick — there — tick — over  there!  It 
was  like  that.  The  real  thing  he  had  was  grace  and  ease. 
Everything  he  did  was  set  to  a  musical  score.  He  used 
to  study  and  figure  them  out  months  before  he  ever-  did 
them  on  the  screen.    They  were  really  rhythmic  dances. 

"I  never  could  do  that,  and  I  know  it.  But,"  said  Doug, 
"what  I  can  do,  and  what  I  am  going  to  do,  is  carry  out 
the  general  plans  my  father  and  I  had.  Before  my  father 
died,  we  definitely  planned  to  do  a  film  together,  produce 
it  ourselves  and  act  in  it.  It  was  the  story  of  Joaquin 
Murrietta,  the  early  California  Robin  Hood.  We  even 
had  a  title — 'The  Californian.'  We  had  plans,  too,  for  a 
romantic  comedy  on  the  life  of  Lord  Byron." 

HE  LOOKED  around  the  room,  and  I  followed  Doug's 
eyes  to  the  photograph  of  himself  and  his  dad,  both  in 
cutaways  and  striped  trousers,  both  smiling.  It  was  taken 
the  day  last  April  when  Doug,  Senior,  was  best  man  at 
Doug,  Junior's,  wedding.  There  were  other  pictures  of 
the  pair  in  a  large  leather  album  on  the  table.  Smiling, 
having  fun,  looking  like  affectionate  brothers.  More  and 
more,  I  thought,  as  they  both  grew  older,  had  Doug  Fair- 
banks, pere  and  fils,  resembled  each  other,  in  looks, 
mannerisms,  spirit  and  speech. 

Emil,  Doug's  valet,  who  used  to  be  his  father's  man,  had 
met  me  at  the  door.  While  we  talked,  Tom  Geraghty,  one 
of  his  father's  best  friends  called  up  for  a  long  telephone 
chat.  Doug's  bull  mastiff  ran  around  outdoors,  barking 
in  the  sun.  The  mantle  of  Douglas  Fairbanks  hangs  heavy 
over  his  son's  home. 

This  is  not  strange,  but  it  is  a  change.  Doug,  Junior,  had 
always  been  so  completely  independent  of  his  father.  In 
fact,  up  until  the  time  he  made  good  on  his  own,  his  striv- 
ings were  tinctured  with  a  rebellious  "I'll  show  him" 
resolve. 

"They  say,"  smiled  Doug,  reminiscing,  "if  you  aren't  a 
rebel  at  twenty,  you  haven't  a  heart.  If  you  aren't  a  con- 
servative at  fifty,  you  haven't  a  brain!" 

Until  only  a  few  years  before  his  death,  Doug  and  Doug, 


Sharing  a  love  for  fun,  Doug  and  Mrs. 
Doug  agree  that  all  play  makes  life 
intolerably  dull. 

Junior,  stayed  on  their  respective  owns.  Even  after  they 
became  marvelous  friends,  the  boy  remained  hypersensi- 
tive about  trading  on  his  father's  famous  name.  He  was 
always  reaching  ahead  of  himself,  trying  to  prove  to  the 
world  he  was  a  man  and  an  actor  in  his  own  right.  His 
greatest  enemy  was  his  youth. 

Doug's  circle  of  friends  have  always  been  older,  always 
more  worldly-wise  than  he.  Even  his  bachelor  romances — 
his  flings  with  Gertrude  Lawrence  in  London  and  Marlene 
Dietrich  in  Hollywood — were  with  older  women.  His  first 
wife,  Joan  Crawford,  was  his  senior.  In  his  middle  twenties, 
Doug  was  running  around  with  the  Mayfair  big  league, 
the  gay  but  mature  lords  and  ladies  of  London,  the  Duke 
and  Duchess  of  Kent,  the  Windsors  and  the  smart  London 
crowd. 

At  thirty,  he's  a  veteran  of  thirty-six  ocean  crossings,  a 
man  who  still  keeps  a  flat  in  London,  a  member  of  smart 
sets  in  the  East,  London  and  on  the  Continent.  He's  a 
young  gentleman  who  belongs  to  the  world.  I  wondered 
aloud  whether  settling  down  in  Hollywood  would  be 
enough  for  Doug  Fairbanks. 

"Frankly,"  he  said,  "I  don't  know.  It  never  was  before, 
I'll  admit.  But  things  were  different  then.  I'm  married 
now;  I  hope  soon  to  be  a  father.  I  have  opportunities  here. 
In  a  way,  oddly  enough,  I  used  to  feel  that  my  opportuni- 
ties lay  outside  of  Hollywood.  It  looked  as  if  I  would 
always  be  just  another  leading  man,  here.  That's  one 
reason  I  stayed  in  London.  Production  was  opening  up  in 
England,  and  I  saw  a  chance  to  do  something  there  with 
Hollywood  methods.  Well,  the  collapse  of  the  British  pro- 
ducing industry  killed  that.  War  has  sealed  it  for  the  time 
being.  Professionally,  then,  I'm  stuck  here.  Not  that  I 
mind. 

"I'll  be  honest.  I  like  Hollywood,  but  there  are  other 
places  I  like  every  bit  as  well  and  some  much  more.  If 
I  had  my  'druthers,'  I'd  like  to  five  three  months  here, 
three  in  New  York,  three  abroad  and  three  in  Virginia, 
my  wife's  home.  I'd  like  to  be  an  international  commuter. 
I  hope  I'll  always  be  restless.  I  know  I'll  always  want  to 
see  new  places  and  new  things.  If  I  have  a  great  personal 
ambition,  it  still  is  to  travel.  I've  done  enough  of  that, 
Heaven  knows,  but  it  still  isn't  enough  for  me!  I  have 
friends  all  over  the  world.  I  correspond  regularly  with  a 
flock  of  people  abroad,  country  folk  in  England,  London 
socialites,  pub  owners,  assistant  directors  in  Elstree,  an 
old  nurse  of  mine  in  Ireland,  friends  in  the  army — all  kinds 
of  people.  The  point  is,  my  interests  are  spread  all  over. 
So,  if  I  had  my  choice,  I'd  probably  be  spread  all  over  the 
world,  myself,"  Doug  laughed.    (Continued  on  page  87) 


47 


HOUJ  HOLLYWOOD  SPEODS  ITS 


A  small  corner  of  Saks-Rfth  Avenue  in  Beverly  Joan  Crawford  is  another  good  customer.  The 

Hills  is  34-year-old  Billy  Seymour's  entire  shop.  star  sapphire  clip,  ring  and  bracelet  set  which 

Paulette  Goddard,  wearing  a  fortune  in  star  she  is  wearing  was  enough  to  keep  Billy's  busi- 

sapphires,  is  about  to  sign  over  a  nice  sum  to  Mr.  S.  ness  going  for  some  time.    Now,  we  hear  that 

This  little  lady  has  a  genuine  passion  for  diamonds.  she's  planning  to  add  a  brooch  to  the  group. 


PLOP  IN  the  heart  of  Movietown  is  a  collection  of  jewels 
that  could  make  the  Shah  of  Persia  cross-eyed  with  envy. 
But  if  the  Shah  ever  came  to  town,  he  wouldn't  stay  en- 
vious for  long.  He's  a  big  shot  and  would  probably  march 
right  up  to  Billy  Seymour,  who  owns  the  collection,  slap 
him  on  the  back  and  say,  "Billy,  my  boy,  I'll  give  you 
eleven  wives  and  a  life  pension  if  you  sign  over  the  entire 
works!"  And  Billy,  being  only  human,  would  very  likely 
grab  the  offer.  If  he  did,  Hollywood  would  lose  the  most 
popular  and  best-trusted  jeweler  it's  ever  known. 

Billy  comes  from  New  York.  Fourteen  years  ago  he 
began  his  career  as  a  jeweler  for  "high  society."  Since 
most  people  try  to  better  themselves,  it  is  interesting  that 
he  voluntarily  switched  from  Blue  Bookers  to  picture 
folks.  His  present  clients,  besides  liking  him  personally, 
have  complete  respect  for  his  good  taste  and  judgment 
and,  with  chest  proudly  puffed,  he  tells  you  that  over  his 
counter  have  passed  the  checks  of  Robert  Taylor,  Gary 
Cooper,  Marlene  Dietrich,  Joan  Blondell  and  Andrea 
Leeds,  among  others. 

As  foremost  jeweler  for  the  stars,  Billy  has  learned 
better  than  any  man  what  makes  them  coo — and  order. 
He  knows,  for  example,  that  Madeleine  Carroll,  Joan  and 


One  of  Seymour's  window  displays.  Top  to  bot- 
tom: A  $3,250  diamond  and  ruby  twin  pear 
brooch;  a  $7,000  platinum  and  diamond  clip 
with  a  9.05  carat  star  ruby  nestled  in  the  cen- 
ter; a  $1,450  ruby  and  diamond  spray  brooch. 


rain 


THEIR  PET  JEWELER 


Constance  Bennett,  Jeanette  MacDonald,  Hedy  Lamarr 
and  Joan  Crawford  are  star  sapphire  addicts.  Even  at  this 
moment,  Miss  Crawford  is  thinking  of  adding  a  200-carat 
brooch  to  a  star  sapphire  clip,  bracelet  and  ring  set  given 
her  by  a  certain  Mr.  Franchot  Tone.  The  new  trinket  is  so 
enormously  expensive  that  Billy  is  permitting  her  to  wear 
it  "on  trial."  He's  a  gracious  business  man  and  wants  Joan 
to  be  positive  she's  sold  on  the  piece  before  he  demands 
cash  on  the  line. 

Miss  Lamarr  and  the  Bennetts  have  soft  spots  for  rubies 
and  diamonds,  too.  Such  an  affection  is  a  teasing  itch  to 
most  women.  However,  these  three  are  able  to  back  their 
fondness  with  the  necessary  cool  green  bills.  All  own  joy- 
giving  and  bank-breaking  specimens  of  both  gems.  Yet 
there  is  satisfaction  for  the  rest  of  us  in  the  knowledge 
that  the  pretty  baubles  couldn't  swing  from  lovelier  arms 
and  throats. 

Lest  anyone  misunderstand,  Billy  would  like  it  known 
that  he  does  not  run  an  exclusive  salon  for  ladies.  Holly- 
wood husbands  frequently  appear  at  his  shop  to  take  an 
active  part  in  the  selection  of  their  wives'  jewelry.  Sandra 
Shaw  Cooper  has  an  exciting  gold  group  built  around  sug- 
gestions made  by  her  devoted  Gary,  while  Robert  Taylor 
recently  adorned  his  spouse  with  some  of  the  most 
gorgeous  costume  pieces  ever  seen  in  these  parts.  Bob 
was  wholly  responsible  for  the  design  of  his  gifts  and  dis- 
played an  alarming  streak  of  sentimentality  by  ordering  a 
gold  clip  fashioned  of  two  clasped  hands — his  own  and 
Barbara's.  Then,  he  had  the  clip  open  to  reveal  a  ruby 
heart  in  his  palm  and  a  ruby  wedding  band  in  hers! 

I 


These  diamond  earrings,  bracelet  ana 
ring  that  Gracie  Allen  is  airing  at 
a  night  spot  are  neither  rented  nor 
paste.  They  are  three  of  the  many 
fine  pieces  of  jewelry  Gracie  owns. 


Basil  Rathbone,  Joel  McCrea  and 
Gene  Markey  are  others  who  put  as 
much  sentiment  as  money  into  the 
tokens  they  give  the  missus — but  they'd  blush  to  the  gills 
before  admitting  it. 

The  women,  curiously  go  much  easier  on  the  whimsy 
when  selecting  gifts  for  their  men.  Babs  Stanwyck  fol- 
lowed up  Taylor's  presents  to  her  by  handing  him  match- 
ing studs,  cuff-links  and  ring,  done  simply  in  gold  and  set 
with  cat's-eyes.  Cat's-eyes,  incidentally,  are  superstition- 
tainted  gems  reputed  to  have  a  deadly  effect  on  anyone 
daring  enough  to  wear  them.  But  this  is  no  occasion  to 
leap  at  Barbara.  She  certainly  harbored  no  evil  thoughts 
on  the  happy  night  she  gave  her  husband  his  gift.  Like 
most  of  the  stars,  she  just  doesn't  give  a  rap  for  super- 
stition. Why  should  she?  A  few  months  ago  Andrea 
Leeds  bought  her  groom  a  cat's-eye  set — and  he's  still 
doing  all  right! 

Sometimes  Billy's  customers  surprise  him  and  act  as 
salesmen — without  commission.  Dolores  Del  Rio  was  in 
the  store  the  other  day  and  spotted  an  emerald  and  ruby 
bracelet  almost  as  eye-stopping  as  she  is.  She  dawdled 
over  the  piece  and  though  it  didn't  quite  click,  thought  it 
too  lovely  to  pass  up.  Suddenly  an  idea  walloped  her. 
Marlene  Dietrich!  Emitting  the  Mexican  equivalent  of 
"Wow,"  she  rushed  from  the  store  and  in  a  short  while 
was  back  with  Marlene.  Billy  trotted  the  bracelet  out 
again;  Miss  Dietrich  looked;  Miss  Dietrich  bought;  and 
both  women  left  feeling  they'd  done  a  good  day's  busi- 
ness. Billy  didn't  feel  so  bad,  himself.  (Cont'd  on  page  94) 

49 


25-year-old  Mary 
Martin  eloped  with 
,  a  Weatherford, 


IT  WAS  A  ROCKY  ROAD,  BUT  THIS  DYNAMIC  DIXIE  BELLE, 
WHO  WOULDN'T  SAY  "DIE,"  HAS  GONE  RIGHT  TO  THE  TOP! 


JUST  LEAVE  IT  TO  URV 


By    R  a  d  i  e    Ha r  r  i  s 


THERE  IS  no  trick  to  meeting  famous  people  after 
they  have  arrived  at  the  top.  Everyone  seeks  out  celeb- 
rities, if  for  no  other  reason  than  just  the  vicarious 
thrill  of  shining  in  their  reflected  glory.  Even  Noel 
Coward  unashamedly  confessed  in  his  autobiography, 
"Present  Indicative,"  that  it  was  the  apex  of  his  ambi- 
tion to  know  important  people  well  enough  to  call  them 
by  their  first  names.  A  far  greater  thrill  is  to  have 
been  on  intimate  terms  with  Joan,  Ty  and  Doug  before 
Hollywood  catapulted  them  to  overnight  fame  and 
fortune. 

I  remember  Laurence  Olivier,  when  Garbo  didn't 
think  he  was  important  enough  to  have  as  her  leading 
man;  Bette  Davis'  first  fur  coat;  Burgess  Meredith's 
understudy  in  "Flowers  of  the  Forest" — a  dark  good- 
looking  boy  named  Tyrone  Power;  Margaret  Sulla  van 
scurrying  up  the  steps  two  at  a  time,  to  see  if  any 
agent  had  phoned  about  a  job;  and  Geraldine  Fitzgerald, 
Betty  Field  and  Martha  Scott,  when  they  were  my  next 
door  neighbors  at  the  Hotel  Algonquin. 

With  the  same  thrill  I  remember  Mary  Martin  when 
she  came  to  call  on  me  on  the  very  day  of  her  arrival 
in  New  York.  Larry  Schwab  had  discovered  her  sing- 
ing at  the  Trocadero  in  Hollywood  and  had  signed 
her  for  a  Broadway  musical.  A  mutual  friend  of  ours 
had  suggested  Mary  look  me  up  as  she  knew  no  one  in 
the  Big  City.  My  first  impression  was  of  a  very  pretty 
girl,  who  was  an  amazing  combination  of  Claudette 
Colbert  and  Jean  Arthur.  My  second,  was  of  a  natural 
friendliness  and  warmth  that  I  quickly  discovered  is 
her  greatest  charm. 

We  started  talking  as  if  we  had  known  each  other 
all  our  fives,  and  I  soon  learned  that  she  came  from 
Weatherford,  Texas  (population  4,000  at  the  last  cen- 
sus).   She  had  taugfet  dancing  at  liome  and  had  gone 

Ttiollywood  three  summers  ago  to  study  the  newest 
steps  with  Fanchon  and  Marco.  She  had  no  screen 
ambitions,  and  her  ultimate  goal  had  always  been  New 
York  and  a  Broadway  show. 

She  told  me  that  she  gave  voice  lessons,  too,  and  that 
her  first  break  in  Hollywood  was  singing  over  a  local 
network.  Then  she  was  tested  by  practically  every 
movie  studio  and  unanimously  turned  down.  Finally, 
signed  as  soloist  on  the  "Good  News"  program  at  $250  a 
week,  she  could  hardly  believe  there  was  that  much 
money  in  the  world. 

Now,  at  last,  she  was  in  New  York.  During  the  first 
month  of  her  stay,  things  kept  on  happening  and 
happening!  The  show  in  which  Larry  Schwab  had 
hoped  to  put  Mary  was  called  off.  There  was  no  other 
new  musical  pending.  And  then,  the  long  arm  of  coin- 
cidence, which  we  are  always  reading  about,  reached  out 
in  real  life.  June  Knight,  who  had  been  rehearsing  in 
"Leave  It  to  Me,"  suddenly  decided  to  withdraw  from 
the  cast,  and  an  SOS  for  a  substitute  was  frantically 
sent  out.  Larry  quickly  arranged  an  audition  for  Mary, 
and  she  got  the  job! 

I  went  to  the  orchid  and  ermine  opening  night  at  the 
Imperial  Theatre.  No  fond  parent  whose  doting  off- 
spring is  about  to  perform  could  have  been  more 
nervous  than  I.  Turning  to  my  escort,  I  whispered, 
"You  know  Mary  Martin  has  never  even  set  foot  on  a 
stage  before,  and  here  she  is,  competing  with  such  show- 


men as  Sophie  Tucker,  Vic  Moore  and  Bill  Gaxton!" 

An  hour  later,  when  she  sang  her  famous  "My 
Heart  Belongs  To  Daddy"  and  took  blase  Broadway 
like  Olivier  took  Leigh  (and  vice  versa!),  he  turned 
to  me  and  twitted,  "Is  that  the  little  girl  you  were  so 
nervous  about?" 

Ever  since  that  fateful  night,  people  are  always  ask- 
ing me  whether  Mary's  meteoric  success  has  changed 
her.  And  my  answer  is,  "Superficially,  yes."  Where 
before  she  lived  on  the  wrong  side  of  the  Hollywood 
tracks  in  an  inexpensive  furnished  apartment,  she  now 
has  a  lovely  home,  with  swimming  pool  to  match,  in 
the  fashionable  Bel-Air  district.  Where  before  she  was 
just  a  very  pretty  girl  dressing  on  a  limited  budget, 
she  is  now  as  chic  as  a  page  out  of  a  fashion  magazine. 
Where  before  her  phone  used  to  ring  a  few  times  a 
day,  it  now  rings  incessantly.  Will  IVfiss  Martin  make  a 
Cole  Porter  Album  for  Decca?  Can  she  accept  the 
invitation  of  Winthrop  Rockefeller  to  dine  at  El  Mo- 
rocco? Will  she  pose  for  color  pictures  and  a  double 
page  spread  in  a  magazine?  Will  she  christen  a  boat, 
endorse  a  cigarette,  model  a  hat,  receive  the  press, 
play  a  benefit,  tell  what  she  thinks  of  the  future  of 
television,  etc.? 

BASICALLY,  and  miraculously,  all  this  hasn't  changed 
her.  Her  hat  may  now  be  a  Lily  Dache,  but  it's  still 
the  same  headsize.  She  is  every  bit  as  unspoiled  and 
unaffected  as  she  was  before  she  made  "Daddy"  the 
most  discussed  man  of  the  hour.  Certainly,  Weather- 
ford,  Texas,  can  attest  to  this.  Mary  went  back  there 
for  the  local  premiere  of  "The  Great  Victor  Herbert," 
and  the  town  gave  her  a  royal  welcome. 

Since  the  major  picture  emporium,  the  Palace,  boasts 
only  a  seating  capacity  of  five  hundred,  the  second  run 
house,  the  Princess,  was  also  pressed  into  service,  with 
Mary  making  personal  appearances  at  each.  The  proud 
owner  of  both  theatres  depleted  most  of  his  profits  for 
the  year  to  stage  a  real  premiere.  With  arc  lights  flood- 
ing the  streets,  and  the  population  for  miles  around 
crowding  the  sidewalk,  Mary,  swathed  in  a  full-length 
ermine  coat  (which  still  has  all  the  local  citizenry 
gasping)  drove  up  in  an  open  touring  car.  But  there 
the  grand  entrance  ended. 

Neither  the  Palace  nor  the  Princess  is  equipped  with 
a  backstage  dressing-room  or  entrance,  and  so,  to  reach 
the  stage,  Mary  had  to  walk  down  the  center  aisle. 
Each  step  of  the  walk  was  interrupted  with  shouts  of 
"Hi'ya,  Mary!"  from  her  old  teacher;  "Honey  chile,  you 
look  perfectly  beautiful!"  from  Aunt  Nona,  who  taught 
her  piano  when  she  was  just  a  baby;  "I'm  so  proud  of 
you,  sugar!"  from  Auntie  Flo  Hutchinson,  her  "expres- 
sion" teacher — and  so  on  from  all  the  home  folks  who 
knew  her  "when."  But  perhaps  the  proudest  person  in 
the  theatre,  with  the  exception  of  Mary's  mother,  was 
"old  Billie,"  her  colored  mammy,  who  sat  in  a  special 
reserved  seat  upstairs. 

Mary  stayed  on  the  hill,  in  the  big  house  in  which  she 
was  born,  but  which  is  now  filled  with  nostalgic  memo- 
ries. For  it  was  here  that  the  Daddy  to  whom  her  heart 
really  belonged  died  last  year.  Her  mother  now  makes 
her  home  with  Mary  in  Hollywood,  where  Mary's 
eight-year-old  son,  Larry,  gets  (Continued  on  page  86) 


Forrest  Tucker  and  Girl-friend 
Helen  Parrish  share  and  share 
alike.  The  six-feet-four  youth 
makes  his  debut  in  "The  Westerner." 


Hedy  Lamarr,  Gene  Markey  and  La- 
markee  step  out  for  an  evening  of  fun. 
The  last  named  is  what  the  gagmen 
christened  Gene's  new  moustache. 


Reggie  Gardiner's  newest  imita- 
tion—Flesh and  the  Devil!  This 
time  his  accommodating  and  trust- 
ing stooge  is  comely  Natalie  Draper. 


Super  Cowooy  Ciary  Cooper,  who  al- 
ways takes  our  breath  away  when 
he's  dressed  in  evening  clothes,  goes 
gadding  with  Wife  Sandra  Shaw. 


Bob  (Brown  Derby)  Cobb  and  his 
be-orchided  missus,  Gail  Patrick, 
leave  the  old  camping-ground  to 
see  how  things  are  done  at  Ciro's. 


Two  colorful  personalities  have 
a  chat — Marlene  Dietrich  and  new- 
ly divorced  Orson  Welles.  Marlene's 
next    picture?      "Seven  Sinners." 


One  of  the  love-in-bloomingest 
couples  we  know.  The  Gene  Ray- 
monds attend  the  Stokowski-Rach- 
maninoff    concert    in  Hollywood. 


Bandleader  Roger  Pryor  and  wifie, 
Ann  "Maisie"  Sothern,  carry  their 
heads  high  and  walk  right  into 
the  camera  at  a  recent  premiere. 


A  glamorous  guy  from  Glamorgan — 
cross  our  hearts  that's  Ray  Milland's 
home  town  in  Wales — takes  his  little 
woman  to  the  Trocadero  for  a  spree. 

52 


Jack  Benny  and  Bob  Hope  watch 
Connie  Boswell  aim  to  sing  louder 
than  Bob's  tie.  After  all,  there's 
no  limit  to  what  a  girl  can  do! 


Newcomers  Robert  Stack  and  Linda 
Darnell  dine  out.  "Is  it  good?" 
the  gentleman  wants  to  know,  before 
going    further    into    the  situation. 


The  Fredric  Marches  are  in  the 
Hollywood  swing  again.  "Susan  and 
God"  is  Freddie's  first  movie  since 
his  stage  hit,  "The  American  Way." 


As  they  gaze  into  each  other's  eyes, 
John  Payne  and  Anne  Shirley  are 
making  big  plans  in  anticipation 
of  a  summer  visit  from  the  stork. 


Old  Meanie  Humphrey  Bogart  does 
a  bit  of  grinning  off  the  record. 
That's  his  cute  wife,  Mayo  Methot, 
who  is  laughing  with  her  "Bogie." 


Andrea  Leeds,  the  lady  with  a  yen 
for  poetry  and  philosophy,  tete-a- 
tetes  with  the  real  light  of  her 
life,  Socialite  Hubby  Bob  Howard. 


Bill  Powell  has  been  making  the 
rounds  of  the  night  clubs  since 
his  surprise  marriage  to  Diana 
Lewis.     And  he  looks  so  happy! 


The  sombrero-ish  hat  is  the  Spanish 
(of  which  there  is  plenty)  in  Rita 
Hayworth  coming  to  the  fore.  She's 
rhumba-ing  with  Hubby  Ed  Judson. 


1 


Nancy  Kelly  two-times  her  Broad- 
way beau,  Edmond  O'Brien.  We 
caught  her  having  a  gay  time  with 
Bob  Cummings,  the  director's  son. 


Found:  A  wife  who  laughs  at  her 
husband's  jokes!  Mischa  Auer 
panics  Mrs.  A.  and  a  doorman 
as   they   say    "adieu"   at  Sardi's. 


'Member  when  Conrad  Nagel  used 
to  thrill  you  from  the  screen?  Now, 
he's  a  radio  mogul  and  greets 
Claudette  Colbert  at  a  broadcast. 


Jimmy  Ritz,  who  wouldn't  marry 
Ruth  Hilliard  till  she  retired  from  the 
movies,  casts  an  approving  eye  on 
Career-girl  Alice  Faye  as  they  dance. 


IB* 
W 


Fred  MacMurray  turns  on  that  high 
voltage  smile,  and  wifie,  the 
beauteous  Lillian  Lamont  as  was, 
obligingly    retaliates    in  kind. 


Cary  Grant  and  lovely  divorcee, 
Fay  Wray,  are  not  an  unfamiliar 
twosome  since  Cary  split  up  with 
his    old    flame     Phyllis  Brooks. 


53 


By  Lois  Sve  ns  r u  a 


OUR  HOLLYWOOD  RE- 
PORTER KEEPS  THE  WIRES 
SIZZLING  WITH  THE 
LATEST  CINEMA  CHATTER 


DESIGNING  ACTRESS 

Ann  Rutherford  tells  us  that  every  time  she 
goes  into  one  of  the  de  luxe  dress  shops  in 
town  the  clerks  watch  her  from  the  moment 
she  enters  until  the  door  closes  behind  her. 
"Admiring  me?"  she  laughed.  "Well,  not 
exactly.  They're^  just  keeping  an  eagle  eye 
on  me  because  I  copy  their  designs."  With 
one  squint  at  a  swanky  model,  three  yards 
of  silk  crepe  and  an  evening  at  home,  the 
little  Rutherford  gal  can  produce  a  Paris 
model. 

IT  DIDN'T  WORK 

Myrna  Loy  has  had  a  masseuse  for  some 
time.  But  awhile  back  the  star  noticed  that 
the  woman  was  skipping  lightly  over  her 
nightly  massage,  obviously  in  a  hurry  to 
leave.  After  a  few  tactful  questions,  Myrna 
learned  that  the  woman  was  in  a  terrific 
hurry  to  get  home  every  evening  to  listen  to 
the  radio  installments  of  "I  Love  a  Mystery." 
"Tell  you  what  we'll  do,"  said  Myrna,  "we'll 
turn  it  on  right  here  every  evening.  Then 
we  can  both  hear  it  while  you're  working 
on  me."  It  seemed  like  a  brilliant  idea  to 
the  star.  "But  the  trouble  now  is,"  she  told 
us,  "that  my  treatment  takes  twice  as  long. 
The  masseuse  has  to  stay  and  work  out  the 
kinks  in  my  nerves  after  I've  listened  to  the 
program!" 

SAY  IT  WITH  LIMES 

Incidentally,  when  Myrna  Loy  appeared  on 
the  Screen  Guild  radio  program,  every  mem- 
ber of  the  cast  and  production  crew  received 
a  present  from  her — a  large  box  of  limes. 
They  were  the  home-grown  products  of  the 
Hornblow  ranch — the  results  of  Myrna's 
scientific  gardening.  She  takes  care  of  the 
entire  four  acres  of  fruits  and  flowers  with 
the  help  of  only  a  part-time  gardener. 

EMBARRASSING  MOMENTS 

"My,  how  you've  grown,"  said  May  Robson, 
when  she  met  Cecil  B.  DeMille  on  a  recent 
Lux  show.    That's  Miss  Robson 's  customary 
54 


greeting  to  the  director,  and  it's  been  going 
on  for  more  years  than  Mr.  DeMille  would 
want  us  to  mention.  You  see,  Miss  Robson 
used  to  work  for  DeMille's  father  when  he 
produced  plays  on  Broadway  with  David 
Belasco.  "And  I  used  to  give  him  many  a 
spanking,  in  those  days,"  she  told  the  cast. 
"Mighty  cute  he  was,  too,  in  those  three- 
cornered  pants." 

A  FOUR-STAR  SHOW 

No  wonder  the  Kraft  Music  Hall  is  one  of 
the  most  popular  shows  in  town.  Bing 
Crosby  and  Bob  Burns  give  a  rehearsal  for 
the  benefit  of  the  audience  that  beats  any 
entertainment  on  the  air-waves.  Bob  works 
the  audience  into  the  proper  frame  of  mind 
by  telling  them  that  he  and  Bing  have  de- 
cided they  are  the  brightest  looking  group  of 
people  ever  gathered  together  in  one  place. 
He  winds  up  by  requesting  that  they  refrain 
from  applauding.  "We  had  applause  here 
once,"  Burns  admits,  "but  it  was  so  skimpy 
we  decided  to  do  without  it  altogether." 

BABY  TALK 

Carole  L6mbard  was  at  Westmore's  the  other 
day  having  her  hair  shampooed  and  waved. 
After  the  star  had  left,  Miss  Lombard's  hair- 


dresser took  her  next  appointment — 3**1^^ar. 
almost  too  excited  to  talk.  "Tell  me  all  abolit 
her,"  begged  the  customer.  "Is  she  going 
to  have  a  baby  like  the  newspapers  say? 
Wouldn't  it  be  wonderful  if  Clark  and  Carole 
had  a  baby?  Why,  America  would  go 
wild!" 

PROUD  INVENTOR 

Reg  Denny  ought  to  know  better,  but  he  got 
so  excited  about  a  new  gas-model  airplane 
he'd  invented  that  he  brought  it  right  into 
the  breakfast  room  to  show  to  his  family. 
"Hear  how  it  hums,"  he  explained  enthusi- 
astically, giving  the  motor  a  quick  turnover. 
The  little  plane  began  to  throb,  and  Denny 
was  balancing  it  on  the  back  of  a  chair 
when,  zup!  Away  it  flew!  It  bounced  off 
the  wall,  knocked  a  picture  awry,  flicked  a 
flower  vase  onto  the  floor,  dived  at  a 
frightened  Mrs.  Denny  and  finally  plunged 
nose-first  into  the  breakfast  marmalade. 
Breakfast,  plane  and  the  Denny  family's 
morning  disposition  were  wrecked.  But 
Reggie  himself  was  unperturbed.  "Anyhow, 
it  flies,"  he  said. 

BENNY  IN  BLACKFACE 

At  the  Jack  Benny  broadcast  the  other  day, 
the    audience    was    given    a    preview  of 


Rochester's  song  and  dance  version  of  "My, 
My."  After  the  thunderous  applause  had 
subsided.  Jack  stepped  up  and  addressed  the 
audience.  "From  the  looks  of  it,"  he  said 
sadly,  "my  next  picture  will  probably  be 
"The  Life  of  Booker  T.  Washington." 

STUDIO  PLAYGROUND 

Though  "The  Dictator"  sets  were  closed  to 
visitors,  word  leaked  out  from  time  to  time 
that  a  swell  time  was  being  had  by  all.  In 
fact,  the  lot  was  a  family  affair  during  the 
picture's  production.  There  is  a  tennis  court, 
a  badminton  court  and  a  swimming-pool  at 
the  Chaplin  studios,  and  wives,  husbands 
and  children  of  the  members  of  the  cast  were 
welcome  guests.  Paulette  Goddard  brought 
the  Chaplin  boys,  Junior  and  Syd,  to  the 
studio  almost  daily  for  a  fast  game  of  tennis 
with  her  and  a  dip  in  the  pool.  Chaplin,  Sr., 
sometimes  joined  in  the  swim,  but  the  tennis 
game  he  left  to  the  "youngsters." 

MICKEY'S  IDEAL 

We  caught  Mickey  Rooney  in  a  confidential 
mood  the  other  day  and  asked  him  to  tell 


WIFELY  PRIDE 

The  Spangler  Arlington  Brughs — okay  then, 
the  Bob  Taylors — are  mighty  career  con- 
scious, too.  Barbara  says  she  has  no  intention 
of  giving  up  her  career  as  long  as  the  public 
will  pay  to  see  her,  but  she  admits  that  Bob's 
work  comes  first.  When  congratulations  be- 
gan pouring  in  on  her  for  getting  the  excel- 
lent role  in  "The  Night  of  January  16th," 
Barbara  took  the  compliments  patiently,  but 
could  hardly  wait  to  interrupt  with  "Have 
you  seen  Bob  in  'Waterloo  Bridge?'  Now 
there's  an  actor!" 

FRIENDLY  CRITICISM 

The  Metro  casting  department  ran  into  a 
snag  the  other  day  when  the  problem  of  cast- 
ing a  glass-blower  for  "Edison,  The  Man" 
confronted  them.  They  had  figured  that  any 
actor  could  play  the  role,  but  found  to  their 
dismay  that  an  honest-to-goodness  glass- 
blower  was  needed  to  make  the  scenes  in 
Edison's  laboratory  look  real.  Finally,  some- 
one in  the  department  had  an  idea — Max 
Goeppinger  had  been  working  for  years  in 
the  studio's  special  effects  department  as  a 
glass-blower  par  excellence.  Max  was  sent 


for  and  given  the  role,  much  to  his  amazed 
delight.  But  his  pleasure  was  short-lived. 
For  in  the  eyes  of  his  co-workers,  Max  had 
lost  caste.  Whenever  he  comes  around  the 
prop  department  now,  the  boys  delicately 
hold  their  noses  and  refuse  to  talk  to  him. 
"Whew!  A  ham!"  are  the  only  remarks 
Max  can  get  from  his  former  pals. 

A  NEW  FAD 

Dolores  Del  Rio  has  been  the  envy  of  the 
glamour  ladies  lately  because  she  has  stolen 
the  spotlight  with  her  beautifully  draped 
turbans,  matching  every  gown.  Where  those 
stunning  chapeaux  came  from,  Dolores  re- 
fused to  divulge.  But  now  the  secret's  out. 
The  actress  has  her  favorite  milliner  drop  by 
the  house  just  before  she's  ready  to  leave 
for  a  party,  and  gets  "wound  up"  for  the 
festivities. 

ANOTHER  CONQUEST 

Now  that  Ginger  Rogers  is  finally  getting 
that  divorce  from  Lew  Ayres,  those  in  the 
know  contend  that  she's  seriously  consider- 
ing taking  over  the  title  of  Mrs.  Howard 
Hughes.  The  famous  Mr.  H.  has  rushed  about 
every  beauty  in  town  the  last  few  years,  but 
since  he  met  Ginger  the  other  glamour  girls 
are  no  longer  the  objects  of  Howard's  af- 
fection. 

JEANETTE  MACDONALD 

If  Jeanette  MacDonald's  concert  tour  is  in- 
terrupted by  a  mousy  looking  gent  with  a 
summons  in  his  hand,  the  gorgeous  song- 
stress shouldn't  be  at  all  surprised.  For  she 
foisted  just  such  a  character  off  on  Director 
Robert  Z.  Leonard  as  she  finished  "New 
Moon."  Bob  used  to  hang  his  raincoat  in 
Jeanette 's  portable  dressing-room  on  the  set. 
When  the  picture  was  completed  she  had 
her  lawyer  draw  up  a  legal  looking  docu- 
ment, charging  Leonard  with  rent,  storage, 
wear  and  tear  on  the  door  hinges,  and  a 
big  chunk  of  hush  money  for  Gene  Raymond. 


about  his  latest  romance.  "I  can't  divulge 
her  name,"  said  Mickey  regretfully,  "because 
I  don't  know  it  yet.  But  I'll  tell  you  exactly 
what  I'm  shopping  for.  It's  a  girl  who 
doesn't  know  all  the  answers  .  .  .  someone 
who  gives  a  guy  a  feeling  of  peace.  In 
short,  the  home-loving  type."  The  line 
forms  to  the  right — but  are  there  that  many 
home-loving  girls  left?  Mickey,  incidentally, 
is  beginning  to  look  as  conservative  as  he 
sounds.  Gone  are  the  striped  shirts,  and 
suits  that  used  to  be  his  pride  and  joy  and 
the  only  plaid  you'll  find  in  the  Rooney 
wardrobe  is  an  occasional  necktie.  "I've 
noticed  that  important  men  show  very  quiet 
taste  in  clothes,"  Mickey  explained.  "Men, 
you  know,  like  Clark  Gable,  Ronald  Colman, 
Leslie  Howard  and  Mr.  Roosevelt." 


55 


Leonard  was  a  bit  taken  back,  at  first,  by 
the  imposing  aspect  of  the  warrant,  but  when 
he  realized  it  was  only  a  rib,  he  promised 
to  get  even.  Knowing  Bob's  agile  mind, 
Jeanette  should  be  prepared  for  the  worst! 

A  HELPING  HAND 

On  a  tour  of  inspection  art  Paramount  Studios 
the  other  day,  a  group  of  visitors  were  sur- 
prised to  hear  the  guide  say  casually,  "The 
gentleman  sorting  the  mail  at  the  end  of 
the  counter  is  Bing  Crosby's  father."  No,  it's 
not  Mr.  Crosby's  regular  job,  but  every  day 
he  stops  by  the  studio  mail-room  to  pick  up 
Bing's  fan  letters  and  generally  winds  up 
by  spending  most  of  the  day  there.  "You 
boys  look  kind  of  rushed,"  he  will  say,  "so 
guess  I'll  just  give  you  a  hand  for  a  while." 

ADDING  INSULT  TO  INJURY 

Edward  Arnold's  role  as  Diamond  Jim  Brady 
in  "Lillian  Russell"  is  causing  him  no  end  of 
grief.  In  the  first  place,  Mr.  Arnold  has  been 
trying  to  streamline  his  waistline.  But  with 
all  of  the  delicacies  which  he  had  to  con- 
sume for  his  screen  role,  he  held  out  no  hope 
for  his  figure.  The  last  three  days  of  the 
picture,  however,  presented  an  even  worse 


JACKIE  COOPER 


problem.  In  a  restaurant  scene,  Mr.  Arnold 
had  to  drink  glass  after  glass  of  champagne. 
Champagne  on  the  set  is,  of  course,  ginger 
ale.  And  the  unfortunate  actor  is  allergic 
to  ginger  ale — it  tickles  his  nose  and  makes 
him  sneeze.  "This  is  a  fine  thing,"  said  Ar- 
nold to  the  director.  "I  can't  even  take  my 
indigestion  pills.  Every  time  I  get  one  in 
my  mouth,  I  sneeze  and  lose  it." 

ONE  WAY  TO  FAME 

Since  David  Niven's  left  town,  Reginald 
Gardiner  has  taken  over  his  role  of  Ribber 
No.  1.  Latest  Gardiner  prop  is  a  dime  store 
flute,  with  which  he  bewilders  ladies  at  the 
best  night-clubs.  The  other  evening  at  the 
Trocadero,  he  took  a  table  behind  that  oc- 
cupied by  a  certain  uppity  star.  Every  time 
she  opened  her  mouth  to  say  something  to 
her  escort,  she  was  accompanied  by  a  few 
flute  notes,  all  sour.     Was  she  surprised! 

56 


LOVE  ME,  LOVE  MY  CHILDREN 

The  George  Raft-Norma  Shearer  romance  is 
beginning  to  look  like  a  family  affair.  As 
soon  as  Norma  brought  her  two  children  back 
from  Sun  Valley,  Raft  began  taking  them  to 
tennis  tournaments,  to  the  famous  Hollywood 
indoor  rinks  for  ice-skating  and,  our  sleuth 
reports,  to  the  Venice  Fun  Pier  where  the 
three  always  have  a  wonderful  time  on 
the  roller-coasters.  Mr.  Raft  seems  to  have 
won  the  popularity  contest  on  all  sides. 


SIGN  HERE.  PLEASE 

Proudest  collegiate  at  U.C.L.A.  is  Bob  Holden. 
Every  morning  when  he  arrives  on  the 
campus,  his  car  is  besieged  by  pretty  co-eds. 
The  attraction?  Well,  it  isn't  entirely  Bob. 
You  see,  his  brother  William  drives  him  to 
the  campus  every  morning  en  route  to  Para- 
mount. The  co-eds  are  after  autographs,  not 
dates.  Bob's  already  warned  them  that 
Brenda  Marshall  is  leading  lady  in  Bill's 
private  life. 

LUCKY  LINDA 

You  girls  who  wistfully  sigh  for  the  life  of  a 
movie  star  may  be  interested  in  a  short-shot 
of  Linda  Darnell's  day.  Linda,  you  know, 
is  not  yet  sixteen  so  the  Board  of  Education  is 
hot  on  her  trail.  That  means  she  hasn't  a 
moment  to  call  her  own  during  the  day,  with 
hairdressers  and  make-up  men  demanding 
time  from  the  moment  she  awakes,  at  five, 
until  the  cameras  start  grinding,  at  eight.  For 
the  rest  of  the  day,  when  not  in  front  of  the 
camera,  Linda  does  geometry  and  geography. 
If  she's  lucky,  she's  home  from  work — and 
we  mean  work — at  seven.  After  the  make-up 
is  off  and  a  lounging  robe  on,  Linda  collapses 
into  bed  and  has  supper  off  a  tray.  "Read- 
ing about  the  glamorous  night-life  of  Holly- 
wood is  the  closest  I  ever  get  to  it,  too,"  says 
this  movie  star. 

EXPENSIVE  LESSON 

An  important  scene  in  the  "Son  of  Monte 
Cristo"  takes  place  in  a  Swiss  mountain  vil- 
lage and  the  picture's  stars,  Joan  Bennett 
and  Louis  Hayward,  have  to  do  some  expert 
skiing  in  the  sequence.  When  Director  Row- 
land Lee  told  them  about  the  scene,  he  dis- 


covered that  neither  Joan  nor  Louis  had  ever 
been  on  skiis.  After  a  hasty  conference  with 
the  producer,  Lee  told  his  stars  they'd  have 
to  go  to  Arrowhead,  high  in  the  San  Ber- 
nardino mountains,  and  spend  a  week  learn- 
ing the  sport.'  Joan  couldn't  leave  her 
children  and  Louis  couldn't  leave  Ida  Lupino, 
so  there  was  nothing  to  do  but  send  them  all 
and  let  the  production  budget  take  the  beat- 
ing. Now  that's  really  nice  work — if  you 
can  get  it! 

THATS  TELLING  'EM 

When  Lana  Turner  suddenly  became  Mrs. 
A.  Shaw,  everyone  was  interested  in  Judy 
Garland's  reaction  when  she  showed  up  at 
the  studio  after  hearing  the  news.  Judy  was 
her  usual  beaming  self  and,  when  asked 
point-blank  how  she  felt  about  this  new  turn 
of  affairs,  she  said,  "Why,  swell!  And  I 
hope  they're  happy.  Why,  look  at  this,"  and 
she  held  out  her  hand  with  Jimmy  Cath- 
cart's  fraternity  ring  glistening  on  her  ring- 
finger.  "It  still  looks  better  to  me  than  all 
the  solitaires  in  the  world." 

IT'S  SMART  TO  BE  THRIFTY 

Porulette  Goddard,  believe  it  or  not,  is  one 
of  the  most  practical  girls  in  town.  Though 
always  looking  like  a  cool  million,  the  prices 
of  her  dresses  would  make  other  stars  swoon 
with  jealousy.  For  most  of  them  come  from 
the  ten  and  fifteen-dollar  racks  in  Hollywood 
Boulevard  shops.  According  to  Paulette,  it 
isn't  the  clothes  hung  on  the  frame  that  makes 
a  girl  attractive,  but  the  vitality  of  her  face 
and  figure.  And  that,  she  points  out,  is 
within  the  reach  of  anyone  who  has  a  little 
gumption  and  a  pair  of  sports  shoes  com- 
fortable enough  for  a  three-mile  daily  walk. 
It  could  hardly  be  said  that  the  fabulous  dia- 
mond necklace  which  ChaTlie  Chaplin  gave 
her  recently  could  come  under  the  heading 
of  "practical."  But  Paulette  added  the  God- 
dard touch  to  that  situation,  too.  She  found 
a  pair  of  paste  earrings  in  the  Paramount 
prop  department  that  were  of  similar  design 
to  her  costly  present.  Says  she  purrs  as 
much  over  the  earrings  as  the  necklace! 

LAMOUR  AND  PRESTON 

If  you  think  Robert  Preston's  only  interest  is 
Dorothy  Lamour,  you  have  been  misled.  For 
Bob  has  a  fifty  per  cent  interest  in  a  prize 


fighter  named  Wayne  George.  The  first 
time  Wayne  fought  under  the  new  owner- 
ship arrangement,  he  won  the  fight  and 
enabled  Preston  to  collect  enough  money 
in  bets  to  take  the  Chicago  trip  to  see 
Dottie.  So  everyone's  happy  about  the 
whole  thing. 

BON  VOYAGE 

When  Jean  Cagney,  Jimmy's  sister,  found 
that  she  was  going  to  be  given  a  vacation 


MYRNA  LOY 


from  the  studio,  she  was  faced  with  a 
problem.  For  she  wanted  to  take  a  boat- 
trip,  but  she  also  wanted  to  take  her  mother, 
Mrs.  Carolyn  Cagney,  along.  And  Mrs. 
Cagney  gets  very  sea-sick.  Brother  Jimmy 
came  to  their  rescue  with  the  suggestion 
that  they  use  his  yacht,  tied  up  at  Newport 
Bay — as  a  house  boat.  It  was  a  cinch,  and 
the  two  spent  three  weeks  on  board,  never 
setting  sail  from  the  wharf. 

THE  REAL  THING 

Jackie  Cooper's  flaming ,  romance  of  the  mo- 
ment is  with  Mary  Jane  Bather,  one  of  )he 
attractive  "Seventeen"  girls.  After  four  con- 
secutive dates,  our  sleuth  asked  Jackie  if 
he  had  finally  given  up  carrying  the  Gar- 
land torch.  "It's  pretty  serious,"  Jackie  ad- 
mitted. "Gosh,  she's  so  pretty.  Looks  just 
like  Judy  Garland." 

THE  ANSWER  TO  A  WAITER'S 
PRAYER 

Ask  any  of  the  waiters  at  Ciro's,  Holly- 
wood's newest  and  most  elaborate  restau- 
rant, to  name  their  favorite  movie  star  and 
the  answer  is  always  "Mischa  Auer." 
Mischa's  been  a  frequent  patron  since  its 
opening,  and  never  fails  to  seek  out  the 
Russian  waiters  and  chef  in  the  kitchen 
for  a  good  long  chat  in  Roosian. 

GETTING  ACQUAINTED 

Bob  Hope  and  his  wife  and  baby  have 
moved  into  a  new  North  Hollywood  home. 
According  to  Bob,  "It's  really  a  very  swell 
place  from  what  my  wife  tells  me."  Actually, 
between  picture  work  and  radio  rehearsals, 
the  master  of  the  house  has  yet  to  see  it  by 


daylight.  As  soon  as  his  present  Paramount 
picture  is  completed,  the  actor's  going  to 
take  a  week's  vacation,  and  he'll  do  noth- 
ing but  stay  at  home. 

MOVE  OVER.  VIRGINIA 

The  glamour  girls  around  town  would 
surely  appreciate  it  if  Virginia  Field  would 
be  sporting  enough  to  tell  them  what's 
what.  "Either  marry  the  man,"  say  the 
g.g.'s,  "or  put  him  back  in  circulation."  The 
controversy,  of  course,  concerns  Richard 
Greene  who  had  announced  some  time  ago 
that  a  lot  had  been  purchased  and  house 
plans  were  under  way  for  his  and  Vir- 
vinia's  love  nest.  Now  the  news  is  out  that 
the  lot  has  been  re-sold,  the  plans  are 
shelved,  and  the  two  are  just  "best  friends." 
But  our  spies  report  that  neither  has  dated 
anyone  else. 

IT'S  AN  ILL  WIND  .  .  . 

You  can't  keep  a  good  man  down — even 
when  he's  in  a  cast.  And  especially  if  he's 
Joe  E.  Brown.    The  actor's  been  having  the 


CHARLES  BOYER 


time  of  his  life  during  his  convalescence. 
He's  taken  trips  to  all  the  surrounding  re- 
sorts and  claims  he's  had  the  best  vacation 
in  years.  "How  can  I  miss?"  he  asks.  "I 
go  to  Palm  Springs  and  while  everyone  else 
is  getting  sun-burned  I'm  in  the  cool  shade 
of  my  cast.  Up  at  Arrowhead,  while  every- 
one else  is  down  with  a  cold,  I  don't  even 
feel  a  drafts" 

NICE  GOING 

Two  movie  actors  who  have  received  envia- 
ble titles  lately  are  Bing  Crosby  and  Johnny 
Weismuller.  Bing's  just  been  presented  with 
a  life  membership  certificate  in  the  Profes- 
sional Golfer's  Association — the  second  per- 
son ever  to  receive  such  an  honor.  Johnny's 
just  been  informed  that  he's  now  the  cap- 
tain of  the  Los  Angeles  County  Life  Guards. 

EXCUSE  IT.  PLEASE 

Frank  Morgan  broke  his  famous  "ad  lib" 
record  when  he  appeared  on  that  recent 
Screen  Guild  Theatre  broadcast.  Actual 
count  showed  that  he  made  57  of  them — 


and  actual  count  showed  that  the  director 
paled  visibly  fourteen  times.  That  was  for 
the  first  fourteen  ad  libs,  and  after  that  he 
managed  to  take  them  with  calm.  Though 
Morgan  is  notorious  for  confusing  every 
radio  cast  with  which  he's  appeared,  the 
comedian  is  so  genuinely  and  pathetically 
sorry  about  his  ad  lib  failing  that  he's  yet 
to  go  unforgiven  by  a  single  co-worker  or 
sponsor. 

CHARITABLE.  ALL 

This  interesting  fact  has  just  been  unearthed 
about  the  Screen  Guild  Theatre — that  the 
waiters  at  the  Earl  Carroll  Theatre,  where 
the  broadcast  and  rehearsals  are  held,  give 
their  time  gratis  when  they  serve  at  re- 
hearsals. You  know,  of  course,  that  all 
stars  donate  their  time.  And  several  of 
them,  including.  Claudette  Colbert,  Norma 
Shearer  and  Loretta  Young  have  begged 
to  be  allowed  to  appear  on  the  program 
as  often  as  possible. 

CAN'T  BLAME  THE  GENTLEMAN 

Humphrey  Bogart  claims  that  acting  is  act- 
ing and  he  has  no  preference  between 
stage,  radio  or  screen.  But  there's  one 
"must"  in  his  radio  contracts — Bogart  must 
be  a  hero  and  not  a  mug.  "Sometimes  I 
get  scared  I'll  turn  into  one,"  he  says. 
"Why,  do  you  know  that  I  can't  even  go 
to  sleep  any  more  without  reading  a  thriller 
of  some  kind?  When  a  guy  gets  to  the  point 
where  his  literary  interests  are  limited  to 
mug  mags,  it's  time  to  watch  his  step." 

WHAT  A  TRIP! 

Roger  Pryor  has  very  little  on  his  mind 
lately  but  aviation.    So  the  other  day,  when 


LORETTA  YOUNG 


he  received  his  pilot's  license,  he  was  over- 
joyed and  in  a  great  hurry  to  make  his  first 
trip.  He  rushed  home,  got  Ann  Sothern,  and 
they  tore  out  to  the  flying  field  to  get  a 
plane  and  headed  for  Palm  Springs.  The 
only  one  available  was  a  three-cylinder 
plane  but,  undaunted,  they  climbed  in  and 
took  off.  By  the  time  they  reached  their 
destination  Roger's  enthusiasm  was  notice- 
ably dimmed.  Seemed  there  was  a  terrific 
wind  to  buck.  "And  it  was  very  discour- 
aging, you  see,"  (Continued  on  page  104) 

57 


True  Love?  'Twould  seem  so 
here.  Yet,  24  hours  later, 
Greg  Bautzer  learned  that 
Lana  was  another  man's  bride. 

"WE'RE  in  LOVE 


ON  the  morning  of  February  13th,  M-G-M  felt  it  had  been 
knifed  in  the  back,  and  Lana  Turner  was  responsible.  Or, 
more  specifically,  Lana's  marriage  was  responsible.  An- 
nouncement of  her  elopement  with  Clarinetist  Artie  Shaw 
came  as  a  mean  blow  to  the  studio  which  would  like  to 
have  the  complete  confidence  of  its  little  charges — 
especially  where  marriage  is  concerned. 

But  shock  wasn't  all  the  studio  felt.  They  were  incredu- 
lous, too.  They'd  watched  Lana  and  Artie  work  together 
on  the  set  of  "Dancing  Co-ed"  and  certainly  no  two  people 
ever  seemed  less  in  love.  It  was  recalled  that  the  pair  had 
battled  incessantly  during  the  making  of  the  picture  and 
at  one  time  Lana  had  become  furious  enough  to  describe 
the  abdicated  King  of  Swing  as  "the  most  egotistical, 
unpleasant  man  I  have  ever  known."  She  charged,  he 
hogged  the  camera  and  spent  more  time  with  the  hair- 
dresser and  make-up  man  than  any  actress  on  the  lot. 

According  to  the  newlyweds,  however,  they've  done 
nothing  very  strange.  They  want  each  other,  and  that's  all 
there  is  to  it.  Of  their  former  quarrels  Lana  says  simply, 
"I  guess  that's  love."  And  it  must  be,  for  she  even  con- 
sented to  an  elopement  which  is  exactly  the  sort  of  thing 
she  hates.  In  a  recent  interview  she  called  elopements 
"disillusioning"  and  added  that  when  she  took  the  leap 
she'd  also  take  the  trimmings:    music,  flowers,  brides- 


New  Love!  Itwasthelastthing 
anyone  thought  of,  but  that's 
how  Lana  explains  her  mar- 
riage to  Swingmaster  Shaw. 

,  VOU  SEE..." 


maids  .and  a  ve^il.    Somehow  or  other  she  forgot  all  that. 

In  Las  Vegas,  where  she  married,  Lana  didn't  even  have 
a  ring.  There  hadn't  been  time  to  get  one.  She  and  Artie 
had  only  intended  to  take  a  late  drive,  but  around  3  A.  M. 
had  found  themselves  talking  of  home  and  kiddies.  One 
thing  led  to  another  and,  almost  before  they  realized  it, 
they  were  in  a  plane  headed  for  the  Nevada  town.  As 
soon  as  they  landed  they  rounded  up  two  witnesses,  and 
within  an  hour,  a  half-asleep  Justice  of  the  Peace  had  made 
the  19-year-old  actress  the  third  wife  of  the  29-year-old 
jitterbugs'  delight. 

Probably  the  most  surprised  person  of  all  was  Attorney 
Gregson  Bautzer.  For  three  years  he  and  Lana  had  been 
an  accepted  twosome  and,  toward  the  end,  it  seemed  just 
a  matter  of  minutes  before  they  would  make  their  vows — 
to  each  other,  of  course.  In  fact,  on  the  two  evenings 
prior  to  her  elopement  Lana  had  dated  Bautzer  and  no 
one,  least  of  all  he,  suspected  .what  was  to  come. 

Having  his  romance  snipped  under  his  nose  wasn't  fun 
for  Greg,  but  he  was  in  good  company.  Three  thousand 
miles  away,  in  a  New  York  musical  comedy,  Betty  Grable 
heard  the  news  with  open-mouthed  amazement.  Only  a 
few  days  earlier  she  had  received  a  letter  from  Artie 
which  left  her  believing  she  was  top  girl  in  his  life. 
Marvelled   Betty,    "It   sure   came    on   them  suddenly!" 


CUPID  SLIPS  AND  LANA  TURNER  TRIPS  TO 

58  \ 


LAS  VEGAS  WITH  BANDLEADER  ARTIE  SHAW 


In  Hall  of  the  spacious  Calhoun 
mansion,  "Tryggvesson,"  on 
lovely  old  Pace's  Ferry  Road, 
Nancy  and  friends  prepare 
to  leave  for  the  premiere. 


QUESTION:  So  many  Georgia  girls  have  "  peaches-and-cream" 
complexions,  Miss  Calhoun.  How  do  they  do  it?  It's  easy  to 
see  you  have  the  answer! 

ANSWER:  "Well,  really,  I'd  say  Pond's  2  Creams  are  the  answer — at 
least  for  me/  Morning  and  evening  I  cleanse  my  skin  carefully  with 
Pond's  Cold  Cream  to  make  sure  every  trace  of  make-up  is  removed. 
And  before  putting  on  fresh  powder,  I  always  spread  on  a  light  film 
of  Pond's  Vanishing  Cream." 

QUESTION:  Do  these  two  Creams  do  anything  else  for  your  skin? 

ANSWER:  "Yes,  much  more.  You  see,  besides  cleansing,  regular  use 
of  the  Cold  Cream  softens  my  skin  and  brings  a  warm  glow,  and 
the  Vanishing  Cream  helps  protect  it  against  weather — smooths 
little  roughnesses  right  away,  too!" 


We  talked  with  Susan  Medlock  .  .  • 

QUESTION:  Isn't  it  a  tough  beauty  assignment  to  hurry  straight  from 
a  newspaper  office  looking  fresh  enough  to  "cover"  a  society  party? 

ANSWER:  "No,  because  I  always  keep  jars  of  the  2  Pond's  Creams 
right  in  my  desk — ready  to  freshen  up  my  complexion  in  a  jiffy. 
Pond's  Cold  Cream  is  just  perfect  for  a  thorough,  easy 
cleansing.  It  leaves  my  skin  feeling  so  sweet  and  clean — and  soft! 
Then,  before  make-up,  I  use  Pond's  Vanishing  Cream." 

QUESTION:  Do  you  mean  you  get  a  quicker  and  better  effect 
with  your  make-up  when  you  use  both  Pond's  Creams? 

ANSWER:  "My,  yes,  and  I'll  tell  you  why:  Pond's  Cold  Cream 
cleanses  and  softens  my  skin.  Pond's  Vanishing  Cream  is  a  different 
kind  of  cream — it's  a  non-greasy  powder  base  that  takes  make-up 
smoothly — keeps  it  mighty  nice  for  hours." 


Ponds,  * 

l'(£'""J  pOND"S. 

7        ~    '      I  'OS-  \"V  "  v 


Before  the  Premiere — Atlanta 
was  alive  with  parties — Susan 
Medlock  interviews  guests  on 
"new"  1860  gowns  at  buffet 
supper,  while  Mammy's  serving 
old  Georgia  punch — "sillibub." 


In  a  Box  at  the  Ball,  our 
reporter  gets  highlights  for  her 
column — rushes  back  to  her 
office  to  meet  the  deadline  with 
comments  on  the  festivities. 


■pa 

SEND  FOR  TRIAL  BEAUTY  KIT 

POND'S,  Dept.  9MS-CVE,  Clinton,  Conn. 
Rush  special  tube  of  Pond's  Cold  Cream,  enough 
for  9  treatments,  with  generous  samples  of  Pond's 
Vanishing  Cream,  Pond's  Liquefying  Cream 
(quicker-melting  cleansing  cream),  and  5  differ- 
ent shades  of  Pond's  Face  Powder.  I  enclose  10£ 
to  cover  postage  and  packing. 

Name  

Street  

City— 


-Slnle 


Copyright,  1940,  Pond's  Extract  Company 


4 


(Continued  jrom  -page  16) 


NAME 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

YEAR 

FAVORITE 
SPORT 

HOBBY 

PRESENT 

ADDRESS 

Johnson,  Rita 

Waitress 

London  By  Night 

1937 

Badminton 

Collecting 
Oriental  Jewelry 

MGM 

Home— 13341 y2  Miller 
Drive,  Hollywood 

Jones,  Allan 

Truck  Driver 

Reckless 

1935 

Fishing 

Raising  Horses 

P 

Home— 120  N.  Cliftwood, 
Brentwood  Heights 

Jory,  Victor 

Boxer 

Sailor's  Luck 

1932 

Motoring 

Writing  Short 
Stories 

WB 

Studio — Burbank,  Cal. 

Joyce,  Brenda 

Model 

The  Rains  Came 

1939 

Tennis 

Hiking 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Karloff,  Boris 

Farmer 

The  Meddlin' 
Stranger 

1927 

Cricket 

Raising  Prize 
Flowers 

U 

Home— 9932  Toluca 
Lake  Ave.,  N.  Hollywood 

Kelly,  Nancy 

Stage  Actress 

Submarine  Patrol 

1938 

Swimming 

Collecting  Odd 
Jewelry 

TCF 

Home— 624  N.  Arden 
Ave.,  Beverly  Hills 

Kelly,  Patsy 

Dancing  Teacher 

Going  Hollywood 

1933 

Golf 

Composing  Music 

MGM 

Home— 520  Foothill 
Koad,  Beverly  Hills 

Kelly,  Paul 

Stage  Actor 

B'way  Through  A 
Keyhole 

1933 

Riding 

Farming 

WB 

Home — 513  Canyon 
Drive,  Beverly  Hills 

Kent,  Robert 

Bank  Messenger 

The  Country  Beyond  1936 

Boxing 

Antiques 

M 

Studio — 4516  Sunset 
JdIvq.,  Hollywood 

Kibbee,  Guy 

Rancher 

Lilly  Turner 

1933 

Golf 

Raising  Horses 

MGM 

Home — lUoalt  Uxnard, 
N.  Hollywood 

Kilburn,  Terry 

Student 

Lord  Jeff 

1938 

Tennis 

Miniature 
Collecting 

MGM 

Studio — Culver  City,  Cal. 

Korjus,  Miliza 

Singer 

The  Great  Waltz 

1938 

Dancing 

Singing 

i\/r  c*  t\/t 
M  Kjr  ivl 

studio — culver  city 

Kruger,  Otto 

Musician 

Turn  Back  The  Clock  1933 

Badminton 

Composing  Music 

WB 

Home— 724  N.  Linden, 
Beverly  Hills 

Lake,  Arthur 

Student 

When  Love  Is  Young  1924 

Swimming 

Raising  Dogs 

c  ... 

Studio— 1438  N.  Gower 
St.,  Hollywood 

Lamarr,  Hedy 

Script  Girl 

Ecstasy 

1934 

Sailing 

Astrology 

MGM 

Home — 505  Camden 
Drive,  Beverly  Hills 

Lamour,  Dorothy 

Elevator  Operator  The  Jungle  Princess  1936 

Hiking 

Baseball 

P 

studio — D4oi  iviaratnon 
St.,  Hollywood 

Lane,  Lola 

Musical  Comedy 
Star 

The  War  Song 

1928 

Tennis 

Designing  Dresses  W  B 

Studio— Burbank,  Cal. 

Lane,  Priscilla 

Singer 

Varsity  Show 

1937 

Bowling 

Gardening 

WB 

Studio — BurbanK,  Cal. 

Lane,  Rosemary 

Singer 

Varsity  Show 

1937 

Ping  Pong 

Bridge 

WB 

Studio — Burbank,  Cal. 

Laughton,  Charles 

Stage  Actor 

If  I  Had  A  Million 

1933 

Hunting 

Book  Collecting 

RKO 

Home — Garden  Of  Allah, 
Hollywood 

Lederer,  Francis 

Delivery  Boy 

Lion  Of  Two  Worlds 

1934 

Sailing 

Painting 
Landscapes 

WB 

Home — 1974  Sycamore, 
Hollywood 

Leeds,  Andrea 

Student 

Come  And  Get  It 

1936 

Swimming 

Writing 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Leigh,  Vivien 

Stage  Actress 

The  Village  Squire 

1933 

Badminton 

Interior 
Decorating 

MGM 

Studio— Culver  City,  Cal. 

Linden,  Eric 

Student 

Are  These  Our 
Children 

1931 

Polo 

Writing 

M 

Studio— 4516  Sunset 
Blvd.,  Hollywood 

Lindsay,  Margaret  Student 

Cavalcade 

1933 

Riding 

Collecting 
Theatre  Programs 

WB 

Home— 8493  Mountain, 
Hollywood 

Litel,  John 

Insurance 
Salesman 

The  Sleeping  Porch 

1929 

Baseball 

Painting 
Landscapes 

WB 

Studio,  Burbank,  Cal. 

Livingstone,  Bob 

Writer 

West  Point  Of  The 
Air 

1934 

Riding 

Horse  Raising 

R 

Studio— 4024  Radford 
Ave.,  JN.  Hollywood 

Lockwood, 
Margaret 

Stage  Actress 

Wild  Justice 

1935 

Fencing 

Crocheting 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Logan,  Ella 

Singer 

Flying  Hostess 

1936 

Bicycling 

Reading 

TCF 

Studio— Box  No.  900, 
oeverly  Hills 

Lombard,  Carole 

Dancer 

The  Perfect  Crime 

1928 

Boating 

Hunting 

RKO 

Home-^525  Petit, 
Encino 

Lorre,  Peter 

Bank  Clerk 

Mad  Love 

1935 

Golf 

Sketching 

TCF 

Home— 525  N.  Foothill, 
Santa  Monica 

Louise,  Anita 

Stage  Actress 

The  Music  Master 

1927 

Tennis 

Painting 
Furniture 

RKO 

Home — Sunset  Plaza 
Apts.,  Hollywood 

Lowe,  Edmund 

Stage  Actor 

Silent  Command 

1923 

Fishing 

Composing  Music  U 

Home — 801  Deven,  Los 
Angeles 

Loy,  Myrna 

Dancing  Teacher 

What  Price  Beauty 

1925 

Riding 

Painting 

MGM 

Home— 9550  Hidden  Val- 
ley Road,  N.  Hollywood 

Lugosi,  Bela 

Stage  Actor 

The  Silent  Command  1923 

Hunting 

Sculpturing 

U 

Studio — Universal  City, 
Cal. 

Lukas,  Paul 

Stage  Actor 

Loves  Of  An  Actress 

1928 

Fencing 

Designing 
Airplanes 

MGM 

Home— 539  N.  Vista,  N. 
Hollywood 

Lundigan, 
William 

Radio  Announcer 

Armored  Car 

1937 

Football 

Writing  Radio 
Plays 

U 

Studio — Universal  City, 

Pol 
cai. 

Lupino,  Ida 

Stage  Actress 

Her  First  Affair 

1932 

Swimming 

Collecting 
Figurines 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Lynn, Jeffrey 

English 
Instructor 

Cowboy  From 
Brooklyn 

1938 

Basketball 

Sketching 

WB 

Studio,  Burbank,  Cal. 

Lynn,  Leni  Student  Huckleberry  Finn       1939    Swimming    Collecting  Photos  MGM     Studio— Culver  City,  Cal. 


60 


(Continued  on  page  62) 

MODERN  SCREEN 


NO  MATTER  HOW 
SLEEPY  I  AM  AT  BEDTIME 
/  NEVER  NEGLECT  MY 
ACTIVE-LATHER  FACIAL 

*  ^ 


Take  the  screen 
stars' tip-try  this 

ACTIVE-LATHER 

FACIAL  for  30  days 

"OSMETIC  SKIN:  unat- 
tractive little  blemishes 
and  enlarged  pores — spoils  good 
looks.  So  don't  risk  choked  pores. 
Use  cosmetics  all  you  like,  but 
take  Ann  Sheridan's  tip.  Remove 
dust,  dirt  and  stale  cosmetics  thor- 
oughly. Let  ACTIVE-LATHER 
FACIALS  with  Lux  Toilet  Soap 
protect  the  beauty  of  your  skin — 
help  keep  it  smooth,  attractive. 

9  out  of  10  Screen  Stars  use  Lux  Toilet  So 


MAY,  1940 


61 


(Continued  from  page  60) 


NAME 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

YEAR 

FAVORITE 

COADT 

SPURT 

HOBBY 

PRESENT 
CTiinin 

ADDRESS 

Lys,  Lya 

None 

Jimmy  &  Sally 

1933 

Riding 

Automobile 
Racing 

WB 

Studio — Burbank,  Cal. 

MacDonald, 
Jeanette 

Chorus  Girl 

The  Love  Parade 

1929 

Swimming 

Gardening 

MGM 

Home — 817  Nimes  Road, 
Brentwood 

MacMurray,  Fred  Saxophone  Player  Roberta 

1935 

Fishing 

Composing  Music 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Mahan,  Billy 

Radio  Player 

Every  Saturday 
Night 

1935 

Skating 

Designing 
Airplanes 

T  CF 

Studio— Box  No.  900, 
Beverly  Hills 

March,  Fredric 

Bank  Clerk 

The  Royal  Family 

1928 

Riding 

Amateur 
Photography 

MGM 

Studio— Culver  City,  Cal. 

Marshall,  Brenda  WPA  Actress 

Espionage  Agent 

1939 

Skiing 

Knitting 

WB 

Studio — Burbank,  Cal. 

Marshall,  Herbert  Accountant 

The  Letter 

1929 

Motoring 

Dog  Raising 

RKO 

Home— 10916  BaLagio, 
Beverly  Hills 

Martin,  Mary 

Dancing  Teacher 

The  Great  Victor 
Herbert 

1939 

Dancing 

Fortune  Telling 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Martin,  Tony 

Orchestra  Leader  Sing,  Baby,  Sing 

1936 

Baseball 

Collecting  Ivory 
Pieces 

C 

Home— 1100  Benedict 
Canyon  Dr., Beverly  Hills 

Marx,  Chico 

Vaudevillian 

The  Cocoanuts 

1932 

Hockey 

Astronomy 

MGM 

Home— 932  N.  Bedford, 
Beverly  Hills 

Marx,  Groucho 

Vaudevillian 

The  Cocoanuts 

1932 

Greyhound 
Racing 

Writing 

MGM 

Home— 710  N.  Hillcrest 
Kd.,  .Beverly  rims 

Marx,  Harpo 

Vaudevillian 

The  Cocoanuts 

1932 

Golf 

Composing  Music 

MGM 

Home — 701  N.  Canyon 
Drive,  Beverly  Hills 

Massey,  Ilona 

Salesgirl 

Rosalie 

1937 

Dancing 

China  Collecting 

MGM 

Home— 8102  W.  4th  St., 
Hollywood 

Massey,  Raymond  Salesman 

The  Old  Dark  House 

1932 

Ice  Hockey  Taxidermy 

UA 

Studio— 1041  N.  Formosa 
Ave.,  Hollywood 

McCrea,  Joel 

Student 

The  Jazz  Age 

1929 

Surf  Board 
Riding 

Farming 

UA 

Home— 1802  Angelo 
Drive,  N.  Hollywood 

McHugh,  Frank 

Stage  Actor 

Bright  Lights 

1931 

Golf 

Law 

WB 

Home — 4200  Navejo,  N. 
Hollywood 

McLaglen,  Victor 

Boxer 

Beloved  Brute 

1924 

Wrestling 

Raising  Horses 

U 

Home — 214  Crescent 
Drive,  Beverly  Hills 

McPhail,  Douglas 

Gas  Station 
Attendant 

Born  To  Dance 

1936 

Fishing 

Singing 

MGM 

Studio — Culver  City,  Cal. 

Menjou,  Adolphe 

Restaurant 
Manager 

Man  Behind  The 
Door 

1914 

Golf 

Collecting  Old 
Autographs 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Meredith, 
Burgess 

Seaman 

Winterset 

1936 

Fishing 

Singing 

U  A 

Studio— 1041  N.  Formosa 
Ave.,  Hollywood 

Merkel,  Una 

Show  Girl 

Eyes  Of  The  World 

1930 

Skating 

Reading 

WB 

Studio — Burbank,  Cal. 

Milland,  Ray 

Stock  Rancher 

Payment  Deferred 

1932 

Riding 

Horse  Racing 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Miranda,  Isa 

Model 

Hotel  Imperial 

1939 

Swimming 

Designing 

P 

Studio— 5451  Marathon 
St.,  -Hollywood 

Montgomery, 
Robert 

Mechanic's 
Helper 

Possession 

1921 

Tennis 

Composing  Music  M  G  M 

Home — 144  Monovale, 
Holmoy  Hills 

Montgomery, 
Douglass 

Stage  Actor 

Paid 

1931 

Bowling 

Building  Minia- 
ture Theatres 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Moore,  Constance 

Singer 

State  Police 

1938 

Badminton 

Collecting 
Perfume  Bottles 

U 

Studio — Universal  City, 
Cal. 

Moore,  Victor 

Clerk 

Chimmie  Fadden 

1915 

Boating 

Raising  Chickens 

P 

Home— 628  N.  Palm 

T\  ■           -r~%              I  TT'11 

Drive,  Beverly  Hills 

Morgan,  Dennis 

Radio  Actor 

Susy 

1936 

Football 

Singing 

WB 

Studio — Burbank,  Cal. 

Morgan,  Frank 

Cowpuncher 

Dangerous  Nan 
McGrew 

1932 

Golf 

Collecting  First 
Editions 

MGM 

Home— 1025  Ridgedale, 
rieverly  Hills 

Morris,  Chester 

Stage  Actor 

Alibi 

1928 

Fishing 

Wood  Carving 

RKO 

Home — 917  Beverly 
Drive,  Beverly  Hills 

Morris,  Wayne 

Salesman 

China  Clipper 

1936 

Fencing 

Collecting 
Suitcase  Stickers 

WB 

Home — 470  Layton  Dr., 
Hollywood 

Mowbray,  Alan 

Clerk 

Alexander  Hamilton  1931 

Polo 

Farming 

U  A 

Studio— 1041  N.  Formosa 
Ave.,  Hollywood 

Muni,  Paul 

Stage  Actor 

The  Valiant 

1928 

Tennis 

Collecting 
Dictionaries 

WB 

Home— 10066  Valley 
Spring  Lane,  N. 
Hollywood 

Murphy,  George 

Tool  Maker 

Kid  Millions 

1934 

Dancing 

Stamp  Collecting 

MGM 

Home— 614  N.  Oakhurst, 

T~>  „1  T  T  "  1  1  _ 

Beverly  Hills 

Nagel,  Anne 

Singer 

I  Loved  You 
Yesterday 

1933 

Volley  Ball 

Constructing 
X-word  Puzzles 

U 

Studio — Universal  City, 
Cal. 

Naish,  J.  Carrol 

Engineer 

Cheer  Up  And  Smile  1930 

Golf 

Cooking 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Neagle,  Anna 

Dancing  Teacher 

Magic  Night 

1932 

Badminton 

Dancing 

RKO 

Studio— 780  Gower  St., 
Hollywood 

Niven,  David 

Lumberjack 

Without  Regret 

1935 

Cricket 

Raising  Dogs 

U  A 

Studio— 1041  N.  Formosa 
Ave.,  Hollywood 

Nolan,  Lloyd 

Stagehand 

Stolen  Harmony 

1935 

Baseball 

Inventing 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

(Co?iti?nted  on  page  85) 

62  MODERN  SCREEN 


. . .  yet,  due  to  skillful  designing,  there's  not  a 
hint  of  bunchiness  or  bulk! 

The  same  applies  to  Kotex  sanitary  napkins! 
Made  in  soft,  smooth  folds,  with  more  absorbent 
material  where  needed . . .  less  in  the  non-effec- 
tive portions  of  the  pad,  Kotex  is  less  bulky  than 
pads  made  with  loose,  wadded  fillers!  Less  apt 
to  chafe,  too— for  it's  entirely  sheathed  in  cotton, 
before  it's  wrapped  in  gauze! 


i-^,t>*  A.  moisture-resistant 

anel  is  now  placed  bet  , 

Lotex  pad-to  give  extra  pr  there  are 

And  what  confidence ^  t  brmg  ^  Flat, 

,o  tell-tale  bulges  to  give  yo  make  e. 
?ressed  ends  (patented £ ^  ^  thick, 
(vealing  outlines  .  .  •  » 
Istubby  ends  so  often  do. 


sizes,  too!  Unlike  most 


Kotex*  comes  .n  J  ■«    >  sizes _Super 

napkins,  Kotex  comes  'n  «  i  size  pad  t0 
-Regular- Jumor.  (So  you  may 

suit  different  days'  needs.)  flat  tapered 

sizes  sell  for  the  same  low  pnce. 


FEEL  ITS  NEW  SOFTNESS 
PROVE  ITS  NEW  SAFETY 
COMPARE  ITS  NEW,  FLATTER  END 


♦Trade  Murk  iwg.  U.  S.  fat.  Off. 


Try  F/avorTowns 
cfe//c/ous  gum 

and  cfo/j  Y  Ze  tense 
when  crises  come 


for  Beech -Nut  Gum  is  always 
refreshing  and  restful.  There  are 
6  delicious  kinds  to  please  your 
taste  —  Peppermint,  Spearmint, 
Oralgum  and  3  flavors  of  candy 
coated  BEECHIES,  Peppermint, 
Spearmint,  Pepsin.  Below  is  the 
"flavor"  town  of  Canajoharie, 
N.  Y.,  famous  for  Beech-Nut 
quality  and  flavor. 


Beech-Nut 
Gum 


OUR  PUZZLE  PAGE 


Puzzle  Solution  on  Page  105 


ACROSS 


18. 

19. 
20. 
21. 

22. 
23. 
24. 


26. 
28. 
30. 
31. 
33. 
35. 


1  &  9.  Beautiful  singer  pic- 
tured 

8.  Hero  of  "Remember  the 
Night" 
Immortality 
Altar  end  of  a  church 
She's  in  "The  Farmer's 
Daughter" 
Indians 
Row 

1  across  was  in  "The  

and  the  Fiddle" 
Model  wife  in  "Another 
Thin  Man" 

C  a  Bow 

What  person  ? 

"That  Certain  " 

Varnish 
Set  over  again 
"Chasing  day" 

37.  Carpenter's  tool 

38.  Ethel  Turp  in  "A  Call 
On  The  President" 

40.  Portuguese  coin 

41.  Heroine  in  "Little  Old 
New  York" 

43.  The  "Czar  of  Motion 
Pictures" 

44.  Pheasants'  broods 
46.  Performs 

49.  Singer  in  "Swanee 
River" 

50.  What  censors  do  to  ob- 
jectionable films 

51.  Tarzan's  animal  friend 
53.  Greeting 

Husband  of  our  star 
He's  married  to  Margo 
Hair  that  grows  on  the 
face  of  a  man 
Women's    fleecy  head- 
dress 
Fortress 
64.  What  foreign  stars  try 
to  lose 

"Here  I  -  -  A  Stranger" 
Weight  of  India 
Tot  in  "Honevmoon  In 
Bali" 

Sweden's  gift  to  comedy 
70.  Male    lead    in  "House 

Across  The  Bay" 
73.  Beauty  in  "Geronimo" 
76.  1  across'  rank  in  cinema 
skies 


54. 
57. 
60. 

61. 

62. 


66. 
67. 
68. 

69. 


78. 

"The  Westerner" 

34. 

Attempt 

80. 

Lennie  in  "Of  Mice  And 

36. 

Ocean 

Men'' 

38. 

Baby  y 

82. 

Deeply  affected 

39. 

Tom  

84. 

Thing  in  law 

41. 

Distant 

85. 
88. 

Frothed 

Gene    Autry's  "Cham- 

42. 

Johnny   Mack  Brown's 
home  state 

pion"  is  one 

43. 

Treated 

89. 

1  across'  co-star  in 

45. 

With  our  star  in  "San 

"Maytime" 

Francisco" 

92. 

Priest  in  "Fighting  69th" 

47. 

Building   for  dramatic 

93. 

Armed  conflict 

spectacles 

95. 

Chop 

48. 

Cedric  Hardwicke's  title 

96. 

Attorney  in  "Reno" 

50. 

Menace  in  "Black 

97. 

Otto  Kr  -  -  -  r 

Friday" 

98. 

Our  star  was  in  "Naugh- 

52. 

Evoke 

ty  Mari  " 

55. 

Affirmative  answer 

100. 

Her  first  film  :  "The 

56. 

Small  rug 
"R  cca" 

Love  Pa  " 

58. 

102. 

Fish  sauce 

59. 

Famed  dog :  Tin 

104. 

Range 

Tin 

105. 

Co-starred  with  1  across 

62. 

Rod 

in  "The  Merry  Widow" 

63. 

Wanders  from  the  truth 

107. 

Bootlegger 

64. 

Actor  in  "Green  Hell" 

109. 

Evening  songs 

65. 

Cunning 

110. 

In  carpentry,  girders 

71. 

Zasu  Pitts'  typical  ges- 

DOWN 

72. 

ture 

Actor  in  "Oh  Johnny, 
How  You  Can  Love" 

1. 

Olivia  de  Havilland's 

74. 

Printer's  measures 

birthplace 

75. 

She's  in  "High  School" 

2. 

Hedy  Lamarr's  most 
famous  film 

76. 

He  got  his  start  with  1 
across  in  "Rose  Marie" 

3. 

"The  Rains  C  "  . 

77. 

Man's  name 

4. 

Greek  letter 

78. 

Solidify 

5. 

Star  of  "Virginia  City" 

79. 

Confirmer 

6. 

Flat  metal  receptacle 

81. 

Our    star's    new    film : 

7. 

Director  Garnett 

"  Moon" 

8. 

Buttonholes 

83. 

Small  mound 

9. 

Charles  Laughton's 

84. 

Clara  Bow's  hubby 

10. 

lovely  protege 

85. 

Judge  Hardy  dons  these 

Siamese  coin 

to  read 

11. 

Masticate 

86. 

The  rooster  crows  for 

12. 

Showy 

this  film  company 
"Our  Gang's"  girl 

13. 

Our  star  was  in  "The 

87. 

Vagab  -  -  d  King" 

89. 

Notches 

14. 

Ace  of  "dumb"  comics 

90. 

S-shaped  moldings 

IS. 

Native  of  Asia 

91. 

Cose 

16. 

Loyal 

94. 

Hostile  invasion 

17. 

Challenger 

96. 

Ten 

18. 

Aromatic  spice 

99. 

Hail ! 

25. 

Opposite  1  across  in 
"Broadway  Serenade" 

101. 

She's  cast  in  "My  Son, 
My  Son" 

27. 

A  perennial  woody  plant 

103. 

Gail  Patrick  studied  for 

29. 

Atop  :  poet. 

this  before  films 

32. 

Leading  lady  of  "My 

104. 

Consumed 

Little  Chickadee" 

106. 

Article 

33. 

Cowboy  singer 

108. 

"Swe  -  -  hearts" 

64 


MODERN  SCREEN 


// 


TOPS  FOR 


SAY  SMART  FASHION  CREATORS 


Guaranteed  to  wear  longer  than 
any  polish  you've  ever  worn  •  •  • 
or  your  money  back. 

If  the  new  Cutex  Salon  Polish  doesn't 
wear  longer  than  any  polish  you've 
ever  used,  simply  return  the  bottle 
to  us  and  we  will  cheerfully  refund 
your  original  purchase  price!  (Offer 
good  during  1940  only.)  Buy  a 
bottle  of  Cutex  Salon  Polish  today 
— at  any  toilet-goods  counter. 


THE  smartest,  longest  fingertips  will  be  wear- 
ing Cutex  Salon  Polish  this  spring,  smart 
fashion  creators  prophesy.  In  Cutex  shades, 
they  predict,  you'll  find  the  right  answer  to 
what  to  wear  with  every  fabric  color  from  deep- 
est "Storm  Cloud"  shades  to  palest  nude  pink 
.  .  .  With  Royal  Air  Force  blue,  Legion  red, 
Scandinavian  green,  Chinese  tea  .  .  .  And  the 
newest  neutrals — Turtle  gray,  putty,  greige. 

It's  smart  to  wear  Cutex,  too — the  fashion 
oracles  say — because  it  gives  your  nails  that 
all-important  well-groomed  look.  For  flair  and 
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spring! 

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with  your  dashing  new  exposed-midriff, 
hooded-head  gowns. 

HIJINKS:  Red-red — just  what  you'll  want 
with  the  new  military  influence — braid, 
cockades,  "uniform"  pockets. 
CEDARWOOD:  Mauvy-rose  flattery  to 
feminize  man-tailored  toppers  and  suits. 
OLD  ROSE:  Rich  rose — an  added  roman- 
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hat. 

CLOVER:  Deep  winy  red  to  tone  down 
your  noisy  plaids,  stripes,  checkerboard 
fabrics. 

LAUREL:  Rambler  pink  —  delicate,  young. 
Perfect  with  your  new  pinafore  frocks. 


MAY,  1940 


65 


Irene  Dunne  in  RKO-Radio's"My  Favorite  Wife' 


i*4 


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•  (NOT  GOOD  IN  CANADA}* 


THE  VERVE  OF  THAT  GIRL 

(Continued  from  page  37) 


an  actress  when  I  grow  up."  Vivien 
doesn't  recall  the  incident.  "I  remember 
Maureen  and  I  remember  that  produc- 
tion of  "A  Midsummer  Night's  Dream," 
because  it  was  my  first  play.  It's  very 
possible  I  did  say  such  a  thing.  I  was 
always  thinking  it." 

No  one  at  the  convent  encouraged  her 
particularly.  "I  didn't  need  encourage- 
ment," she  says.  But  something  she  did 
need,  she  decided  at  the  age  of  four- 
teen, was  more  knowledge  of  foreign 
languages.  Spending  vacations  in  Swit- 
zerland and  the  South  of  France,  she 
noticed  that  the  French  spoke  more 
dramatically  and  more  musically  than  the 
dignified  British.  She  wanted  the  train- 
ing of  speaking  French  and  persuaded 
her  parents  to  transfer  her  to  a  French 
convent  of  the  Sacred  Heart  in  San  Remo, 
Italy. 

"I  was  there  a  year,  spoke  nothing  but 
French  and  learned  a  lot,  though  I  wasn't 
as  happy  as  I  had  been  at  Roehampton. 
I  minded  the  clothes,  especially  the  ex- 
traordinary bathing  suits  we  had  to  wear, 
with  long  sleeves  and  skirts  reaching 
down  to  our  knees." 

Her  next  stop  was  Mile.  Manileve's 
School  for  Young  Ladies  in  Paris,  where 
the  principal  attraction  (for  Vivien)  was 
Mile.  Antoine,  an  actress  at  the  Comedie 
Francaise  who  taught  dramatics.  At  fif- 
teen, Vivien  at  last  had  the  chance  to 
study  acting. 

'  I  SHE  only  trouble  was  that,  at  sixteen, 
A  she  found  herself  a  graduate  of  Mile. 
Manileve's  School  for  Young  Ladies.  She 
was  too  young  to  get  into  a  regular  dra- 
matic school.  Seventeen  was  the  mini- 
mum age.  She  had  to  mark  time,  so  she 
decided  to  pick  up  another  language, 
while  waiting.  She  enrolled  in  Baroness 
von  Roeder's  finishing  school  in  Bavaria 
and  learned  German. 

She  meant  to  stay  only  six  months. 
She  stayed  eighteen.  "It  was  a  new  ex- 
perience for  me.  It  wasn't  at  all  like 
school,  as  I  had  known  it.  We  were  al- 
lowed to  feel  grown  up,  taught  to  do 
womanly  things,  taught  to  enjoy  the  lit- 
tle things  in  life,  as  well  as  art  in  all 
its  forms,  given  holidays  in  Vienna  three 
times  a  year,  and  constant  trips  to  Salz- 
burg, two  hours  away.  I  began  to  live. 
It  was  a  marvelous  experience.  I  don't 
suppose  anything  will  ever  equal  it." 

This  zest  for  living  convinced  her  then, 
more  than  ever,  that  she  could  be  a 
dramatic  actress.  She  won  her  parents' 
permission  to  try  to  get  into  the  Academy 
of  Dramatic  Arts  in  London.  That  in- 
volved a  terrifying  entrance  test.  "They 
give  it  to  frighten  away  all  but  the  de- 
termined," she  says.  She  came  through 
it  highly  commended. 

Today  she  says,  "I  was  very  lucky. 
I've  always  been  very  lucky.  I  haven't 
had  a  bitter,  discouraging  struggle.  My 
discouragements  are  all  to  come.  When 
I  was  looking  for  my  first  job  and  didn't 
find  it,  I  thought,  'This  is  dreadful.' 
But  I  wasn't  down  to  my  last  meal  or 
anything  like  that.  It  must  be  romantic 
to  look  back  on  a  time  when  one  went 
hungry,  trying  to  make  a  dream  come 
true.  And  it  would  make  a  beautiful 
story  for  the  interviewers." 

At  the  Academy  of  Dramatic  Arts,  she 
had  fencing,  dancing,  voice  projection 
and  the  usual  things.  She  was  very  in- 
tense about  all  of  them.  Every  term  the 
students  put  on  one  Greek  play,  one 
French  play    (in  which  her  ability  to 


speak  French  like  a  native  was  no  handi- 
cap), two  Shakespearean  plays  and  two 
modern  plays. 

She  is  positive  that  anyone  with  the 
serious  ambition  to  act  must  study 
Shakespeare.  "No  other  plays  will  ever 
demand  more  variety  of  vocal  expression 
from  you." 

Very  simply,  she  says,  "While  I  was 
at  the  Academy,  I  married.  And,  after  a 
three-week  honeymoon,  I  went  back  to 
the  Academy.  My  husband  was  always 
very  kind  and  very  interested  in  the 
theatre.  He  didn't  object  to  my  trying 
to  do  something  in  it.  The  proof  of  that 
is  my  stage  name,  'Leigh.'  I  took  his 
Christian  name  for  my  last  name."  His 
full  name  was  Leigh  Holman.  His  pro- 
fession, law." 

Vivien  was  a  wife  at  nineteen  and,  at 
twenty,  the  mother  of  a  little  girl  named 
Suzanne.  But  she  still  hadn't  fulfilled  her 
dream  of  the  theatre.  No  one  likes  to 
give  up  a  lifetime  hope.  Vivien  was  only 
human  in  not  wanting  to  give  up  hers. 
Before  she  could  be  completely  happy, 
she  had  to  have  a  taste  of  the  stage.  Her 
husband  realized  this.  Everyone  who 
knew  her  realized  it.  And  everyone  un- 
derstood. 

So,  when  her  baby  was  old  enough  to 
be  entrusted  to  a  nurse,  Vivien  set  out 
anew.  None  of  the  London  theatrical 
managers  seemed  interested.  So  she  went 
around  to  the  casting  offices  of  the  film 
studios  just  outside  London.  She  landed 
two  small  roles.  "I  didn't  take  them  very 
seriously.  I  never  meant  to  be  a  movie 
actress."  But  the  two  small  picture  roles 
got  her  an  agent  who,  in  turn,  got  her 
a  role  in  a  London  play,  "The  Green 
Sash."  The  critics  noticed  her.  More  im- 
portant, a  producer  named  Sydney  Car- 
roll noticed  her  and  gave  her  one  of  the 
four  parts  in  the  play,  "The  Mask  of 
Virtue,"  in  which  she  made  an  unex- 
pected hit. 

"That  was  when  I  was  really  dis- 
covered," she  says,  amusedly,  "despite 
what  anyone  has  said  since.  It  was  the 
most  exciting  thing  that  has  ever  hap- 
pened to  me.  It  was  also  the  most  fright- 
ening thing.  I  was  just  starting  out,  and 
people  were  apt  to  expect  more  than  I 
was  qualified  to  deliver.  I  was  afraid  of 
the  future  then.  I  didn't  have  experience 
to  give  me  confidence." 

SHE  had  Hollywood  offers  then,  but  she 
turned  them  all  down.  She  wasn't 
afraid  of  Hollywood.  She  simply  wasn't 
interested.  Hollywood  had  a  habit  of 
typing  people,  if  it  used  them  at  all.  "1 
had  seen  so  many  English  girls  come 
over  and  waste  a  whole  year  with  noth- 
ing to  do.  I  didn't  want  to  take  the 
chance  of  having  that  happen  to  me. 
Time  is  too  short  in  the  acting  profession 
to  waste  any  of  it." 

She  did  sign  a  contract  with  British 
producer  Alexander  Korda  to  do  two 
pictures  a  year,  which  would  still  allow 
her  six  months  on  the  stage.  Several  of 
the  pictures  she  made  were  released  here, 
but  not  widely.  Americans  didn't  notice 
her  in  the  supporting  roles  she  played 
until  she  almost  snatched  Robert  Taylor 
away  from  her  old  Roehampton  school- 
mate, Maureen  O'Sullivan,  in  "A  Yank 
at  Oxford."  Even  then  they  didn't  see 
her  as  star  material. 

Bob  Taylor  did.  He  came  back  from 
England,  raving  about  "this  girl,  Vivien 
Leigh,"  and  said  it  was  too   bad  she 
(Continued  on  page  68) 


66 


MODERN  SCREEN 


GOODBYE 


DANDRUFF  i 


The  Truth  About 
Soap  Shampoos 


1  This  photograph 
shows  germs  and  dand- 
ruff scattered,  but  not 
removed,  by  ordinary 
soap  shampoo. 


2  All  germs,  dandruff 
and  other  foreign  mat- 
ter completely  destroy- 
ed and  removed  by 
Fitch  Shampoo. 


Soap 
Shampoo 


H. 


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it  away.  No  long  treatments  ...  no  uncertainty!  You  are  assured  of  a 
scalp  that  is  free  from  dandruff,  when  you  use  Fitch  Shampoo.  The  Fitch 
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RECONDITIONS  AS  IT  CLEANSES 

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MAY,  1940 


67 


A  Lady  Talks 
about  Tampons 


I  WANT  A 
77IMPON  WATS 
EASY  70  USE/ 


THAfs  FIBS- 

/TS  THE 
ROTEX' TAMPON 


The  Ideal  Internal  Protection.  Fibs,  the  Kotex 
Tampon,  with  new  exclusive  features,  is  more 
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merit  your  confidence! 


HOW  ELSE  ARE 
FIBS  BETTER? 


ONLY  F/BS 
ARE  "QU/LTED"  S 
HERE'S  IVHY...  HI 


Special  "Quilting  '  keeps  Fibs  from  expand- 
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r  BUT  WHAT  ^ 
ABOUT  \ 
ABSORBENCY? 


F/BS  ABSORBS 
EVEN  FASTER 
THAN  COTTON/  M 


Made  of  Surgical  Cellucotton  (not  cottonj 

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FIBS  —  Room  1407 A,  919  N.  Michigan  Ave.,  Chicago 
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Name  . 


Address- 


City...    ...Slate. 


wouldn't  come  to  Hollywood.  Charles 
Laughton  also  saw  her  possibilities  and, 
two  years  ago,  gave  her  that  colorful  role 
in  "Sidewalks  of  London." 

How  did  she  happen,  then,  to  come  to 
Hollywood  if  she  had  a  prejudice  against 
the  place?  "I  came  over  to  see  friends. 
I  had  no  intention  of  working  here.  I 
was  going  to  be  here  a  week,  then  going 
back  to  do  "A  Midsummer  Night's 
Dream"  on  the  London  stage.  If  it  had 
been  a  new  play  I  was  going  to  do,  rather 
than  one  I  had  already  done  two  or  three 
times  (playing  a  different  role  each 
time),  I  would  have  gone  back.  I 
wouldn't  have  stayed  to  test  for  the  part 
of  Scarlett." 

The  story  of  how  she  won  the  role 
needs  no  repeating  here.  Neither  does 
the  story  of  the  staggering  amount  of 
work  demanded  by  the  role,  nor  how, 
during  the  last  month  of  shooting,  she 
had  to  live  on  tonics  to  keep  going. 
Enough  has  been  said  about  Scarlett,  as 
far  as  Vivien  is  concerned.  "Right  now, 
I'm  busy  trying  to  be  as  different  from 
her  as  possible." 

SHE  looks  different,  certainly.  In 
"Waterloo  Bridge,"  in  which  she  has 
Robert  Taylor  (with  a  brand-new  mous- 
tache) as  her  co-star,  she  isn't  wearing 
Civil  War  crinolines.  She  is  wearing  the 
styles  of  the  World  War  era  and  sacri- 
ficing glamor  to  realism,  even  to  the  ex- 
tent of  encasing  her  shapely  legs  in  black 
cotton  hose.  She  talks  with  a  crisp  En- 
glish accent,  not  a  crisp  Southern  one. 
She  doesn't  look  like  a  temperamental 
vixen,  but  like  a  war-worried  girl  very 
much  in  love. 

Off  the  screen,  she  looks  like  an  alert 
young  modern — nearer  seventeen  than 
twenty-seven.  She  is  small;  no  more  than 
five  feet  three.  She  is  slight;  she  can't 
weigh  much  more  than  a  hundred 
pounds.  She  dresses  simply,  preferring 
sports  frocks  that  either  button  all  the 
way  up  or  zip  all  the  way  down.  She 
likes  them  better  than  slacks  because 
they're  easier  to  get  into  in  a  hurry. 
She's  always  in  a  hurry  in  the  morning; 
she  stays  abed  "till  the  last  possible  min- 
ute." You  wouldn't  expect  someone  like 
that  to  have  such  lively  eyes.  They're 
officially  described  as  green,  but  when 
she  wears  blue,  they  look  blue.  Her  hair, 
which  she  wears  in  a  loose  bob,  is  a 
natural  dark  brown. 

She  has  a  talent  for  naturalness,  off 
the  screen  as  well  as  on.  This  surprises 
people.  They  expect  her  to  be  deliber- 
ately provocative,  a  conceited  charmer. 
She  isn't.  The  other  day  a  well-known 


press-agent,  who  has  met  them  all,  met 
Vivien  for  the  first  time.  Afterward  he 
said  privately  and  appreciatively,  "Now 
there's  a  girl  who  has  all  kinds  of  sex 
appeal,  without  throwing  it  at  you." 

To  hear  her  tell  it,  she  is  "the  world's 
worst"  girl  athlete.  She  swims  like  a 
rock  and  can't  hit  any  kind  of  ball.  She's 
better  at  party  games,  the  question-and- 
answer  sort  of  thing.  She's  wild  about 
American  football;  a  demon  fan.  She  re- 
fused to  go  to  the  Rose  Bowl  game  last 
New  Year's  Day,  because  her  favorite 
team,  UCLA,  which  she  thought  deserved 
to  represent  the  West,  didn't  get  the 
chance. 

For  a  Briton  she  has  a  strange  aver- 
sion— tea.  She  has  no  use  for  salads  and 
she  can't  understand  why  people  will  eat 
pies.  She  thinks  both  British  and  Ameri- 
can foods  are  too  heavy.  Her  English 
cook  has  instructions  to  cook  everything 
French  style. 

The  thing  that  has  impressed  Vivien 
most  in  America?  "People  here  work 
much  harder  than  people  anywhere  else. 
And  they're  open-minded  people;  they're 
willing  to  change  their  viewpoints 
They're  not  hide-bound.  I  had  a  fine  op- 
portunity to  find  that  out.  People  here 
hated  me  at  first;  now  they  are  very 
pleasant  and  very  kind." 

She  lives  in  a  modest  bungalow  in 
Brentwood — a  house  much  too  small  for 
her  collection  of  books.  She  has  thou- 
sands. She  reads  constantly.  This  doesn't 
mean  that  she  doesn't  like  dancing.  She 
does,  but  she  can't  stand  night  clubs. 
"I'm  oppressed  in  them  by  the  feeling 
of  time  being  wasted." 

As  this  is  written,  she  isn't  wasting  her 
evenings.  She  is  rehearsing  "Romeo 
and  Juliet"  with  Laurence  Olivier  and 
company,  preparatory  to  their  taking  it 
to  San  Francisco,  Chicago  and  New  York. 
The  project  isn't  some  bright  manager's 
idea.  "It's  something  Mr.  Olivier  and  I 
have  wanted  to  do  for  quite  some  time." 

Her  sense  of  good  taste  won't  let  her 
tell  how  or  when  she  and  Leigh  Holman 
drifted  apart,  or  how  or  when  she  and 
Laurence  Olivier  drifted  together.  It  is 
no  secret  that  she  and  "Mr.  Olivier"  are 
deeply  in  love.  They  have  no  immediate 
wedding  plans,  however.  "We  can't  make 
any  wedding  plans  until  August,  when 
our  absolute  decrees  will  come  through." 

Vivien  Leigh  has  no  far-reaching  fu- 
ture plans.  She's  going  to  live  life  as  she 
finds  it.  "And,"  she  says  with  a  smile, 
"not  be  afraid  of  the  future — unless 
something  happens  to  keep  me  from  act- 
ing. I  don't  ask  to  do  bigger  and  better 
things.  Only  different  things." 


The  theatre's  loss 
was  the  movies' 
gain  in  Lee  Bow- 
man's  case. 
Snagged  by  a 
talent  scout  who 
saw  him  in  "Berk- 
eley Square," 
this  attractive 
young  bachelor 
is  being  groomed 
for  stardom. 


68 


MODERN  SCREEN 


THE  MEN  LORETTA 
HAS  KISSED 

(Continued  from  page  31) 


work  together.  I've  yet  to  do  a  love 
scene  with  someone  I  disliked.  I  don't 
think  I  could.  Acting,  after  all,  goes 
only  so  far. 

"I  don't  enjoy  the  groping,  grabbing 
kind  of  love  scenes.  I  don't  like  to  play 
rough.  It's  no  fun  being  mauled.  I  pre- 
fer something  a  little  more  subtle  and 
sensitive. 

"Also,  for  my  taste,  the  less  I  have  to 
say  and  the  more  I  can  concentrate  on 
expressions,  the  more  effective  a  love 
scene  is.  I  haven't  used  the  words  'I 
love  you'  in  a  long  time."  She  smiled. 
"I've  been  using  my  eyes  instead." 

She  squashed  out  her  cigarette,  one- 
third  smoked.  She  has  never  been 
known  to  finish  a  cigarette. 

"The  love  scene  I've  most  enjoyed  do- 
ing in  recent  pictures  was  one  in  'Alex- 
ander Graham  Bell'  in  which  the  word 
'love'  was  never  mentioned.  It  was  a 
proposal  scene.  They  were  riding  in  a 
buggy  along  a  country  road."  (She  didn't 
say  "we."  She  said  "they,"  imperson- 
ally.) "He  was  moody.  He  started  talk- 
ing about  whether  a  man  should  keep 
on  trying  to  make  something  of  an  idea, 
starving,  losing  out  on  the  happiness 
other  men  had,  or  give  up  his  idea,  get 
a  job  and  earn  enough  to  support  a 
wife.  She  told  him,  very  simply,  that 
the  man  should  keep  on  with  his  idea, 
because  the  girl  would  wait  for  him. 
'She  would?'  he  shouted,  surprised,  exu- 
berant. That  was  all.  But  there  wasn't 
any  doubt  about  how  much  they  loved 
each  other. 

THAT'S  an  illustration  of  what  I  mean 
about  suggestion  being  much  more 
effective  than  the  actual  doing  or  saying 
of  a  thing. 

"There  was  another  love  scene  in 
'Alexander  Graham  Bell'  that  I  liked. 
She  was  deaf,  you  remember.  That,  in 
itself,  made  her  sensitive.  He  led  her  out 
of  the  bright  hall  into  a  dark  room  at 
one  side,  to  hold  her  in  his  arms,  tell 
her  he  loved  her.  She  said,  'It's  so  dark 
in  here,  and  I  do  so  want  to  hear  you 
say  it.'  He  said  again,  almost  in  a  whis- 
per, 'I  love  you.'  Her  fingers  were 
against  his  lips,  'reading'  them.  The  ten- 
derness of  that  scene  was  a  thrilling 
thing  to  me.  More  thrilling  than  any 
crushing  clinch  has  ever  been." 

The  assistant  director  was  paging  her. 
For  a  while,  Loretta  had  to  think  about 
"The  Doctor  Takes  a  Wife,"  a  comedy 
about  a  career  girl  who  becomes  famous 
for  a  book,  entitled  "Spinsters  Ain't 
Spinach."  Then,  after  she  falls  in  love 
with  Ray  Milland,  she  has  to  write  an- 
other book,  "Marriage  Ain't  Measles." 

When  she  returned  to  her  dressing- 
room  and  lighted  another  cigarette, 
which  she  put  out  after  two  puffs,  she 
said,  "This  is  the  first  picture  I've  done 
at  Columbia  since  'A  Man's  Castle'  with 
Spencer  Tracy.  That  had  some  of  the 
most  beautiful  scenes  I've  ever  had  to  do. 
Never  once  did  they  say  they  were  in 
love.  They  were  inarticulate  people. 
But  their  eyes  told,  every  time  they 
looked  at  each  other. 

"I  love  delicate  love  scenes.  There 
was  one  in  'Second  Honeymoon,'  on  a 
dock.  They  sat  there,  reminiscing  about 
their  elopement.  The  audience  hadn't 
seen  that  elopement.  The  audience  had 
to  imagine  how  they  had  looked  and 
what  they  had  been  like.   The  tone  of 


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7- DAY 


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If  you  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont. 


MAY,  1940 


69 


New  under-arm 

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1.  Does  not  harm  dresses  —  does  not 
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3.  Instantly  checks  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  white,  greaseless,  stainless 
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5.  Arrid  has  been  awarded  the 
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MIR 


their  voices,  more  than  their  actual 
words,  told  the  story. 

"Then  there  was  a  scene  in  'Private 
Number'  with  Robert  Taylor.  He  sat  on 
the  ground,  and  she  was  in  a  hammock 
beside  him.  They  talked  about  very 
casual  things,  but  from  the  tone  of  their 
voices  you  sensed  their  longing  for  each 
other. 

"What  made  each  of  those  scenes 
memorable  to  me  was  a  good  situation, 
dramatic,  sensitive  and  in  good  taste." 

Even  if  you  give  Loretta  the  benefit 
of  the  doubt  and  take  her  word  for  it 
that  a  love  scene  is  strictly  business, 
still  it's  hard  to  believe  that  some  of  her 
co-stars  haven't  been  a  bit  on  the 
memorable  side,  too. 

She  laughed  at  the  suggestion.  "Clark 
Gable  was  memorable,  all  right.  He  wore 
a  beard  throughout  the  picture.  Imagine 
getting  Clark  for  a  screen  lover,  and 
then  having  a  script  writer  put  whiskers 
on  him!  There  ought  to  be  a  law.  I  had 
fun  in  that  picture,  however,  largely 
because  of  Clark.  He  puts  anyone  at 
ease.  He's  genial,  friendly,  has  no  small 
qualities.  He  has  a  sense  of  humor, 
which  always  helps.  Jack  Oakie  was 
also  in  the  picture.  Between  the  two  of 
them,  there  were  laugh  riots. 

"Ronald  Colman  is  the  most  courteous 
man  I've  ever  played  with — the  most 
genuinely  thoughtful  of  a  mere  leading 
lady.  Other  actors  may  let  a  girl  pre- 
cede them  off  a  set  or  find  her  a  chair 
between  scenes,  if  they  think  of  it,  but 
Ronnie  never  forgets.  There  is  nothing 
personal  in  his  attentiveness;  it  is  sim- 
ply good  breeding,  which  is  both  very 
rare  and  very  charming.  It  may  not  be 
exactly  conducive  to  chumminess,  but  it 
makes  working  with  him  an  experience 
to  remember. 

"I  worked  with  Bob  Taylor  just  after 
the  big  furore  about  him  got  under 
way,  and  he  was  being  hailed  as  the 
new  Great  Lover.  I  don't  know  what  I 
expected  him  to  be  like,  but  I  found 
him  a  surprisingly  normal  person, 
neither  fussed  nor  conceited.  He  was 
simply  doing  his  work  and  letting  mat- 
ters take  their  own  course.  It's  always  easy 
to  get  along  with  anyone  like  that. 

"Tyrone  Power  has  much  the  same 
attitude.   This  goes  a  long  way  toward 


explaining  how  we  have  been  able  to 
make  five  pictures  together.  Ty  is  one 
of  the  most  easy-going  people  I  know. 
He  has  more  poise  than  any  other  two 
men  put  together.  I  played  with  him  in 
his  first  picture,  'Ladies  in  Love,'  and 
even  then  he  was  like  that. 

"Working  with  Spencer  Tracy  is  a 
great  experience,  because  he  is  a  great 
actor.  You  never  have  a  feeling,  with 
him,  that  a  scene  is  artificial;  he  is  so 
perfectly  natural,  himself,  in  any  situa- 
tion. Nothing  throws  him. 

"I  worked  with  Don  Ameche  in  his 
second  picture,  'Ramona,'  and  then  again 
in  'Alexander  Graham  Bell.'  He  learned 
a  great  deal  in  the  meantime.  He  wasn't 
so  intense.  Radio  actors  are  trained  to 
put  everything  they  have  into  their 
voices,  and  Don  was  still  doing  that  in 
'Ramona.'  Now  he  has  calmed  down  and 
relaxed.  Working  with  him  is  as  much 
of  a  pleasure  as  being  with  him. 

T'VE  played  with  Charles  Boyer  twice. 
A  The  first  time  was  really  the  mem- 
orable one.  It  was  'Caravan,'  which  was 
his  first  picture  in  this  country,  and 
which  both  of  us  mention  nowadays  in 
ghastly  whispers.  Charles'  caressive  voice 
was  having  considerable  difficulty  with 
English,  and  his  embarrassment  was 
further  aggravated  by  the  silliest  looking 
curly  wig  that  you  can  imagine. 

"David  Niven,  I'm  afraid,  is  still  a 
little  fussed  about  love  scenes.  They're 
still  so  new  to  him  that  he  hasn't  got 
around  to  realizing  that  they're  just  part 
of  work.  Of  course,  he  knows  me  so 
well  that  he  could  confess  to  me  how 
'frightfully  embarrassed'  they  made  him. 
'If  you  can't  say  "I  love  you,"  '  I  told 
him,  'just  mumble  it.'  He  thinks  if  he 
mumbles  it  long  enough,  he  may  even- 
tually be  able  to  shout  it. 

"No,  it  doesn't  make  me  nervous  to 
have  the  leading  man  go  nervous.  The 
only  thing  that  bothers  me  is  when  an 
actor  doesn't  register  any  reaction  to 
my  lines,  except  the  ones  that  gives  him 
his  cues  to  talk.  Making  a  love  scene 
with  someone  like  that  is  agony. 

"Oh,  yes,"  Loretta  said,  with  a  provo- 
cative smile,  "there's  one  other  thing: 
The  legend  that  I  have  to  fall  in  love 
to  make  a  love  scene.  It  'tain't  so." 


Gloria  Jean,  the 
cunning  singing 
starlet,  shows  you 
part  of  her  huge 
collection  of 
dolls.  To  prove 
she  hasn't  a  whit 
of  professional 
jealousy,  she  has 
two  Deanna  Dur- 
bins,  one  of  which 
she's  holding.  The 
most  expensive 
member  of  the 
family  cost  $20; 
the  cheapest,  a 
mere  fifty  cents. 
She  treasures 
most  a  replica  of 
Basil  Rathbone, 
her  favorite  star. 


70 


MODERN  SCREEN 


"This  child  will  HATE 


1.  MARY:  Oh,  uncle. ..you're  always  imag- 
ining things. 

UNCLE:  I  don't  need  much  imagination  to 
know  when  a  child  looks  plumb  scared  to 
death. 


3.  MARY:  I  don't  want  to  argue  any  long- 
er! She  needs  a  laxative  and  she's  going  to 
take  it  whether  she  likes  the  taste  or  not. 
UNCLE:  Using  force  won't  do  a  mite  of 
good.  Fact  is,  it  can  throw  a  youngster's 
nervous  system  clean  out  of  kilter. 


you  some  day,  Mary!" 


2.  MARY:  She's  just  acting.  But  she  can't 
fool  me!  I'll  make  her  take  it! 
UNCLE:  You  don't  mean  to  say  you're  go- 
ing to  use  force!  Why,  that's  as  old-fash- 
ioned as  goose  grease! 


4.  MARY:  Who  said  so? 
UNCLE:  The  doctor  I  play  golf  with.  I 
told  him  about  your  laxative  battles.  He 
said  a  child  should  get  a  nice-tastin'  laxa- 
tive, but  not  one  made  for  grown-ups.  So 
he  suggested  Fletcher's  Castoria. 


LAMOUR'S  IN  LOVE 

(Continued  from  page  41) 


There  was  no  service  station  around,  and 
Pres  didn't  know  how  to  change  it.  So 
he  got  under  the  car,  and  I  stood  there 
tugging,  with  my  hands  and  face  and 
dress  all  covered  with  grease.  Both  of 
us  were  laughing  our  heads  off.  When 
he  finally  crawled  out  and  took  a  look  at 
me,  he  yelled,  'Oh,  for  a  photographer 
to  shoot  the  glamour  girl  now!'  I'd  have 
said,  'Shoot  and  be  darned!'  I  had  more 
fun  that  afternoon  than  I'd  had  in  years." 

Since  meeting  Pres,  she's  gone  out  with 
nobody  else,  "except  Rocky."  Rocky  is 
Wynn  Rocamora,  her  manager  and 
friend.  "Sometimes  we  make  a  three- 
some of  it,  and  sometimes  I'll  go  out 
with  Rocky  when  Pres  is  busy.  But 
mostly  it's  just  Pres  and  me. 

"There's  no  marriage  in  the  offing, 
though,  if  that's  what  you're  thinking. 
Pres  has  his  career,  which  I  have  more 
faith  in  than  I  have  in  my  own.  I  think 
he's  a  very  fine  actor.  I  want  to  be, 
but  wanting  to  be  and  really  being  are 
two  different  things.  I'm  just  the  best 
friend  he  has  or  ever  will  have."  The 
shout  of  laughter  that  greeted  this 
seemed  to  surprise  her.  "I  mean  it,"  she 
said,  nodding  with  the  vigor  of  an  earnest 
child.  "And  he's  mine."  She  fell  silent 
for  a  moment  while  a  little  smile  touched 
her  lips.  "He  never  calls  me  Dorothy. 
It's  always  Pete.  No  reason.  Just  calls 
me  Pete.  I  think  it's  cute,  don't  you?" 
We  did. 

EVERYTHING'S  fun  since  Pres  en- 
tered the  picture.  Buying  clothes,  for 
instance.  They  were  asked  to  a  party  at 
Hal  Roach's  one  night.  Pres  was  going 
to  pick  her  up  at  seven-thirty — white  tie 
and  tails.  She  ought  to  have  a  new  dress 
to  do  him  and  the  party  justice  but,  up 
at  six  and  working  all  day,  when  could 
she  possibly  shop? 

She  had  forty-five  minutes  that  after- 
noon for  a  hair  change,  and  one  second 
for  an  inspiration.  While  the  hairdresser 
worked  on  her,  she  phoned  to  Saks. 
She'd  seen  a  dress  she  liked  in  their 
window.  Would  they  send  it  over?  It 
arrived  in  ten  minutes  flat.  Dotty  sneaked 
enough  studio  time  to  try  it  on,  and  the 
wardrobe  woman  did  what  fitting  was 
necessary.  When  Pres  appeared,  he 
found  a  lady  radiant  in  red. 

She'd  never  worn  red  before.  Wisely, 
she  doesn't  go  in  for  vivid  colors,  except 
in  accessories.  Wisely  because,  though 
she  doesn't  say  so,  her  face  gives  her 
all  the  vividness  she  needs.  She  sticks 
mostly  to  blue  and  black  and  white,  al- 
ways black  for  street  wear,  with  various 
accessory  changes.  Because  she's  so  busy 
in  Hollywood  and  because  Jay-Thorpe 
in  New  York  has  the  kind  of  clothes 
she  likes,  she  does  most  of  her  buying 
in  the  East.  She'll  wire  them  ahead,  so 
that  they  can  prepare  sketches  and  de- 
signs for  her.  With  definite  ideas  about 
what  she  can  and  can't  wear,  she  goes 
over  the  sketches  with  the  designer, 
approving,  suggesting  and  changing.  "I 
love  full  fluffy  things,"  she  sighed,  "on 
Madeleine  Carroll,  but  I  know  they'd 
look  awful  on  me.  The  most  I  can  sport 
in  ruffles  is  something  like  this."  "Some- 
thing like  this"  was  the  slightly  flared 
skirt  of  the  black  tailored  frock  she  was 
wearing,  fitted  to  below  the  hips.  Its 
smart  lines  and  a  small  silver  clip  at  the 
throat  were  its  sole  adornment. 

Pres  helped  her  to  decide  between 
having  her  tonsils  out  and  playing  op- 
posite handsome  Tyrone  Power  in  "Johnny 


5.  MARY:  Fletcher's  Castoria!  I  thought 
that  was  only  an  infant's  laxative  .  .  . 
UNCLE:  Doc  says  Fletcher's  Castoria  is 
made  for  all  children  up  to  11.  It's  SAFE. 
It  has  no  harsh  drugs,  it  doesn't  gripe.  You 
can't  find  a  better-working  laxative! 


6.  LATER.  Mother  giving  child  Fletcher's 
Castoria. 

HELEN:  Oooooh,  Mommy,  I  LOVE  this! 
MOTHER:  It's  Fletcher's  Castoria,  just 
like  Uncle  Joe  suggested.  You  won't  be 
scared  of  Mommy  any  more,  will  you? 


C^A^H£eXc^eA  CASTORIA 

The  modern  —  SAFE  —  laxative  made  especially  for  children 


MAY,  1940 


71 


EX-LAX  MOVIES 


The  action  of  Ex-Lax  is  thorough,  yet 
gentle!  No  shock.  No  strain.  No 
weakening  after-effects.  Just  an  easy, 
comfortable  bowel  movement  that 
brings  blessed  relief.  Try  Ex-Lax 
next  time  you  need  a  laxative.  It's 
good  for  every  member  of  the  family. 

10*  and  25< 


Apollo."  They  had  just  finished  "Ty- 
phoon."  Dotty  had  been  battling  bad 
tonsils  for  six  years — first,  because  she 
couldn't  afford  to  have  them  out,  later 
because  she  hadn't  time.  Now,  with  a 
few  weeks  off,  the  time  had  come.  But 
Twentieth  Century-Fox  intervened  with 
an  offer.  Would  she  play  opposite  Ty- 
rone Power  in  "Johnny  Apollo?"  Para- 
mount left  the  decision  to  her.  They've 
never  been  eager  to  lend  her  to  other 
studios.  She  and  Pres  read  the  script 
together.  "Oh,  Pres,"  she  cried  when 
they'd  finished,  "it's  the  kind  of  really 
dramatic  part  I've  always  wanted  to 
play." 

"Then  play  it,  Pete,  or  else  you'll  always 
wonder  what  would  have  happened  if 
you  had.  You've  had  the  tonsils  six  years. 
They'll  keep  for  another  six  weeks.  Be- 
sides, it  won't  hurt  you  to  be  in  a  picture 
with  Ty  Power." 

CO  she  played  the  gangster's  moll  with 
^  a  heart  of  gold  and  had  a  very  good 
time  doing  it.  "But  I  wish  you'd  say  this," 
she  insisted,  "and  you  can't  say  it  too 
strongly  to  suit  me.  There's  been  so  much 
talk  about  my  hating  sarong  parts.  It 
isn't  true.  If  it  weren't  for  sarongs,  I 
wouldn't  be  here  today.  The  studio's  boss 
and  the  studio  knows  what  makes  money. 
Highbrows  and  big-brains  may  not  like 
them,  but  the  kids  eat  'em  up,  so  I'm 
grateful  to  the  kids.  Much  as  I'd  like  to 
play  dramatic  parts,  as  long  as  these 
other  pictures  make  money,  I  don't  care 
if  I  wear  a  sarong  the  rest  of  my  life." 
Which  should  put  the  quietus  on  that. 
To  those  interested:  She  wears  a  sarong 
in  "Typhoon,"  and  Pres,  as  an  ex-navy 
officer,  loves  her  in  it. 

She  still  has  her  tonsils.  She  hopes 
they'll  be  out  by  the  time  this  story  is  out. 
Almost  immediately  after  her  picture  was 
finished,  she  started  on  a  personal  appear- 
ance tour.  Business  took  Pres  East  at 
about  the  same  time.  "Not  that  he  wasn't 
pleased  to  have  it  happen  that  way.  Me, 
too,"  she  says  with  delectable  candor. 

What  made  the  trip  really  exciting  was 
a  bid  to  the  President's  Birthday  Ball.  Be- 
fore she  left  Hollywood,  the  studio  phoned 
her.    "We  have  an  invitation  for  you." 

"Invitation  to  what?" 

"Never  mind,  we'll  send  it  over." 

"Why  couldn't  they  tell  me?"  she  won- 
dered. "Oh,  well,  I  suppose  it's  just  one  of 
those  things — ". 

Why  they  couldn't  tell  her  was  to  spare 
the  wires.  They  knew  their  Dotty  would 
go  wild  and,  by  her  own  admission,  Dotty 


did  and  continued  in  that  state  across  the 
continent.  Even  Pres  couldn't  soothe  her. 
"If  I'd  been  asked  who  in  all  the  world 
I  wanted  most  to  see,  I'd  have  said  Presi- 
dent Roosevelt.  At  the  same  time,  I  was 
so  nervous  I  couldn't  stand  it.  I've  got  a  j 
terrific  inferiority  complex,  which  I've 
tried  to  camouflage  since  I've  been  in  the 
movies.  But  it  was  certainly  working 
overtime  on  that  trip.  Who  was  I,  any- 
way, to  meet  the  President  of  the  United 
States!" 

The  Hollywood  guests,  among  others, 
were  asked  to  luncheon  at  the  White 
House.  As  Dorothy  walked  in,  knees 
knocking,  she  murmured,  "Watch  me  fall 
on  my  face" — a  feat  she  would  have 
achieved  except  for  her  companion's 
prompt  action  in  seizing  her  arm.  They 
were  introduced  to  the  President  and  Mrs. 
Roosevelt.  From  Dotty's  dry  lips  came  a 
mumbled,  "How  do  you  do?"  She  heard 
the  guest  behind  her  chirp,  "Happy  birth- 
day, Mr.  President,"  and  writhed  at  her 
own  ineptness.  But  it  was  after  stealing  a 
glance  at  the  place  card  she'd  been  handed 
that  she  almost  fainted.  She  was  to  sit 
at  the  President's  left. 

The  first  few  moments  were  exquisite 
anguish.  But  when  Mr.  Roosevelt  turned 
and  smiled  at  her,  she  managed  to  as- 
semble a  few  of  her  scattered  wits. 

"I  hope  you'll  forgive  me,  Mr.  Presi- 
dent," she  stammered.  "I  forgot  to  wish 
you  many  happy  returns,  but  I'm  so 
nervous — " 

He  broke  into  one  of  his  broad  grins 
and  told  her  to  forget  it.  He  asked  her 
about  her  latest  pictures  and  said  they'd 
have  to  get  prints  for  the  White  House. 
Then  he  proceeded  to  tell  her  the  story 
of  the  Baroness  Eloise  de  Wagner  Wehr- 
born,  who  had  lived  on  one  of  the  Gala- 
pagos Islands,  and  of  her  strange  disap- 
pearance and  her  supposed  murder.  He 
suggested  that — with  a  happy  ending,  of 
course — it  might  provide  the  theme  for  a 
good  Lamour  picture.  Before  he  turned 
to  his  neighbor  on  the  right,  he  had  put 
Dotty  so  thoroughly  at  ease  that  she  felt 
she  could  cheerfully  talk  to  him  forever. 
Before  his  broadcast  that  night,  he  bent  a 
solemn  gaze  on  Dorothy  and  some  of  the 
other  movie  folk  down  front.  "Now 
watch,"  he  said,  "and  get  a  few  tips  on 
how  to  use  a  mike." 

As  for  Mrs.  Roosevelt,  Dotty  went  into 
ecstasies.  "You  don't  feel  scared  with  her 
for  even  a  minute.  She's  so  simple  and 
cordial.  She  showed  us  through  her  house 
just  as  any  woman  would,  just  as  I  might 
show  you  through  mine.    They're  just 


Their  much  publicized  rift  a  thing  of  the  past,  Maestro  Hardy  obligingly  beats 
it  out  for  virtuoso  Laurel  in  a  screwy  scene  from  "Two's  Company." 


72 


MODERN  SCREEN 


two  grand  American  people,  and  I'd  like 
to  hear  anyone  tell  me  different." 

From  Washington  she  went  to  Chicago 
for  her  initial  week  of  personal  appear- 
ances. It  was  while  she  was  running  an 
elevator  at  Marshall  Fields'  that  she  got 
her  first  audition  and  her  first  job  as  a 
singer.  So  whenever  she  gets  back,  it's  old 
home  week  at  the  store. 

Her  ex-boss,  Douglas  Singleterry,  used 
to  give  her  time  off  for  auditions  and  for- 
get to  dock  her.  What's  more,  he'd  send 
one  of  the  other  girls  along — Mary  Ut- 
singer,  as  a  rule — to  see  that  no  one  put 
anything  over  on  Dotty.  Mary's-  married 
now,  with  a  baby  due  before  long,  and 
Dotty  handles  her  like  something  rare  in 
eggshells.  The  news  photographers  wanted 
a  picture  of  Miss  Lamour  running  an 
elevator  as  of  old.  The  hitch  was  that 
these  elevators  were  new  and  run  by  a 
different  system.  Dotty  was  willing  to 
take  a  chance,  till  Mary  stepped  into  the 
cage  beside  her.  Then  her  eyes  flashed 
fire.  "Get  out,  Mary,  you  get  right  out 
of  here.  You're  going  to  have  a  baby,  and 
suppose  I  dropped  you."  It  was  then  that 
a  dozen  cameras  clicked  in  glee. 

Dorothy  had  promised  the  elevator  girls 
a  clock  for  their  locker  room  at  Christmas. 
But  when  Christmas  came  she'd  had  only 
enough  time  to  dash  out  and  buy  gifts  for 
her  mother,  Pres  and  Rocky.  Mrs.  Lamour 
had  done  the  rest.  (Incidentally,  she 
bought  Pres  a  wrist  watch,  and  he  gave 
her  a  beautiful  French  evening  bag,  white 
brocade,  with  a  little  baguette  clasp.)  So 
she  bought  the  clock  when  she  reached 
Chicago  and  presented  it  then  to  her  ex- 
fellow  workers. 

THAT  night  a  delegation  of  the  girls 
came  to  her  dressing-room  with  a 
florist's  box.  It  held  one  perfect  orchid 
and  brought  on  a  flood  of  tears  from 
Dorothy. 

"Oh,  Rocky,"  she  wailed  after  the  others 
had  left,  "they  make  $14  a  week!  I  know 
what  it  means,  because  I  used  to  have 
crooked  heels  on  my  shoes  and  couldn't 
afford  a  quarter  to  have  them  fixed — " 

"Is  that  why  you're  blubbering  now?" 
asked  the  mystified  Rocky. 

"Well,  if  I'd  chipped  in  for  an  orchid  in 
those  days,  I'd  have  had  to  go  without  my 
lunch  and  I'll  bet  that's  what  some  of 
them  did.    Where's  your  handkerchief?" 

She  wore  the  flower  out  front  that  night, 
because  the  girls  were  in  the  audience  as 
her  guests.  Then  she  pressed  it  between 
the  pages  of  a  book.  Sentimental,  these 
glamour  queens. 

She  wants  to  sell  the  Georgian  Colonial 
house  she  built  when  she  was  married. 
Her  ideas  on  houses,  as  on  many  things, 
have  changed.  It's  much  too  formal  for 
her  now.  What  she'd  like  is  a  little  ranch- 
house  with  lots  of  chintz. 

Meantime  she  lives  there  with  her 
mother  and  stepfather,  with  Peanuts  and 
Popcorn  and  Queenie.  Peanuts  and  Pop- 
corn are  Scotties.  The  former  was  sent 
her  by  a  fan.  He  arrived  one  day  in  a 
box  tied  with  blue  ribbons  and  was  just 
as  terrified  as  if  he  hadn't  been  fixed  up 
so  fancy.  Dotty  gathered  him  into  her 
arms  and  murmured  comfortingly:  "Why, 
you're  no  bigger  than  a  peanut."  So  Pea- 
nuts he  became,  and  Popcorn  was  acquired 
as  a  playmate.  Queenie's  father  was  an 
airedale;  her  mother,  a  German  boxer 
belonging  to  Frank  Freeman,  boss  of 
Paramount.  The  union  produced  a  blonde 
and  a  brunette  pup,  so  he  dubbed  the  one 
Madeleine  Carroll,  the  other  Dorothy  La- 
mour, and  gave  each  to  her  namesake. 

As  we  got  up  to  go,  the  phone  rang. 
Dotty's  head  turned  quickly.  "Is  it  Pres?" 
It  was,  so  we  hastened  our  exit.  After  all, 
we'd  come  to  interview  Dorothy.  And 
the  happy  girl  who  ran  to  pick  up  the 
phone  was  plainly  Pete  Lamour. 


Great  Caesar's  ghost!  What's  the  matter,  Tortoise,  old  man?  Where's  the  old  pep— 
the  old  ginger— the  old  up-and-at-'em  spirit?  Are  you  the  fellow  that  beats  rabbits 
in  foot  races?  Doesn't  seem  possible!" 


"Oh,  you  aren't  feeling  up  to  scratch,  eh?.  .  .Well,  sir— I  see  why.  You've  got  quite 
a  case  of  shell-chafe  — haven't  you?  Wrists  and  ankles,  too?  Say,  that's  tough. 
mother!  Where's  the  Johnson's  Baby  Powder?" 


Here  it  comes!  When  that  soothing-soft  powder  starts  gliding  into  your  creases,  you 
can  tell  chafes  and  prickly  heat  to  go  climb  a  tree.  Your  neck  will  feel  so  slick, 
you'll  be  pulling  it  in  and  out  just  for  fun!" 


"Best  thing  about  being  a  baby  is  that  you 
get  powdered  so  often  with  silky,  com- 
forting Johnson's.  It's  made  with  extra- 
special,  soft,  fine  talc.  And  yet  nice  as  it 
is,  Johnson's  doesn't  cost  much!" 


JOHNSON'S 
BABY  POWDER 

Johnson  &  Johnson,  New  Brunswick,  N.  J. 


MAY,  1940 


73 


FODDS  FROJfl  AFAR 

ROMANTIC  HAWAII  INSPIRES  KAY  FRANCIS'  TREATS 


Island  Dessert — a  mouth- 
watering and  fine  looking 
pineapple  concoction  to 
pique  the  most  blase  of 
appetites. 


Courtesy  Dole  Pineapple 


Kay  Francis, 
Deanna  Durbin's 
very  charming 
mother  in  "It's  a 
Date,"  goes  na- 
tive with  a  ven- 
geance for  some 
Hawaiian  se- 
quences— even  to 
the  lei  and  poi! 


HAWAII,  LOVELY  land  of  romance,  provides  an  intrigu- 
ing background  for  many  scenes  in  Deanna  Durbin's 
newest  starring  picture,  "It's  a  Date."  In  this  film,  you 
know,  the  part  of  the  young  star's  actress  mother  is 
played  by  Kay  Francis — certainly  as  glamorous  a  parent 
as  one  could  imagine!  Thanks  to  this  combination  of 
interesting  locale  and  imaginative  casting,  your  cooking 
editor  is  now  supplied  with  some  unusual  recipes  of 
Hawaiian  inspiration. 

These  food  ideas  are  certain  to  have  particular  appeal 
for  those  of  you  who  occasionally  yearn  for  "something 
just  a  wee  bit  different"  to  serve  to  your  family  and 
friends.  So  here  they  are,  as  suggested  by  Miss  Francis 
herself  after  a  day  spent  eating  poi. 


Poi,  as  you  probably  have  no  reason  for  knowing,  is  a 
native  Hawaiian  dish  made  from  the  taro  root.  It  has 
its  ardent  devotees,  but  hereafter  Kay  is  not  likely  to  be 
among  them.  In  the  interests  of  motion  picture  accuracy, 
a  supply  of  genuine  poi  (which  cannot  be  secured  on  the 
mainland)  was  flown  by  clipper  from  the  Moana  Hotel  in 
Honolulu  to  California  for  the  Hawaiian  scenes  in  the 
picture.  But,  after  a  day  spent  in  eating  it  before  the 
cameras,  Kay  vows  never  to  touch  it  again.  However, 
she  does  recommend  another  dish  that,  although  Hawaiian 
in  type  and  unusual  in  flavor,  is  more  to  our  taste. 
Furthermore,  it  is  made  of  foods  that  can  be  procured 
at  local  markets  from  coast  to  coast. 

This  tasty  chicken  dish  was  adapted  from  more  typical 
native  dishes  by  an  Island  chef.  The  recipe,  secured  by 
Kay,  follows  shortly.  Her  claims  that  it  turns  out  to  be 
similar,  but  also  superior,  to  many  chicken  dishes  of 
Chinese  origin  are  no  exaggeration.  Both  dumplings  and 
vegetables,  you  will  notice,  are  a  part  of  this  dish;  while 
the  whitest  and  fluffiest  of  cooked  rice  grains  should  ac- 
company it.  The  only  other  thing  you  need  serve  with  it 
is  a  salad  of  mixed  greens. 

Dedicated  to  the  role  of  the  young  "pineapple  king," 
played  by  Walter  Pidgeon  in  this  same  picture,  is  the 
fruity  treat  that,  according  to  Kay  Francis,  should  by 
rights  follow  this  substantial  main  course.  Called,  ap- 
propriately enough,  Island  Dessert,  it  is  pictured  for  you 
here  in  all  its  glory,  although  it  would  take  a  color 
photograph  to  do  full  justice  to  the  creamy  tone  of  the 
meringue  shells  in  contrast  to  the  rose  of  the  Lanai 
Sherbet  and  the  gold  of  the  small  pineapple  gems  which 
garnish  it.  The  sherbet  itself  is  also  delicately  flavored 
with  pineapple.  The  growing  of  pineapples  is  the  second 
largest  industry  in  Hawaii,  besides  being  the  one  most 
frequently  associated  with  the  isles'  culinary  treats. 

It's  Aloha,  then,  but  not  before  reminding  you  that 
Kay's  suggestions  follow  in  recipe  form. 


74 


MODERN  SCREEN 


HAWAIIAN  CHICKEN  DISH 

1      (4%  pound)  chicken  for  fricasseeing 

1     slice  onion 

1     cup  diced  celery 

1  thin  slice  lemon  peel 

2  teaspoons  salt 
teaspoon  pepper 

a  dash  of  nutmeg 
1%    cups  boiling  water 

2  cups  cold  water 

6     thin  slices  broiled  ham 
12     canned  pineapple  gems,  well  drained 
12     canned  artichoke  hearts,  or  hearts 
of  palm  (optional) 

3  tablespoons  butter 
3     tablespoons  flour 

6     chicken-liver  dumplings  (described 
below) 

Have  a  4x/2  pound  chicken  cut  for  fric- 
asseeing. Wipe  each  piece  carefully  with 
a  damp  cloth.  Place  chicken  pieces — 
with  the  exception  of  wing  tips  and  neck 
— in  stewing  kettle.  Add  onion,  celery, 
lemon  peel,  salt,  pepper  and  nutmeg. 
Add  the  boiling  water,  cover  tightly, 
bring  to  a  boil,  then  continue  cooking  at 
simmering  heat.  Meanwhile  place  wing 
tips,  neck  and  chicken  liver  in  saucepan. 
Add  2  cups  cold  water.  Simmer  gently 
until  tender.  Strain  off  and  add  this 
liquor  to  the  chicken  in  stewing  kettle. 
Chop  the  liver,  also  the  meat  removed 
from  the  neck.  Reserve  this  mixture  to 
use  in  making  dumplings  as  described 
further  along.  When  the  chicken  in  ket- 
tle is  tender,  take  out  the  pieces,  remove 
bones  and  skin,  leaving  meat  in  as  large 
pieces  as  possible.  Strain  the  broth,  dis- 
carding the  onion  and  lemon  peel  but 
reserving  the  celery.  Place  slices  of 
broiled  ham  in  large  casserole.  Top  with 
chicken  meat.  Add  celery  and  pineapple. 
(Also  add  hearts  of  artichoke  or  hearts 
of  palm,  if  desired.  These  are  not  strictly 
necessary  for  the  success  of  this  dish  but 
they  do  add  a  certain  note  of  distinction, 
according  to  Miss  Francis.)  Skim  fat 
from  chicken  broth  and  measure  2Vz 
cups,  to  be  used  in  making  sauce.  (If 
there  is  too  little  chicken  liquor  add 
water  or,  if  there  is  too  much,  boil  it 
down  to  make  required  amount.)  Melt 
butter,  stir  in  flour,  add  chicken  liquor. 
Cook  and  stir  until  smooth  and  thickened. 
Pour  over  contents  of  casserole.  Add 
Liver  Dumplings,  cover  tightly  and  bake, 
without  removing  cover,  in  hot  oven 
(425°  F.)  for  20  minutes,  to  cook  dump- 
lings. Just  before  serving,  sprinkle  with 
grated  coconut  (fresh  or  moist-packed) 
which  has  been  spread  on  a  baking  sheet 
and  placed  in  oven  until  toasted  to  a 
golden  brown.  Serve  in  casserole.  Pass 
Fluffy  Boiled  Rice  separately.    Serves  6. 

LIVER  DUMPLINGS 

1     cup  sifted  flour 
V2    teaspoon  salt 
IV2    teaspoons  baking  powder 
a  pinch  of  sage 

chopped  chicken  liver  mixture  (see 
above  recipe) 
1  egg 

%  cup  milk,  approximately 
Sift  flour,  measure.  Add  salt  and  bak- 
ing powder  and  sift  again.  Add  the  sage 
and  chicken  liver.  Break  egg  into  meas- 
uring cup,  add  enough  milk  to  make  % 
cup  liquid  in  all.  Beat  slightly,  add  to 
flour  mixture  to  make  stiff  dough.  Drop 
by  teaspoons  on  top  of  Hawaiian  Chicken 
Dish,  cover  and  cook  as  described  above. 

FLUFFY  RICE 

Bring  8  cups  (2  quarts)  of  water  to  a 
boil  in  deep  saucepan.  While  the  water 
is  heating,  wash  1  cup  rice  in  several 
waters  to  remove  loose  starch.  Drain. 
When  the  water  in  saucepan  is  boiling 
violently,  add  1  tablespoon  salt.    If  the 


How  I  turned  my  JjL  ostrich 


into  a  ;V/iv»\  peacock! 


Granny  gave  a  party  one  day  and  I  noticed 
my  little  Betty  hiding  like  an  ostrich — as  if  she 
were  ashamed  to  be  seen.  Later,  the  poor  kid  told 
me  that  some  of  the  youngsters  had  been  joking 
about  tattle-tale  gray — they  said  her  dress  had 
it  bad. 


was  so  upset,  I  wept.  And 

Granny  was  furious.  "Why  wash 
with  lazy  soaps  that  leave  ditt  stuck 
in  the  clothes?"  she  stormed.  "To 
get  clothes  really  clean,  just  use 
Fels-Naptha — bar  or  chips!" 


Well,  I  practically  flew  to  the  grocer's  after  Granny  told  me  to  switch  to  Fels-Naptha 
Soap.  And  tattle-tale  gray  dropped  right  out  of  my  life!  My  washes  are  a  dream  since 
I  put  Fels-Naptha's  richer,  golden  soap  and  gentle,  dirt- loosening  naptha  on  the  job! 
Every  towel  and  sheet  so  breezy-sweet  and  bright!  Every  dress  so  snowy-white,  it's 
no  wonder  my  little  girl  is  the  proudest  little  girl  in  town! 

Banish  "Tattle -Tale  Gray"  with 
Fels-Naptha  Soap— BAR  or  chips 

"Use  the  Fels-Naptha  bar  for  bar-soap  jobs.  See  how 
it  makes  the  greasiest,  grimiest  dirt  let  go — without 
hard  rubbing.  See  if  you  don't  find  it  the  grandest 
bar  soap  you've  ever  tried!" 

"And  if  you  use  a  washer  ...  try  Fels-Naptha 
Soap  Chips.  The  only  chips  holding  richer  golden 
soap  and  naptha!  They  move  dirt  faster  because 
they're  HUSKIER — not  puffed  up  with  air  like 
flimsy,  sneezy  powders.  And  my,  what  rich,  creamy 
suds  you  get — they  now  hold  a  marvelous  new 
suds-builder." 


COPR.  1940,  FELS  a  CO. 


MAY,  1940 


75 


Smooth,  tempting  lips 
are  every  man's  ideal 

t\ to  man  likes  to  kiss  lips  that  are  hidden 
under  a  coat  of  heavy,  greasy  color. 
Don't  let  your  lips  repel  men !  Use  Tangee 
Lipstick  because  it  doesn't  hide  the  soft- 
ness of  your  lips  . . .  because  it  has  a  mar- 
velous cream  base  that  gives  your  lips 
alluring  smoothness,  flattering  color— just 
the  kind  of  lips  that  invite  kisses! 

The  Natural  shade  of  Tangee  looks 
orange  in  the  stick,  but  magically  changes, 
when  applied,  to  the  one  color,  ranging  from 
rose  to  red,  that  is  most  becoming  to  you. 
It  doesn't  blur  or  smear— and  it  stays  on! 

When  you  try  Tangee  Natural  Lipstick, 
be  sure  to  use  the  matching  rouge,  com- 
pact or  creme.  And,  use  Tangee  Face 
Powder,  too,  to  give  your  make-up  its  final, 
perfect  touch.  When  you  want  more  vivid 
color,  ask  for  Theatrical  Red,  Tangee's 
new  brilliant  shade. 

T|  Worlds  Most  Famous  Lipstick 
ENDS  THAT  PAINTED  LOOK 


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Check  Shade  of  Powder  Desired: 

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Name  

[Please  Print) 


water  you  use  for  cooking  is  "hard" 
water,  also  add  1  teaspoon  lemon  juice, 
or  1  tablespoon  vinegar,  or  V2  teaspoon 
cream  of  tartar  to  make  sure  that  the 
rice,  when  cooked,  will  have  the  desired 
"snowy"  whiteness.  Add  the  rice  to  the 
boiling  water  so  slowly  that  boiling 
never  ceases.  Shake  the  pan  occasionally 
and  lift  the  rice  with  a  fork,  if  necessary, 
to  keep  it  from  sticking  to  the  bottom  of 
the  pan,  but  do  not  stir  it  with  a  spoon 
at  any  time.  Boil  rice  until  tender.  (This 
will  take  from  12-25  minutes.  Rice  is 
cooked  when  a  grain  pressed  between 
thumb  and  finger  is  completely  soft — but 
not  mushy.)  Turn  cooked  rice  into  a 
colander,  run  a  little  hot  water  over  it, 
drain.  Cover  rice  with  a  cloth  and  place 
colander  over  a  pan  of  hot  water,  or  in 
the  oven,  for  a  couple  of  minutes  to  dry 
out  the  rice  while  keeping  it  piping  hot. 

ISLAND  DESSERT 

To  serve  Island  Dessert,  as  pictured: 
Place  2  Meringues  Glacees  shells  for 
each  person  on  individual  serving  plates. 
Fill  hollows  in  shells  with  Lanai  Sherbet. 
Top  each  with  2  well  drained  pineapple 
gems.  Serve  immediately.  If  you  do 
not  wish  to  make  the  Meringues  Glacees 
and  cannot  purchase  them,  you  can  make 
a  delicious  and  almost  equally  "dressy" 
dessert  by  placing  several  gems  in  each 
sherbet  cup  and  topping  them  with  ser- 
vings of  the  Sherbet.  A  sprig  of  mint 
adds  an  attractive  note  of  color.  "Gems" 
are  spoon-sized  pieces  of  pineapple  con- 
venient for  use  as  garnishes  and  for 
countless  other  purposes. 

LANAI  SHERBERT 

1  (14  oz.)  can  pineapple  gems 

M>    cup  pineapple  liquor,  drained  from 
gems 

2  cups   fresh   strawberries   or  rasp- 

berries 

1     tablespoon  lemon  juice 

%    cup  sugar 

Vi    cup  boiling  water 

1     teaspoon  granulated  gelatin 

V2    cup  cold  water 

1  egg  white,  beaten 
Drain  juice  from  canned  pineapple 
gems.  Reserve  the  fruit  to  use  as  a  gar- 
nish, as  described  later  on.  Measure  and 
reserve  V2  cup  of  the  pineapple  liquor. 
Wash,  cap  and  crush  the  berries.  Add 


lemon  juice  and  %  cup  of  the  sugar  and 
allow  to  stand  for  1  hour  to  draw  out 
juices.  Strain  berries  through  fine  sieve, 
mashing  them  gently  so  as  to  get  as 
much  of  their  juice  as  possible,  yet  with- 
out getting  much  of  the  pulp.  Measure 
resulting  berry  juice  and  add  enough 
water  to  make  1  cup.  Combine  remain- 
ing M?  cup  sugar  with  the  boiling  water, 
boil  together  5  minutes.  Add  gelatin 
which  has  softened  5  minutes  in  the  half 
cup  of  cold  water.  Stir  until  gelatin  has 
dissolved.  Cool,  add  measured  berry  and 
pineapple  juices.  Freeze  to  a  mush  in  tray 
of  automatic  refrigerator.  Remove  from 
tray  to  a  chilled  bowl,  beat  thoroughly 
with  rotary  beater,  then  fold  in  stiffly 
beaten  egg  white.  Return  to  freezing 
tray,  turn  cold  control  to  rapid  freezing 
point  and  freeze,  stirring  once  when  half 
frozen.  Leave  cold  control  at  a  point 
slightly  colder  than  you  usually  have  it, 
to  store  sherbet  until  serving  time. 

MERINGUES  GLACEES 

Vz    cup  egg  whites  (4  or  5  eggs) 

teaspoon  salt 
1    cup  sugar 

V2  teaspoon  baking  powder 
V2    teaspoon  almond  extract 

Add  salt  to  measured  egg  whites.  Beat 
whites  until  very  stiff,  using  an  egg 
whisk,  not  a  rotary  beater.  Beat  in  half 
of  the  sugar,  2  tablespoons  at  a  time. 
Mix  baking  powder  with  the  remaining 
half  cup  of  sugar  and  fold  gently  into 
egg  white  mixture.  Add  flavoring.  Rinse 
a  cookie  pan  with  cold  water;  then  cover 
moist  pan  with  unglazed  brown  paper. 
Shape  meringue  mixture  on  this  paper 
lined  pan  in  oblong  mounds — 2  inches 
apart.  Place  pan  in  unlighted  oven;  then 
light  oven  and  regulate  or  set  oven  con- 
trol for  very  low  heat  (250°  F.).  Bake 
for  30  minute  at  this  temperature;  then 
raise  temperature  slightly  (to  300°  F.) 
and  continue  baking  meringue  approx- 
imately 30  minutes  longer,  or  until  they 
are  dry  and  a  golden  tan  in  color.  When 
baked,  remove  from  pan  immediately.  If 
meringues  stick  to  the  paper,  simply  place 
the  paper  on  a  moist  surface  and 
meringues  will  then  lift  right  off.  With 
a  spoon  scoop  out  centers  from  the  un- 
derside of  meringues,  leaving  boat- 
shaped  shells.  Return  these  to  unlighted 
(but  still  warm)  oven  to  dry  out. 


Believe  if  or  not, 
the  lovely  Hun- 
garian star,  Nona 
Massey,  was  once 
told  she  might 
develop  into  a 
dancer,  but  that 
she'd  never  learn 
+0  sing.  She  was 
sent  to  Palm 
Springs  for  a  rest 
after  "Balalaika," 
but  the  minute 
the  studio's  back 
was  turned,  we 
caught  her  ca- 
vorting like  a 
two-year-old  in  a 
modern  version 
of  her  native 
peasant  dress. 


76 


MODERN  SCREEN 


WE  KNOW  TRACY 

(Continued  jrom  -page  29) 

Tracy  is  not  the  movie  star  but  just 
Daddy,  who  tells  the  funniest  stories. 

Sometimes,  Louise  Tracy  told  me, 
Spencer  is  indulgent  with  the  children, 
saying,  "Oh,  why  not  let  them  do  this 
or  that,  it  won't  hurt  them."  Then  the 
next  time  he's  strict  with  them  about 
something  really  inconsequential.  Like 
all  fathers,  everywhere,  we  decided.  On 
the  whole,  they  have  a  lot  of  fun  with 
him.  He  tells  them  fantastic  tales,  kids 
with  them  a  lot  and  takes  a  real  interest 
in  their  interests.  Johnny,  now  thirteen, 
gets  out  a  weekly  newspaper  on  his 
own.  It  was  Spencer's  suggestion  that 
he  send  his  secretary  out  to  Johnny 
every  Saturday  to  help  "get  the  edition 
out."  Spencer  rides  with  both  children, 
and  swims  and  plays  tennis  with  Johnny. 

We  talked  about  Spencer's  insomnia — 
how  he  seldom  sleeps  more  than  three 
hours  a  night,  never  more  than  five 
hours.  When  he  gets  his  five  hours  it's 
practically  a  matter  for  a  flag-raising. 
I  learned  that  he  will  not  eat  anything 
with  cream  sauce  over  it,  nor  any 
gravies,  nor  "left-overs,"  nor  anything 
he  can't  identify.  All  these  things  seemed 
much  more  important  than  a  discussion 
of  his  characterization  of  "Edison,  The 
Man." 

I LEARNED  that  Spence  is  deeply  ap- 
preciative of  things  done  for  him, 
great  and  small.  "Whenever  we  buy  any- 
thing new  for  him,"  said  his  wife,  "he 
always  notices  it  instantly  and  makes  a 
fuss  about  it.  I  recently  bought  him  a 
stand  for  the  encyclopedia  in  his  room, 
and  he  was  especially  pleased  with  that. 
When  Clark  Gable  gave  him  a  camel's- 
hair  robe  for  Christmas  he  was  like  a 
child  about  it.  He  went  around  wearing 
it  and  saying,  T  bet  he  had  this  made 
especially  for  me.' 

"He's  thoughtful,  too.  He  never  for- 
gets our  birthdays.  Recently  he's  even 
shopped  himself  for  my  birthdays.  On 
my  last  he  gave  me  a  lovely  ring  which 
he  designed  himself  and  had  made  with 
two  horseshoes,  one  of  diamonds,  the 
other  of  rubies.  He  never  lets  us  forget 
his  birthday,  either,"  laughed  his  wife. 
"For  weeks  ahead  he'll  go  around  saying, 
'What  you  going  to  buy  me,  huh?'  He 
makes  a  great  to-do  about  Christmas 
and  holidays,  too.  We  always  have  a 
big  tree  and  all  the  fixings.  Not  that 
Spencer  would  raise  a  hand  to  put  an 
ornament  on  the  tree  himself,  but  he  is 
wonderful  at  directing! 

"He  doesn't  like  parties,  you  know. 
We  never  have  more  than  eight  or  ten 
people  here  at  one  time.  He  hates  parlor 
games.  He  won't  play  bridge  and  he 
hates  to  go  to  night  clubs,  except  once 
in  a  great  while  when  he'll  go  and  sit 
and  listen  to  the  music.  He  won't  dance, 
of  course. 

"As  for  clothes,"  sighed  Mrs.  T.,  "well, 


STAR  ADDRESS  LIST 

Send  a  stamped,  self-addressed  envelope 
today  for  a  new  list  of  Hollywood  stars 
with  their  correct  studio  addresses.  It 
is  a  convenient  size  to  handle  or  keep 
in  a  scrap-book.  To  receive  a  list,  all 
you  have  to  do  is  write  to  us  and  ask 
for  it,  enclosing  a  large,  self-addressed 
and  stamped  envelope.  Don't  forget 
that  last  item,  as  no  request  can  be 
complied  with  otherwise.  Please  send 
requests  to  Information  Desk,  Modern 
Screen,  149  Madison  Ave.,  New  York,  N.Y. 


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more  time  out  for  "shiny  nose." 


With  Pond's  Rosy  "Anti-Shine" 
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Copyright,  1940,  Pond's  Extract  Company 


MAY,  1940 


77 


IHONnt 


NO  BELTS 
NO  PINS 
NO  PADS 
NO  ODOR 


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just  any  old  coat  and  any  old  pair  of 
trousers  are  all  right  for  Spencer — 
whether  they  have  any  reason  for  being 
worn  together  or  not.  He  does  like  ties 
and  shirts.  But,  as  he  always  buys  plain 
colors,  I  never  know  whether  he  has  a 
new  tie  on  or  not.  Yes,  he  does  notice 
my  clothes.  Rather  oddly,  he's  a  very 
noticing  man  about  women's  clothes.  He 
likes  plain  things,  sports  dresses  and 
sports  hats.  I  never  buy  a  hat,"  laughed 
Louise  Tracy,  "that  I  don't  buy  it  with 
the  reservation  that  I  may  send  it  back, 
if  he  doesn't  like  it.  Men  are  like  that, 
most  of  them,  I  think.  Anyway,  that's 
how  Spencer  is." 

Margaret,  the  wardrobe  girl,  was  my 
next  tattle-tale  on  Spencer. 

"Well,"  Margaret  told  me  the  day  I 
waylaid  her  on  the  M-G-M  lot,  "he's 
got  a  big  heart,  that  feller.  He  sure 
loves  those  kids  of  his.  That's  one  of 
the  things  I  like  best  about  him.  I'll  tell 
you  another  thing,  one  special  thing  I've 
noticed  about  him — he  never  says  any- 
thing out  of  line.  You  know  how  some 
of  them  are,  how  they  give  a  girl 
the  eye,  say  'Mmmm,  nice  dress,'  or 
something.  But  not  Spencer.  And  when 
he  says  things  about  people,  he  always 
says  something  nice.  That's  the  truth. 

HE  hurts  very  easily,  too,"  said  Mar- 
garet. "He's  awful  sensitive,  you  can 
tell.  One  day  I  came  on  the  set  and  I 
was  kidding  and  I  said,  'Well,  I  saw  "In- 
termezzo" last  night  and  now  I  have  a 
new  favorite,  Leslie  Howard.'  All  day 
Spencer  kept  saying,  You  don't  like  me 
any  more,  huh?  You  like  Leslie  Howard. 
Well,  you're  in  the  doghouse.'  Of  course 
he  was  kidding  me,  but  at  the  same  time, 
he  wasn't  kidding. 

"There's  another  thing  about  him. 
Most  actors  have  to  get  into  the  mood 
and  all  this  and  that  before  they  go 
into  a  scene.  But  not  Spencer.  He  can 
be  laughing  and  horsing  around  and  the 
director  will  call,  'Okay,  Spencer,'  and 
he'll  go  right  into  the  most  terrific  scene 
and  just  tear  your  heart  right  out  of 
you.  He's  a  lot  of  fun,  too.  He  kids  peo- 
ple all  the  time,  but  himself  most  of  all. 
Like  he'll  sit  in  front  of  the  mirror 
once  in  a  while  and  he'll  say,  'Gee,  ain't 
I  good-looking?  Ain't  I  handsome?  I 
bet  Gable  wishes  he  had  what  I  have!' 
Well,  he's  not  handsome,"  said  Margaret, 
summing  up,  "but  I  tell  you  what  it  is, 
he's  so  awfully  masculine.  He  has  so 
much  in  his  eyes." 

"Like  a  child — that's  how  I  see  him," 
Mabel,  Spencer's  waitress  in  the  com- 
missary, told  me.  Mabel  takes  care  of 
the  directors'  and  writers'  table  where 
only  three  actors,  Spencer,  Gable  and 
Bob  Taylor,  are  permitted  to  sit.  "He's 
like  a  little  boy.  He  wants  to  get  thin 
and  yet  he  eats  pounds  of  butter.  He 
loves  desserts.  Pineapple  sundae  is  his 
favorite,  and  he  always  has  to  have  three 
dippers  of  ice  cream.  He  nearly  always 
starts  off  with  soup.  He  loves  fried  egg 
sandwiches  and  canned  salmon.  He 
usually  ends  up  with  hot  tea,  pots  and 
pots  of  it. 

"He  likes  to  sit  a  long  time  over  his 
lunch,  talking.  He's  a  great  one  to  talk. 
They  talk  about  pictures  mostly,  pic- 
tures, the  horses  and  the  war.  He's  never 
in  a  hurry  about  anything,  and  so  I've 
never  seen  him  impatient  or  cross.  If 
you  are  asking  me  what  I  think  of  him," 
concluded  Mabel,  "I  think  he's  cute, 
just  as  cute  as  a  bug's  ear!" 

"I  see  him  as  a  helper  of  people,"  said 
Spencer's  studio  secretary,  Peggy.  She 
takes  care  of  his  fan  mail,  acts  as  studio 
hostess  to  his  studio  guests  and  does 
some  shopping  for  him  now  and  then. 
Peggy  told  me.  "I  don't  mean  so  much 


the  way  he  helps  people  personally;  he 
wouldn't  allow  me  to  talk  about  that. 
But  I  know  from  his  fan  mail,  for  so 
much  of  it  is  from  people  who  tell  him 
how  the  characters  he  plays  help  them 
overcome  problems  in  their  own  lives. 
It  comes  from  children  so  young  they 
print  their  letters  to  very,  very  elderly 
people.  None  of  them  are  silly  letters. 
They  read  more  like  letters  to  a  friend. 
I  believe  that's  the  way  people  see  him," 
said  Peggy,  gravely,  "as  their  friend. 

"Woody"  Van  Dyke,  who  pulled  "I 
Take  This  Woman"  off  the  shelf,  gave 
me  the  wink  when  I  came  "psstting"  to 
him  about  Spencer.  "He's  a  crab,"  he 
told  me,  happily.  "He  crabs  from  the 
minute  he  gets  on  the  set  till  he  goes 
off.  What  about?  About  everything. 
The  direction  stinks;  the  dialogue  is 
lousy;  the  cameras  are  in  his  way!  He 
doesn't  mean  a  word  of  it,  of  course. 
He's  got  the  grandest  sense  of  humor. 
Hear  about  the  wire  he  sent  Gable  when 
Gable  went  to  the  'Gone  With  the 
Wind'  premiere  at  Atlanta?  'Remember 
Parnell?'  it  said,  that  was  all — just  'Re- 
member Parnell?'  Few  weeks  ago,  just 
before  we  previewed  T  Take  This 
Woman,'  he  bet  me  a  hundred  dollars 
that  it  would  still  be  a  bad  picture.  I 
took  the  bet.  The  day  after  the  preview, 
he  came  in  and,  without  a  word,  handed 
me  his  check  for  one  hundred  dollars. 
On  it  he'd  written,  'For  what  I  don't 
know  about  pictures!' 

"He  never  takes  himself  seriously," 
said  Van.  "There  he'll  sit,  crabbing  away, 
and  then  he'll  go  into  a  scene  and,  boy, 
you  don't  have  to  rehearse  him  forever! 
If  the  director  wants  to  switch  a  scene 
around,  he'll  help  switch  it.  Anything's 
all  right  with  him.  The  only  trouble  you 
have  with  him  is  that  you  have  to  tell 
him  to  brush  himself  off.  Every  time 
anyone  comes  near  rum  with  a  comb 
and  brush  and  mirror,  you'd  think  they 
were  going  to  kill  him! 

"I  always  think,"  chuckled  Van,  "of 
the  smart  guy  up  in  San  Francisco,  a 
man  high  in  the  business,  who  gave  me 
ten  different  reasons  why  Tracy  would 
never  make  good  in  pictures.  He  said 
Spencer  had  no  sex  appeal,  that  he  could 
only  play  typed  parts  and  would  never 
make  a  hero  or  a  lover." 

"Well,"  I  asked,  "what's  your  answer? 
Why  has  he  sex  appeal?" 

"He's  rugged,"  said  Van.  "He's  mascu- 
line, every  inch  of  him."  (Ha,  there, 
Hedy!)  "He's  rough  and  tough;  he's  a 
man.  Can't  add  anything  to  that." 

ON  my  way  out  of  the  studio  I  stopped 
by  the  set  of  "Edison,  The  Man." 
Clarence  Brown  came  over  to  greet  me. 
He  told  me  that  this  was  the  first  time 
he'd  ever  directed  Spencer. 
"How  goes  it?"  I  asked. 
"He's  like  an  old  shoe,"  said  Clarence, 
appreciatively.  "He  fits  into  the  part; 
he  fits  into  the  direction.  It's  all  as 
smooth  and  explicit  as  though  we'd  been 
working  together  for  many  years.  The 
art  is  called  trouping,"  he  added  with 
a  smile. 

At  the  gate,  as  I  was  leaving  the 
studio,  my  car  paused  and  I  said  to  the 
gateman,  who  sees  them  all  come  in  and 
go  out,  "Spencer  Tracy?"  The  gateman 
smiled  and  told  me  that  Tracy  was  a 
man  after  his  own  heart,  a  man  who's 
always  going  places  in  his  imagination — 
today  it's  a  cove  with  a  sandy  beach  he's 
after;  then  tomorrow  it's  South  America 
he's  off  to.  He  collects  travel  folders, 
Tracy  does." 

So  this  is  Tracy,  the  Man,  through  the 
eyes  of  those  who  live  with  him  and 
those  who  work  with  him.  Who  should 
know  the  real  Spence  better  than  they! 


78 


MODERN  SCREEN 


MOVIE  REVIEWS 

(Continued  from,  page  14) 

Young  Tom  Edison 

Persons  who  experienced  adult  qualms 
at  the  news  that  young  Mickey  Rooney 
was  going  to  play  "Young  Tom  Edison" 
can  be  reassured  on  one  score:  Master 
Rooney  plays  it  straight.  It  is  too  bad 
that  one  cannot  say  as  much  for  the 
script  writers.  They  seem  divided  be- 
tween a  sentimental  urge  to  turn  the 
Edisons  into  a  Hardy  Family  of  the  1860's 
and  an  even  stronger  temptation  to  make 
the  biography  of  a  budding  inventive 
genius  a  howling  melodrama,  for  which 
a  more  appropriate  title  would  be,  "Hell- 
zapoppin  in  Port  Huron."  The  result  (so 
far  as  honest  biography  is  concerned)  is 
an  unsatisfactory  compromise  between 
two  equally  offensive  extremes. 

Undoubtedly  the  biggest  strain  on 
credulity  comes  at  the  point  where  the 
future  inventor  of  the  Mazda  saves  his 
mother's  life  by  rigging  up  a  light  bril- 
liant enough  to  suit  the  town  surgeon. 
Tom  does  it  with  a  mirror  which  he  ob- 
tains by  burglarizing  a  store  and  then, 
without  a  moment's  respite,  he  dashes 
out  and  prevents  old  Number  7  from  be- 
ing wrecked  in  a  bridge  washout. 

In  the  light  of  these  Herculean  hap- 
penings, it  is  going  to  take  all  of  the  well- 
known  talents  of  Spencer  Tracy  (in  the 
forthcoming  sequel,  "Edison,  The  Man") 
to  keep  the  wizard's  later  achievements, 
such  as  the  invention  of  the  phonograph 
and  the  motion  picture,  from  seeming 
like  an  anti-climax.  Certainly,  for  sheer 
cinematic  punch,  in  the  style  of  Mr.  Edi- 
son's own  early  movie  melodrama,  "The 
Great  Train  Robbery,"  "Young  Tom 
Edison"  is  going  to  be  a  tough  one  to 
follow. 

Among  the  film's  assets,  aside  from  a 
quaint,  Horatio  Alger  atmosphere  of  the 
period,  must  be  included  Fay  Bainter 
as  Mama  Edison,  George  Bancroft  as 
Father,  Virginia  Weidler  as  "Tannie," 
Tom's  Morse-code-conscious  sister  and 
Eugene  Pallette  as  a  Currier  &  Ives  train 
conductor.  Norman  Taurog  directed. — 
Metro-Goldwyn-Mayer. 

Grapes  of  Wrath 

In  spite  of  gloomy  predictions,  the  film 
version  of  John  Steinbeck's  bitter  and 
dramatic  record  of  wholesale  disposses- 
sion in  the  Dust  Bowl  has  proved  to  be 
a  brilliant  and  biting  example  of  cine- 
matic reportage.  For  the  first  time  in 
years,  the  generally  near-sighted  and 
escapist  cameras  of  a  major  Hollywood 
company  have  been  thrust  into  the  heart 
of  a  sad  and  insupportable  reality:  A 
desolately  factual  area  of  human  misery, 
hunger,  loneliness,  heartache,  and  blind 
bewilderment.  Don't  go  to  see  this  pic- 
ture unless  you  are  prepared  to  leave 
behind  your  conventional,  Hollywood  no- 
tions of  entertainment;  if  you  are,  don't 
miss  it,  for  it  will  give  you  a  new  and 
richly  rewarding  experience. 

For  this  almost  literal  transcription 
from  life,  the  wretched  life  of  the  migrant 
"Okies"  who  form  the  majority  of  Cali- 
fornia's floating  population  of  fruit  and 
cotton  pickers,  Darryl  Zanuck  has  as- 
sembled a  perfect  cast  of  veteran  screen 
players.  The  face  of  Jane  Darwell  as 
"Ma"  Joad,  though  a  trifle  on  the  well- 
fed  side,  is  haunting  in  its  despair-be- 
gotten courage.  Charley  Grapewin  as 
the  fumbling  and,  within  Hays  office 
limits,  profane  Grampa,  is  a  joy  during 
the  brief  time  in  which  his  tough  and 
enduring  spirit  manages  to  cling  to  his 


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MAY,  1940 


79 


NEW  COMFORT, 

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NAME  

ADDRESS  


frail  flesh.  John  Carradine  as  the 
Preacher  who  has  "lost  the  call";  Frank 
Darien  as  Uncle  John,  with  his  splendid, 
Early  American  face;  John  Qualen  as 
"Muley,"  haunting  the  land,  from  which 
he  has  been  evicted,  like  a  thin  and 
querulous  ghost;  Russell  Simpson  as  Pa 
Joad;  Zeffie  Tilbury  as  Grandma;  Frank 
Sully  as  Noah  are  all  uniformly  ex- 
cellent. And,  of  course,  anyone  except 
Henry  Fonda  as  Tom  Joad,  the  hard- 
fisted  proud  ex-convict  who  has  to  teach 
himself  to  talk  small,  would  be  simply 
unthinkable. 

The  younger  contingent  do  commen- 
surably  well,  notably  Dorris  Bowdon  as 
"Rosasharn"  (Rose  of  Sharon)  who  looks 
so  sweet  and  lovely  in  her  natural 
dishevelment  that  Nunnally  Johnson,  au- 
thor and  associate  producer  of  the  film, 
married  her  soon  after  the  New  York 
premiere.  The  story,  as  you  probably 
know,  tells  how  the  Joads  are  driven 
from  their  barren  acres  by  the  tractors 
of  an  Oklahoma  City  Trust  Company, 
how  they  are  driven,  by  dreams  of  a 
land  of  milk  and  honey,  to  California, 
and  how,  in  that  earthly  paradise,  they 
are  driven  from  one  false  hope  to  an- 
other by  the  clubs  and  gun-butts  of  local 
mobs  and  deputy  sheriffs.  Upon  this 
miserable  and  tragic  Odyssey,  John  Ford, 
the  director,  has  trained  a  ruthless  and 
brilliantly  documentary  camera.  The 
result  has  been  a  picture  of  which  not 
only  its  producers,  but  the  screen  itself, 
may  well  be  proud. — Twentieth  Century- 
Fox. 

Swiss  Family  Robinson 

The  readers  of  Johann  David  Wyss' 
book,  "Swiss  Family  Robinson,"  though 
never  subjected  to  a  Gallup  poll,  are 
estimated  in  astronomical  figures,  and 
Producer  Gene  Towne  has  a  theory  that 
the  way  to  the  public's  heart  and  pocket- 
book  is  through  such  well-worn  paths  of 
cumulative  circulation.  That  there  is 
something  in  the  Towne  theory  will 
doubtless  be  proved  by  his  and  Graham 
Baker's  film  version  of  the  famous  story. 
Shrewdly  addressed  to  the  escapist  or 
desert-island  urge  of  every  good  movie- 
goer, and  based  on  a  period  like  the 
present,  when  a  dictator  calling  himself 
Napoleon  I  was  ravaging  Europe,  and  the 
civilized  world  must  have  seemed  a 
beautiful  place  to  escape  from,  the  pic- 
ture should  prove  quite  effective  for 
general-entertainment  purposes. 

It  is  true  that  between  its  passages  of 
action,  the  film  is  rather  heavily  loaded 
with  pompous  and  old-fashioned  senti- 
ments and  dialogue.  But  for  the  aver- 
age moviegoer  these  defects  should  be 
outweighed  by  such  matters  as  the  storm 
at  sea,  the  shipwreck,  the  cozy  matter 
of  unloading  the  hulk  and  storing  its 
treasures  in  the  tropical  tree-house  and, 
finally,  by  the  spectacle  of  the  lightning 
storm  which  shatters  everything  in  sight. 

You  will  appreciate  the  mildness  of  the 
story  when  we  tell  you  that  its  sole  ele- 
ment of  conflict  centers  around  the 
pampered  person  of  Mama  Robinson 
(Edna  Best)  who  quite  sensibly  opposed 
this  somewhat  screwball  pilgrimage  from 
the  start.  The  four  sons  gradually  fall 
in  love  with  the  pleasures  of  papaya- 
picking  and  goat-milking,  but  Mama 
holds  out  for  the  superiority  of  the  fam- 
ily mansion  in  Mayfair,  which  they  left 
because  Papa,  a  prosperous  Swiss  clock 
merchant,  suddenly  decided  that  the 
vanities  of  London  were  corrupting  his 
offspring.  These  gentlemen,  by  the  way, 
are  Freddie  Bartholomew,  impersonating 
a  young  fop  of  the  period;  Terry  Kilburn 
as  a  priggish  little  bookworm;  Tim  Holt, 
as  a  fatuous  young  army  officer;  and 
Baby  Bobby  Quillan,  who  doesn't  grow 


an  inch  during  all  the  vicissitudes  of  the 
family  fortunes.  How  Mama  is  gradu- 
ally won  over  to  the  healthy  outdoor 
life  may  seem,  at  times,  rather  a  thin 
thread  of  plot  on  which  to  hang  a  full 
length  picture,  but  there  it  hangs  by 
some  minor  miracle  known  only  to  the 
Messrs.  Towne  and  Baker.  Directed  by 
Edward  Ludwig. — RKO-Radio. 

***  Vigil  in  the  Night 

If  you're  looking  for  fun  and  frivolity 
to  take  your  mind  off  this  workaday 
world,  "Vigil  in  the  Night"  will  not  fill 
the  bill.  A.  J.  Cronin's  story  revolves 
around  the  problems  which  confront  a 
nurse  in  her  efforts  to  make  a  genuine 
success  of  her  chosen  life-work.  Against 
the  sombre  background  of  British  hos- 
pitals, the  heroine  (Carole  Lombard) 
battles  with  plagues,  unsympathetic  em- 
ployers, lack  of  funds  and  misunder- 
standings on  all  sides — to  say  nothing 
of  constant  troubles  caused  by  an  unruly 
sister  (Anne  Shirley) .  No,  this  picture 
could  hardly  come  under  the  heading  of 
relaxing  entertainment.  But  certainly  it 
is  intensely  interesting  and  admirably 
played  from  start  to  finish. 

Carole  Lombard  has  the  grimmest  role 
of  her  career,  with  not  a  smitch  of  make- 
up or  a  becoming  gown  to  perk  up  the 
proceedings.  But  at  all  times  her  char- 
acterization of  the  idealistic,  self-sacrific- 
ing nurse  is  convincing.  Anne  Shirley 
bids  fair  to  steal  many  a  scene  which  she 
shares  with  Miss  Lombard  and  can  chalk 
up  another  capable  role  to  her  credit.  A 
notable  performance  is  that  of  Julien 
Mitchell  as  the  greedy,  narrow-minded 
head  of  the  hospital  board. 

Of  course,  there's  a  handsome  and 
idealistic  young  doctor  to  provide  ro- 
mantic respite,  and  Brian  Aherne  takes 
over  in  this  capacity  with  satisfactory, 
though  far  from  spectacular,  results. 
Brenda  Forbes,  in  the  role  of  a  cynical 
nurse  who's  been  through  the  mill,  fur- 
nishes some  lighter  moments,  and  Ethel 
Griffies  turns  in  an  excellent  portrayal  as 
the  matron  of  the  hospital.  Directed  by 
George  Stevens. — RKO-Radio. 

The  Man  From  Dakota 

Set  in  the  days  of  the  Civil  "War,  "The 
Man  From  Dakota"  is  a  rough  and  tum- 
ble adventure  of  the  efforts  of  two 
Union  prisoners  and  a  girl  to  get  through 
the  Confederate  line,  without  being  hung 
from  a  tree  or  having  cannon  balls  shot 
at  them. 

And  it's  Wallace  Beery,  as  the  dirty, 
unshaven  sergeant  who  steals  the  picture 
from  his  supporting  players,  John  How- 
ard and  Dolores  Del  Rio.  He  saves  the 
film  from  being  just  another  "we  must 
get  that  message  through  to  our  troops" 
movie.  John  Howard,  as  the  honest,  brave 
lieutenant,  provides  the  love  interest  to- 
gether with  Dolores  Del  Rio,  who  makes 
her  first  screen  appearance  in  several 
months.  As  the  Russian  girl  who  has 
killed  her  cruel  fiance  in  self-defense, 
she  is  apt  to  become  too  melodramatic, 
but  she  is  as  beautiful  as  ever.  Wallace 
Beery  provides  welcome  chuckles 
throughout  the  picture.  His  constant 
eating  and  "dropsicle"  stomach  make  him 
one  of  the  funniest  sergeants  to  come  out 
of  Hollywood. 

Taken  from  MacKinlay  Kantor's  book 
of  the  same  name,  the  screen  play  by 
Lawrence  Stallings,  is  well-written,  but 
could  have  been  improved  upon  by  a 
quickening  of  the  tempo.  Better  timing 
in  the  direction  of  the  film  would  have 
helped,  too,  in  saving  it  from  being 
drawn  out  and  somewhat  repetitious  in 
spots.  Directed  by  Leslie  Fenton.— 
Metro-Goldwyn-Mayer. 


80 


MODERN  SCREEN 


Voted  the  Ideal  Couple 


**  My  Little  Chickadee 

Mae  West  and  W.  C.  Fields  are  co- 
starred  in  this  one  and,  if  you  like  six- 
teen acts  of  vaudeville  with  those  two 
favorites,  this  is  your  picture.  However, 
many  moviegoers  will  feel  that  they 
have  been  short-changed  on  the  story 
end  and  just  exposed  to  a  round  of  West- 
Fields  gags  that  are  hardly  elevating. 

With  a  background  of  the  wild  and 
woolly  West,  when  men  were  brave  and 
women  scarce,  the  story  presents  Mae 
West  as  a  lady  of  dubious  repute,  who 
has  a  tough  time  getting  along  with  the 
staid  and  stuffy  ladies  of  her  town.  W. 
C.  Fields,  a  traveling  salesman,  gallantly 
offers  his  fine  old  family  name  for  her 
protection.  Miss  West  accepts  with 
alacrity  and  gets  a  former  pal  of  hers, 
Donald  Meek,  to  conduct  a  phony  mar- 
riage ceremony.  Thus  when  her  real 
heart — the  masked  bandit — finally  gets 
serious,  she  has  no  trouble  shaking  W. 
C.  The  masked  bandit  is  played  by 
Joseph  Calleia  in  his  usual  dashing  man- 
ner. Supporting  roles  are  adequately 
handled  by  Margaret  Hamilton,  James 
Conlan,  Dick  Foran  and  Ruth  Donnelly. 
Directed  by  Edward  F.  Cline. — Universal. 

I  Take  This  Woman 

Hedy  Lamarr's  the  woman  in  the  case 
— and  that's  enough  said  for  a  lot  of  mo- 
viegoers! For  those  of  you  who  like  a 
bit  of  acting  thrown  in  for  the  price  of 
your  ticket,  there's  Spencer  Tracy.  Mr. 
Tracy's  role  is  a  far  cry  from  the  admir- 
able ones  he's  been  handed  in  the  last 
few  years,  but  he  manages  to  make  the 
most  of  it  and  to  rescue  the  picture  every 
time  it  bogs  down.  Verree  Teasdale  is  in 
there  pitching,  too,  and  she  gives  a  grand 
account  of  herself  in  a  role  that  suits  this 
fine  actress  to  a  T. 

To  get  back  to  Hedy  Lamarr,  she  looks 
even  more  gorgeous  than  when  she  was 
a  lady  down  in  the  tropics,  though  her 
role  does  not  demand  much  histrionic 
ability.  The  story  is  a  weak  one,  with 
Hedy  a  broken-hearted  girl  who  is  saved 
from  suicide  by  the  stalwart  Mr.  Tracy, 
an  earnest  young  doctor  trying  hard  to 
get  along.  Miss  Lamarr  fixes  that  by 
taking  him  from  his  free  clinic  to  join  a 
crowd  of  hypocritical  "sassiety"  doctors. 
You  can  imagine  the  terrific  suspense  of 
wondering  whether  the  hero  will  find 
himself  and  whether  Spencer  and  Hedy 
will  find  each  other!  Directed  by  W.  S. 
Van  Dyke. — Metro-Goldwyn-Mayer. 

*★  Little  Old  New  York 

The  gist  of  the  plot  in  this  one  con- 
cerns Robert  Fulton  (Richard  Greene) 
and  his  efforts  to  launch  his  famous 
steamboat.  Before  that  event  takes 
place,  you  are  apt  to  be  too  exhausted 
to  care.  However,  Alice  Faye  and  Fred 
MacMurray  gamely  see  Richard  through 
to  the  last  reel,  so  maybe  you  can  too. 

The  title  is  a  bit  misleading,  since  the 
picture  skips  lightly  over  the  interesting 
aspects  of  little  old  New  York.  Most  of 
the  background  is  the  water-front  sec- 
tion, principally  the  inn  kept  by  Irish 
lassie  Alice  Faye.  Fred  MacMurray's  her 
sweetheart,  though  she  really  loves  Mr. 
Robert  Fulton  Greene.  However,  that 
gentleman's  interests  are  in  his  steam- 
boat and  Brenda  Joyce,  the  niece  of  his 
financial  broker.  Andy  Devine  comes 
into  the  proceedings  with  a  role  of  ferry- 
boat man;  Henry  Stephenson  is  Brenda's 
uncle;  and  Ward  Bond  and  Ben  Carter 
have  supporting  roles. 

Historically,  the  picture  is  interesting 
because  of  its  story  of  the  first  steam- 
boat and  because  of  the  many  celebrated 
names  which  are  brought  in.  Directed 
by  Henry  King. — Twentieth  Century- 
Fox. 


Jf  you  met  them  at  a  party,  you 
would  say  that  they  were  the 
ideal  couple. 

But  at  home  alone  together  .  .  .  his 
love,  which  once  had  flamed  so 
brightly,  had  almost  flickered  out. 
Her  own  neglect  was  ruining  her  mar- 
riage. Do  you  use  "Lysol"  regularly 
for  feminine  hygiene? 

Even  the  most  loyal  husbands  can- 
not easily  forgive  a  wife's  carelessness 
about  intimate  personal  cleanliness. 
"Lysol"  is  cleansing,  deodorizing, 
germicidal.  Its  regular  use  gives  you  a 
sense  of  immaculate  cleanliness  that 
adds  greatly  to  your  personal  charm. 

6  Special  Features  of  "LYSOL" 

I  —  Non-Caustic  .  .  ."Lysol",  in  the  proper  dilution, 
is  gentle  and  efficient,  contains  no  harmful  free 
caustic  alkali.  2 — Effectiveness  .  .  .  "Lysol"  is  a 
powerful  germicide,  active  under  practical  condi- 
tions, effective  in  the  presence  of  organic  matter 


(such  as  dirt,  mucus,  serum,  etc.).  3 — Spreading; 

.  .  .  "Lysol"  solutions  spread  because  of  low  sur- 
face tension,  and  thus  virtually  search  out  germs. 

4 —  Economy  .  .  .  Small  bottle  of  "Lysol"  makes 
almost  4  gallons  of  solution  for  feminine  hygiene. 

5 —  Odor  .  .  .  The  cleanly  odor  of  "Lysol"  disap- 
pears after  use.  6 — Stability  .  .  .  "Lysol"  keeps  its 
full  strength  no  matter  how  long  it  is  kept,  how 
often  it  is  uncorked. 


FOR  FEMININE  HYGIENE 


PASTE  THIS  COUPON  ON  A  PENNY  POSTCARD  I 
What  Every  Woman  Should  Know 

SEND    COUPON    FOR   "LYSOL"  BOOKLET 

Lehn  &  Fink  Products  Cobp. 

Dept.  M.S.  405,  Bloomfield,  N.  J.,  U.  S.  A. 

Send  me  free  booklet  "Lysol  vs.  Germs"  which 
tells  the  many  uses  of  "Lysol". 

Name  


Copyright,  1940,  by  Lehn  Si  Pink  Products  Core. 


MAY,  1940 


81 


ARE  YOU  28  YEARS 


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ALL  WORK  AND  NO  PLAYBOY 

(Continued  from  page  39) 


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Walker. 

(J  lice  I 


charming  and,  yet,  really  quite  boyish. 

For  one  with  his  surface  ease,  it  is 
startling  to  learn  that  his  biggest  handi- 
cap has  been  an  inferiority  complex. 

"I'm  always  battling  lack  of  confidence 
in  myself,"  said  Stack.  "I  can  better  il- 
lustrate this  by  telling  you  about  the 
one  thing  I'm  really  good  at — shooting. 
I  used  to'  lack  confidence  jn  my  shooting 
ability,  even  though  I  was  fairly  good. 
And  it  wasn't  until  I'd  won  about  two 
dozen  major  tournaments  that  I  was  able 
to  go  ahead,  loose  and  easy,  without  a 
feeling  of  inferiority  hindering  my  prog- 
ress. An  ego,  of  the  inoffensive  variety, 
an  unshakable  faith  in  self,  is  even  more 
important  in  acting.  I  haven't  got  that 
yet.  When  I've  made  two  dozen  major 
pictures,  I'll  have  it." 

Robert  Stack's  remarkable  outward 
poise  is  a  result  of  athletics.  Anyway, 
that's  what  he  thinks.  Polo  and  skeet 
shooting  used  to  be  his  specialties. 

"I  fractured  my  collar  bone  and  broke 
my  wrist  four  times  in  polo,"  Stack 
grinned.  "Those  champions,  Pedley  and 
Roark  and  the  rest,  were  tough  to  match 
mallets  with.  I  broke  so  many  parts  of 
my  anatomy  that  I  had  to  quit  as  a  mat- 
ter of  self-preservation." 

AS  for  skeet  shooting,  which  is  merely 
-  a  fancy  way  of  labeling  the  art 
of  taking  a  rifle  shot  at  a  moving  target, 
Stack  was  a  real  top-notcher.  With  a 
collection  of  50  different  shotguns  and 
rifles,  he  made  two  All-American  teams, 
won  enough  trophies  and  medals  to  go 
into  the  hardware  business  and,  at  the 
age  of  18,  set  the  world's  accuracy  record 
by  hitting  a  target  364  times  in  a  row! 

"I  haven't  got  time  for  skeet  shooting 
any  more,"  he  sighed.  "But  I  would 
really  like  to  box.  My  weight  is  mostly 
in  my  shoulders,  and  I  might  make  a 
good  light-heavyweight.  The  studio  says 
no.  They're  afraid  some  expert  pug 
might  pancake  my  nose.  I'm  thankful 
for  every  moment  I've  spent  with  a  rifle 
and  on  a  polo  pony.  I'm  thankful,  too, 
that  I  once  took  tap  dancing  lessons.  All 
these  things  have  given  me  body  coordi- 
nation and  poise,  which  enable  me  to  act 
older  than  my  age." 

Of  course,  the  leading  indoor  sport  for 
men  in  Hollywood  is  women.  Robert, 
not  entirely  unconscious  of  the  sidelong 
glances  that  cute  young  ladies  give  him 
as  he  walks  through  the  M-G-M  lot,  gets 
fairly  heated  on  the  subject  of  the  femi- 
nine gender.    True,  he  thinks  women  are 


here  to  stay  and  likes  the  idea.  But  he 
has  some  very,  very  definite  ideas  about 
the  opposite  sex.  In  fact,  his  ideas  are 
so  definite  that  I'm  sure  he  is  quite  shy. 

"Despite  rumors,  I'm  not  going  with 
any  special  girl  right  now,"  he  insisted. 
"It's  a  funny  thing  in  Hollywood,  but 
you  go  with  a  girl  twice  in  a  week,  and 
everyone  has  you  engaged.  It  becomes 
quite  embarrassing  for  you  and  the  girl, 
and  sometimes — "  at  which  point  Mr. 
Stack  smiled  sheepishly — "well,  some- 
times those  rumors  give  girls  ideas.  So 
my  theory  is  to  play  the  field  and  be 
safe. 

"There's  been  a  lot  of  nonsense  about 
Cobina  Wright,  the  heiress,  and  myself. 
Well,  there's  nothing  there.  It's  all  back- 
fence  talk.  Oh,  Cobina's  a  great  kid.  We 
get  along  fine.  But  gosh,  that's  all.  And 
when  I  went  to  New  York  not  so  long 
ago,  everyone  had  us  practically  married. 
That's  the  way  it  is — date  a  girl,  and 
everybody  drags  out  wedding  bells, 
orange  blossoms  and  Mendelssohn  for 
you.  The  day  I  broke  into  the  movies, 
they  asked  me  if  I  was  going  to  marry. 
Now  they  just  ask  when  I'm  going  to 
marry. 

"I'm  not  prepared  for  marriage  yet.  I 
want  to  establish  myself  in  this  business 
first.  I  want  to  be  sure  of  myself,  like 
Jimmy  Stewart,  who  can  get  the  pictures 
he  wants.  I  want  career  security  so  that 
I  can  have  a  stable  home  life,  so  that  I 
won't  have  to  confine  my  married  bliss 
to  worrying  about  options.  Marriage  is 
too  serious  a  step  for  me  right  now. 

"But  I  do  know  the  kind  of  girl  I  one 
day  want.  I  must  have  things  in  common 
with  her.  Now,  when  I  go  out  dancing, 
I  take  a  girl  who  enjoys  dancing  as  much 
as  I  do.  When  I  go  to  a  concert,  I  take 
a  different  girl  who  likes  concerts.  But 
when  it  comes  to  a  wife — she  must  enjoy 
all  these  things.  Most  important,  she 
must  have  a  sense  of  humor.  But  I  sup- 
pose she  would  have  a  sense  of  humor — - 
to  marry  me!  I  want  a  girl  with  social 
poise,  one  who  would  feel  at  home 
and  be  presentable  if  I  took  her  to  the 
swank  President's  Ball  or  slumming  to 
some  dive  in  Chinatown. 

"As  for  marrying  a  glamour  girl — 
there  are  none  left  now  that  Lana  has 
married  Artie  Shaw!  Seriously,  most  of 
the  glamour  girls  in  Hollywood  are  al- 
ready going  steady  with  big  stars,  pro- 
ducers or  writers.  And  those  who  aren't 
are  as  ambitious  as  I  am.  You  take  them 
out,  and  they  have  to  be  home  at  nine  or 


"Sandy  Is  A  Lady" 
reads  Miss  Hen- 
ville's  next  movie 
title,  but  she  cer- 
tainly is  as  ruthless 
a  scene-stealer  as 
we've  seen.  Rich- 
ard Carlson  is  the 
courageous  chap 
who  poses  with  her. 


82 


MODERN  SCREEN 


ACID  INDIGESTION 


DON'T 
TRY  TO 
GO  ON 
WITH 


ten.  They  say  it's  good  for  their  com- 
plexions, and  beside  they  have  to  be  at 
the  studio  early.  So,  if  you  don't  mind, 
and  if  it  doesn't  ruin  your  story,  I'll  con- 
fine my  amours  and  emotions  to  a  daily 
bout  with  the  camera.  At  least  the  camera 
doesn't  wear  its  hair  up. 

"Yes,  that's  my  pet  peeve.  At  the  risk 
of  bringing  the  wrath  of  the  D.  A.  R., 
Junior  Leagues  and  fashion  magazines 
down  on  my  head,  I  tell  you  I  can't  stand 
women  who  wear  their  hair  up  and  per- 
mit strands  of  it  to  hang  down  in  back, 
until  they  look  as  though  they're  wearing 
shredded  wheat!" 

Aside  from  his  celluloid  future  and  his 
opinions  about  the  opposite  sex,  Mr. 
Stack  is  very  much  a  curio.  To  give  you 
an  idea,  he  was  born  in  Los  Angeles.  If 
you  didn't  know  it,  I'm  telling  you  now 
that  a  native  Californian  is  as  hard  to 
find  as  the  man  who  voted  for  Landon. 

Moreover,  Robert  Stack  is  something 
new  in  background.  He  is  society.  He 
is  culture.  He  is  wealth.  His  background 
is  very  different  than  that  of  other  stars. 
Most  came  to  Hollywood  the  rags  to 
riches  way,  from  little  mid-western 
towns,  struggling  middle  class  families, 
crowded  tenement  districts.  Most  stars 
were  once  poor.  Their  poverty  gave 
them  the  necessary  drive  toward  fame. 

THIS  makes  Robert  Stack  interesting 
to  Filmtown  as  an  experiment,  a 
human  guinea  pig.  Because,  since  he 
never  needed  riches,  and  in  his  circle, 
he  already  had  fame,  Stack,  without  pull, 
got  to  the  top.  Somehow,  somewhere,  he 
mustered  up  the  push  and  courage  to 
toss  over  the  too-easy  days  of  idling,  of 
travel,  polo,  dances  and  plunge  himself 
into  the  most  heart-breaking  business  on 
earth,  acting. 

Mr.  Stack,  modestly,  gives  most  of  the 
credit  to  his  mother.  "She  did  more  for 
me  than  anyone  else  in  the  world.  It 
was  she  who  encouraged  me  to  do  what 
I  most  wanted  to  do,  but  was  afraid  to 
attempt.  When  she  was  young,  they 
wrote  a  Broadway  play  around  her.  She 
never  appeared  in  it.  She  might  have 
become  a  great  actress,  but  instead  of 
giving  birth  to  a  career,  she  gave  birth  to 
me.  Like  most  mothers,  she  has  tried 
to  see  that  I  got  what  she  missed.  She 
inspired  me  with  her  fire." 

In  an  autobiographical  frame  of  mind, 
Stack  recalled  that  he  had  lived  in  Paris 
from  the  age  of  five  to  eleven.  "I  wish 
I  could  tell  you  about  Paris.  Especially 
some  romantic  interlude.  Paris  spells 
romance.  But  you  see,  I  was  too  young 
for  that.  Aside  from  long  strolls  through 
those  marvelous  Parisian  parks  and 
months  of  dreary  rain,  I  remember  only 
one  silly  incident.  My  mother  was  in 
bed.  I  went  out  in  the  streets  and  learned 


MUSCULAR  FATIGUE 
COLD  SYMPTOMS 

HEADACHE 


4 


Alka-Seltzer 


SEE  HOW  MUCH 
BETTER  IT  CAN 
MAKE  YOU  FEEL 

Here  is  why  Alka-Seltzer  offers  such  sur- 
prisingly fast  relief  in  these  common, 
everyday  ailments.  It  enters  the  stomach 
in  complete  solution  so  that  it  can  start  to 
work  as  soon  as  you  drink  it.  Alka-Seltzer's 
alkaline  buffers  neutralize  excess  stomach 
acids,  usually  the  immediate  cause  of  the 
distress  in  acid  indigestion,  and  its  anal- 
gesic properties  offer  quick,  pleasant 
relief  in  headaches,  muscular  aches  and 
pains  and  the  distress  of  colds.  Always 
keep  a  package  of  Alka-Seltzer  handy — 
at  home  and  at  the  office.  For  quick 
relief  —  take  Alka-Seltzer. 


Alka-Seltzer 


it  had  snowed.  The  city  was  bathed  in 
white.  I  scooped  up  some  snow,  put  it 
in  a  matchbox  and  ran  upstairs  to  show 
it  to  my  mother.  I  told  her  there  was 
snow  outdoors  and,  to  prove  it,  opened 
the  matchbox,  but  alas,  all  the  snow  had 
melted.  She  spanked  me  for  the  lie. 
Later,  when  I  proved  I  was  right,  my 
allowance  was  doubled. 

"When  I  returned  to  Los  Angeles  from 
France,  I  couldn't  speak  a  word  of  Eng- 
lish. Can  you  imagine?  I  knew  only 
French  and  Italian — and  I  had  to  have  an 
interpreter  to  speak  to  my  own  brother." 

FOR  a  short  period,  after  he  returned, 
Robert  Stack  took  singing  lessons 
from  Andre  de  Segurola.  It  was  there  he 
first  met  Deanna  Durbin.  She  was  a  shy, 
awkward  girl,  trying  to  break  into  the 
movies,  and  she,  too,  was  taking  vocal 
lessons  from  Andre. 

"I  soon  gave  up  my  lessons,"  explained 
Stack.  "I  was  a  terrible  singer.  Be- 
sides, my  uncle,  Richard  Bonelli,  the 
Metropolitan  Opera  baritone,  was  famous, 
so  there  was  little  reason  to  have  another 
singer  in  the  family.  I  turned  to  acting. 
In  my  first  little  theatre  plays,  I  re- 
ceived offers  from  Wanger  and  Universal. 
I  turned  them  down.  I  wasn't  ready 
and,  since  I  didn't  need  the  money,  I 
knew  I  could  afford  to  improve  myself. 
When  a  scout  saw  me  again  and  wanted 
me  to  play  opposite  Deanna,  I  felt  I  was 
better  prepared  and  couldn't  resist." 

Stack  is  still  a  bug  on  music.  He 
likes  a  new  song  every  week.  Bing 
Crosby  is,  by  far,  his  favorite  popular 
singer,  with  Lawrence  Tibbett  and  Uncle 
Bonelli  his  favorite  baritones.  Glenn 
Miller  and  Tommy  Dorsey  he  rated  as 
the  best  dance  bands. 

Robert  Stack,  satisfied  with  a  good 
lunch,  loosened  his  trouser  belt  a  notch. 
This  remotely  reminded  him  of  his 
quick  rise  to  fame. 

"You  know,"  he  said,  "when  I  was  in 
high  school  I  got  a  place  on  the  debate 
team.  Once,  during  an  important  debate, 
my  belt  snapped  beneath  my  vest,  and 
my  pants  began  to  fall.  It  was  a  real 
test  of  poise.  I  spent  a  miserable  eve- 
ning while  my  oratory  warred  with  my 
pants.  The  pants  lost.  It  was  humiliat- 
ing, and  I  remember  I  thought  I'd  die 
from  embarrassment.  I  never  imagined, 
at  the  time,  that  one  day  I  would  kiss 
Deanna  Durbin  while  a  million  people 
watched  me,  and  that  one  day  I  would 
be  holding  hands  with  Margaret  Sul- 
lavan.  Things  like  that  only  happen  in 
dreams. 

"Maybe  I've  been  dreaming.  Instead 
of  sending  me  a  fan  letter,  it  wouldn't 
be  a  bad  idea  if  someone  came  over  and 
pinched  me.  You  know,  to  make  sure 
.  .  .  Ouch!   Sa-ay,  I  was  only  kidding!" 


may,  1940 


83 


MILITARY 
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many  exquisitely  beautiful  Don  Juan  shades. 
Try  it  today— In  a  plastic  cameo  case,  §1-00.  Re- 
fills, 60c.  Trial  Size,  10c.  Rouge  to  match,  $1.00. 
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DONJMN 


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MOVIE  SCOREBOARD 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
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Picture 


General 
Rating 


Abe  Lincoln  in  Illinois  (RKO)   4* 

Adventure  in  Diamonds  (Paramount)   2  + 

Allegheny  Uprising  (RKO)   2* 

Amazing  Mr.  Williams,  The  (Cclumbia)   3-*- 

Another  Thin  Man  (M-G-M)   3  ★ 

Babes  in  Arms  (M-G-M)  C  3* 

Balalaika  (M-G-M)   3* 

Barricade  (20th  Century-Fox)   3* 

Beachcomber,  The  (Mayflower)  V/zir 

Beau  Geste  (Paramount)  C    3  + 

Beware  Spooks!  (Cclumbia)   2* 

Big  Guy,  The  (Universol)  2V2* 

Blackmail  (M-G-M)   2* 

Bbndie  Brings  Up  Baby  (Columbia)   2  + 

Blue  Bird,  The  (20th  Century-Fox)  C  3* 

•Broadway  Melody  of  1 940  (M-G-M)   2* 

Brother  Rat  and  a  Baby  (Warners)   2* 

Call  a  Messenger  (Universal)  2V2  + 

Calling  All  Marines  (Republic)   2* 

Calling  Philo  Vance  (Werners)  2V2-*- 

Cat  and  the  Canary,  The  (Paramount)  3V2-*- 

Charlie  Chan  In  Panama  (20th  Century-Fcx)   2  + 

Chcrlie  McCarthy,  Detective  (Universal)   3-k 

Child  Is  Born,  A  (Werners)   3* 

Chump  At  Oxfcrd,  A  (United  Artists)  2V2* 

Cisco  Kid  and  the  Lady,  The  (2Cth  Century-Fox)  2* 
Congo  Maisie  (M-G-M)   3  Ik- 
Cowboy  From  Texas  (Republic)                             2  + 

Dancing  Co-ed  (M-G-M)  2V2* 

Daytime  Wife  (20th  Century-Fox)   3* 

Destry  Rides  Again  (Universal)   3  + 

Disputed  Passage  (Paramount)   3  + 

Dr.  Ehrlich's  Magic  Bullet  (Warners)   3* 

Drums  Along  the  Mohawk  (20th  Century-Fox). . 3 * 

Dust  Be  My  Destiny  (Warners)  2V2* 

Earl  of  Chicago,  The  (M-G-M)   2* 

Elizabeth  and  Essex  (Warners)   4  + 

Escape,  The  (20th  Century-Fox)  2V2  + 

Espionage  Agent  (Warners)  Wzic 

Eternally  Yours  (United  Artists)  2V2* 

Everything  Happens  at  Night  (20th  Century-Fox)  3* 

Everything's  on  Ice  (RKO)   2  ★ 

Farmer's  Daughter,  The  (Paramount)  2V2  + 

Fast  and  Furious  (M-G-M)   2-* 

Fifth  Avenue  Girl  (RKO)   3  ★ 

Fighting  69th,  The  (Warners)   3* 

First  Love  (Universal)   3  + 

Flying  Deuces  (RKO)   2* 

Four  Wives  (Warners)   3  + 

•Free,  Blonde  and  21  (20th  Century-Fox)   2  + 

Geronimo  (Paramount)   3  + 

Golden  Boy  (Columbia)   3  + 

Gone  With  the  Wind  (M-G-M)   4* 

Grapes  of  Wrath,  The  (20th  Century-Fox)   4  ★ 

Great  Victcr  Herbert,  The  (Paramount)   3  + 

Green  Hell  (Universal)   2* 

Gulliver's  Travels  (Poramount)  C    3  + 

Heaven  With  a  Barbed  Wire  Fence(20th  Cen.-Fox)    2  * 

He  Married  His  Wife  (20th  Century-Fox)   2  ★ 

Here  I  Am  a  Stranger  (20th  Century-Fcx)  2V21k 

Heroes  in  Blue  (Monogram)   2* 

"High  School  (20th  Century-Fox)  C  3* 

His  Girl  Friday  (Cclumbia)   3* 

Hollywood  Cavalcade  (20th  Century-Fox)  C  3* 

Honeymoon  Deferred  (Universal)  2V21k 

Honeymoon  In  Bali  (Paramount)   3* 

Housekeeper's  Daughter,  The  (United  Artists). ...    2  + 

Hunchback  of  Notre  Dame,  The  (RKO)   3* 

Intermezzo,  A  Love  Story  (United  Artists)   3  + 

Invisible  Man  Returns,  The  (Universal)   2-fr 

Invisible  Stripes  (Warners)   2* 

Irish  Luck  (Monogram)  2'2* 

I  Take  This  Woman  (M-G-M)   2* 

Jamaica  Inn  (Paramount)   3  * 

Joe  and  Ethel  Turp  Call  on  the  President(M-G-M)  2* 

Judge  Hardy  and  Son  (M-G-M)  C  3-* 

Kid  Nightingale  (Warners)   2  Ik- 
Light  That  Failed,  The  (Paramount)   3  + 

Little  Accident  (Universal)  2V2-* 

Little  Old  New  York  (20th  Century-Fox)   2* 

Lone  Wolf  Strikes,  The  (Columbia)   2  ★ 

Llano  Kid,  The  (Paramount)  2V2  + 

Main  Street  Lawyer  (Republic)  2V2  Ik- 
Man  From  Dakota,  The  (M-G-M)   2  + 

Man  From  Montreal  (Universal)  iVz'k 

Man  Who  Wouldn't  Talk,  The(20th  Century-Fox). 2>/2* 

Marshal  of  Mesa  City  (RKO)  2V2* 

Marx  Bros,  at  the  Circus  (M-G-M)  C  3* 

Meet  Dr.  Christian  (RKO)  2>/2-* 

Mexican  Spitfire  (RKO)  2V2  + 


Picture 


General 
Rating 


Midnight  (Paramount)   3  + 

Mikado,  The  (Universol)  C  3* 

Million  Dollar  Le«s  (Paramount)   2ir 

Miracles  Fcr  Sale  (M-G-M)  2V2* 

Missing  Daughters  (Columbia)   2* 

Missing  Evidence  (Universal)   3  tIt 

Mr.  Smith  Goes  to  Washington  (Columbia)   4  + 

Mr.  Wong  in  Chinatown  (Monogram)   2-ir 

Music  In  My  Heart  (Columbia)   2^k 

Mutiny  on  the  Blackhawk  (Universal)   2* 

*My  Little  Chickadee  (Universal)   2-*- 

Nick  Carter,  Mcster  Detective  (M-G-M)   3 Ik- 
Night  of  Nights,  The  (Pcramourt)  2Vi* 

Ninotchka  (M-G-M)   4* 

No  Place  To  Go  (Warners)   2* 

•Northwest  Passage  (M-G-M)   4* 

Nurse  Edith  Cavell  (RKO)   4* 

Of  Mice  and  Men  (United  Artists)   4-*- 

Oklahoma  Frontier  (Universal)   2-*- 

Oklahoma  Kid,  The  (Werners)   3  ★ 

Old  Maid,  The  (Werners)   4* 

On  Borrowed  Time  (M-G-M)   3  + 

On  Dress  Parade  (Werners)  C  2* 

One  Hour  to  Live  (Universal)   2-Jk- 

$1,000  a  Touchdown  (Paramount)   2-jk- 

On  Your  Toes  (Warners)  2V2-*- 

Our  Leading  Citizen  (Poramount)  2V2-Jk- 

Our  Neighbors — The  Carters  (Paramount)  2V4-*- 

Pack  Up  Your  Troubles  (20th  Century-Fcx)  2V2* 

Pinocchio  (RKO)  C  4* 

Pioneers  of  the  Frontier  (Columbia)   2  + 

Pride  of  the  Blue  Grass  (Warners)  2y2* 

Quick  Millions  (20th  Century-Fox)  C  2* 

Raffles  (United  Artists)   2* 

Rains  Came,  The  (20th  Century-Fox)   3* 

Range  War  (Paramount)   21k- 

Real  Glory,  The  (United  Artists)   2  * 

Remember?  (M-G-M)  2V2  Ik- 
Remember  the  Night  (Paramount)   3 -fa 

Reno  (Universal)   2 -A- 

Rio  (Universal)  iVz~k 

•Road  to  Singapcre,  The  (Paromc  unt)   £  + 

Roaring  Twenties,  The  (Warners)   3* 

Rulers  of  the  Sea  (Paramount)  31 2* 

Sabotage  (Republic)  2Vi  + 

Saint's  Double  Trouble,  The  (RKO)  2V2* 

Santa  Fe  Marshal  (Paramount)  1 1  2  + 

Secret  of  Dr.  Kildare,  The  (M-G-M)   3* 

She  Married  a  Cop  (Republic)   2* 

Shop  Around  the  Corner,  The  (M-G-M)   3  •*- 

Sidewalks  of  London  (Paramount  Release)   3  it 

•Slightly  Honorable  (United  Artists)   3* 

Smashing  the  Money  Ring  (Warners)  2V2-)fc- 

Spellbinder,  The  (RKO)   2* 

Spirit  of  Culver,  The  (Universal)  C21 2~k 

Stagecoach  (United  Artists)   4-*- 

Stanley  and  Livingstone  (20th  Century-Fox)  3V2 Ik- 
Star  Maker,  The  (Paramount)  C2V2-* 

Stop,  Look  and  Love  (20th  Century-Fox)   2  i 

Stranger  From  Texas  (Columbia)  2V2  Ik- 
Stronger  Than  Desire  (M-G-M)  2V21k- 

Swanee  River  (20th  Century-Fox)   3  Ik- 
Swiss  Family  Robinson  (RKO)  C  3* 

Television  Spy  (Paramount)  2'  2  + 

That's  Right,  You're  Wrong  (RKO)  C  3* 

These  Glamour  Girls  (M-G-M)  2V21k- 

They  All  Come  Out  (M-G-M)  2V2* 

They  Shall  Have  Music  (United  Artists)  C3V2* 

Those  High  Grey  Walls  (Columbia)  2V2* 

Three  Smart  Girls  Grow  Up  (Universal)  C  3* 

Three  Sons  (RKO)   3* 

Thunder  Afloat  (M-G-M)  2V2* 

Too  Busy  To  Work  (20th  Century-Fox)  C2V2* 

Torchy  Plays  With  Dynamite  (Warners)  2V2* 

Tower  of  London  (Universal)   2* 

Tropic  Fury  (Universal)   2-*- 

20,000  Men  a  Year  (20th  Century-Fox)   3  * 

Two  Bright  Boys  (Universal)   2  + 

U-Boat  29  (Columbia)   3  ★ 

Underpup,  The  (Universal)  C    )  -* 

Union  Pacific  (Poramount)  3V2~k 

•Vigil  in  the  Night  (RKO)   3* 

Wall  St.  Cowboy  (Reputlic)  2V2* 

Waterfront  (Warners)   2* 

We  Are  Not  Alone  (Warners)  3'/2* 

What  a  Life  (Paramount)  C  3* 

When  Tomorrow  Comes  (Universal)  2 V2  Ik- 
Wizard  of  Oz,  The  (M-G-M)  C  4* 

Women,  The  (M-G-M)   3* 

•Young  As  You  Feel  (20th  Century-Fox)   2* 

*Young  Tom  Edison  (M-G-M)  C    4  + 


84 


MODERN  SCREEN 


(Continued  from  page  62) 


NAME 

DDBV  BAI1C 

OCCUPATION 

rjnffT  CEATIIDE 

rlnal  rfcAIUKt- 
LENGTH  MOVIE 

YEAR 

CAUADITC 

SPORT 

HOBBY 

PRESENT 
STUDIO 

ADDRESS 

Oakie,  Jack 

Clerk 

Finders  Keepers 

1928 

Fishing 

Growing  Flowers  R  K  O 

Home — 193  N.  Carmelina, 
Brentwood  Heights 

Oberon,  Merle 

Stenographer 

Wedding  Rehearsal 

1932 

Riding 

First  Editions 

W  B 

Studio — Burbank,  Cal. 

O'Brien,  George 

Boxer 

Iron  Horse 

1924 

Handball 

Raising  Horses 

RKO 

tt  _       _       COO  T\T    "D  „  , , L. « ,  _ 

iiome — odo  In.  Koxbury 
Drive,  Beverly  Hills 

O'Brien,  Pat 

Chorus  Boy 

The  Front  Page 

1931 

Swimming 

Collecting  Irish 
Literature 

WB 

Home— 12921  Marlboro, 
Brentwood 

O'Keefe,  Dennis 

Salesman . 

Saratoga 

1937 

Water  Polo 

Sketching 

MGM 

Studio — Culver  City,  Cal. 

Olivier,  Laurence  Stage  Actor 

The  Yellow  Ticket 

1931 

Squash 

Modeling  Clay 

U  A 

otuaio — 11)41  IN.  r  ormosa 
Ave.,  Hollywood 

O'Neil,  Barbara 

Secretary 

Stella  Dallas 

1937 

Tennis 

Stamp  Collecting 

u 

Studio — Universal  City, 
Cal. 



O  oullivan, 

Maureen 

Student 

Big  Shot 

1931 

Rowing 

Sketching 

MGM 

nome — o<L  i  Camden 
Drive,  Beverly  Hills 

Overman,  Lynne 

Jockey 

Little  Miss  Marker 

1934 

Riding 

Collecting  Sea 
Shells 

P 

Studio— 5451  Marathon 
St.,  Hollywood 

Page,  Gale 

Radio  Actress 

Crime  School 

1938 

Ping  Pong 

Cooking 

WB 

Studio — Burbank,  Cal. 

Parker,  Cecilia 

Singer 

Honor  Of  The  West 

1930 

Croquet 

Needlework 

MGM 

nome — ouu  in  .  iviapie, 
Beverly  Hills 

Parker,  Jean 

Model 

Divorce  In  The 
Family 

1933 

Swimming 

Designing  Clothes  M 

nome — iuoi<sy2  J_iina- 
brook,  Los  Angeles 

Parrish,  Helen 

Child  Actress 

His  First  Command 

1930 

Dancing 

Singing 

U 

Studio — Universal  City, 
Cal. 

Patrick,  Gail 

Teacher 

The  Mysterious 
Rider 

1933 

Riding 

Raising  Dogs 

C 

Tj^vvi,-,     /IOC  c   tj; i ^ j 
riome — 4Zo  b.  xiigniana, 

Hollywood 

Payne,  John 

Poolroom  Manaf 

jerDodsworth 

1936 

Sailing 

Flying 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

Pendleton,  Nat 

Importer 

Laughing  Lady 

1927 

Wrestling 

Writing 

MGM 

Studio — Culver  City,  Cal. 

Pidgeon,  Walter 

Vaudevillian 

Her  Private  Life 

1929 

Golf 

Hunting 

MGM 

Home — /  lu  Walden, 
Beverly  Hills 

Powell,  Dick 

Singer 

Blessed  Event 

1932 

Baseball 

Collecting  Horns 

C 

T_Trtwlrt       71  1     TVT     TIT  1 

Home — /ll  In.  Maple, 
Beverly  Hills 

Powell,  Eleanor 

Dancer 

George  ^Vhite's 
Scandals 

1935 

Hiking 

Gardening 

MGM 

Home — 161  Uealora, 
Beverly  Hills 

Powell,  William 

Usher 

Sherlock  Holmes 

1921 

Swimming 

Reading 

MGM 

Home— 10772  Chalon 
Road,  Bel-Air 

(Continued  on  page  9.5) 

MAY,  '940 


85 


DURA-GLOSS 


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different— made  by  a  new,  unique  princi- 
ple! Keeps  its  jewel-luster  color-tone  much 
longer.  In  the  loveliest,  fashion-right 
shades  you  can  buy.  Dura-Gloss  is  ten 
cents  a  bottle,  at  all  cosmetic  counters. 
Get,  too,  Dura-Gloss's  new,  efficient  Pol- 
ish Remover.  Do  it  today! 


Choose  your  color  by  the 

FINGERNAIL 
CAP 


Only  Dura-Gloss  has 
it!  New  "fingernail 
cap"— coated  with  the 
polish  that's  in  the  bot- 
tle. Shows  exact  shade. 
Banishes  guesswork, 
disappointment. 


Lorr  Laboratories, 
Paterson,  New  Jersey 


LEAVE  IT  TO  MARY 

(Continued  from  page  51) 


much  more  attention  than  Mary,  herself. 

Of  course,  all  the  wire  services  tried 
to  promote  a  romance  between  Mary  and 
her  childhood  chum,  Ralph  Kindel,  now 
a  clerk  in  the  Weatherford  bank.  Mary 
and  Ralph  have  been  playmates  ever 
since  they  first  began  to  walk  and  talk. 
Ralph  always  wanted  to  be  a  writer, 
but  the  only  writing  he  does  is  his  amus- 
ing non-stop  stream  of  letters  to  Mary. 
When  she  left  her  home  town  to  con- 
tinue her  personal  appearance  tour,  he 
kept  her  informed  of  Weatherford's  re- 
action to  her  visit,  with  descriptions  like 
the  following: 

"Really,  honey,  you  sure  slayed  the 
natives!  They  are  still  talking  and  will 
still  be  when  our  children  have  chil- 
dren. Ever  since  that  picture  of  us  ap- 
peared in  the  magazines,  my  life  hasn't 
been  the  same!  The  native  share  crop- 
pers are  certainly  cocking  their  eyes 
around  at  me  and  doing  that  gentle  nod 
of  the  head  to  each  other  behind  my 
back.  Now  I  want  to  know,  are  you 
going  to  ask  me  to  marry  you  or  not? 
Someone  has  to  save  my  honor  and  pro- 
tect my  soul!" 

As  you  can  see  for  yourself,  their 
relationship  is  a  gay  comradeship  that 
will  last  forever,  but  it's  not  the  big 
romantic  stuff  that  will  lead  them  to  the 
altar. 

NATURALLY,  the  combination  of 
Mary's  good  looks  and  success  has 
made  her  the  object  of  affection  for  the 
men-about-town  in  Hollywood  and  New 
York.  But  make  no  mistake  about  it, 
underneath  those  golden  brown  locks  of 
hers  lies  plenty  of  gray  matter.  Mary's 
success,  when  it  eventually  came,  was 
one  of  those  quick,  overnight  ascenden- 
cies, but  the  road  that  led  to  it  was  full 
of  hard  knocks  and  disappointments. 
Now  that  she  has  achieved  her  goal,  she 
is  going  to  keep  her  name  in  the  columns 
because  of  her  work — not  because  of  her 
love  life. 

She  was  in  New  York  for  several 
months  before  she  saw  the  inside  of  the 
Stork  Club.  I'll  never  forget  the  first 
time  she  rode  up  sixty-five  floors  to 
Mr.  Rockefeller's  Rainbow  Room.  "My 
goodness,  honey,"  she  exclaimed,  "this  is 
sixty-two  flights  higher  than  any  build- 
ing in  Weatherford!"  Later,  she  made 
her  supper  club  debut  in  this  room, 
where  the  social  elite  thought  she  was 
"too,  too  divine"  as  she  sang  "Listen 
to  the  Mocking  Bird"  in  swing  time. 

At  present  writing,  Mary's  number  one 
admirer  is  Fred  Drake,  vice-president  of 
a  class  magazine.  He's  a  charming,  cul- 
tured man,  but  their  individual  careers 
now  necessitate  a  3,000  mile  separation. 
Whether  any  romance  can  survive  under 
these  trying  circumstances,  only  the  fu- 
ture can  tell.  It  is  my  secret  hunch, 
though,  that  Mary's  first  love,  for  a  long 
time  to  come,  will  be  her  career. 

Right  now,  she  has  a  working  sched- 
ule that  is  keeping  her  so  busy  that  I 
doubt  even  if  Rhett  Butler  came  to  call 
she'd  have  time  for  him!  Paramount,  to 
which  she  is  under  contract,  has  three 
stories  in  preparation  for  her.  The  first 
is  to  be  a  co-starring  vehicle  with  Bing 
Crosby,  and  as  Al  Jolson  would  say, 
"Folks,  you  ain't  heard  nothin'  yet," 
until  you've  heard  Mary  and  Bing 
harmonize! 

Watching  her  screen  debut  in  "The 
Great  Victor  Herbert,"  it  seemed  almost 
incredible    that    she    had    never  faced 


a  camera  before  (except,  of  course,  for 
all  those  tests  that  were  turned  down). 
But  Mary  used  the  same  principle  be- 
hind the  cameras  as  she  does  in  real 
life — she  was  completely  natural.  Of 
course,  she  gives  the  lion's  share  of  credit 
to  Director  Andrew  Stone. 

"He  rehearsed  with  me  every  day,  long 
before  the  picture  went  into  production, 
so  that  by  the  time  we  began  shooting 
I  felt  perfectly  at  home  in  the  part,"  she 
told  me. 

Her  studio  is  so  sold  on  her  his- 
trionic ability  that,  after  the  Bing  Crosby 
picture,  she  will  play  one  of  the  plum 
roles  of  the  year,  Cindy  Lou  in  "Kiss 
the  Boys  Goodbye."  The  ironic  part  of 
this  casting  is  that,  after  years  of  trying 
to  tone  down  her  Southern  accent,  Mary 
will  have  to  be  as  Southern  as  the 
Confederate  flag! 

In  addition  to  these  picture  commit- 
ments, she  is  appearing  on  the  "Good 
News"  program  with  Dick  Powell.  By 
a  strange  coincidence,  it  was  on  this 
same  program  that  Mary  appeared  two 
years  ago,  before  her  name  had  any 
commercial  value.  Her  salary  is  now 
four  times  as  much  as  it  was  then.  At 
that  time,  Robert  Taylor  was  master  of 
ceremonies.  Mary  still  likes  to  recall 
the  afternoon  she  was  home,  nursing  a 
very  bad  toothache,  with  her  face  all 
swollen,  when  Mildred,  her  room-mate, 
suddenly  came  in  and  announced,  "Bob 
Taylor  is  outside!" 

Mary  impolitely  laughed  in  her  face 
and  exclaimed,  "Now  I'll  tell  one!" 

"I  wish  you  could  have  seen  Mildred, 
signaling  me  madly  that  he  could  over- 
hear every  word,"  Mary  giggled.  "Sure 
'nuff,  there  he  sat  in  my  front  parlor, 
grinning  up  at  me!  It  seems  that  Bob 
had  heard  from  his  stand-in,  who  lived 
in  the  same  apartment,  that  I  wasn't 
feeling  well  and  so  he  dropped  in  to  see 
me.  Somebody  had  sent  me  a  box  of 
candy — a  fine  thing  to  send  anyone  suf- 
fering with  a  toothache — so  Bob  ate  it 
for  me!" 

A  year  later,  when  Bob  came  to  New 
York,  he  told  me  that  the  biggest  kick 
he  got  out  of  his  entire  visit  (aside  from 
his  long-distance  calls  to  Barbara  S.) 
was  being  an  eye-witness  to  Mary's 
success. 

Bob  was  merely  echoing  the  sentiments 
of  every  one  who  knows  Mary.  In  a  pro- 
fession of  two  gestures — a  slap  on  the 
back  and  a  kick  in  the  pants,  she  has 
no  ill-wishers  who  resent  or  are  jealous 
of  her  success.  For,  in  the  words  of 
the  poet,  "To  know  her  is  to  love  her!" 


Results  of  the  February 
Questionnaire 

Thanks  for  your  enthusiastic  response 
to  the  questionnaire  which  we  ran  in 
the  February  issue.  They  were  very 
close  races,  but  this  is  the  way  your  final 
scorings  stood:  Best  actress,  Bette  Davis; 
best  actor,  Spencer  Tracy;  most  hand- 
some man.  Richard  Greene;  most  beau- 
tiful girl,  Hedy  Lamarr;  most  promising 
newcomers,  William  Holden  and  Linda 
Darnell;  scene-stealers.  Frank  Morgan 
and  Baby  Sandy;  best  juvenile  actor  and 
actress,  Mickey  Rooney  and  Shirley 
Temple;  best-dressed  man  and  woman, 
Tyrone  Power  and  Loretta  Young;  fa- 
vorite cowboy,  Gene  Autry;  best  movie 
of  1939,  "Dark  Victory";  and  worst  movie 
of  1939,  'Winter  Carnival." 


86 


MODERN  SCREEN 


ON  HIS  TOES 

(Continued  from  page  47) 


"But  I  belong  in  Hollywood  now,  and 
I'm  going  to  stay  here.  The  house  I've 
bought  is  on  a  hilltop  overlooking  a  green 
valley,  with  the  sea  on  two  sides.  Ifs 
more  or  less  a  shambles  now,"  Doug 
grinned,  "with  decorators  and  things.  But 
it's  going  to  be  our  permanent  home.  My 
family  is  still  here.  I  don't  know  yet  how 
my  father's  estate  will  turn  out,  but  I 
may  have  other  property  interests  here, 
too.  All  in  all,  this  is  where  it's  best  for 
me  to  be,  so  I'm  sticking." 

The  Fairbanks  clan,  which  Doug  now 
heads,  includes  his  six  cousins.  One  of 
them,  Lucile  Fairbanks,  has  just  made 
her  bid  for  Hollywood  fame  at  Warners 
where,  incidentally,  Doug  got  his  first 
important  screen  recognition.  Lucile  has 
a  bit  in  "The  Sea  Hawk"  and  "A  Fugi- 
tive From  Justice."  Of  course,  being 
the  only  seasoned  star  left  in  the  Fair- 
banks family,  Doug  gets  the  calls  to  hand 
out  advice.  The  Fairbanks  clan  is  very 
close.  They  gather  every  week  at  one 
or  the  other's  houses.  "And  when  I  make 
a  bad  picture,"  confessed  Doug,  "I'm  up 
on  the  family  carpet — and  no  punches 
pulled!" 

Just  what  his  exact  share  of  the  estate 
will  be,  Doug  still  doesn't  know.  "It's 
still  in  trusteeship,"  he  told  me,  "and  ter- 
ribly complicated.  There  are  holdings 
within  holdings,  and  all  that  sort  of 
thing.  We'll  be  lucky  if  things  are 
straightened  out  inside  a  year  or  eight- 
een months.  My  share  may  be  nowhere 
near  the  $600,000  announced  by  the 
papers.    In  any  event,  there  isn't  any 


assurance  that  it  will  make  me  financially 
independent." 

The  possibilities  of  Hollywood  responsi- 
bilities which  may  accrue  to  Doug,  how- 
ever, are  these:  The  fifth  interest  in 
United  Artists,  which  would  make  him 
all  the  more  concerned  about  producing 
his  pictures;  a  three-thousand  acre  orange 
ranch  at  Rancho  Santa  Fe,  which  re- 
quires some  looking  after;  and  other 
pieces  of  Southern  California  real  estate, 
in  which  much  of  Doug,  Senior's,  wealth 
was  invested. 

DOUG,  JUNIOR,  has  always  been 
canny  about  his  money.  He  has 
made  it  and  he  has  kept  it,  too.  His  new 
wife  is  well  off.  If  and  when  Doug  comes 
into  his  father's  inheritance,  he  will  be 
one  of  the  wealthiest  young  men  in 
Hollywood.  But  that  doesn't  impress  him. 

"I'll  never  retire — anywhere,"  affirmed 
Doug.  "To  me,  retirement  would  mean 
death.  After  a  while,  I  tire  of  every  place 
that  I'm  crazy  about.  It  was  that  way  in 
London.  I'm  wild  about  the  English 
countryside.  My  wife's  family  has  a 
sixty-five  acre  farm  near  Hot  Springs, 
in  Virginia,  a  lovely  place,  with  a  house 
two  hundred  and  fifty  years  old,  sheep 
grazing  all  about  and  everything.  It's 
wonderful,  too,  for  a  while.  But  doing 
nothing  drives  me  wild.  I've  got  to  keep 
moving! 

"I  can't  imagine  anything  more  deadly 
than  just  sitting  still  in  Hollywood  and 
playing.  I  love  to  swim,  play  tennis,  golf, 
ride,  sail  and  do  everything  that's  so 


much  fun  to  do  outdoors  here.  Mary 
Lee  loves  it,  too.  But  neither  of  us 
could  ever  be  strictly  play  people.  Life 
is  far  too  dull  that  way. 

"Even  when  I  was  young  and  more 
carefree  than  I  am  now,  I  could  never 
content  myself  with  pure  pleasure.  I 
liked  fun,  but  I  always  wanted  to  be  do- 
ing something  important.  I  still  do;  I  still 
must." 

Doug,  it's  true,  never  was  a  mere  play- 
boy. In  spite  of  his  gay  carryings  on 
with  the  haut  monde  in  points  cosmo- 
politan, his  restless  energy  always  has 
kept  something  brewing.  If  he  isn't 
working,  he's  learning.  He  has  never 
qualified  as  an  idler  or  carouser.  He's 
proved,  too,  very  consistently  that  he's 
not  afraid  of  work. 

Years  ago,  after  his  first  youthful 
fiasco  in  Hollywood,  Doug,  Junior,  ran 
off  to  Paris.  He  spent  several  months  by 
himself,  licking  his  wounds  by  studying 
art  and  trying  to  scribble  a  little.  "Then 
one  day,"  Doug  related,  "I  was  walking 
down  the  Rue  St.  Martin.  I  met  'Pete.' 
'I  saw  your  picture,'  he  said.  'Come  over 
to  the  hotel.' 

"He  spent  hours  pointing  out  the  ter- 
rible mistakes  of  my  first  acting  venture. 
Finally  'Pete'  said,  'And  do  you  still 
want  to  act?'  I  said  I  did.  'AH  right,' 
said  'Pete,'  'don't  lose  any  more  time.  Go 
back  there  and  try  starting  at  the  bottom. 
There's  a  lot  you  have  to  learn.'  " 

Young  Doug  returned  as  a  lowly  Para- 
mount stock  player  and  by  dint  of  tireless 
work  and  study,  he  went  about  building 


MARY  WITBECK,  LOVELY  CORNELL  JUNIOR,  SAYS: 


mocWw  Hoturiat  look ! 


IT'S  EASY  WITH  THIS  FACE  POWDER 
\  YOU  CHOOSE  BY  THE  COLOR  OF  YOUR  EYES! 


Today  women  want  makeup  that  is 
subtle  .  .  .  that  gives  complexions  the 
natural  beauty  of  gay,  young  "collegi- 
Nennes."  And  that's  what  Richard 
^Hudnut  has  created  in  Marvelous  Face 
Powder,  the  powder  you  choose  by  the 
color  of  your  eyes! 

For  eye  color  is  definitely  related  to 
the  color  of  your  skin,  and  the  color  of 
your  hair.  It  is  the  simplest  guide  to 
powder  that  matches  and  glorifies  your 
own  coloring  .  .  .  gives  you  that  delight- 
ful, natural  look  that  men  adore! 


So,  whether  your  eyes  are  blue,  brown, 
gray  or  hazel,  it's  easy  now  to  find  the 
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up  the  background  his  famous  father 
had  prescribed.  While  he  played  the 
meagre  bits  that  were  his  lot  then,  Doug 
rehearsed  play  after  play  on  the  stages 
of  small-time  Hollywood  theatres.  He 
opened  and  closed  them,  too,  for  prac- 
tically no  salary.  When  one,  "Young 
Woodley,"  finally  came  along  and  brought 
him  some  recognition,  it  was  notice  well 
earned. 

Probably  the  greatest  boost  Doug  ever 
had  came  then.  One  night  Charlie  Chap- 
lin waited  for  him  backstage.  He'd  been 
impressed  by  something  Doug,  Junior, 
had  shown  on  the  stage.  The  pair  walked 
miles  through  the  empty  Hollywood 
streets  that  night  and  sat  on  a  curb  until 
four  o'clock  in  the  morning,  while  Chap- 
lin poured  out  advice  and  encourage- 
ment. Doug  has  never  forgotten  that. 
He  showed  me  a  book,  too,  that  Doug, 
Senior,  had  given  him  in  memory  of 
"Young  Woodley."  It  is  a  copy  of  "The 
Drama"  by  Sir  Henry  Irving.  On  the  fly- 
leaf, in  Doug's  bold  script,  is  written  his 
fatherly  counsel,  lifted  from  Hamlet's 
advice  to  his  players:  "Let  your  own 
discretion  be  your  tutor." 

"That's  the  way  it  has  always  been 
with  me,  too,"  said  Doug.  "I've  had  to 
row  my  own  canoe.  If  I  ever  stopped,  I'd 
be  lost  and  I  know  it.  So  I'll  never 
stop." 

FOR  the  major  decisions  Doug  must 
make  now,  he  is  pretty  well  prepared. 
All  decisions  in  his  own  private  life, 
since  he  grew  out  of  knee  pants,  have 
been  his  own.  His  marriage  to  Joan 
Crawford,  for  instance,  the  typically 
Hollywood  marriage  of  "Billie"  and 
"Dodo,"  came  about  by  Doug's  own  stub- 
born choice  and  against  the  approval  of 
Pickfair.  That  it  was  destined  to  failure 
probably  proved  Pickfair  right,  but  cer- 
tainly did  not  prove  Doug  wrong  in 
deciding  about  his  own  happiness. 

His  romance  with  Mary  Lee  Epling, 
which  has  resulted  in  the  more  mature 
and  better-starred  union,  was  one  of 
those  spontaneous  things  that  happened 
without  benefit  of  advice  or  match- 
makers. 

Doug  met  Mary  Lee,  a  tiny,  soft-voiced 
Virginia  belle  with  large,  dark  eyes  and 
sable  hair,  when  she  was  visiting  Merle 
Oberon  in  Hollywood.  "It  was  just  one 
of  those  things  that  happened  all  at 
once,"  recalled  Doug.  "It  was  love  at 
first  sight.  Anyway,  I  saw  her  when  I 
went  through  New  York  on  my  way  to 
England.  I  saw  her  on  my  way  back  to 
Hollywood.  Before  I  knew  it,  I  was  pro- 
posing. That's  all  there  was  to  it!" 

From  1932,  when  he  and  Joan  Craw- 


ford were  divorced,  to  1939,  when  he 
married  Mary  Lee,  is  seven  years.  But 
while  a  man  is  supposed  to  change 
every  seven  years,  Douglas  Fairbanks, 
Junior,  never  altered  his  convictions 
about  love  in  that  span.  He  has  never 
been  a  Casanova.  When  he  had  ro- 
mances, they  were  one-woman  romances. 
Doug  never  played  the  field.  Rather,  in 
his  bachelor  days,  the  stag  life  with  a 
few  good  buddies,  always  appealed  to 
him  more.  In  Hollywood,  his  tiny  beach 
shack,  which  his  friends  christened 
"Cirrhosis-by-the-Sea"  and  which  Robert 
Benchley  once  described  as  "about  the 
size  of  a  small  pore,"  was  the  gathering 
place  of  the  Colony's  more  witty  and 
entertaining  bachelors. 

But  bachelorhood,  per  se,  never  par- 
ticularly appealed  to  Doug,  he  admitted. 
He  was  always  looking  for  the  right  girl 
and  he  knows  he  has  found  her.  For 
Mary  Lee  is  an  easy,  earthly  girl  with  a 
sense  of  humor  to  match  Doug's.  She 
likes  to  do  things,  she's  athletic  enough 
and  at  home  in  any  company.  On  their 
honeymoon,  Doug  and  his  bride  went 
from  picture  location  at  Catalina  Island 
to  Newport's  exclusive  Bailey's  Beach,  as 
guests  of  the  John  Jacob  Astors. 

Like  Doug,  Mary  Lee  is  pretty  much 
of  a  cosmopolite  herself;  like  Doug,  she 
has  been  married  before;  like  Doug,  she's 
intelligent.  "She's  a  Southerner,  born 
and  bred,  of  course,"  related  Doug.  "On 
Lincoln's  Birthday,  I  bought  her  every 
book  on  Lincoln  I  could  find.  The  joke 
was  on  me.   She'd  already  read  them!" 

Mary  Lee  has  fitted  perfectly  into  the 
small,  intimate  Hollywood  set  in  which 
Doug  moves.  Their  friends  include  the 
Ronald  Colmans,  Reginald  Gardiner, 
Bob  Coote,  Merle  Oberon,  of  course,  Tom 
Geraghty  and  the  Fairbanks  clan. 

The  many  people  both  Doug  and  Mary 
Lee  know  back  East  and  in  England  are 
always  dropping  in  as  welcome  house 
guests.  As  Pickfair  was  once  the  official 
host  house  of  Hollywood,  so  may  Doug's 
and  Mary  Lee's  new  home  carry  on  that 
settled  tradition.  Although,  at  the  sug- 
gestion, Doug  winces  slightly. 

There  is  one  thing  certain,  however. 
If  the  Douglas  Fairbanks'  new  baby  is  a 
boy,  the  fifteen-year-old  Hollywood  tra- 
dition of  Douglas  .Fairbanks  and  Douglas 
Fairbanks,  Junior,  will  live  once  more. 
Settling  down  as  Doug  is  and  raising  a 
family,  it  was  only  natural  that  that  issue 
should  arise  sooner  or  later. 

"Yes,"  admitted  Doug,  "if  the  baby's  a 
boy,  he'll  very  probably  be  named  Doug- 
las Fairbanks.  It's  my  wife's  idea,"  he 
added,  rather  apologetically.  But  he 
didn't  look  at  all  upset  about  it. 


soft  and  lustrous 


Pat  O'Brien  chats 
with  two  charm- 
ing "furriners" — 
Australian  Merle 
Oberon  and 
George  Brent, 
who  used  to  tend 
sheep  in  the  Irish 
countryside  for  a 
living — on  the  set 
of  "We  Shall 
Meet  Again." 
Pat  shares  honors 
with  beer,  in 
making  Milwau- 
kee the  famous 
city  it  is. 


88 


MODERN  SCREEN 


"I'M  NOT  BOY  CRAZY!" 

(Continued  from  page  27) 


and  new,  silly  charms  for  her  bracelets. 

It  is  a  sign  of  sophistication  among 
the  young  to  consider  mother  love  naive 
and  blase.  Well,  Judy  Garland  isn't  so- 
phisticated. There's  only  one  way  to  put 
it — she's  nuts  about  her  mother. 

"I  just  want  everyone  to  know  this," 
she  insisted.  "I've  the  most  marvelous 
mother  that  ever  lived.  She's  got  such  a 
regular  sense  of  humor.  She's  so  differ- 
ent from  other  movie  mothers.  She's  not 
at  all  bossy.  She  never  comes  on  the  sets 
and  tells  me  what  to  do.  When  I  ask 
her  advice,  she  gladly  gives  it,  though 
she  prefers  that  I  do  things  on  my  own. 
And  do  you  know,  on  certain  matters, 
she  even  asks  my  opinion.  Isn't  that 
swell? 

"She  never  used  to  lug  me  around  to 
casting  offices,  either,  like  some  stage 
mothers  did.  The  first  casting  office  I 
ever  saw  was  when  I  came  to  Hollywood 
at  the  age  of  eleven.  And  she's  consid- 
erate. I'll  never  forget  my  last  birthday. 
I  woke  up  early  in  the  morning,  and 
there  was  a  string  tied  to  the  bed.  Be- 
neath it  was  a  note  from  Mother  reading, 
'Follow  this  string,  Judy,  to  your  present.' 
I  followed  it  through  all  the  rooms  in 
the  house,  to  all  sorts  of  little  gifts,  then 
down  through  the  living-room  and 
through  the  door  and  into  the  street, 
where  the  string  was  tied  to  the  bumper 
of  a  brand  new  wine-colored  coupe.  It 
was  something  I'd  always  wanted.  I  al- 
most fainted!" 

Next  to  her  mother,  and  waiving  other 
members  of  her  family  like  Sister  Su- 


zanne "who  I  talk  to  for  hours  and 
hours,"  Judy's  favorite  is  chubby  Oscar 
Levant,  whom  you  all  know  as  the  music 
expert  on  the  radio  program  "Informa- 
tion, Please!"  He's  always  been  a  sort 
of  long-distance  godfather  to  Judy. 

"Oscar  Levant  is  one  of  my  truly  best 
friends,"  Judy  confided  to  me.  "In  fact, 
he's  now  married  to  another  friend  of 
mine,  June  Gale.  Oscar's  so  intelligent. 
He's  brilliant,  absolutely.  In  the  days 
when  I  was  struggling,  and  when  I  was 
often  blue,  each  week  he  would  write 
me  two  and  three  letters,  with  good  com- 
mon sense  in  them.  They  would  inspire 
me.  I  still  have  all  his  letters,  tied  with 
a  ribbon."  To  this  day,  they  still  corre- 
spond. 

SPRINKLED  through  Judy's  conversa- 
tion are  loads  of  names — big  names 
and  small  names,  friends  and  idols.  People 
are  her  hobby. 

"There's  Alfred  Vanderbilt.  He's  so 
nice.  And  his  wife's  baby  is  one  of  the 
cutest  I've  ever  seen.  And  I  adore  Lana 
Turner.  She's  so  outspoken.  We  make 
the  funniest  couple,  Lana  and  I — she's  so 
glamorous  and  I'm  so  unglamorous!" 

Suddenly,  in  her  conversation,  Judy 
stopped  cold.  Her  eyes  were  shining. 
They  were  staring  over  my  shoulder. 
"Look!"  she  squealed.  "It's  Rhett  Butler!" 

I  turned  and  saw  Clark  Gable,  sleek 
in  a  dark  gray  afternoon  suit,  coming 
into  the  commissary.  He  waved  to  Judy. 
She  waved  back  enthusiastically. 

"Clark  Gable  is  grand,  isn't  he?"  she 


said  to  me.  "I  saw  him  in  'Gone  With 
the  Wind'  and  I'll  never  forget  his  per- 
formance. He's  another  friend  of  mine. 
I  mean,  not  as  close  as  magazine  stories 
make  out,  but  a  friend  anyway.  I'll 
never  forget  that  song  I  sang  to  him  on 
his  birthday.  I  gave  it  all  I  had,  because 
I  admire  him  so.  The  next  morning,  a 
package  arrived  for  me.  In  it  was  the 
most  gorgeous  charm  bracelet  in  the 
world,  with  a  miniature  gold  book  at- 
tached. The  book  snapped  open,  and  in- 
side was  Clark  Gable's  picture  and  the 
inscription,  'To  Judy,  my  best  girl,  from 
her  most  ardent  fan,  Clark  Gable.'  What 
a  thrill!  And  I  love  his  wife.  Carole 
Lombard  is  so  intelligent  and  frank. 
Aren't  they  the  grandest  couple?" 

The  lunch  was  almost  over.  Judy's 
salad  was  reduced  to  ruins.  She  licked 
her  lips  and  murmured,  "Dessert  time." 
She  wanted  a  chocolate  sundae.  After 
the  sundae  materialized,  and  the  blue- 
aproned  waitress,  humming  a  tune,  left 
our  table,  Judy  took  up  the  humming 
and  started  in  on  her  favorite  conver- 
sational topic,  music. 

"My  favorite  popular  song,  the  pretti- 
est and  most  beautiful  in  the  world,  is 
'Over  the  Rainbow,'  "  she  said.  "I  think 
it's  a  relief  from  some  of  the  other  num- 
bers you  hear.  Aren't  the  tunes  the 
orchestras  play  on  the  air  awful?  They're 
all  so  loud  and  sound  exactly  alike. 

"When  it  comes  to  good  orchestras, 
though,  I'll  settle  for  Duke  Ellington. 
He's  my  choice,  by  a  mile.  I  also  enjoy 
Glenn  Miller.    But  I'll  let  you  in  on 


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|     City  State  

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MAY,  1940 


89 


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something  private.  My  brother-in-law, 
Bob  Sherwood — he's  married  to  my  sis- 
ter Virginia — now  has  a  band  of  his 
own.  He  plays  the  guitar.  It's  a  string 
band.  Strings  that  swing.  He'll  be  great 
yet,  watch  and  see. 

"My  personal  preferences  go  to  the 
classics.  I  love  to  listen  to  classical 
music,  but  I  have  no  desire  to  sing  it. 
I'm  satisfied  with  the  popular  stuff  I  do 
now.  It  gives  me  a  kick.  When  I'm  on 
the  listening  end,  I  prefer  Ravel,  Du- 
bussy  and  Tchaikovsky.  I  suppose  Wag- 
ner was  the  greatest,  but  he's  too  heavy 
for  me." 

IN  the  past  year,  she  composed  three 
songs  of  her  own.  At  first  she  was 
hesitant  about  speaking  of  them.  Then, 
finally,  she  did.  "Robbins,  the  publisher, 
wanted  to  bring  out  the  three  songs  I 
composed,  but  I  wouldn't  let  him.  I  don't 
know,  I  think  they're  just  not  good 
enough,  though  my  mother  thinks  they 
are  wonderful.  My  best  song  is  called, 
'I'm  Not  Supposed  To  Know.'  The  idea 
of  the  song  is  that,  while  I  go  to  school 
Lnd  learn  everything,  I'm  not  supposed 
to  know  about  love.  It's  a  cute  idea,  I 
think.  I  do  wish  I  had  more  time  for 
composing." 

On  the  subject  of  her  own  warbling, 
Judy  made  a  confession.  "Yes,  I'll  con- 
fess, I  never  took  a  singing  lesson  in  my 
entire  life.  I  bet  some  of  my  critics 
think  I  should  have!  But,  anyway,  two 
years  ago  Nelson  Eddy's  voice  teacher 
took  me  aside  and  said,  'Don't  ever  get 
it  into  your  head  to  take  singing  lessons, 
Judy.  You're  an  instinctive  singer.  You 
have  good  memory  and  a  good  ear.  Les- 
sons will  only  mix  you  up.'  I  followed 
his  advice.  I  can't  read  a  single  note  of 
music!  Can  you  imagine  that?  I  just 
have  a  band  play  a  tune  over  a  couple 
of  times  and  I  get  it  that  way." 

Then,  excitedly,  Judy  told  me  about 
her  new  home  and  about  the  special  and 
spacious  room  she  has  for  herself.  With 
broad  gestures,  she  described  the  white 
rug  on  the  floor,  the  fireplace  and  the 
bed  that  resembled  a  chaise  lounge. 

She  told  me  that  she  sleeps  in  a  silk 
nightgown,  that  she  must  have  eight 
hours  of  sleep  or  she's  a  wreck  and  that 
she  often  gathers  her  friends  in  her  room 
and  holds  a  back-scratching  party. 
Everyone  sits  in  a  circle  and  scratches 
everyone  else's  back.  "If  you  haven't 
had  your  back  scratched,  you  haven't 
lived!"  Judy  said.  "It's  entirely  inane, 
but  so  comfortable!  Of  course,  everyone 
thinks  we're  crazy.  We  are.  At  dinner, 
our  house  is  a  madhouse. 

Discussing  home  life  led,  of  course,  to 
a  discussion  of  the  root  of  all  evil.  I 
asked  Judy  if  she  received  an  allowance. 

"About  a  year  and  a  half  ago  I  was 
put  on  an  allowance  of  $5  a  week.  But 
at  the  end  of  the  first  week  I  had  $4.78 
left.  I  never  spent  money.  I  don't  know 
why.  But  now  I've  discovered  clothes — 
and  bracelets.  I  have  a  passion  for 
bracelets  and  shoes.  And  stockings — why, 
I  wear  out  two  pairs  of  stockings  a  day. 
Isn't  that  terrible?" 

Like  most  humans,  Judy  is  filled  with 
a  thousand  different  and  sometimes  con- 
tradicting likes  and  dislikes.  She  hates 
mayonnaise.  She  loves  tea  and  hot  choc- 
olate. She  is  crazy  about  perfumes.  She 
dislikes  jitterbugging,  despite  publicity 
photos  to  the  contrary.  She  spends  hours 
having  her  red  hair  fixed  in  different 
styles.  She  doesn't  ever  want  to  be  a 
typical  glamour  girl.  She  believes  in 
having  an  outside  income  "in  case  of 
hard  times"  and  owns  a  flower  shop  on 
Wilshire  Boulevard.  She  gets  a  kick  out 
of  riding  a  bike,  but  prefers  her  car. 
"Love  Finds  Andy  Hardy"  is  still  one 


of  her  favorite  pictures.  She  hopes  to 
wear  her  grandmother's  wedding  gown 
at  her  own  wedding. 

And  as  for  her  Number  One  amuse- 
ment, "I'll  tell  you,  if  you  promise  not 
to  laugh.  Movies!"  Judy  grinned.  "Bus- 
man's holiday,  I  suppose,  but  when  I 
have  time,  I  would  rather  go  to  movies 
than  do  anything  else.  I  never  get  tired 
of  them.  And  Bette  Davis  is  my  very 
favorite.  I  saw  her  in  'Dark  Victory' 
five  times — and  I  cried  myself  sick!" 

She  glanced  up  at  the  wall  clock  and 
gasped.  "Oh  dear,  I'm  twenty  minutes 
late  for  school.   I'll  get  killed  for  this!" 

She  pulled  on  her  jacket  and  ex- 
plained, "I  have  a  private  instructor  in 
my  dressing-room.  It's  loads  of  fun.  I 
graduated  from  high  school  courses  last 
year,  but  the  state  law  says  you  have 
to  attend  school  until  you're  eighteen,  so 
I'm  taking  a  post  grad  course  of  my  fa- 
vorite subjects,  music  appreciation,  art 
appreciation  and  French.  I'm  learning 
oil  painting,  too.  I've  been  at  it  five 
days.  And  I'm  learning  the  history  of 
art.  When  I  visited  the  Museum  in 
New  York,  I  could  tell  who  painted  what 
without  even  looking  at  the  names 
underneath.  School  isn't  really  bad  this 
term.  But  last  year!  Ouch!  I  had  geom- 
etry!  And  that  was  terrible!" 

In  a  moment  she  had  a  mirror  in  front 
of  her  face,  for  a  hurried  check-up.  If 
her  fans,  that  moment,  could  have  peeked 
over  her  shoulder,  they  would  have  seen 
an  even  more  attractive  Judy  Garland. 
They  would  have  noticed  her  light  make- 
up and  carefully  rouged  lips,  her  glisten- 
ing eyes,  tilted  nose  and  determined 
chin. 

AS  she  gathered  her  belongings,  her 
fans  would  have  marveled  at  five  feet 
two  of  animation.  When  she  rose,  they 
would  have  guessed  her  to  be  110  pounds 
in  weight  and  they  would  have  been 
right.  They  would  have  thought  her  off- 
screen figure  amazingly  slender,  and  one 
of  the  fans — a  male,  no  doubt — would 
have  emitted  a  whistle  at  her  beautiful 
legs. 

She  left  me  with  a  wink  and  a  lilting, 
"Be  seeing  you  soon." 

I  wish  I  could  pay  her  a  compliment. 
Not  only  for  her  talent,  but  for  her 
genuine  lovableness.  I  wish  I  were  smart 
enough  to  think  of  something  startling 
and  different. 

However,  I  have  heard  it  said  that 
when  a  fellow  sees  a  girl  and  imme- 
diately thinks,  "There  she  is,  the  kind  of 
girl  I  would  one  day  want  to  marry," 
he  is  then  paying  her  the  greatest  of 
human  compliments. 

I  have  heard  those  who  know  Judy 
pay  that  compliment  to  her.  Judy  need 
not  blush.  Those  who  know  her  realize 
she  is  everything  a  fellow  could  want. 
They  realize  she's  not  boy  crazy,  not 
Hollywood,  not  anything  more  than 
little  Miss  Gumm  from  Grand  Rapids. 

And  you  see,  Judy,  I  wrote  this  for 
those  who  don't  know  you,  just  to  let 
them  in  on  it  and  to  reassure  them  that 
—well,  that  in  the  robust  language  of 
sportdom — you're  the  real  McCoy! 


INFORMATION  DESK 
MODERN  SCREEN 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  your  up-to-date  chart 
listing  the  heights,  ages,  birthdays  and 
marriages  of  all  the  important  stars.  I 
enclose  5c  (stamps  or  coin)  to  cover  cost 
of  mailing. 


Name 
Street 
City... 


State 


90 


MODERN  SCREEN 


THE  STARMAKERS  SPEAK! 

(Continued  from  page  33) 


you  can  always  develop,  but  that  en- 
thusiasm and  fire,  that  warmth  of  per- 
sonality must  be  in  the  blood.  It  is  a 
rare  thing,  believe  me.  I  will  illustrate. 
Just  yesterday  I  talked  with  a  19-year- 
old  girl,  a  gorgeous  specimen.  Perfect 
face.  Perfect  figure.  Everything!  But 
not  for  me.  Not  for  Joe  Pasternak — be- 
cause she  was  cold.  I  would  speak  to 
her,  question  her,  and  she  would  reply 
'U-huh.'  I  told  her  to  relax.  I  made 
her  walk  around  the  block.  I  asked  a 
million  provoking  questions.  No  use. 
She  had  nothing  to  give.  Probably  a 
million  boy  friends  told  her  she  was 
beautiful.  Well,  yes,  she  was.  But  that's 
all.  And  that's  not  enough!" 

Joe  Pasternak  swung  his  feet  from 
the  desk,  shouted  an  order  for  drinks 
and  planted  himself  in  front  of  me. 

"Beauty  is  unimportant.  After  all, 
there  are  no  homely  women.  If  there 
were,  sixty  per  cent  of  our  women  would 
be  old  maids.  But  they  aren't,  because 
somewhere  there  is  always  someone  who 
thinks  a  girl  is  the  most  beautiful  in  the 
world.  Now  take  Deanna  Durbin — "  and 
Pasternak's  eyes  lit  up.  "She  didn't  have 
the  poise  and  beauty  she  has  today  when 
I  talked  with  her  the  first  time.  But  she 
was  sincere.  And  natural.  There  was  a 
freshness  about  Deanna,  and  her  face 
was  unusual.  I  was  positive  she  couldn't 
fail.   She  didn't. 

"I  will  tell  you  something.  I  do  not 
believe  in  screen  tests.  For  this  reason — 
it's  the  camera  that's  being  tested  and 
not  the  person.    The  tests  are  usually 


slip-shod.  I  prefer  to  meet  beginners, 
size  them  up,  question  them.  I  can  learn 
more  in  fifteen  minutes  of  personal 
interview  than  in  ten  screen  tests. 

"I  made  an  unusual  discovery  recently, 
through  this  personal  interview  system. 
I  needed  some  youngsters  for  'The  Un- 
derpup.'  I  sent  word  to  a  local  dramatic 
school  and  told  them  to  send  over  their 
best  kiddies.  Well,  they  brought  the 
whole  school  over — even  two  six-year- 
old  students,  whom  they  were  afraid  to 
leave  behind  because  they  might  wreck 
the  school.  The  two  six-year-old  rough- 
necks were  Billy  Lenhart  and  Kenny 
Brown.  I  saw  them  tucked  away  in  a 
corner.  I  asked  Billy  what  he  had  with 
him.  He  said  it  was  a  bull  fiddle.  He 
was  taking  lessons.  I  asked  him  if  he 
wanted  to  be  in  the  movies.  He  said  yes. 
I  wanted  to  know  why,  and  he  answered, 
'Because  I  wanna  fix  my  mama's  teeth.' 

I SIGNED  him  on  the  spot.  He  was 
natural — and  not  simply  because  of 
his  youth.  I've  known  six-year-olds  who 
became  hams  before  they  were  little 
pigs!" 

Pasternak  paced  the  room,  a  bundle  of 
nervous  energy.  As  he  walked,  I  fired 
a  steady  bombardment  of  question  marks 
at  him.  His  answers  were  simple  and 
direct.  "I  don't  make  discoveries,"  he 
said.  "I  only  give  people  chances.  After 
that,  it's  up  to  them."  And  again,  "Star- 
dom can  be  in  anyone  from  anywhere. 
But  training  isn't  enough.  I  think  stars 
are  born."  And  later,  "I  have  a  preju- 


dice. If  talent  is  equal,  I  would  rather 
hire  a  person  who  needs  money  than  one 
who  doesn't.  There  was  a  woman  from 
Detroit  who  came  to  me  with  her  child. 
Her  husband  was  making  $700  a  month. 
I  told  her  that  an  extra  mink  coat  never 
made  anyone  happy,  and  that  her  child 
couldn't  eat  more  than  four  sodas  a  day 
anyway.  I  sent  her  back  to  Detroit." 

Pasternak  concluded  with  this:  "I  do 
not  hire  stars  by  formula.  I  am  a  crea- 
ture of  instinct.  If  someone's  honesty 
appeals  to  me  in  person  or  in  a  test,  I 
gamble  a  five  year  contract.  So  far,  I've 
been  lucky." 

My  next  stop,  still  out  in  the  valley, 
was  Warner  Brothers,  stretching  for  acres 
and  acres  beneath  the  mountains.  And 
there  I  found  that  strange  Merlin  of  the 
Movies,  Hal  Wallis,  former  electrical 
supply  salesman,  who  bowls  with  Paul 
Muni,  is  married  to  Louise  Fazenda  and 
subscribes  to  Farm  Bureau  Monthly. 

In  the  past  year,  Warners  made  200 
different  screen  tests,  which  enabled  Hal 
Wallis  to  discover  twenty-one  new  ac- 
tors and  actresses.  Each  of  these  tests 
was  made  at  a  cost  of  $500 — except  sev- 
eral tests  that  were  made  on  second- 
hand sets,  when  the  cost  was  then  kept 
down  to  as  low  as  $50. 

Every  Friday  afternoon,  Hal  Wallis 
sits  in  his  projection  room  and  studies 
the  week's  tests  of  little  theatre  actresses, 
beauty  contest  winners,  milkmen,  clerks 
and  collegians.  And  as  he  studies  the 
greenhorns,  he  not  only  looks  but  listens 
— and  very  carefully. 


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91 


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"The  voice  is  so  important,"  he  pointed 
out.  "Beauty  of  face  and  figure  are 
really  minor  things.  Actually,  beauty 
sometimes  leaves  me  cold.  There  may 
be  something  lacking  that  is  much  more 
vital  and  essential  to  an  arresting  per- 
sonality. A  warmth,  glow,  spark,  electric 
appeal,  animal  magnetism — call  it  what 
you  will. 

"But  always  the  voice,  always.  If  there 
is  one  thing  I  can  suggest  to  your  read- 
ers and  to  their  elders,  it  is  this:  Cul- 
tivate an  appealing  speaking  voice,  learn 
to  enunciate  clearly  and  distinctly,  rub 
off  all  sharpness  and  harsh  edges,  watch 
your  consonants  and  handle  the  vowels 
without  affectation." 

We  discussed  discoveries.  Wallis  told 
me  about  Errol  Flynn.  It  seemed  that 
Flynn  was  given  a  $500  test  in  London,  a 
test  which  was  shipped  to  Hollywood 
and  temporarily  shelved. 

"Well,  we  had  'Captain  Blood'  all 
ready  for  production,  sets  built  and 
everything,  when  we  received  word  that 
Robert  Donat,  who  had  been  signed  for 
the  leading  role,  either  could  not  or 
would  not  leave  England.  We  turned  to 
our  own  source  of  talent  supply.  I 
looked  at  the  early  test  of  Flynn.  He 
registered.  Good  voice.  Pleasing.  He  got 
the  part.  We  took  a  big  chance  on  him, 
and,  suddenly,  he  was  set  for  the  rest  of 
his  life." 

I  now  learned  something  new.  That 
studios  have  a  mutual  agreement  to  swap 
tests.  If  Warners  tested  someone,  and 
didn't  like  the  test — they  passed  it 
around  to  other  studios.  It  was  in  this 
way,  Wallis  told  me,  that  Warners  found 
Ann  Sheridan.  Paramount  brought  her 
"oomph"  to  Movieland,  tested  her,  gave 
her  a  few  small  parts  and  dropped  her. 

Hal  Wallis  saw  her  old  test,  and  picked 
her  up. 

"I  saw  in  Ann  Sheridan  the  same  al- 
lure that  made  Clara  Bow  the  'It  Girl' 
of  her  day  and  Jean  Harlow  the  sensa- 
tion of  a  later  period.  All  Ann  needed 
was  a  little  more  careful  handling  by 
the  make-up,  hairdressing  and  wardrobe 
departments,  and  a  type  of  role  that 
would  let  her  get  that  'oomph'  across." 

In  search  of  additional  first-hand  opin- 
ions, I  went  to  Columbia.  There,  two 
ante-rooms  guarding  his  private  office 
like  twin  moats,  I  found  husky,  forty- 
nine-year-old  Harry  Cohn,  founder  and 
head  of  Columbia.  With  teletypes  bang- 
ing faintly  in  the  distance,  I  listened  to 
Cohn,  as  he  swung  around  on  his  swivel 
chair  behind  an  immense  horseshoe  desk 
and  permitted  himself  to  be  interviewed 
for  the  first  time  in  three  years. 

"There  are  two  things  to  watch  for  in 


a  screen  test,"  said  Cohn.  "A  person 
must  have  both.  He  must  be  photogenic 
and  at  the  same  time  talented.  I'm 
interested  in  experienced  performers 
whose  abilities  are  mature.  Give  me  a 
person  who  can  act  and  mix  him  or  her 
with  a  sound  story — that's  my  recipe  for 
stardom!" 

Cohn  told  me  that  he  personally 
studied  550  screen  tests  a  year — most  of 
them  from  other  studios.  Columbia,  it- 
self, makes  about  two  a  week,  at  a  cost 
of  $300  each.  Once,  Columbia  built  a 
period  set  and  ran  a  costume  test  on  it 
that  amounted  to  almost  $10,000! 

AFTER  over  twenty  years  of  sitting  in 
-  on  tests,  Cohn  said,  "The  biggest 
fault  with  most  aspirants  is  that  they're 
amateurs.  They  don't  know  enough. 
They're  not  prepared.  Film  audiences 
have  grown  up  and  become  too  clever  to 
swallow  anything  amateurish.  Even  vet- 
eran stage  stars  can  sometimes  be  ama- 
teurish for  the  movies — that  is  because 
the  two  mediums  are  so  different.  A  stage 
actor  is  seen  from  40  to  80  feet  away  and 
he  exaggerates  his  actions  on  the  boards. 
When  we  focus  a  camera  on  his  face,  he's 
miserable. 

"The  most  natural  actress  I  ever  found 
in  a  screen  test  was  Grace  Moore  in 
1934.  She  had  everything  and  was  easy 
to  handle.  Even  though  she  had  failed 
once  before,  portraying  the  character  of 
Jenny  Lind,  I  had  faith  in  her.  In  'One 
Night  of  Love,'  we  made  her  a  house- 
hold word,  even  though  she  wasn't  the 
best  singer  in  the  world.  And  then  some- 
thing happened  to  her.  It  should  be  a 
lesson  to  everyone.  She  became  hard  to 
handle.  I  put  Frank  Capra  on  one  of 
her  pictures,  and  Grace  thought  she 
knew  more  than  he  did. 

"Today  Grace  Moore  is  through.  She 
said  she  paid  us  to  quit  Columbia.  It's  a 
lie.  We  paid  $60,000  to  get  rid  of  her. 
And  I  want  to  say,  now,  that  we  want 
people  who  are  not  only  easy  to  direct, 
people  who  can  master  characterizations 
— but  people  who  can  also  keep  their 
heads  when  they  get  up  high  in  the 
rarifled  atmosphere." 

It  was  Harry  Cohn,  you  may  remem- 
ber, who  saw  the  photo  of  a  four-year- 
old  child  on  the  cover  of  a  popular 
weekly  magazine.  He  wanted  the  child 
for  his  "Blondie"  pictures.  Hundreds  of 
mothers  in  dozens  of  cities  claimed  the 
mag  had  run  a  picture  of  their  child. 
Cohn's  scouts  spent  forty-eight  frantic 
hours,  and  finally  located  the  cover  baby 
— little  Larry  Simms — living  nine  blocks 
from  the  studio  itself!  Larry  Simms  be- 
came "Baby  Dumpling"  because  Cohn 


PEACH  .  .  . 

1 

RACHELLE 

1 

BRUNETTE 

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8UNTAN-. 

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The  Jon  Halls  re- 
cently gave  Rudy 
Vallee  a  luau — 
feast  to  you  non- 
Tahitians  —  and 
they  just  couldn't 
hold  off  till  the 
guests  came.  It 
was  Mrs.  H  . '  s 
(Franny  Lang- 
ford)  idea  of  a 
novel  way  to  cele- 
brate her  "dis- 
coverer's'' new 
radio  series. 


92 


MODERN  SCREEN 


liked  the  cover  of  a  five  cent  magazine! 

At  RKO,  in  an  effort  to  find  Garson 
Kanin,  their  sensational  twenty-eight- 
year- old  genius,  I  went  to  police  court. 
Well,  that  is,  I  went  to  a  courtroom  set, 
picked  my  way  through  prop  men  and 
engineers,  and  found  Kanin  acting  out  a 
rollicking  scene  with  Cary  Grant  for 
"My  Favorite  Wife." 

Kanin,  the  soft-spoken,  gesticulating, 
producer-director  of  the  new  Irene 
Dunne-Cary  Grant  vehicle,  gestured  me 
into  the  jury  box  and  a  moment  later 
was  beside  me. 

"When  I  view  a  screen  test,"  he  began, 
plunging  into  his  favorite  subject,  "I 
look  for  a  person  who  has  imagination, 
who  is  sensitive  and  intelligent.  Lodks 
don't  matter  at  all.  With  our  modern 
high  grade  make-up  departments  and 
advanced  photography,  we  can  make 
the  most  average  face  breath-takingly 
beautiful. 

"The  trouble  with  most  newcomers  is 
that  they  are  stage-struck.  I'll  explain 
with  a  story.  Edna  Ferber  once  said  to 
me,  'Success  or  failure  depends  entirely 
on  whether  you  want  to  be  an  actor  or 
want  to  act.'  Too  many  people  just  want 
to  be  actors.  Do  you  know  what  I  mean? 
They  want  to  be  known  as  a  star,  to  be 
worshipped,  publicized,  rich  and  famous. 
I've  seen  hundreds  of  girls  here  who 
worry  only  about  their  make-up,  their 
clothes  and  with  whom  they  are  seen. 
They  won't  succeed. 

"But  those  who  are  interested  in  the 
art  of  acting,  who  love  it,  who  can  con- 
centrate on  their  work  and  not  on  them- 
selves, will  get  there.  Look  at  Irene 
Dunne.  There's  a  girl  who  loves  to  act. 
She  showed  up  yesterday  with  a  sty  on 
one  eye  and  a  pimple  on  her  nose.  Did 
she  care  how  she  looked?  No.  She  only 
wanted  to  get  into  her  character.  That's 


Yvonne  Duval  of  Alsace-Lorraine  was 
recently  adjudged  owner  of  Holly- 
wood's most  photogenic  figure.  The 
twenty-one-year-old's  first  pcture  will 
be  "Ma!  He's  Making  Eyes  At  Me." 


what    counts    in   making    an  actress!" 

Kanin  hailed  Cary  Grant,  who  was 
powdering  his  face  for  the  camera, 
bummed  a  cigarette  from  him  and  went 
on:  "I  want  you  to  know  this.  While 
RKO  has  recently  landed  Lucille  Ball, 
Dorothy  Lovett  and  Katherine  Adams  by 
screen  tests,  I  don't  believe  in  tests.  They 
cost  from  $200  to  $2,000  each,  and  the 
money  is  usually  wasted.  The  tests  are 
done  in  a  hurry,  without  decent  direc- 
tion, support  or  script — and  the  newcom- 
ers show  up  badly. 

"You'll  read  of  one  studio's  passing  up 
a  girl,  and  another  studio's  grabbing  her 
and  making  her  a  star.  Why,  I  turned 
down  Mary  Martin  myself.  She  did  a 
song  and  dance  in  her  test,  and  I  thought 
she  was  weak.  But  listen,  it's  not  that 
we  producers  are  incompetent,  it's  that 
screen  tests  are  incompetent. 

"You  want  me  to  give  some  general 
advice?  Well,  the  best  advice  is  not  to 
give  any.  It's  a  dangerous  thing  to  toy 
with.  But  I  would  tell  anyone  serious 
about  entering  the  movies  to  retain  his 
patience  and  industry,  and  work  like 
hell!  Though,  frankly,  if  anyone  is  really 
serious,  he  won't  need  advice.  He'll  get 
there!" 

Following  his  own  line,  Kanin  got 
there.  In  a  few  short  years  he  graduated 
from  obscurity  to  the  summit.  With 
little  money  and  his  own  huge  talent,  he 
made  "The  Great  Man  Votes,"  the  best 
small-budgeter  in  years,  and  then  clicked 
again  with  "Bachelor  Mother."  I  ,Teft 
wispy,  blue-eyed,  sandy-haired  Mr.  Ka- 
nin with  mingled  regret  and  admiration. 
He  was  one  doctor  who  took  his  own 
medicine — he  worked  hard  and  possessed 
what  he  most  demands  of  others — a  vivid 
imagination. 

At  Paramount,  beneath  a  shingle  la- 
beled "Talent  Department,"  through  a 


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Luxurious  as  Trailways 
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MAY,  1940 


93 


TEETHING  PAINS 


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know  the  secret  of  clean,  healthy, 
glossy,  perfectly-groomed  hair... free 
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BALDNESS!  They  use  L.  B....Have  you 
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corridor,  and  into  a  bright  office,  I  found 
affable  Artie  Jacobson,  spokesman  for 
the  producers  on  the  lot — a  super-star- 
Dunne  in  "Love  Affair?" 

"I'll  take  a  pound  of  personality  to  an 
ounce  of  beauty,"  Jacobson  remarked. 
"We  at  Paramount  really  give  tyros  a 
break.  Our  producers  study  1,000  tests 
a  year.  In  a  back  room,  we  audition  2,000 
more.  In  1939,  we  signed  twenty-eight 
new  people.  Of  those  beginners  under 
contract,  twelve  came  through  screen 
tests — and  each  test  cost  the  studio  $750. 
You  see,  we  want  new  talent  and  pay  to 
find  it. 

"Frankly,  I  myself  am  another  of  the 
many  not  sold  on  those  screen  tests.  I've' 
developed  something  better,  an  audition 
room  where  I  stage  living  tests.'  Would 
you  care  to  see  it?" 

T  SAW  it.  It  was  a  huge  room  divided 
A  in  two  by  a  large  glass  panel.  On 
one  side  was  a  small  stage  that  was 
wired  for  sound.  On  the  opposite  side 
were  cushioned  chairs  and  a  loudspeaker 
for  producers. 

"I  sit  in  this  room  with  a  producer," 
explained  Jacobson.  "The  lights  are 
turned  down  so  the  actors  can't  see  us 
and  become  frightened.  It  works  per- 
fectly. I  discovered  sixteen  stars-to-be 
in  this  audition  room  last  year — and 
that's  including  Susanna  Foster,  who 
sang,  acted  and  was  signed  within 
twenty-four  hours." 

We  walked  upstairs  to  a  tiny  projec- 
tion room,  a  glorified  telephone  booth, 
containing  only  thirteen  seats. 

"Would  you  like  to  see  a  real  screen 
test?"  asked  the  talent  head. 

In  a  moment  we  were  in  the  darkness, 
watching  a  screen  test  of  someone  called 
Janice  Logan,  an  attractive  blonde.  Her 
measurements  and  age  were  flashed  on 
the  screen,  then  much  footage  devoted 
entirely  to  her  face — laughing,  smiling, 
frowning,  crying. 

"You  see,"  said  Jacobson,  "the  pro- 
ducer is  able  to  observe  every  angle  of 
her  face.  The  jaw  line  there  is  very 
important.  Now  that  girl  is  natural. 
Breathing  a  little  hard  from  nervousness, 
but  natural.  Most  new  people,  however, 
are  afraid  to  be  themselves.  Their  voices 
go  up  or  down  and  become  terribly  af- 
fected. Watch  that  girl  now.  She's  going 
to  do  a  little  playlet,  adapted  from  a 
radio  script.  It  required  from  nine  in 
the  morning  until  six  in  the  evening  to 
shoot  it.  We  could  have  given  her  a 
scene  from  a  Claudette  Colbert  show, 


but  the  producer  would  then  mentally 
compare  her  to  Colbert  immediately,  and 
Janice  wouldn't  have  a  chance.  So  she 
does  a  new  script." 

Janice  Logan  was  genuine.  She  ran 
the  gamut  of  emotions,  from  sobbing  as 
though  her  heart  would  break  to  giggling 
like  a  school  girl.  Poured  on  the  sob. 
Stabbed  at  the  heart. 

"She's  good,"  I  ventured. 

"You're  darn  right  she  is.  We've  signed 
her  on  the  basis  of  the  900  feet  of  film 
you've  just  seen. 

"My  assistant,  Lewis,  saw  Bill  Holden 
made  up  as  a  ninety-year-old  man 
in  a  little  theatre  play;  he  wasn't  im- 
pressive. Later,  Lewis  went  backstage  to 
see  someone  else  and  saw  the  kid  tak- 
ing off  his  make-up.  He  saw — well,  that 
certain  something,  and  shooed  Bill  Hol- 
den to  me.  But  Holden  was  strained, 
afraid  to  be  natural.  I  told  him  to  see 
me  the  following  day  and  to  please  be 
himself.  The  next  day  he  was  better. 
His  hair  was  cut  wrong.  And  he  walked 
with  a  slouch.  But  he  was  vital.  I  liked 
him.  He  was  tested,  but  we  were  slack 
in  signing  him — and  Cohn  at  Columbia 
grabbed  him  for  'Golden  Boy.' 

"That's  how  it  is.  Susan  Hayward 
walked  in  here  one  day,  picked  up  a 
cold  script  and  read  it  like  a  veteran. 
She  was  a  natural,  a  neglected  Scarlett 
girl,  and  we  signed  her  pronto." 

TP  HE  job  was  done.  I  had  visited  five 
*■  studios.  I  had  heard  the  starmakers 
speak.  Now  to  add  up  their  ideas: 

They  spend  from  $50  to  $10,000  to  make 
a  single  screen  test  of  you.  They  de- 
mand sincerity,  good  voice,  acting  ability, 
imagination  and  personality.  They  test 
and  audition  thousands  a  year  in  search 
of  such  qualities. 

Some  place,  dear  reader,  in  these  frank 
statements  that  movie  producers  have 
made,  you  will  find  the  sesame,  the  for- 
mula, the  platinum  key  to  movie  success. 

Next  month,  when  I'm  at  Paramount, 
watching  Test  4784  with  Artie  Jacobson, 
I  hope  he'll  exclaim,  "Now  that's  some 
gal!  She's  got — oh,  that  certain  some- 
thing. The  test  cost  us  a  fortune,  but 
we  signed  her!  Yeah,  she's  some  girl!" 
And  I  hope  she's  you! 
EDITOR'S  NOTE:  You  may  photograph 
better  than  Hedy  Lamarr  and  be  able 
to  act  circles  around  Bette  Davis,  but 
you  still  need  something  else  to  be  a  star. 
That  "something"  is  a  good  agent!  Don't 
miss  the  third  article  of  this  informative 
series  in  the  June  Modern  Screen. 


HOW  HOLLYWOOD  SPENDS  ITS  WEALTH 


(Continued  from  page  49) 


In  the  seven  years  he  has  been  in 
Hollywood,  Billy  has  watched  many  a 
jewelry  vogue  come  and  go.  The  cur- 
rent trend,  he  advises,  is  toward  heavy 
gold  settings  in  bracelet,  ring  and  clip 
sets  for  daytime  costumes.  Platinum 
still  holds  the  lead  for  evening  wear. 
Favored  stones  are  topazes,  aquamarines, 
rubies  and  emeralds.  Wedding  bands  are 
either  gold  or  platinum,  but  usually  ex- 
tremely plain.  Charm  bracelets  have 
gone  out,  and  many  stars  have  had  their 
more  valuable  tokens  put  on  compacts. 
Jewelry  remodeling  is  always  very 
popular,  especially  with  Paulette  God- 
dard,  who  does  her  own  designing. 

Having  set  their  fashions  and  sold 
them  everything  but  nose-rings,  Billy 
now  feels  qualified  to  explode  a  few 
funny  ideas  people  have  about  his  cus- 
tomers'  jewelry.    His  pet  peeves  are: 

1.  In  public,  stars  wear  fake  gems. 


Nonsense,  explodes  Billy!  They  do 
have  their  valuable  pieces  heavily  in- 
sured, but  any  time  you  see  an  orna- 
ment, it's  the  real  thing — not  a  paste 
replica. 

2.  Stars  rent  their  jewels. 

That's  bunk,  too,  according  to  our  ex- 
pert. Studios  sometimes  hire  a  piece  for 
a  scene,  but  there's  no  50c-an-hour  ar- 
rangement with  individuals! 

3.  Stars  prefer  gaudy  jewelry. 

This  is  the  unkindest  cut  of  all.  Time 
and  again  movie  folks  have  proved  they 
want  nothing  more  than  fine  workman- 
ship and  design,  and  flash  can  go  hang. 

4.  Lupe  Velez  wears  junk. 

Just  a  malicious  rumor,  says  Billy. 
Lupe  owns  many  beautiful  things.  In 
fact,  any  time  she's  mad  at  the  world 
she  drops  in  to  see  him,  orders  a  stun- 
ning clip  or  bracelet  and  leaves  feeling 
fine.  As  wouldn't  you,  my  dears? 


¥  H  HAIR  OIL 

JU*A#«  &  Scalp  Conditioner 
HOLLYWOOD,  CALIFORNIA 


94 


MODERN  SCREEN 


(Continued  from  page  85) 


NAME 

PREVIOUS 

■  Ilk  ¥  lUUw 

OCCUPATION 

FIRST  FEATURE. 
LENGTH  MOVIE 

YEAR 

FAVflRITF 
■  Mr  Unl  1  C 

SPORT 

HOBBY 

PRESENT 
STUDIO 

ADDRESS 

Power,  Tyrone 

Guide 

Girl's  Dormitory 

1936 

Bowling 

Collecting  Charms  T  C  F 

nome — loy  oaitair, 
Brentwood 

Preston,  Robert 

Lifeguard 

King  of  Alcatraz 

1938 

Fishing 

Making  Model 
Airplanes 

P 

otuaio — o*toi  iviaratnon 
Street,  Hollywood 

Price,  Vincent 

Camp  Counsellor 

Service  De  Luxe 

1938 

Bicycling 

Art  Collecting 

U  A 

otuaio — in.  r  ormosa 
Ave.,  Hollywood 

Prouty,  Jed 

Salesman 

Smile  Brother  Smile 

1927 

Golf 

Raising  Orchids 

TCF 

otuaio — jdox  ino.  yuu, 
Beverly  Hills 

Raft,  George 

Dancer 

Quick  Millions 

1931 

Boxing 

Collecting  Jade 
Elephants 

WB 

Home — 450  N.  Rossmore, 
Hollywood 

Rainer,  Luise 

Stage  Actress 

Escapade 

1935 

Sailing 

Amateur 
Photography 

MGM 

nome — jio  in.  i^niLwoocij 
Brentwood  Heights 

Rains,  Claude 

Call  Boy 

The  Invisible  Man 

1933 

Cricket 

Farming 

WB 

nome — ±oo<±  liud  view, 
Los  Angeles 

Rathbone,  Basil 

Insurance  SolicitorThe  Masked  Bride 

1925 

Football 

Raising  Dogs 

C 

xionie — DCiO^  j_i<)b  i?  eiiz, 
Hollywood 

Ratoff,  Gregory 

Guard 

Symphony  of  Six 
Million 

1932 

Fencing 

Sculpturing 

TCF 

nome — t  dii.  in.  noxoury 
Drive,  Beverly  Hills 

Raye,  Martha 

Vaudevillian 

Rhythm  on  the  Range  1936 

Swimming 

Collecting  Curios  P 

nome — j.orio  in.  nay- 
worth,  Hollywood 

Raymond,  Gene 

Child  Actor 

Personal  Maid 

1932 

Riding 

Dog  Raising 

P 

nome — o± 1  iNimes  noaa, 
Brentwood 

Read,  Barbara 

Stage  Actress 

Three  Smart  Girls 

1937 

Tennis 

Photography 

RKO 

Studio~780  Gower 
Street,  Hollywood 

Reagan,  Ronald 

Sports  Columnist 

Love  is  on  the  Air 

1937 

Baseball 

Rifle  Collecting 

WB 

Studio — Burbank,  Cal. 

Rice,  Florence 

Writer 

Fugitive  Lady 

1934 

Hiking 

Music 

MGM 

Studio — Culver  City,  Cal. 

Ritter,  Tex 

Radio  Actor 

Song  of  the  Gringo 

1936 

ii.K!  11  I1-;  lilt? 

Surf 

Collecting 
Cowboy  Ballads 

M 

O I UU1U— *±  J1U  OUllbCl 

Blvd.,  Hollywood 

Robinson, 
Edward  G. 

Stage  Actor 

The  Hole  in  the  Wall  1929 

Golf 

Art  Collecting 

WB 

 ZJ±\J     11CA1UI  U 

Drive,  Beverly  Hills 

Robson,  May 

Stage  Actress 

Angel  of  Broadway 

1927 

None 

Crocheting 

WB 

Hfimp  filO  N  RprlfnrH 

-LX*J1I1C       UJ.U   IN  .   JJCLllLII  U 

Drive,  Beverly  Hills 

Rogers,  Ginger 

Dancer 

Young  Man  of 
Manhattan 

1930 

Bicycling 

Dancing 

RKO 

Way,  Beverly  Hills 

Rogers,  Roy 

Truck  Driver 

Under  Western  Stars  1937 

Riding 

Collecting 
Chinese  Charms 

R 

Studio— 4024  Radford 
Ave.,  N.  Hollywood 

(Continued  on  page  106) 

PARK  &  TILFORD 


a^ft&o  one/ 


MAY,  1940 


95 


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KEEP  YOUR  SMILE  IN  STYLE 

{Continued  from  page  45) 


wreaks  a  lot  of  mouth  havoc  because 
tongues  and  gum  surfaces  are  blithely 
skipped  over,  when  scrubbing  time  comes 
around. 

And  that  brings  us  right  down  to  the 
delicate  question  of  how's  your  breath? 
Is  it  like  a  May  morning,  as  every  love- 
ly girl's  should  be — or  is  the  least  said 
about  it  the  better?  Unpleasant  breath 
may  spring  from  a  number  of  sources, 
some  local,  others  systemic.  Spongy, 
bleeding,  infected  gums  may  be  to  blame. 
Or  is  it  your  decayed  teeth?  They'll  do 
it  every  time.  Acid  indigestion  is  a  com- 
mon cause  and  so  are  infected  tonsils, 
adenoids,  sinuses,  bronchial  or  lung  con- 
ditions. Nasal  catarrh  is  another  of- 
fender. Even  infections  in  far  removed 
corners  of  the  body  are  carried  to  the 
lungs  by  your  bloodstream  and  so  evi- 
dence themselves  in  your  breath.  How- 
ever, much  of  it  comes  from  careless  or 
incomplete  local  cleansing.  If  you've 
been  indulging  in  onions,  garlic  or  other 
volatile  and  flavorful  bulbs,  the  best 
thing  for  you  to  do  is  hie  yourself  to  a 
lavatory  and  scrub  every  tooth  and 
cranny  of  your  mouth  thoroughly  before 
the  scent  takes  hold.  Drinking  milk  or 
eating  parsley  doesn't  compare  to  plain 
everyday  cleanliness  for  breath  insurance. 

A MOUTH  wash  after  the  brushing  will 
help,  though.  A  mild  chlorine  wash  is 
especially  good  following  onions  or  other 
"strong"  vegetables,  for  it  destroys  the 
oils  which  make  your  breath  offensive. 
Smoking  and  drinking  also  contribute 
their  share  to  unpleasant  breath.  The 
antidote  here  is  the  same  as  above. 

Always  keep  a  bottle  of  your  favorite 
mouth  wash  handy.  Use  it  regularly 
every  day  and  especially  before  going 
out  with  others.  Swish  it  around  vig- 
orously and  hojd  it  in  your  mouth  as 
long  as  possible  for  the  best  results. 
You'll  feel  sweeter  and  fresher,  and  your 
smile  will  reflect  your  feelings. 

If  you  really  want  to  get  to  the  bottom 
of  halitosis,  check  your  entire  system  be- 
ginning with  your  teeth.  Drink  at  least 


six  to  eight  glasses  of  water  a  day  and 
try  a  glass  of  orange  juice,  grapefruit 
juice  or  lemonade  the  first  thing  every 
morning  and  again  before  special  dates. 
A  parched  system  has  caused  many  an 
unpleasant  breath  because  toxins  accu- 
mulate for  lack  of  fluids.  A  bit  of  milk 
of  magnesia  swished  around  in  your 
mouth  before  retiring  also  helps  protect 
you  against  acid  breath.  It  also  aids 
teeth  in  counteracting  acidity,  which  is  a 
most  prevalent  cause  of  decay. 

Speaking  of  exercises,  there's  nothing 
better  for  a  beautiful,  healthy  mouth  and 
teeth  than  eating  crisp,  raw  carrots, 
celery,  apples  and  other  "hard"  raw 
fruits  and  vegetables.  Bread  crusts,  too. 

As  for  diet,  did  you  know  that  cal- 
cium, phosphorous  and  minerals  are  ab- 
solute essentials  to  strong,  healthy  teeth? 
Of  the  foods  containing  these  elements, 
milk  is  the  most  important.  Eggs,  butter 
and  cheese  come  next,  and  not  to  be 
sneezed  at  are  meats,  whole  grained 
cereals,  leafy  vegetables,  citrus  fruits, 
fish  and  nuts.  Dried  beans  and  peas 
have  their  virtues,  too,  and,  of  course, 
the  oils  derived  from  cod  and  halibut 
liver  are  rich  in  tooth  building  minerals. 
Excessive  sweets  and  starches  are  as  bad 
for  your  teeth  as  for  your  waistline  be- 
cause they  make  acid  forming  bacteria, 
which  are  ancient  enemies  of  sound 
teeth.  You  probably  know  that  taffy, 
caramels  and  "chewy"  butterscotch  are 
the  dentists'  best  friends.  They  wreck 
more  teeth  and  loosen  more  fillings  than 
you  can  shake  a  stick  at. 

Don't  forget  Vitamin  D.  Found  in 
milk,  especially  in  irradiated  products, 
and  in  many  of  the  other  aforementioned 
foods,  it  is  one  of  Nature's  good  fairies. 
Sunshine  is  full  of  Vitamin  D,  too,  and 
that's  why  you  want  to  get  all  you  can 
of  Old  Sol's  beneficent  rays  every  sum- 
mer and  store  them  up  in  your  system 
against  the  dreary  days.  Vitamin  D  helps 
keep  you  beautiful  from  inside  out — 
and  that's  the  only  way  that  lasts. 

Now,  a  word  about  dentistry.  A  good 
dentist  is  one  of  the  best  friends  a  be- 


George  Murphy, 
whose  dad  was 
an  Olympic 
coach,  goes  step- 
ping at  the  Troc- 
adero  with  his 
wife,  J  u I iette 
Johnson.  George, 
a  former  Yale 
track  and  foot- 
ball star,  says  his 
screen  work  is 
even  more  strenu- 
ous than  those 
sports  were.  He 
dances  from  be- 
tween 75  to  140 
miles  in  an  aver- 
age  feature- 
length  film. 


96 


MODERN  SCREEN 


witching  smile  ever  had.  And  the 
younger  you  learn  it,  the  better  it  is 
for  your  beauty  as  well  as  your  health. 
We  hope  that  your  mother  started  right 
in  on  your  baby  teeth  to  see  that  they 
had  proper  dental  care,  for  their  health 
and  condition  had  definite  effects  upon 
the  set  that  means  so  much  to  you  now. 
However,  even  if  she  didn't,  it's  won- 
derful what  good  dentists  can  still  do 
to  straighten,  correct  and  beautify  your 
teeth  right  up  through  middle  age. 

Straightening,  filling,  scaling  (the  semi- 
annual cleaning  job) ,  treatment  of  pyor- 
rhea, gingivitis,  trench  mouth,  etc. — all 
require  the  care  of  a  skillful  dentist  and 
should  never  be  entrusted  to  anyone  else. 
Crooked  teeth  should  be  straightened, 
not  only  for  looks  but  also  for  health.  If 
your  teeth  are  out  of  line,  your  "bite" 
will  be  too.  Then  your  teeth,  in  their 
attempt  to  overcome  the  difficulty,  will 
grow  farther  than  ever  out  of  their  nor- 
mal positions,  and  a  bad  situation  gets 
worse  and  worse.  Better  a  few  months 
of  braces  than  a  lifetime  of  ugliness,  bad 
health  and  regrets. 

T  TSUALLY,  you  don't  need  much  urg- 
ing  to  go  to  the  dentist  when  you  get 
an  actual  toothache.  Don't  dilly  dally, 
though.  Have  a  thorough  going  over  on 
general  principles  at  regular  intervals. 
Don't  wait  till  a  pain  strikes  you  in  the 
midst  of  a  drink  of  cold  water  or  a  bite 
of  your  favorite  sweetmeat.  Many  a  case 
of  decay  burrows  away  quietly  but 
steadily  and  never  hurts  until  the  tooth 
is  so  far  gone  it  isn't  worth  saving. 

Pyorrhea  is  another  direct  signal  for 
immediate  dental  care.  It  attacks  gums 
at  the  sockets  and  is  evidenced  by  easy 
bleeding,  painful  inflammation,  pus  pock- 
ets and,  later  on,  even  by  the  loss  of 
teeth.  The  only  cure  is  immediate  pro- 
fessional cleaning  and  local  medication 
which  only  a  dentist  can  give.  If  you 
have  discolored  teeth,  stained  by  tartar, 
nicotine  or  the  like,  be  sure  to  let  your 
dentist  attend  to  them.  Any  dentifrice 
abrasive  enough  to  lighten  them  is  likely, 
in  time,  to  destroy  the  enamel. 

Treat  your  mouth  with  respect,  and 
your  teeth  like  the  priceless  pearls  that 
they  really  are.  The  stars  in  Hollywood 
set  a  shining  example  that  all  the  rest  of 
us  can  follow  with  profit.  Ways  and 
methods  may  change  from  time  to  time, 
but  teeth  that  are  both  beautiful  and 
healthy  will  never  go  out  of  style. 

*  *  * 

We  know  a  very  excellent  dentifrice 
that  you  should  have  in  your  medicine 
cabinet.  It  is  perfectly  wonderful  for 
whitening  and  polishing  teeth.  Also,  its 
cleansing  properties  are  remarkable.  It 
helps  your  toothbrush  get  rid  of  all  the 
foreign  matter  that  has  lodged  between 
even  the  tiniest  of  crevices.  Another  ad- 
vantage is  that  this  dentifrice  is  obtain- 
able in  either  the  paste  or  the  powder 
form.  You  can  take  your  choice.  For 
lustrous,  healthy  teeth,  we  suggest  that 
you  fill  in  the  following  coupon,  paste 
it  on  a  postal  card  and  mail  it  to  us  pronto. 


Carol  Carter,  MODERN  SCREEN  Magazine 
149  Madison  Avenue,  New  York,  New  York 

Please  send  me  a  free  sample  of  the  denti- 
frice mentioned  here.  I  would  like  to  have 

the  PASTE..  POWDER  

(Check  the  one  you  prefer.) 


Name . 


(Please  print) 


Address. 


(Street  and  Number) 


(City)  (State) 


Now,  you  loo, '.an  enjoy  the  same  glam- 
orous appearance  of  Hotly  wood's  most 
vivacious  stars.  This  Summer  insist  on 
JoieW  Authentic  Hollywood  Footwsor. 
You'll  find  on  irresistible  array  of  styles 
to  perfectly  compliment  your  light,  cool 
Summer  outfits.  Moderately  priced. 


J 


CM 


STYLED  IN  HOLLYWOOD 


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HEAR  YE!   HEAR  YE!   EACH  MONTH  TEN  FANS  WIN  CRISP 


Wooden  Injun 


I'm  cranky  tonight  and  I  feel  like  pick- 
ing on  somebody.  I  think  I'm  going  to 
vent  my  wrath  on  Errol  Flynn. 

I  am  furious  with  this  gentleman  for 
the  wooden-injun  performance  he  turned 
in  in  "Elizabeth  and  Essex."  Elizabeth 
would  never  have  loved  that  kind  of 
Essex.  You  can't  tell  me!  And  the  fiery 
Essex  would  turn  over  in  his  grave  if  he 
could  see  what  collar- ad  Flynn  has  done 
to  him.  He  has  succeeded  in  making  a 
mere  mechanized  clothes-horse  out  of 
one  of  history's  most  romantic  figures. 
Even  if  he  had  been  teamed  with  a  less 
capable  actress,  Flynn's  performance 
would  have  seemed  colorless,  but  con- 
trasted as  it  was  with  Bette  Davis' 
superb,  flesh  and  blood  portrayal,  his 
was  insufferably  flat  and  unconvincing. 

Mr.  Flynn  is  certainly  beautiful  in 
tights  stalking  through  green  forests. 
His  profile  is  noble  against  the  blue  sky. 
But,  cradled  in  the  royal  beldam's  lap, 
he  is  devoid  of  any  emotion. 

I'd  rather  have  somebody  homely  and 
hawk-nosed  and  spindle-shanked — but  an 
actor — for  the  lead  in  such  an  important 
picture. — Eva  Green,  Brockton,  Mass. 

Design  for  Marriage 

I  used  to  think  marriage  was  a  serious 
business  and  turned  every  little  fault  of 
Hubby's  into  a  major  catastrophe.  But 
the  Mr.  and  Mrs.  movies  have  shown  me 
that  every  husband  should  be  taken  with 
a  large-sized  dose  of  humor.  I've  learned 
from  them  that  today's  great  tragedies 
become  tomorrow's  laughable  memories. 

First  of  the  man-and-wife  whodunits 


was  the  unforgettable  "Thin  Man."  Since 
then,  many  follow-ups  have  appeared, 
with  "Mr."  doing  the  detecting,  and 
"Mrs."  very  successfully  getting  in  his 
way.  Of  course,  in  our  home  we  don't 
have  corpses  falling  around  and  shots 
punctuating  our  conversations,  but  these 
domestic  movie  scenes  have  served  a 
very  definite  purpose  in  my  life. 

"Test  Pilot,"  "Make  Way  for  Tomor- 
row," "Vivacious  Lady,"  "Sweethearts," 
"The  Awful  Truth,"  "Made  for  Each 
Other"  and  "Goodbye,  Mr.  Chips"  all 
seemed  to  me  to  point  the  way  to  a 
romance  which  would  become  more 
beautiful  with  the  years.  These  pictures 
have  given  me  a  "design  for  marriage," 
and  if  my  pattern  turns  out  successfully, 
our  happiness  will  be  due  largely  to  che 
examples  set  by  the  likable,  human 
couples  of  Movieland. — Mrs.  H.  S.  Truitt, 
Snowden,  N.  C. 

Bette's  Breaks 

Why  all  the  raves  about  Davis?  The 
secret  of  her  fame  lies  in  the  simple  fact 
that  she  gets  the  best  parts  available. 
In  the  beginning,  she  was  bright  enough 
to  fight  for  real  acting  roles,  and  now 
they  are  given  her  as  a  matter  of  course; 
while  her  contemporaries,  who  were  sat- 
isfied to  look  pretty  and  swoon  in  the 
hero's  arms,  are  now  definitely  out  in 
the  cold. 

Bette  gets  all  the  plums.  Yet,  no  mat- 
ter what  her  role,  she  plays  Bette  Davis. 
Her  own  mannerisms  overshadow  those 
of  the  character  she  portrays.  This  is 
not  real  acting. 

I  say  Bette  is  no  better  than  a  dozen 
other  actresses  could  and  would  be,  if 
they  were  given  good  parts.  Remember 


98 


MODEKN  SCREEN 


THOUGHTS 

NEW  BILLS  FOR  LETTERS 


Merle  Oberon  in  "Wuthering  Heights," 
Norma  Shearer  in  "The  Women,"  Irene 
Dunne  in  "Love  Affair  ?" 

Up  to  now,  Davis  has  had  all  the 
breaks.  How  about  giving  some  of  the 
other  equally  talented  girls  a  chance? 
—Doris  Layer,  Silver  City,  N.  M. 

Glamour,  Where  Art  Thou? 

Today's  movie  heroes  are  much  too 
normal.  They  prefer  to  pose  astride  a 
horse  (Taylor) ,  or  skeet  shooting 
(Gable),  playing  tennis  (Greene),  golf- 
ing (Crosby)  or  boating  (Flynn).  In 
fact,  in  their  spare  time  they  engage  in 
all  the  activities  of  the  average  young 
man. 

They  also  marry  nice  girls  like  Frances 
Dee,  Annabella  and  Barbara  Stanwyck, 
and  live  on  ranches.  They  become  proud 
family  men  who  have  their  pictures 
taken  at  the  circus  with  their  children 
on  their  knees. 

Oh,  yes,  glamour  is  certainly  dead  in 
Hollywood,  when  a  tow-headed  imp  like 
Rooney  is  voted  "King  of  the  Movies" 
and  "homey"  men  like  Mr.  Chips  and 
Mr.  Smith  vie  for  the  year's  acting  hon- 
ors.—Sylvia  Grill,  New  York,  N.  Y. 

Make  Believe 

I  am  writing  this  letter  to  praise  the 
movie  industry  for  the  good  work  it  is 
doing.  The  movies  have  done  more  than 
anything  I  know  of  to  make  life  worth 
living.  They  are  a  luxury  everyone,  rich 
or  poor,  can  enjoy  for  the  same  price. 
They've  made  queens  out  of  servant  girls, 
and  dashing  cavaliers  out  of  ditch- 
diggers — at  least  for  a  fleeting  hour. 


15  YEARS  YOUNGER 

.ntment  at  my  beauty  salon, 
ers  will  hide  my  drab,  lustre- 
is.  I  shall  close  my  eyes,  rest 
stare  gratefully  at  new,  glori- 
th  birthday.  My  hair,  my  new 
.ole  being.  My  eyes  will  sparkle, 
feeling  15  years  younger,  for  I 
oresent  of  an  Eternol  Treatment. 

OR  KNOWS  BEST" 


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Reminder 


I  resolve  to  have  glorious  Youthful 
Looking  Hair  STARTING  TODAY! 
I  will  telephone  my  beauty  salon 
for  an  ETERNOL  Tint  Oil  Shampoo. 


NO  UNDERARM  ODOR  AFTER! 


TEMPERATURE 


98 


Again,  Yodora  proves  its  pow- 
er to  protect  in  difficult  con- 
ditions! A  nurse  supervised 
this  gruelling  test,  in  the  Car- 
ibbean tropics  .  .  .  Under  her 
direction,  Miss  M.  K.  applied 
Yodora.  Then  played  deck 
tennis  for  three  hours  in  the 
blazing  sun!  Result  .  .  .  not  a 
hintof  underarm  odor!Though 
amazingly  efficient,  Yodora 
seems  as  gentle  and  silky  as 


your  face  cream.  It  is  soft, 
non-greasy.  Yodora  leaves  no 
sickly  smell  to  taint  your 
clothing.  It  will  not  rot  fabrics. 
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tangos  witn  jj'red  t\s\. 
to  my  doom  as  Mary,  ^ueen  ot  Scots, 
and  danced  through  the  land  of  Oz  as 
Dorothy.   I  have  the  privilege  of  being 
anyone  I  please. 

I  salute  the  movies!  Long  may  they 
live  and  give  respite  to  everyday  people. 
— Helen  Moore,  Akron,  Ohio. 

Too  Much  of  a  Good  Thing 

"Gone  With  the  Wind"  may  be  all  its 
boosters  claim,  but  as  for  me,  I'm  agin' 
such  mighty  super- super  epics  and  can 
only  hope  it  will  not  establish  a  prece- 
dent. To  me,  four  hours  of  movie  at  one 
sitting  is  as  definitely  too  much  of  a 
good  thing  as  four  helpings  of  apple  pie 
a  la  mode  at  one  meal.  I  like  movies 
and  I  like  apple  pie,  but  I  do  not  like 
gorging  myself  to  the  point  of  indigestion 
on  either. 

I  find  even  double  bills  preferable  to 
such  a  colossus  as  "G.W.T.W."  At  least 
I  can  walk  out  after  one  film  has  finished. 
I  sat  through  "Gone"  to  the  bitter  end 
out  of  curiosity  about  the  denouement,  as 
I  hadn't  read  the  book.  I  like  finishing 
what  I  start,  but  I  left  the  theatre  feel- 
ing so  "gone"  with  exhaustion  and  re- 
sentment, I  couldn't  properly  appreciate 
the  picture's  worth. 

Am  I  a  "sissy,"  or  do  others  agree  with 
me? — Dee  Chapman,  Los  Angeles,  Calif. 

On  Merit  Alone 

I  like  those  rare  pictures  that  sneak 
up  on  you  sans  ballyhoo  and  wham  the 
box-office  so  that  everybody  comes  a- 
running  to  get  a  look-see.  Such  a  one 
was  the  almost  unheralded  "Balalaika." 

We  found  it  out  for  ourselves,  and 
thrilling  is  the  experience  of  the  dis- 
coverer! Nelson  Eddy  was  in  such  grand 
voice  that  you  didn't  mind  his  hogging 
the  footage.  Ilona  Massey  was  captivat- 
ing, both  to  eye  and  ear.  Everyone  in 
the  cast  was  excellent,  especially  Charlie 
Ruggles  as  the  comic,  hair-parted-in- 
the-middle  Russian  peasant,  with  the  glib 
tongue. 

But  the  point  I'm  trying  to  make  is 
the  delight  of  the  fans  when  they  dis- 
cover for  themselves  that  a  picture  is 
good.  If  Hollywood  always  turned  out 
such  good  productions,  the  film  industry 
could  get  along  without  advertising — 
and  what  a  relief  that  would  be! — 
— Georgia  Rayne,  Vancouver,  Canada. 


"Ho-Hum" 

ently  released  "I  Take  This 
zhe  result  of  revision,  I  don't 
:e  the  quality  of  the  original, 
e  film  will  not  garner  new 
beauteous  Hedy  Lamarr,  for 
lve  her  a  chance  to  establish 
as  an  actress. 

"ore,  the  assignment  of  a  role 
r  little  more  than  a  walk- 
to  the  sterling,  twice  Acad- 
winner,  Spencer  Tracy,  is  a 
tice!    His   capable  presence, 
ombined  with  the  sparkling 
eftly    delivered    by  Verree 
are  all  that  lift  the  movie 
'ho-hum"  class. 

ture  should  have  been  "charged 
and  loss"  and  left  locked  in  the 
forgotten  films. — Mary  E.  Lau- 
adelphia,  Pa. 

Do's  and  Dont's 

-njoyed  the  first  few  "family"  pic- 
s,  but  I'm  sick  to  death  of  them  now. 
j  "Lanes,"  "Jones"  and  "Hardys"  can 

i  ride  high,  wide  and  handsomely  away 
,s  far  as  I'm  concerned. 

But,  Mr.  Producer,  please  continue  to 
give  an  appreciative  public  more  of  those 
fascinating  "Dr.  Kildare"  serials.  Lionel 
Barrymore  plays  the  part  of  Dr.  Gillespie 
brilliantly,  and  Lew  Ayres'  performance 
as  the  young  doctor,  is  superb.  He  plays 
his  role  with  such  depth  and  sincerity. 
I  predict  it  is  only  a  matter  of  time 
before  Lew  is  awarded  an  "Oscar"  for 
an  outstanding  performance. 

When  my  spirits  are  low,  the  best  pre- 
scription for  me  is  to  see  a  Doctor  Kil- 
dare picture. — Anne  Orr,  New  York,  N.  Y. 


A  Plea  For  Help 


I  want  to  write  about  a  young  man 
who  deserves  some  raves.  This  fellow  is 
as  handsome  as  Tyrone  Power  or  Rich- 
ard Greene,  and  can  act  as  well  as  either 
of  them,  yet  he  is  given  very  poor  roles. 
His  name  is  Richard  Carlson. 

If  he  were  given  a  role  with  more  body 
and  strength  to  it,  he  would  be  a  sensa- 
tion! All  I've  seen  him  in  are  those 
light,  little  comedies  which  skip  over  his 
talent.  He's  really  a  swell  person  and  I 
don't  think  he's  getting  the  chances  he 
should  have.  Would  someone  please  pay 
some  attention  to  Richard  Carlson? — 
Marjorie  Mosier,  Miami,  Fla. 


WRITE  A  LETTER- 
WIN  A  PRIZE 

Are  you  longing  for  an  audience 
who'll  bear  with  you  while  you  rave 
over  that  movie  you  saw  last  night? 
Here  it  is,  ready-made.  Are  you  tired 
of  reading  eulogies  about  everyone 
but  your  favorite?  Here's  your  chance 
to  sing  his  praises  yourself  and  get 
paid  for  it,  too.  So  you  hate  glamour 
boys  and  love  Western  stars?  You're 
weary  of  the  old  faces  and  wants  lots 
more  of  some  newcomer?  Tell  us 
about  it.  The  ten  most  original  letters 
received  each  month  will  net  their 
writers  $1.00,  so  don't  mince  words. 
We're  all  ears  for  your  opinions,  but 
be  sure  they're  your  honest  opinions. 
Do  not  copy  or  adapt  letters  or  poems 
already  published.  That  is  plagiarism 
and  will  be  prosecuted  as  such.  Ad- 
dress your  letter  to:  A  Dollar  For  Your 
Thoughts,  Modern  Screen,  149  Madison 
Avenue,  New  York,  N.  Y. 


TRIMAL 


100 


MODERN  SCREEN 


DON'T  GET  IN  THEIR  HAIR! 

(Continued  from  page  6) 


spoiled  the  picture.  They  began  to  weed 
the  sheep  from  the  goats. 

Then  Sound  came  in.  It  increased  costs 
to  staggering  sums,  and  re-takes  meant 
the  loss  of  hundreds  of  dollars. 

The  visitor  became  a  problem.  He 
committed,  in  his  innocence,  acts  that  no 
self-respecting  studio  employee  would  be 
guilty  of.  He  coughed,  sneezed  or  shuf- 
fled his  feet  while  the  sound  apparatus 
was  on.  Often,  overcome  with  joy  upon 
beholding  his  idol  in  the  flesh,  he  would 
dash  impulsively  across  the  stage,  knock- 
ing over  cameras  or  other  studio  para- 
phernalia in  his  haste  to  shake  the  hand 
that  he  had  so  often  watched  flicking 
ashes  across  the  screen.  These  and  sim- 
ilar acts  have  made  the  average  tourist 
a  headache  to  the  studios. 

IF  you  are  contemplating  a  trip  to 
Movietown,  a  few  "don'ts"  or  "what 
not  to  do's"  are  respectfully  suggested: 
Don't  think  because  you  are  a  Big 
Business  Man  you  can  tell  the  publicity 
department  you  want  to  take  Myrna  Loy 
to  breakfast,  Kay  Francis  to  lunch  and 
Hedy  Lamarr  to  dinner.  Big  Business 
Men  (married  ones  too!)  have  been 
known  to  try  this,  and  what  is  worse, 
they  get  indignant  when  politely  in- 
formed that  the  Misses  Loy,  Francis  and 
Lamarr  do  not  breakfast,  lunch  or  dine 
with  strange  men. 

If  you  are  fortunate  enough  to  be  ad- 
mitted to  the  sound  stages,  don't  try  to 
touch  Clark  Gable  or  sit  in  Bette  Davis' 
chair.  Mr.  Gable  has  been  touched  by  so 
many  admiring  fans  he  is  beginning  to 
feel  like  a  wishing  stone;  Miss  Davis 
needs  that  chair  to  rest  in,  between 
scenes. 

Don't  call  the  studios  and  say:  "This  is 
Mrs.  Smith-Jones  from  Palm  Beach.  I'll 
be  around  at  3:30  this  afternoon  to  watch 
Ann  Rutherford  act.  Please  arrange  it!" 

Stars  are  not  on  tap  for  tourists  al- 
though the  publicity  department,  rather 
than  take  a  chance  on  offending  the 
wrong  person,  will  try  to  accommodate 
you.  Which  brings  to  mind  an  incident 
that  is  quite  typical  of  the  bad  manners 
of  the  average  tourist. 

A  debutante,  daughter  of  an  impor- 
tant business  man,  came  to  Hollywood 
with  her  mother.  Her  credentials  being 
what  they  were,  she  was  taken  over  the 
studio  (which  is  like  a  city  in  itself). 
She  wanted  to  see  Robert  Taylor  act. 
Since  Mr.  Taylor  wasn't  working  the 
studio  officials  suggested  some  one  else, 
but  the  young  lady  was  adamant.  Finally 
they  got  in  touch  with  the  star,  who 
graciously  consented  to  do  a  scene  for 
the  visitors'  benefit. 

The  debbie,  whose  cigarette  and  holder 
combined  measured  at  least  eight  inches, 
followed  the  director  around  gesturing 
excitedly  and  getting  so  close  she  singed 
his  hair.  She  blew  smoke  in  Mr.  Tay- 
lor's face.  And  when  the  scene  was  be- 
ing shot  she  burst  out  with:  "Oh  hell! 
I  think  he's  terrible!   Let's  go,  Mother!" 

Don't  get  into  a  star's  hair  by  gushing 
over  a  picture  in  which  a  player  with  a 
similar  name  has  appeared.  Socially 
prominent  persons  who  should  know 
better  have  been  guilty  of  this  faux  pas 
not  once,  but  many  times. 

The  latest  instance  is  that  of  a  lady 
who  insisted  upon  being  introduced  to 
Spencer  Tracy. 

"Oh  Mr.  Tracy!"  she  cooed,  "You  were 
so  marvelous  in  the  'Front  Page!'  I  love 
to  see  you  play  reporters."    To  which 


Spencer  listened  courteously.  Not  once 
did  he  enlighten  the  lady  by  telling  her 
it  was  Lee  Tracy  who  had  starred  in  the 
"Front  Page."  However,  all  stars  are  not 
as  good-natured.  They  have  been  known 
to  take  it  out  on  the  poor  publicity  man 
who  was  dumb  enough  to  bring  such  a 
visitor  on  the  set. 

Don't  insist  upon  directing  a  scene  or 
grinding  the  camera.  You  wouldn't  want 
a  cameraman  to  show  you  how  to  run 
your  business — now  would  you?  Yet 
visiting  Elks  and  old  ladies  often  insist 
upon  performing  this  feat.  It  was  an 
old  lady  who  upset  the  works  while 
watching  Jackie  Cooper  perform.  Jackie 
was  supposed  to  cry,  and  his  dog  was 
to  lick  his  face  in  consolation.  As  a  bribe 
to  the  pooch,  Jackie's  cheeks  were 
smeared  with  molasses.  But  the  old  lady 
commented  so  loudly  and  so  frequently 
that  Jackie  got  mad  and  couldn't  cry  any 
more,  and  the  dog  grew  tired  of  molasses 
and  refused  to  lick  Jackie's  face.  And  to 
cap  the  climax  the  old  lady  insisted 
upon  grinding  the  camera  and  directing 
the  scene! 

Don't  insist  upon  bringing  your  chil- 
dren to  the  studios!  Not  only  is  it  against 
the  rules,  but  it's  dangerous  .  .  .  the 
child  is  liable  to  trip,  fall  into  the  tank 
reserved  for  water  scenes,  or  do  any 
number  of  things.  However,  despite  the 
rule  against  children  on  the  set,  a  lady 
from  the  South  who  happened  to  be 
the  constituent  of  a  prominent  Senator, 
brought  Junior,  aged  eight,  with  her.  He 
started  the  ball  rolling  by  pulling  out 
the  plug  that  connected  the  sound  ap- 
paratus, and,  though  he  may  not  have 
been  more  mischievous  than  any  other 
little  boy  of  his  age,  he  certainly  wrecked 
the  nerves  of  a  lot  of  people! 

r\ON'T  pilfer!  Most  tourists  are  pilferers 
-1— '  or  just  born  souvenir  hunters.  Have 
it  your  own  way.  But  they  are  a  bugaboo 
to  the.  studios  and  especially  to  the  prop- 
erty man  whose  job  it  is  to  dress  the 
sets  and  who  is  responsible  for  every 
article  on  it. 

Pilferers  have  been  known  to  cost  the 
studio  hundreds  of  dollars  a  day.  This  is 
no  fantasy.  If  a  set  used  in  one  scene  is 
found  to  be  incomplete  because  some- 
body took  an  ash  tray  or  cigarette  case, 
it  may  take  hours  to  find  a  duplicate  or — 
if  it  happens  to  be  a  costume  picture — 
weeks  to  make  another  one.  And  last 
but  not  least,  the  moving  picture  public 
is  the  keenest,  the  most  critical  in  the 
world. 

"I  saw  William  Powell  walk  out  of 
the  door  leaving  a  cigarette  case  on  the 
table,"  a  fan  will  write,  "and  when  he 
came  back  two  minutes  later  the  case 
wasn't  there." 

Don't  burst  into  your  favorite  actor's 
home  and  demand  to  see  him.  The  stars 
are  willing  to  be  seen — they  appreciate 
the  adulation  they  receive  and  they 
realize  the  fan  can  make  or  break  them 
— but  there  are  limits.  The  story  of  the 
tourist  who  burst  into  the  Temple  home 
is  not  exaggerated. 

Accompanied  by  his  wife  and  children 
the  tourist  demanded  to  see  Shirley.  He 
had,  he  informed  the  speechless  Temples, 
been  paying  Shirley's  salary  for  ages  by 
attending  her  pictures.  Now  he  wanted 
to  see  her  in  the  flesh!  The  Temples 
waved  to  the  garden  where  Shirley  was 
making  mud  pies.  The  fan  and  his  fam- 
ily gleefully  gathered  around  looking  her 
over  as  if  she  were  a  monkey  in  the  zoo. 


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world  looks  punk. 

It  takes  those  good,  old  Carter's  Little  Liver  Pills 
to  get  these  two  pints  of  bile  flowing  freely  to 
make  you  feel  "up  and  up."  Amazing  in  making 
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by  name.  10<!  and  25^  at  all  drug  stores.  Stubbornly 
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They  demanded  the  mud  pies  she  was 
making  and  got  them — for  a  price!  In 
all  fairness  it  must  be  added  that  they 
paid  gladly. 

Sometimes  fans  are  the  unwitting  cause 
of  embarrassment  to  the  stars  as  were 
the  two  dear  little  old  women  who,  prop- 
erly chaperoned  by  a  publicity  man,  ap- 
peared on  the  set  where  Bing  Crosby 
was  doing  a  scene  in  his  underwear. 
Bing  took  one  look  at  the  ladies  and  got 
temperamental.  He  didn't  mind,  he  said, 
being  seen  in  his  shorts  by  the  script 
girl  and  the  feminine  players,  but  he  was 
danged  if  he  was  going  to  play  before 
two  old  women! 

In  some  cases,  the  more  important  the 
visitors  the  nicer  they  are.  The  Duchess 
of  Northumberland  and  her  party  visited 
the  studios  and  captured  the  entire  per- 
sonnel by  her  charm.  And  the  film  folk 
turned  out  to  do  her  honor.  .  "Why," 
asked  Joseph  Schildkraut,  who  was  star- 
ring in  a  picture,  "didn't  you  tell  me,  so 
that  I  could  have  met  her  socially?" 

George   Bernard  Shaw   was   another ' 
welcome  visitor  to  the  movie  lots.  Ac- 
companied by  Marion  Davies,  he  wan- 
dered over  the  sets  scattering  bon  mots 
to  the  delight  of  the  movie  folk. 

THE  visitor  who  created  the  biggest 
furore  was  a  quiet  gentleman  reputed 
to  be  an  automobile  manufacturer  from 
Detroit.  He  arrived  one  Saturday  morn- 
ing with  a  pass  to  the  studios.  Now 
Saturday  morning  in  California  is  like 
New  Year's  Eve  in  New  York.  Folk  are 
getting  ready  for  a  big  week-end  and 
they  don't  want  to  bother  with  visitors. 
But  with  true  Western  courtesy,  which 
holds  its  own  with  the  famed  Southern 
brand,  they  assigned  a  guide  who  was 
one  of  the  smaller  fry. 

The  quiet  gentleman,  unaware  of  the 
feelings  seething  in  his  guide's  breast, 
thanked  her  courteously  for  her  assis- 
tance. On  Monday  morning  a  brand  new 
car  of  an  expensive  make  appeared  at 
the  studio  doors.  It  was  filled  with  the 
necessary  gas  and  oil  and  it  came  with 
the  quiet  gentleman's  card  and  a  note 
of  appreciation.  From  that  day  to  this, 
automobile  manufacturers  draw  the 
heads  of  the  publicity  departments  as 
their  guides.  And  we  hate  to  admit  it 
but  so  far  the  only  ripple  has  been  a 
box  of  dried  fruit  from  Florida — an  in- 
sult to  any  Californian! 

While  every  large  city  has  its  phonies, 
Hollywood  and  Miami,  Florida,  get  the 
best  of  the  crop,  especially  during  the 
winter  months.  The  reason  is  obvious. 
They  seem  to  range  from  fake  newspaper 
men  to  "titled"  foreigners  with  English 
accents. 

Perhaps  the  biggest  fraud  perpetrated 
upon  the  film  folk  was  that  of  "Count" 
W.  Winterbottom  O'Reilly,  who  also  used 
"Captain"  just  to  show  folk  he  had  been 
a  soldier  in  the  Coldstream  Guards.  His 
tweedy  clothes,  Oxford  accent  and  Eng- 
lish pipe  won  him  entrance  into  the  best 
circles.  He  was,  the  Count  told  Holly- 
wood, Sunday  Editor  of  one  of  London's 
biggest  papers.  He  wooed  and  won  a 
lithsome  lassie  who  danced  in  one  of  the 
better  night  spots  and  showered  her  with 
flowers  and  gifts.  In  fact  so  definite  were 
his  intentions  that  the  girls  back-stage 
began  calling  her  "Countess"  in  much 
the  same  manner  as  the  Duchess  of 
Windsor  had  H.  R.  H.  (Her  Royal  High- 
ness) embroidered  on  her  scanties. 

Errol  Flynn,  whose  Irish  accent  is  his 
own,  took  the  Count  yachting,  and  a  fa- 
mous polo  player  lent  him  one  of  his 
best  ponies. 

The  blow  fell  when  a  bona-fide  corre- 
spondent checked  up  on  his  fellow  coun- 
tryman. The  Count  blew  town  just 
before  the  police  got  there.   He  left  a 


hotel  bill  and  a  sadly  disillusioned  girl 
who  had  believed  in  him. 

"Prince"  Michael  Alexander  Dmitri 
Oblensky  Romanoff — born  Harry  Gergu- 
son,  did  not,  despite  reports  to  the  con- 
trary, take  Hollywood  for  a  ride.  For 
his  fame  had  preceded  him.  Yet  Holly- 
wood, charmed  by  his  wit,  his  good  na- 
ture and  his  supreme  gall,  accepted  him 
for  what  he  was — a  good  egg  and  a 
counterfeit.  They  did  not  question  his 
"mansions"  in  Russia,  although  they 
knew  he  hailed  originally  from  Hillsboro, 
Illinois.  They  even  attended,  en  masse, 
his  party  at  the  exclusive  Clover  Club. 
This,  despite  the  fact  that  the  gold- 
engraved  invitations  asked  the  bearer  to 
bring  his  own  liquor  and  "fee"  the  ser- 
vants. Mike  was  as  royal  in  his  expres- 
sions as  in  his  pipe  dreams. 

The  fellow  who  rifles  the  baby's  bank 
is  a  philanthropist  compared  to  the  phony 
who  preys  on  Hollywood  mothers.  Rep- 
resenting himself  as  a  talent  scout  for 
the  movies  or  radio,  he  wins  the  moth- 
er's confidence  by  assuring  her  that  her 
offspring  is  a  potential  Shirley  Temple 
or  Baby  Sandy.  Recently,  two  such  per- 
sons, Jack  and  Betty  Pierce,  were  tried, 
convicted  and  sentenced  to  serve  in  the 
County  Jail  after  they  had  bilked  nine- 
teen mothers  out  of  their  house  money. 

The  woman's  role  was  to  hang  around 
department  stores  and  make  friends  with 
the  mothers  of  small  children.  She  con- 
fided that  she  knew  a  casting  director 
who  would  be  interested  in  such  a  beau- 
tiful and  talented  child.  She  thought  she 
could  get  in  touch  with  him.  In  the 
meantime  if  the  mother  would  let  her 
have  her  name  and  address.  .  .  . 

The  next  day  the  man  would  call.  He 
had  heard,  he  said,  about  this  extraor- 
dinary child.  Might  he  see  her?  The 
delighted  mother  would  agree  to  register 
her  youngster  with  the  casting  director 
for  $15.  Then  he  would  suggest  a  course 
of  dramatic  lessons  for  another  $15. 

ANOTHER  phony  who  preyed  on  guile- 
'  less  mothers  carried  the  hoax  so  far 
as  to  persuade  women  to  bring  their  chil- 
dren across  the  country  to  Hollywood. 
He  too  ended  in  jail  but  not  until  hun- 
dreds of  women  had  been  swindled. 

The  "Movie  Mug  Book"  racket  was  a 
honey  before  the  Bunko  Squad  of  the 
Los  Angeles  Police  Department  and  the 
Better  Business  Bureau  exposed  it.  The 
victim  paid  as  high  as  $100  for  a  full- 
page  picture  which  was  to  go  into  a 
casting  directory  and  which,  in  turn,  was 
to  be  sent  to  all  studios  as  a  guide  to 
future  stars.  If  that  worked,  the  victim 
was  persuaded  to  buy  the  directory. 

The  "Fancy  Contract"  racket  is  an- 
other reason  the  Better  Business  Bureau 
broadcasts  twice  weekly.  The  contes- 
tant was  to  buy  a  jar  of  cold  cream  (at 
$2  per  jar)  and  to  send  the  top  along 
with  a  name  they  selected  for  a  rising 
screen  star.  If  the  name  was  selected,  the 
winner,  too,  would  be  awarded  a  film 
contract.  You'd  be  surprised  how  many 
people  fell  for  that  one. 

You  couldn't  call  the  two  young  men 
who  operate  a  printing  press  at  Holly- 
wood Boulevard  and  Vine  Street  phonies 
exactly.  The  gag  is  a  newspaper  with  a 
Hollywood,  California,  date  line.  It's 
complete  except  for  the  headlines.  That's 
where  the  tourist  comes  in.  If  he  wants 
the  old  home  town  to  know  what  a 
swath  he  cut  in  the  movie  capital,  he 
can  have  "John  Doakes  lunches  with 
Marlene  Dietrich!"  or  "Susie  Smith 
spends  week-end  on  Errol  Flynn's 
yacht!"  printed  in  headlines  that  would 
shame  a  tabloid  sheet,  and  all  for  fifty 
cents!  And  if  you're  not  too  fussy,  you 
can  get  the  same  service  on  a  Los  An- 
geles street  corner  for  twenty-five  cents! 


SEPAIN1 

Caused  by  rheumatism,  neuritis, 
neuralgia,  head  colds,  headaches, 
or  bad  days,  with  FAST  ACTING 

Salicon  Tablets  25c 

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NO  OTHER  HARSH  DRUGS 


102 


MODERN  SCREEN 


INFORMATION  DESK 

(Continued  from  page  12) 


worth.  This  will  be  the  twelfth  year  of 
"Oscar"  awarding,  and  twelve  thousand 
members  of  the  industry  will  cast  the 
deciding  ballots. 

Caroline  Mody,  Utica,  N.  Y.  That  story 
of  Bette  Davis'  life  was  printed  in  our 
December,  1937,  issue,  and  there  are 
dozens  of  pictures  illustrating  it.  We'll 
be  glad  to  send  you  a  copy  if  you'll  write 
to  the  Subscription  Department,  Modern 
Screen,  149  Madison  Ave.,  New  York, 
N.  Y.,  enclosing  ten  cents.  Yes,  there  are 
a  few  snaps  of  her  with  dark  hair. 

Dot  Jolly,  Atlanta,  Ga.  Your  favorite, 
John  Payne,  got  a  pretty  conventional 
start  in  life,  but  his  career  has  been 
varied  and  interesting.  Born  in  Roanoke, 
Va.,  twenty-seven  years  ago,  he  inherited 
an  excellent  voice  from  his  mother  and 
won  himself  a  two-year  scholarship  at 
the  Juilliard  School  of  Music.  He  didn't 
complete  the  course,  being  avid  to  get 
at  the  business  world,  but  he  didn't  get 
a  job  for  months  and  months.  During 
the  lean  period,  he  kept  alive  by  writing 
for  the  pulp  magazines.  Before  even- 
tually getting  a  part  in  a  small  stock 
company,  he  was  involved  in  several 
unremunerative  but  fascinating  ventures; 
namely  professional  wrestling,  bouncing 
in  a  night  club  and  managing  a  pool 
room.  After  a  bit  of  experience  with  the 
above  mentioned  stock  company,  he  was 
lucky  enough  to  get  a  bit  part  in  Bea 
Lillie's  show,  "At  Home  Abroad,"  in 
which  he  was  observed,  approved  of  and 
signed  to  a  contract  by  a  talent  scout 
from  Hollywood.  In  "Garden  of  the 
Moon"  he  emerged  from  his  compara- 
tive obscurity  and  then  achieved  untold 
popularity  as  the  stunning  young  officer 
in  "Wings  of  the  Navy."  One  of  Holly- 
wood's best-dressed  young  men,  Anne 
Shirley's  husband  spends  $5,000  annually 
on  his  clothes.  He  is  now  at  work  in 
"Stardust,"  with  Linda  Darnell. 

Philomene  M.,  Montreal,  Canada.  Your 
favorite  cowboy,  Roy  Rogers,  who  is 
twenty-seven  years  old,  with  blue  eyes 
and  blond  hair,  is  under  contract  to  Re- 
public Pictures,  4024  Radford  Ave.,  North 
Hollywood,  Calif.  Twenty-five  cents  sent 


to  the  studio  will  bring  you  an  auto- 
graphed photo  of  him,  and  if  your  letter 
is  unusually  amusing  or  outstanding  in 
any  respect  you  are  sure  to  receive  a 
reply. 

Clarice  Allen,  Pueblo,  Colo.  We  have 
literally  been  deluged  with  requests  for 
information  about  that  "newcomer," 
Dennis  Morgan.  The  fans  have  a  sur- 
prise coming  to  them  when  they  hear 
that  "Waterfront's"  sensational  young 
star  is  none  other  than  their  old  friend, 
Stanley  Morner.  Yes,  he's  changed 
names  and  studios  and  is  rapidly  turning 
into  one  of  the  most  popular  young 
players.  Born,  Stanley  Morner,  in  Pren- 
tice, Wisconsin,  he  is  of  Dutch  descent 
and  first  chose  the  lumber  business  as 
a  career.  At  Carroll  College,  however, 
which  incidentally  has  also  given  the 
stage  and  screen  Alfred  Lunt  and  Fred 
MacMurray,  he  took  an  active  interest 
in  dramatics  and  also  discovered  that  he 
could  sing.  After  leaving  school,  he  sang 
over  the  radio  for  a  while,  until  Mary 
Garden  heard  him,  adopted  him  as  her 
protege  and  launched  him  on  his  cine- 
matic career.  Six  feet,  two  inches  tall, 
with  brown  hair  and  blue  eyes,  an  en- 
gaging manner  and  a  very  pleasant  voice, 
Dennis  first  appeared  in  "The  Great 
Ziegfeld"  back  in  1936.  His  next  will  be 
"Tear  Gas  Squad."  He  is  married  to 
Lillian  Vedder  and  they  have  one  child, 
Stanley,  Jr. 

Tillie  Stein,  Brooklyn,  N.  Y.  There  has 
been  such  a  clamoring  from  Jon  Hall's 
admirers  for  another  picture  that  some- 
thing just  had  to  be  done  about  it.  Jon 
has  the  leading  role  in  "Sailor's  Lady." 
Born  in  Fresno,  California,  on  February 
26,  1918,  this  shy,  good-looking  lad  with 
the  widely-publicized  torso,  is  of  Swiss 
and  Tahitian  descent.  He  has  lived  sev- 
eral years  in  Tahiti  and  studied  in  Swit- 
zerland where  he  learned  to  speak  fluent 
French.  He  applied  for  a  job  as  technical 
adviser  on  the  picture  "Hurricane"  and 
was  handed  the  leading  part.  He  is  mar- 
ried to  Frances  Langford,  the  singer,  and 
their  choice  of  hobbies  jibe  very  nicely — 
sailing,  bicycling,  hunting  and  swimming 
being  high  on  both  their  lists. 


ON  THE  SET 

(Continued  from  page  34) 


cost  will  probably  run  to  almost  $1,000. 

Before  the  production  is  finished,  Mr. 
Willys  DeMond,  talented  hosiery  creator, 
will  present  his  bill  for  nearly  $3,000. 
The  stockings  he  is  turning  out  for  Alice 
Faye  are  identical  copies  of  those  worn 
by  Lillian,  right  down  to  the  hand  em- 
broidered butterflies  and  lace  insets. 
Though  DeMond  is  hitting  Fox  for  $100 
a  pair,  his  fee  will  look  like  bargain  day 
against  the  prices  paid  by  the  actress 
who  would  never  have  offended  her  legs 
by  clothing  them  in  anything  less  costly 
than  a  $400  pair.  But  then,  Lillian 
earned  $250,000  yearly — and  never  heard 
of  income  tax. 

Exclusive  of  the  27  gowns  to  be  worn 
by  Alice,  800  feminine  costumes  are  be- 
ing provided  by  the  studio  at  a  cost  to 
them  of  over  $25,000.  Four  thousand  ex- 
tras cavorting  on  53  sets  can  be  counted 
upon  to  take  another  substantial  bite  out 


of  the  budget.  The  sets,  accurate  to  the 
last  thumb-tack,  will  include  Weber  and 
Fields'  Music  Hall,  Rector's  Restaurant, 
Tony  Pastor's  and  the  famous  Savoy 
Theatre  in  London — which  makes  it  sim- 
ple to  understand  why  they'll  cost  ap- 
proximately $200,000! 

Probably  the  most  interesting  people 
connected  with  the  picture  are  three  men 
who  really  knew  Lillian  Russell.  The 
first  two,  the  ever-popular  team  of 
Weber  and  Fields,  were  her  musical 
comedy  companions  at  the  close  of  the 
century  and  have  come  to  the  West 
Coast  to  portray  themselves  as  they  were 
fifty  years  ago.  The  third  is  Irving  Cum- 
mings,  youngish-looking  director  of 
"Lillian  Russell"  and  her  last  leading  man. 
In  1909,  he  and  Lillian  toured  the  country 
in  a  little  number  known  as  "In  Search 
of  a  Sinner."  "But,  you  see,"  explains  Cum- 
mings,  "at  that  time  I  was  only  a  boy." 


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That  old  etiquette  book  you  in- 
herited is  as  out  of  date  as  the 
horse  car,  but  your  manners  are 
still  as  important  as  ever.  Like 
everything  else,  your  etiquette 
must  fit  in  with  the  times.  MOD- 
ERN MANNERS  will  help  bring 
you  up  to  date — and  up  to  par. 
Clear,  simple,  and  correct  in- 
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present  day  living.  Included  are 
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•  INTRODUCTIONS  ARE  EASY 

•  THE  ETIQUETTE  OF  EATING 

•  PROCEDURE  IN  PUBLIC 

•  FOR  HOST  AND  HOSTESS 

•  THE  WELCOME  GUEST 

•  MIXED  COMPANY 

•  ENGAGEMENTS  AND 
WEDDINGS 

•  WHAT  TO  WEAR 
AND  WHEN 


modern 
manners 

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GOOD  NEWS 

(Continued  from  page  57) 


If  your  dealer  cannot  supply  you, 
send  10c  to  Dell  Publishing  Co., 
149  Madison  Ave.,  New  York,  N.  Y. 


laughed,  Ann,  "because  every  time  Roger 
looked  down  at  the  highways,  a  car  was 
passing  us!" 

THE  WAY  OF  ALL  CURVES 

Deanna  Durbin  and  seven  pounds  have 
parted  company  in  the  last  two  months,  via 
the  non-starch  program.  Once  Miss  Durbin 
makes  up  her  mind  to  something,  it's  prac- 
tically done,  and  so  when  she  decided  to 
streamline  the  chassis,  neither  Universal  nor 
Vaughn  Paul  could  put  a  stop  to  it.  The 
studio,  you  see,  prefers  her  curves,  and 
Vaughn,  too,  admits  he  likes  'em  plump.  But 
everything — including  Vaughn's  preferences 
and  chocolate  caramels — is  swept  aside  by 
Deanna's  determination  to  be  a  glamour 
girl. 

ONE-TRACK  MIND 

Joan  Fontaine  didn't  know  that  when  she 
promised  to  be  a  good  wife  she  was  also 
promising  to  be  a  good  flyer.  But  Brian 
Aherne  is  horrified  at  the  prospect  of  travel- 
ing any  distance  over  fifty  miles  except  by 
plane.  Joan's  gamely  gone  with  him  on  all 
his  trips,  but  when  the  matter  of  Aherne's 
cross-country  flight  was  brought  up,  she 
made  her  first  objection.  The  open  cockpit 
Waco,  which .  was  the  light  of  Brian's  life, 
was  a  bit  chilly,  she  pointed  out.  Her  hus- 
band agreed,  and  Joan  had  twenty-four 
hours  of  complete  happiness  and  not  a  little 
self-complacency.  But  the  next  day  was  her 
birthday — and  the  gift  from  her  adoring 
husband  was  a  Fairchild  Cabin  mono- 
plane. 

DIDJA  KNOW 

That  Roger  Pryor  and  Ann  Sothern  have  one 
rule  for  marital  happiness — never  to  discuss 


their  careers  after  working  hours?  .  .  .  That 
Ruby  Keeler  and  Al  Jolson  are  still  good 
friends  and  frequently  dine  together  at  the 
Brown  Derby  on  "maid's  night  out"  just  as 
they  used  to  in  the  good  old  days?  .  .  .  That 
Nancy  Kelly  keeps  a  perfect  figure  by 
going  horseback  riding  every  morning?  .  .  . 
That  Rosalind  Russell  has  studied  in  Europe, 
South  America,  Cuba,  Egypt  and  the  Far 
East?  .  .  .  That  Bela  Lugosi  has  the  most 
unique  stamp  collection  in  Hollywood — they 
are  all  memorial  issues  commemorating 
such  incidents  as  war,  disaster,  pestilence 
and  famine?  .  .  .  That  Katherine  Hepburn  is 
due  back  in  Hollywood  for  "Philadelphia 
Story,"  her  stage  success?  .  .  .  That  Bill 
Demarest  has  just  purchased  a  stone  quarry, 
is  also  active  owner  of  a  patent  medicine 
factory  and  is  a  prolific  short  story  writer? 
.  .  .  That  for  possible  emergencies,  the  Lux 
Theatre  assigns  an  understudy  to  every  role 
cast  in  every  play?  They  are  paid  whether 
called  or  not  and  have  to  stay  near  a  tele- 
phone within  ten  minutes  of  the  theatre 
until  the  show  goes  off  the  air?  .  .  .  That 
Bob  Young  invited  160  guests  to  a  party 
at  the  Derby  the  other  day  and  never  got 
over  to  greet  them,  thanks  to  studio  work? 
.  .  .  -That  the  Ronald  Colmans  and  the 
Charles  Boyers  are  just  about  inseparable? 

AT  FARMER'S  MARKET 

Boris  Karloff  introducing  his  year-old  pride 
and  joy  to  his  friends,  and  baby  daughter 
cooing  back  at  the  admiring  merchants  .  .  . 
Director  Mike  Curtiz  shopping  for  fruits  and 
vegetables  for  his  household  .  .  .  Orson 
Welles,  accompanied  by  a  big  and  very 
blonde  girl-friend,  eating  a  hamburger  and 
scaring  the  salespeople  half  out  of  their 
wits  with  his  piercing  eyes  .  .  .  Shirley. 
Temple  gleefully  playing  -with  some  real, 
live  baby  chicks  while  Mama  Temple  orders 


"It's  a  Date"  for 
Deanna  D u rbi n 
and  her  fiance, 
Vaughn  Paul,  at 
Hollywood's 
Cafe  La  maze . 
The  smarties  who, 
last  year,  labelled 
this  romance 
"puppy-love"  are 
swallowing  a  lot 
of  words.  Each 
month  finds  the 
pair  more  com- 
pletely devoted 
to  each  other. 


104 


MODERN  SCREEN 


the  little  star's  favorite  delicacy — turkey  .  .  . 
Mary  Livingstone  and  Barbara  Stanwyck 
stopping  at  the  "Farmhouse"  for  a  snack 
after  replenishing  their  family  pantries. 

ALONG  SUNSET  STRIP 

Adolphe  Menjou  breezing  along  with  the  car 
top  down  in  spite  of  threatening  thunder 
clouds  .  .  .  George  Brent  at  Maurice's 
Flower  Shop  placing  an  order  for  a  "special" 
bouquet  to  be  delivered  to  Olivia  de  Havil- 
land  .  .  .  Wendy  Barrie  rushing  through  a 
voice  lesson  at  Glenn  O.  Raike's  Studio  to 
meet  her  current  millionaire  boy-friend. 

AROUND  TOWN 

Most  surprising  feminine  appearances  at  the 
"My  Little  Chickadee"  preview  were  young 
glamour  girl,  Helen  Parrish  and  the  experi- 
enced glamour  girl,  Marlene  Dietrich.  For- 
rest Tucker  escorted  Helen,  and  Eric  Re- 
marque is  still  the  faithful  Dietrich  cavalier 
.  .  .  Lewis  Stone  made  one  of  his  rare  public 
appearances  recently  when  he  took  his  wife 
dining  and  dancing  at  the  Cocoanut  Grove 
.  .  .  Publicity  man,  Alan  Gordon,  has  been 
taking  little  Judy  Garland  dancing  at  Ciro's 
nearly  every  night  .  .  .  Ken  Murray,  who 
used  to  take  Nancy  Kelly  to  parties,  took 
Mary  Healy  to  the  Frances  Langford-Jon  Hall 
"Luau" — which  is  nothing  more  or  less  than 
a  Tahitian  dinner — and  Nancy  went  with 
Irving  Cummings  .  .  .  Ronald  Reagan  took 
his  bride,  Jane  Wyman,  dancing  at  the 
Grove  on  their  first  public  appearance  fol- 
lowing their  Palm  Springs  honeymoon  .  .  . 
Lana  Turner  and  her  bridegroom,  Artie  Shaw, 
made  their  first  bow  at  the  reopening  of 
the  Victor  Hugo  .  .  .  Carole  Landis  is  giving 
a  lot  of  her  dates  to  Harvey  Seymour  be- 
cause Harvey  likes  to  see  previews  of  the 
new  pictures,  and  Carole  thinks  it's  the 
best  way  for  a  young  actress  to  learn  how 
to  be  a  better  actress  .  .  .  Jimmy  Stewart 
and  Henry  Fonda  like  to  drop  in  at  Slapsie 
Maxie's  Cafe  and  heckle  the  erstwhile 
prize-fighter  who  has  now  turned  master  of 
ceremonies  .  .  .  Bette  Davis  and  Director 
Anatole  Litvak  carry  their  "All  This  And 
Heaven,  Too"  discussions  into  night  clubs 
and  to  the  new  previews.  Other  night  at 
Ciro's,  they  couldn't  even  take  time  out  from 
one  of  their  serious  discussions  to  deny  a 
romance  rumor. 

SHORT  SHOTS 

Errol  Flynn  has  moved  into  an  apartment  at 
the  Sunset  Towers — but  the  town's  betting 

Solution  to  Puzzle  on  Page  64 


on  a  speedy  reunion  with  his  sparring  part- 
ner, Lili  Damita  .  .  .  Baby  Sandy  has 
"arrived" — she  has  a  hairdresser,  now.  The 
two-year-old  star  is  wearing  her  hair  in  a 
single  curl  on  the  top  of  her  head  for  her 
role  in  "Sandy  is  a  Lady"  .  .  .  Bob  Burns 
and  Mischa  Auer  have  made  bids  for  the 
Hawaiian  malaca-wood  furnishings  on  a  set 
at  Universal.  Both  of  their  wives  want  it — 
but  they've  agreed  to  accept  the  final  deci- 
sion .  .  .  Gloria  Jean  is  the  most  thrilled  girl 
in  town  since  hearing  that  Bing  Crosby  will 
be  her  co-star  in  her  next  picture.  She 
wants  to  meet  Gary  Crosby  ...  A  Holly- 
wood bar  advertises  a  cocktail  consisting  of 
spinach,  carrot  and  garlic  juice,  with  the 
sign,  "Garbo  drinks  it — and  who  are  you?" 
.  .  .  The  girls  on  the  "Lillian  Russell"  set 
haven't  drawn  a  breath  in  six  weeks.  It's 
the  corsets  .  .  .  Claudette  Colbert  has  gone 
in  for  zippers  in  a  big  way.  In  her  Holmby 
Hills  home,  the  walls  of  her  projection  room 
are  covered  with  tapestry,  and  zippers  cover 
the  apertures  for  the  projection  machine  .  .  . 
Spencer  Tracy,  in  spite  of  a  long  series  of 
good  roles,  is  exuberant  over  his  latest, 
"Edison,  the  Man,"  and  spends  every  leisure 
moment  away  from  the  set  reading  up  on 
the  great  inventor  .  .  .  The  John  Garfields  are 
expecting  another  child,  and  the  Douglas 
Fairbanks  will  threesome  this  spring  .  .  . 
Anne  Shirley  and  John  Payne  are  anticipat- 
ing too  .  .  .  Joan  Blondell  and  Lana  Turner 
are  playing  the  same  roles  as  Bessie  Love 
and  Anita  Page  in  "Two  Girls  on  Broad- 
way." The  picture  was  formerly  "Broad- 
way Melody."  Remember? 

ROMANCE  DEPT. 

Ronald  Reagan  and  Jane  Wyman  are  still 
soooo  in  love,  and  they've  been  married  all 
of  four  months  .  .  .  Arleen  Whelan  and  Roy 
D'Arcy  have  called  the  whole  thing  off  .  .  . 
Vivien  Leigh  and  Laurence  Olivier  will  say 
their  "I  do's"  in  Nassau — which  is  British 
soil  .  .  .  Randy  Scott  and  Natalie  Draper,  the 
former  Mrs.  Tom  Brown,  are  holding  hands 
much  longer  than  necessary  .  .  .  Orson 
Welles,  now  that  his  divorce  has  been 
settled,  is  being  sought  after  by  all  the 
town's  lovelies  .  .  .  Loretta  Young  has  been 
going  places  with  Tom  Lewis,  a  very  attrac- 
tive advertising  man  who  seems  bewildered 
by  his  good  luck  .  .  .  Ilona  Massey  tells 
everyone  who's  interested  that  Jimmy  Stewart 
is  wonderful  .  .  .  Ann  Sheridan  and  George 
Brent  have  discovered  each  other,  though 
Mr.  Brent  still  has  Olivia  de  Havilland's 
telephone  number  at  the  top  of  his  list  .  .  . 
Reggie  Gardiner  lets  it  be  known  that  he 
likes  all  the  ladies — but  Frances  Robinson 
in  particular  .  .  .  Eleanor  Powell's  mystery 
man  has  turned  out  to  be  a  U.C.L.A.  profes- 
sor .  .  .  Joan  Crawford  has  forsaken  all 
others  for  Lee  Bowman  .  .  .  Nancy  Kelly 
is  wide-eyed  over  Sandy  Cummings  .  .  . 
Sonja  Henie  still  dates  Vic  Orsatti,  though  it 
could  hardly  be  called  a  rushing  business 
.  .  .  Jane  Withers  admits  she  worships  Cary 
Grant — but  from  afar  .  .  .  Mary  Healy  and 
Ken  Murray  are  likethis  .  .  .  Margaret  Lind- 
say and  Bill  Lundigan  have  that  faraway 
look  in  their  eyes  .  .  .  Patricia  Ellis,  one  of 
the  town's  nicest  gals,  is  seeing  the  night- 
spots with  Henry  Willson  .  .  .  Phyllis  Brooks 
has  forgotten  Cary  Grant,  with  the  help  of 
Fred  Brisson.  He's  Carl  Brisson's  son,  in 
case  you've  a  good  memory  .  .  .  and  Nick 
Grinde  certainly  pined  for  Marie  Wilson 
while  she  was  on  her  p.  a.  tour. 


AM  TRUTH  ABOUT 


A  corn  is  a  mass  of  dead 
cells  packed  into  a  hard 
plug  (A)  whose  base  presses 
on  sensitive  nerves  (B) 
causing  intense  pain. 


Felt  pad(C)  relieves 
pain  by  removing 
pressure.  Medication 
(D)  loosens  corn  so  It 
can  be  lilted  out. 


Their  cause  and  how 
to  get  rid  of  them 

•  Corns  are  caused  by  pressure  and  friction — often 
become  large  and  painful.  Home  paring  only  gives 
temporary  relief — means  risk  of  infection.  But 
millions  have  ended  corns  this  easy  way.  Just  put 
a  Blue-Jay  Corn  Plaster  neatly  over  the  corn.  It  acts 
quickly  and  gently  as  shown  above.  Then  simply 
by  avoiding  the  pressure  and  friction  which  caused 
your  corns,  you  can  prevent  their  return.  Get  Blue- 
Jay  Corn  Plasters  today.  Only  2  5  fi  for  6.  Same 
price  in  Canada. 

BAUER6  q  1 1 1  r  I  yi  v  C0*N 

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BACKACHE, 
LEG  PAINS  MAY 
BE  DANGER  SIGN 

Of  Tired  Kidneys 

If  backache  and  leg  pains  are  making  you  miser- 
able, don't  just  complain  and  do  nothing  about  them. 
Nature  may  be  warning  you  that  your  kidneys  need 
attention. 

The  kidneys  are  Nature's  chief  way  of  taking  excess 
acids  and  poisonous  waste  out  of  the  blood.  They  help 
most  people  pass  about  3  pints  a  day. 

If  the  15  miles  of  kidney  tubes  and  filters  don't 
work  well,  poisonous  waste  matter  stays  in  the  blood. 
These  poisons  may  start  nagging  backaches,  rheu- 
matic pains,  leg  pains,  loss  of  pep  and  energy,  getting 
up  nights,  swelling,  puffiness  under  the  eyes,  head- 
aches and  dizziness.  Frequent  or  scanty  passages  with 
smarting  and  burning  sometimes  shows  there  is  some- 
thing wrong  with  your  kidneys  or  bladder. 

Don't  wait!  Ask  your  druggist  for  Doan's  Pills, 
used  successfully  by  millions  for  over  40  years.  They 
give  happy  relief  and  will  help  the  15  miles  of  kidney 
tubes  flush  out  poisonous  waste  from  the  blood.  Get 
Doan's  Pills. 


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PSORIASIS 


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D6RITIOIL 


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or  what  you  have  tried. 
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asis.  Apply 
non  •  staining  Dermoil. 
Thousands  do  for  scaly 
spots  on  body  or  scalp. 
Grateful  users,  often  after 
years  of  suffering,  report 
the  scales  have  gone,  the 
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appeared    and    they     enjoyed  the 
thrill  of  a  clear  skin  again.  Dermoil  is 

used  by  many  doctors  and  is  backed  by  a  positive  agreement 
to  give  definite  benefit  in  2  weeks  or  money  is  refunded 
without  question.  Generous  trial  bottle  sent  FREE  to  those 
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MAY,  1940 


105 


(Continued  from  page  95) 


NAME 

PREVIOUS 
OCCUPATION 

FIRST  FEATURE- 
LENGTH  MOVIE 

YEAR 

FAVORITE 
SPORT 

HOBBY 

PRESENT 
STUDIO 

ADDRESS 

Romero,  Cesar 

Bank  Clerk 

The  Thin  Man 

1934 

Dancing 

Music 

TCF 

Home— 1325  N.  Hay- 
worth,  Hollywood 

Rooney,  Mickey 

Child  Actor 

Orchids  and  Ermine 

1927 

Swimming 

Composing  Songs 

MGM 

Home — 4410  Densmuir, 
Van  Nuys 

Ross,  Shirley 

Singer 

Manhattan 
Melodrama 

1934 

Tennis 

Knitting 

P 

Studio— 5451  Marathon 
Street,  Hollywood 

Ruggles,  Charles 

Druggist 

Gentlemen  of  the 
Press 

1929 

Handball 

Boxing 

P 

Studio— 5451  Marathon 
Street,  Hollywood 

Russell,  Rosalind 

Stage  Actress 

Evelyn  Prentice 

1934 

Hockey 

Collecting  Pearls 

MGM 

Home— 601  Linden, 
Beverly  Hills 

Rutherford,  Ann 

Radio  Actress 

Annie  Laurie 

1927 

Archery 

Making  Clothes 

MGM 

Home— 1727  N.  Whitley, 
Hollywood 

Scott,  Randolph 

Stage  Actor 

Sky  Bride 

1931 

Football 

Horse  Raising 

C 

Studio— 1438  N.  Gower 
Street,  Hollywood 

Shearer,  Norma 

Model 

The  Stealers 

1920 

Diving 

Acting 

MGM 

Home— 707  Ocean  Front, 
Santa  Monica 

Sheridan,  Ann 

Singer 

Bolero 

1933 

Basketball 

Reading 

WB 

Home— 4819  Gentry,  N. 
Hollywood 

Shirley,  Anne 

Child  Model 

The  Miracle 

1928 

Swimming 

Doll  Collecting 

RKO 

Studio— 780  Gower 
Street,  Hollywood 

Singleton,  Penny 

Chorus  Girl 

After  the  Thin  Man 

1936 

Tennis 

Cooking 

C 

Studio— 1438  N.  Gower 
Street,  Hollywood 

Sothern,  Ann 

Musical  Comedy 
Star 

Let's  Fall  in  Love 

1934 

Dancing 

Antiques 

MGM 

Home— 529  N.  Crescent 
Drive,  Beverly  Hills 

Stack,  Robert 

Student 

First  Love 

1939 

Hunting 

Collecting  Cuff 
Links 

U 

Studio — Universal  City, 
Cal. 

Stander,  Lionel 

Radio  Comedian 

The  Scoundrel 

1935 

Fishing 

Writing  Poetry 

C 

Studio— 1438  N.  Gower 
Street,  Hollywood 

Stanwyck, 
Barbara 

Telephone 
Operator 

The  Locked  Door 

1929 

Riding 

Horse  Raising 

P 

Home— 707  N.  Arden 
Blvd.,  Beverly  Hills 

Stewart,  James 

Stage  Manager 

The  Murder  Man 

1935 

Fishing 

Model  Airplanes 

u 

Home— 320  S.  Bristol, 
Beverly  Hills 

S'.one,  Lewis 

Stock  Actor 

Milestones 

1920 

Motoring 

Gardening 

MGM 

Home— 5700  Rhodes,  N. 
Hollywood 

Stuart,  Gloria 

Writer 

The  All  American 

1932 

Swimming 

Collecting  Rare 
Books 

TCF 

Home— 814  N.  Bedford 
Dr.,  Beverly  Hills 

Sullavan, 
IVIargaret 

Stage  Actress 

Only  Yesterday 

1933 

Badminton 

Gardening 

MGM 

Home — 496  St.  Pierre 
Rd.,  Bel-Air 

Tamiroff,  Akim 

Stage  Actor 

Sadie  McKee 

1934 

Golf 

Woodworking 

P 

Studio— 5451  Marathon 
Street,  Hollywood 

Taylor,  Robert 

Cellist 

Handy  Andy 

1934 

Riding 

Horse  Raising 

MGM 

jnome — t\jt  in.  Araen 
Blvd.,  Beverly  Hills 

Temple,  Shirley 

Student 

Little  Miss  Marker 

1934 

Swimming 

Milk  Fund 

TCF 

riome — ££l  IN.  Kocking- 
ham  Ave.,  Brentwood 
Heights 

Terry,  Ruth 

Singer 

Love  and  Hisses 

1937 

Dancing 

Collecting  Pennies  U  A 

Studio— 1041  N.  Formosa 
Ave.,  Hollywood 

Tracy,  Spencer 

Lumber  Piler 

Sky  Devils 

1932 

Polo 

Raising  Horses 

MGM 

Home— 5508  White  Oak, 
N.  Hollywood 

Treacher,  Arthur  Stage  Actor 

Battle  of  Paris 

1930 

Skiing 

None 

TCF 

Studio — Box  No  900 
Beverly  Hills,  Cal. 

Weaver,  Marjorie  Model 

China  Clipper 

1936 

Surfing 

Knitting 

TCF 

Home — 120  S.  Roxbury, 
Beverly  Hills 

Weidler,  Virginia 

Student 

Moby  Dick 

1939 

Riding 

Doll  Collecting 

MGM 

Studio — Culver  City,  Cal. 

Weissmuller, 
Johnny 

Professional 
Swimmer 

Tarzan,  the  Ape  Man  1932 

Swimming 

Amateur 
Photography 

MGM 

Studio — Culver  City,  Cal. 

West,  Mae 

Vaudevillian 

Night  After  Night 

1932 

Ping  Pong 

Writing  Plays 

U 

Home — 570  N.  Rossmore 
Ave.,  Hollywood 

Whelan,  Arleen 

Manicurist 

Kidnapped 

1938 

Tennis 

Dancing 

TCF 

Home — 1186  S.  Lucerne 
Hollywood 

William,  Warren 

Stage  Actor 

Expensive  Women 

1931 

Sailing 

Inventing  Me- 
chanical Devices 

C 

Studio  1438  N  Gower 

St.,  Hollywood 

Wilson,  Marie 

Stage  Actress 

Broadway  Hostess 

1935 

Badminton 

Singing 

WB 

Studio,  Burbank,  Cal. 

Withers,  Jane 

Student 

Bright  Eyes 

1934 

Swimming 

Collecting  Dolls 

TCF 

Home  10731  Sunset 

Blvd.,  Bel-Air 

Wyman,  Jane 

Secretary 

My  Man  Godfrey 

1936 

Soccer 

Sketching 

WB 

Studio  Burbsnk  Csl. 

Young,  Loretta 

Student 

Naughty  But  Nice 

1927 

Dancing 

Flying 

UA 

Home— 10539  Sunset 
Blvd.,  Bel-Air 

Young,  Robert 

Reporter 

Sin  of  Madelon 
Claudet 

1931 

Golf 

Reading 
Biographies 

MGM 

Home— 520  N.  Hillcrest 
Rd.,  Beverly  Hills 

Young,  Roland 

Stage  Actor 

Sherlock  Holmes 

1932 

Swimming 

Writing 

U  A 

Studio— 1041  N.  Formosa 
Ave.,  Hollywood 

Zorina,  Vera 

Ballet  Dancer 

Goldwyn  Follies 

1938 

Riding 

Drawing 

TCF 

Studio— Box  No.  900, 
Beverly  Hills 

STUDIO  ADDRESSES:  (C)  Columbia,  1438  N.  Gower  St.,  Hollywood,  Cal;  (MGM)  Metro-Goldwyn-Mayer,  Culver  City, 
Cal.;  (M)  Monogram,  4516  Sunset  Blvd.,  Hollywood,  Cal.,  (P)  Paramount,  5451  Marathon  St.,  Hollywood,  Cal.;  (R)  Re- 
public, 4024  Radford  Ave.,  N.  Hollywood,  Cal;  (RKO)  RKO- Radio,  780  Gower  St.,  Hollywood,  Cal;  (TCF)  20th  Century- 
Fox,  Box  No.  900,  Beverly  Hills,  Cal;  (UA)  United  Artists,  1041  N.  Formosa  Ave.,  Hollywood,  Cal;  (U)  Universal,  Uni- 
versal City,  Cal;  (WB)  Warner  Bros.,  Burbank,  Cal. 


106 


Printed  in  the  U.  S.  A.  by  the  Art  Color  Printing  Company,  Dunellen,  N.  J. 


MODERN  SCREEN 


Nature  puts  Dextrose  sugar  in  ripe,  juicy 
apples — it's  a  vital food  energy  sugar  found 
in  most  fruits  and  many  vegetables. 


Juicy  ripe 

Apples 
are  rich  in 
Dextrose  sugar 


and  so  is  delicious  Baby  Ruth 

The  satisfying  goodness  of  Baby  Ruth  is  as  natural  as  the  pure 
foods  combined  to  make  this  big  delicious  candy  bar.  Milk, 
butter,  eggs,  fine  chocolate,  plump  crisp  peanuts  —  and  Dextrose, 
the  sugar  your  body  uses  directly  for  energy — these  are  among 
the  choice  ingredients  which  give  Baby  Ruth  its  fine  flavor, 
fresh  fragrance  and  its  real  food  value.  How  about  a  bar  today? 

CURTISS    CANDY    C  O  M  P  A  N  Y  .  .  .  C  H  I  C  A  G  O 


By  actual  energy  tests,  a  150-lb.  athlete 
{pedaling  at  moderate  speed)  can 
ride  more  than  75  miles  on  the 

FOOD  ENERGY 
contained  in  one  $c  bar  of  delicious 
Baby  Ruth  Candy. 


AT    CANDY  COUNTERS 
EVERYWHERE 


Mnff 


For  the  Merry  Month  of  May 

MISS  ELAINE  SHEPARD 
New  York  and  Hollywood's  celebrated 
model  in  Chesterfield's  Sundial  dress 


THE  CIGARETTE 

OF  THE  HOUR 

Today  more  than  ever,  smokers  are 
turning  to  Chesterfield's  skillful  blend  of  the 
world's  best  cigarette  tobaccos.  Now  is  the  time 
for  you  to  light  up  and  enjoy  a  Chesterfield . . . 
they're  COOLER  SMOKING,  BETTER-TASTING 
AND  DEFINITELY  MILDER. 

ca/i%  6uy  a  Seller  cigarette 


Copyright  1940,  Liggett  &  Myers  Todacco  Co. 


Spring  Awakens 
a  Fever  of  LOVE 


Stir  His  Heart  with  This 
Springtime  Fragrance . . .  and 
He  Will  Madly  Adore  You! 

When  apple  blossoms  spill  their  fragrance 
on  the  soft,  warm  air  of  Spring  .  .  .  love 
will  not  be  denied  .  .  .  you  and  he  can't 
help  drifting  into  paradise ! 

And  a  man's  helpless  with  excitement, 
too,  when  you're  sweet  all  over  with  the 
perfume  of  Lander's  Spicy  Apple  Blossom 
Talc  and  Cologne.  For  this  thrilling  fra- 
grance awakens  a  fever  of  love  . .  .  makes 
a  man  feel  that  you're  divinely  desirable. 

His  lips  may  crush  yours  with  a  flaming 
urge  —  and  yet  this  flower-fresh  fragrance 
guards  your  refinement .  .  .  enshrines  you 
in  his  heart  as  the  one  woman  to  protect 
and  adore  forever.  Get  this  enchanting  talc ! 


Janoer's 


STOP  WORRYING  ABOUT  UNDIES  ODOR! 
PLAY  SAFE  THIS  EASY  WAY  .  .  .  simply 
shower  your  whole  body  every-  morning 
with  one  of  the  exquisite  Lander's  Talcs. 

Lander's  Talc  helps  keep  your  undies 
dry,  fresh  and  sweet  because  it  reduces 
the  amount  you  perspire.  And  what  a 
blessing  this  is  on  hot  summer  days! 

You'll  find  that  Lander's  Talc  cools 
and  comforts  your  skin.  Use  it  daily  at 
home  .  .  .  and  take  it  to  the  beach  with 
you,  too.  Never  be  without  Lander's  Talc. 
Large  can  only  10^  at  your  10^  store. 


TALCS 


LANDER'S  FAMOUS  BLENDED  FLOWER 
TALCS  surround  you  with  a  fragrance, 
seductive  yet  refined,  for  there's  an  utter 
innocence  about  the  perfume  of  flowers! 

Keep  yourself  a  sweet,  lovely  person 
to  be  with  by  showering  yourself  daily 
with  any  one  of  these  glorious  talcs  — 
UlACS  AND  ROSES  *  *  *  GARDENIA 
AND  SWEET  PEA  *  *  *  SPICY  APPLE  BLOS- 
SOM *  *  *  CARNATION  AND  LILY  OF  THE 
VALLEY  *  *  *  LAVENDER  AND  PINE  *  *  * 
ORCHID  AND  ORANGE  BLOSSOM. 
SOLD  ONLY  AT  ALL  10(  STORES. 


Wake  up.  Wallflower! 
Mum  after  your  bath  would  have 
saved  your  Charm! 


Mum  prevents  underarm  odor. . .  guards  after-bath  freshness  all  evening 


More  women  use  Mum  than  any 


other  deodorant. 


Just  a 

you  sure  of  your  ..... 
bath  has  faded,  Mum  sHU  keeps  y 


i  REATHLESS  expectations  .  .  .  dreams 
of  a  wonderful  evening  .  .  .  turned 
to  dust!  Why  should  it  happen  to  a 
pretty  girl  like  Jean?  She  bathed  so 
carefully,  chose  her  loveliest  dress,  started 
out  so  gaily.  But  she  did  forget  Mam- 
she  thought  her  bath  would  be  enough! 
And  now  she's  sitting  out  the  dances. 
She's  missed  her  chance  for  popularity— 
and  she  doesn't  know  why. 

It's  a  mistake  to  believe  that  the  bath 
which  leaves  you  so  fresh  and  sweet  will 
secure  your  charm  for  the  evening.  Even 
the  most  perfect  bath  removes  only  per- 
spiration that  is  past!  Underarm  odor 
can  come  after  a  bath,  unless  you  prevent 
it.  Why  not  make  sure  you  never  risk 
this  danger?  Make  future  odor  impos- 
sible—-follow  your  bath  with  Mum! 


MUM  SAVES  TIME!  Takes  only  half  a 
minute!  Just  a  pat  under  this  arm,  under 
that  .  .  .  and  you're  through! 

MUM  SAVES  CLOTHES!  Mum  has  the 

American  Institute  of  Laundering  Seal 
as  being  harmless  to  fabrics.  And  even 
after  underarm  shaving  Mum  actually 
soothes  your  skin. 

MUM  SAVES  CHARM!  Without  attempt- 
ing to  stop  perspiration,  Mum  prevents 
underarm  odor.  With  Mum,  after-bath 
freshness  lasts  all  evening.  Women  every- 
where use  Mum . . .  yes,  and  men,  too.  Get 
Mum  at  your  druggist's  today.  Be  always 
welcome— make  a  habit  of  Mum! 

FOR  SANITARY  NAPKINS— More  women 
use  Mum  for  sanitary  napkins  than  any  other 
deodorant.  Mum  is  gentle,  safe,  dependable! 


MUM  TAKES  THE  ODOR  OUT  OF  PERSPIRATION 


JUNE,  1940 


3 


©C1B  455363 


PEARL  H.  FINLEY 

Editor 

ZAILA  SEGUIN 

Associate  Editor 

LOIS  SVENSRUD 

Hollywood  Editor 

ABRIL  LAMARQUE 

Art  Editor 


n 


STORIES 

"DON'T  CALL  ME  A  GREAT  LOVER!" 

— James  Carson   

MR.  TAYLOR'S  "MISS  STANWYCK" 

— Gladys  Hall   

LIVING  IN  SIN 

— Katherine  Best   

SUCCESS  WITH  A  WHOOP! 

— Kirtley  Baskette   

BUTCH,  THE  BALLROOM  BARON 

— James  F.  Scheer  


BRUNETTE— WITH  A  BLONDE 
PERSONALITY 

—Elizabeth  Oldfield   ,  

A  STUDY  IN  GREENE 

— Irving  Wallace   


HOLLYWOOD  SKIN  MAGIC 

— Carol  Carter   


HOW  THEY  THAWED  OUT 
MADELEINE  CARROLL 

— George  Benjamin   

THEY  SELL  STARS 

— James  Reid   


26 


28 


30 


34 


36 


40 


42 


44 


48 


50 


FEATURES 

INFORMATION  DESK 

Questions  Answered    6 

OUR  PUZZLE  PAGE 

Movie  X-Word    8 

SANDWICHES— 

An  Open  and  Shut  Proposition   10 

MOVIE  REVIEWS 

Our  Ratings    12 

A  DOLLAR  FOR  YOUR  THOUGHTS 

Prize  Letters    14 

PORTRAIT  GALLERY 

For  Your  Album   19 

ON  THE  SET 

With  "All  This,  And  Heaven  Too"   32 

WHY  STARS  LEAVE  HOME 

Their  Favorite  Haunts   38 

CALLING  ALL  SECRETARIES! 

Movieland's  "Office- Wives"    46 

SOCIALLY  YOURS, 

"The  Gambol  of  the  Stars"   52 

GOOD  NEWS 

Movie  Chatter    56 

COMFORTABLE  AND  GAY 

New  Summer  Knits     80 

MOVIE  SCOREBOARD 

General  Ratings    94 


Cover  Girl:  Vivien  Leigh,  Natural  Color  Photograph,  by  L.  Willinger 


Vol.  21,  No.  1,  June,  1940.  Copyright,  1940,  by  the  Dell  Publishing  Co.,  Inc.,  149  Madison  Ave.,  New  York.  Published  monthly.  Printed  in  U.  S.  A.  Office  of  publication 
at  Washington  and  South  Aves.,  Dunellen,  N.J.  Single  copy  price  10c  in  U.  S.  and  Canada;  U.S.  subscription  price  $1 .00  a  year;  Canadian  subscription  $1 .20  a  year;  foreign  sub- 
scription $2.20  a  year.  Entered  as  second-class  matter,  Sept.  18,  1930,  at  the  Postoffice,  Dunellen,  N.  J.  under  Act  of  March  3,  1879.  Additional  second  class  entries  at 
Seattle,  Wash.;  San  Francisco,  Calif.;  Houston,  Texas;  Savannah,  Ga.  and  New  Orleans,  La.  The  publishers  accept  no  responsibility  for  the  return  of  unsolicited  material. 
Names  of  characters  used  in  semi-fictional  matter  are  fictitious,    if  the  name  of  any  living  person  is  used  it  is  purely  a  coincidence.  Trademark  No.  301773. 


Women  thrilled  by  this  Great  New 
Improvement  in  Beauty  Soaps! 


Amazing  gentleness 
—for  a  complex- 
ion that  invites 
y  "close-ups." 


MORE  ABUNDANT 


Refreshing,  creamy 
lather  that  comes 
quicker  to 
bring  out 
hidden 
beauty. 


NEW.WINNING^SpfcZ*^ 


Fragrance  that  makes 
it  heaven  to  hold 
you  in  his  arms. 


Brought  to  you  by  Camay  to 
Help  you  to  Loveliness! 

WOMEN  everywhere  are  making  new 
Camay  their  favorite  beauty  soap 
. . .  seeking  new  loveliness  with  the  aid  of 
Camay's  gentle  beauty  cleansing  care. 

And  no  wonder . . .  for  now  Camay  offers 
them  advantages  which  most  women  have 
never  enjoyed  before!  Yes— we  tested  new 
Camay  against  six  of  the  most  popular 
beauty  soaps  we  could  find  . . .  proved 
Camay  was  milder  than  any  of  them  . . . 
gave  more  lather  in  a  short  time  . . .  had  a 
fragrance  almost  2  out  of  3  women  pre- 
ferred! Get  Camay  at  your  dealer's,  now! 


I'm  just  thrilled  by  the  new  Camay -i  s 
even  better  than  ever.  Such  wonderful 
mildness  and  lather!  And  that  lovely  per- 
fume lasts  and  lasts  while  there  s  a  bit 

of  soap  left.  (Signed)  Le  Vert  Dobes 

Atlanta,  Georgia  Jlfri.  William  L.  Dobes 

 r-7  -7^ 


At  your  dealer's  no 
—no  change  in  wrapper! 

Now -more  than  ever-TUE,  soap  of  beautiful  women 


4 


MODERN  SCREEN 


A  LIFETIME  LIVED  IN  A  SINGLE  DAY! 

Vivien  Leigh  returns  to  you  —  beautiful,  tender, 
appealing  and  talented  beyond  description  —  in  a 
role  which  might  have  been  created  for  her  alone 
. .  •  A  girl  whose  emotions  mirrored  the  chaos  of  the 
world  around  her . .  .  grasping  fervently,  eagerly 
at  the  love  that  belongs  to  youth . . . Robert  Taylor 
attains  new  dramatic  stature  as  the  man  who  shares 
this  absorbing  romance  with  her.  Together,  they 
create  an  emotional  experience  you'll  ne  ver  forget. 


VIVIEN  LEIGH  ROBERT  TAYLOR 

in  Metro-Coldwyn-Mayer's 

WATERLOO  BRIDGE 

with  LUCILE  WATSON  •  VIRGINIA  FIELD 
MARIA  OUSPENSKAYA  •  C.  AUBREY  SMITH 

A  Mervyn  LeRoy  Production 
Screen  play  by  S.  N.  Behrman,  Hans  Rameau,  and  George  Froeschel 

Based  on  the  play  "Waterloo  Bridge"  by  Robert  E.  Sherwood 
Directed  by  MERVYN  LeROY   •   Produced  by  SIDNEY  FRANKLIN 


JUNE,  1940 


5 


MAY  11 


WE  KNOW  ALL  THE  ANSWERS —  YOU  POP  THE  QUESTIONS 


mm! 


WHAT'S  THE  NAME  AGAIN? 


Remember  how  you  felt  the  last  time  someone  mispronounced 
your  John  Henry?  Well,  the  stars  feel  that  way,  too.  Let's 
see  how  you  stand  on  a  few  of  the  trickier  ones.  When  you  finish 
the  quiz,  turn  to  page  95  and  get  your  rating.  The  emphasized 
syllable  is  indicated  by  the  accent  mark  ( ' ) . 


1.  Aherne,    Brian   (a 

2.  Au+ry,  Gene   (a 

3.  Ayres,  Lew  .  .  .  (a 

4.  Beery,  Wallace   (a 

5.  Boyer,  Charles   (a 

6.  Bradna,  Olympe   (a 

7.  Colbert,  Claudette  (a 

8.  Davis,  Bette   (a 

9.  Dietrich,  Marlene   (a 

10.  Dietrich,  Marlene   (a 

I  I.  Donat,  Robert   (a 

12.  Henie,  Sonja   (a 

13.  Hudson,  Rochelle   (a 

14.  Leeds,  Andrea   ^  (a 

15.  Leigh,  Vivien   (a 

16.  Massey,  llona   (a 

17.  Menjou,  Adolphe   ....(a 

18.  Olivier,  Laurence   (a 

19.  Rainer,  Luise   (a 

20.  Turner,  Lana   (a 


Ay'-hern 
Oh'-tree 
Ires 

Bear'-ee 

Boy-yay' 

Oh-limp' 

Coal-bear' 

Bet'-tee 

Mar-leen' 

Dee'-trish 

Dough'-nat 

Hen'-ee 

Roe'-shel 

An'-dree-a 

Lee 

Lo'-na 

Mon'-ju 

Oh-live'-ee-€ 

Ry'-ner 

Lay'-na 


NOTE:  Ij  you  desire  a  reply  by  mail, 
send  a  stamped,  selj-addressed  envelope 
to  Information  Desk,  Modern  Screen, 
149  Madison  Avenue,  New  York,  New 
York. 

Josephine  Brown,  Terre  Haute,  Ind.  We 
have  searched  high  and  low  and  just 
can't  find  a  star  whose  birthday  coin- 
cides with  yours.  You  are  sandwiched 
between  some  very  famous  people 
though,  which  means,  astrologically 
speaking,  that  you  were  born  under  their 
sign.  Cecilia  Parker  and  Edgar  Ken- 
nedy were  born  on  April  26,  and  Lionel 
Barrymore  and  Carl  Laemmle,  Jr.,  were 
born  on  the  28th.  Sorry  there  isn't  a 
twenty-seventh-er  for  you. 

Maty  D'Ercola,  New  York,  N.  Y.  Ronald 
Reagan,  who  has  recently  broken  so 
many  hearts  by  getting  himself  married 
to  Jane  Wyman,  is  twenty-seven  years 
old  and  was  born  in  Tampico,  Illinois. 
He's  a  college  graduate,  Eureka  being 
the  proud  alma  mater,  and  is  a  member 
of  Tau  Kappa  Epsilon.  He  was  prom- 
inent in  both  dramatics  and  athletics  in 
school,  but  upon  graduating  he  re- 
nounced the  former  and  took  up  sports 
reporting,  verbal  and  written.  While  he 
was  covering  the  Chicago  Cubs'  spring 


Ay-hern' 
Aw'-tree 
Airs 

Beer'-ee 

Boy'-er 

Oh-lamp' 

Coal'-bert 

Bet 

Mar-leh'-na 

Dee'-trick 

Dough-nat' 

High'-nee 

Roe-shel' 

On'-dree-a 

Lay 

ll-oh'-na 

Men'-ju 

Oh-live'-ee-ay 

Ray'-ner 

Lah'-na 


training  camp,  a  friend  introduced  him 
to  Max  Arnow,  Warner  Brothers'  casting 
director,  and  a  few  days  later  he  was 
signing  a  contract.  He  likes  Hollywood, 
but  can't  get  used  to  going  to  football 
games  as  a  cash  customer  instead  of  on 
passes.  The  Irishman  with  the  incon- 
gruous nickname  of  "Dutch"  likes  the 
color  green,  of  course,  and  also  horses, 
swimming,  hiking,  strawberry  shortcake 
and  eight  hours  sleep  per  night. 

Norma  Rogers,  Bronx,  N.  Y.  Phil  Regan 
was  born  on  May  28,  1908,  in  Brooklyn, 
N.  Y.  He  started  singing  "My  Wild  Irish 
Rose"  at  an  age  when  most  parents  are 
thrilled  to  get  a  "mama"  out  of  their 
kiddies.  Black-haired  and  grey-eyed, 
Phil  has  realized  all  of  his  ambitions  to 
date.  His  first  one  was  to  sing  in  his 
school  glee  club;  his  second  was  to  be  a 
cop;  next  he  longed  to  sing  on  the  radio, 
and  eventually  he  dreamed  of  Hollywood 
and  Broadway.  Now,  at  thirty-one,  he  is 
quite  satisfied  with  his  lot.  He  married 
at  seventeen  and  is  the  father  of  four 
children,  none  of  whom  approve  of 
Daddy's  love-making  on  the  screen.  Five 
feet  ten  in  height  and  weighing  165 
pounds,  this  engaging  young  "Singing 
Cop"  has  been  very  busy  the  last  year 
or  so  making  personal  appearances. 


Ruth  Cardinal,  Brooklyn,  N.  Y.  William 
Holden,  whose  sensitive  treatment  of  the 
complex  role  of  "Golden  Boy"  has  won 
him  wide  acclaim,  is  really  just  as  sur- 
prised about  it  all  as  you  are.  Just 
twenty-two,  with  no  more  romantic  as- 
pirations than  to  be  a  chemist  like  his 
dad,  Bill,  along  with  thousands  of  other 
boys,  was  tested  for  the  role  and  clicked 
with  Director  Mamoulian.  A  sophomore 
at  Pasadena  Junior  College,  virtually  in- 
experienced in  acting,  he  had  that  cer- 
tain spark  that  the  part  called  for. 
Christened  William  Beedle,  this  likable 
youngster  is  six  feet,  weighs  165  pounds 
and  has  blue  eyes  and  brown  hair.  He 
was  born  in  O'Fallon,  Illinois,  but  is  a 
Californian  by  adoption,  having  moved 
there  at  the  age  of  four.  He  is  a  very 
normal  kind  of  lad  with  a  yen  for  open 
cars,  athletics  of  all  kinds  and  dancing. 
Write  to  him  at  Columbia  Pictures,  1438 
N.  Gower  Street,  Hollywood,  Calif.,  and 
keep  your  eyes  peeled  for  "Arizona,"  his 
next,  with  Jean  Arthur. 

June  Rose  Koch,  Peoria,  111.  The  Lone 
Ranger,  Robert  Livingston,  is  married 
to  Dorothy  Gee  and  it  is  his  first  mar- 
riage. There  are  no  little  cowboys.  Bob's 
real  name  is  Randall,  and  both  his  par- 
ents are  writers.  Bob  took  a  stab  at  the 
newspaper  business  and  also  collaborated 
on  the  dialogue  for  a  few  movies  before 
deciding  that  he  wanted  to  act. 

Anna  Cook,  Le  Roy,  N.  Y.  So  many 
people  assume  that,  because  Hedy  Lamarr 
is  so  unbelievably  gorgeous,  she  must  be 
proportionately  dumb.  Nobody,  they  as- 
sert, could  look  like  that  and  still  have 
a  brain.  Alert  and  energetic,  Hedy  is 
that  paragon — a  combination  of  intelli- 
gence and  breath-taking  beauty.  She  is 
well-read,  a  linguist  of  no  mean  attain- 
ments and  a  lover  of  good  music.  At 
the  risk  of  making  Gene  Markey  jealous, 
she  confesses  that  she  admires  Toscanini 
more  than  any  other  living  man.  She 
plays  the  piano,  designs  all  her  own 
clothes  and  averages  a  dozen  movies  a 
week  in  order  to  improve  her  English 
pronunciation,  which  is  now  almost  per- 
fect. She  likes  night-clubbing,  mainly 
because  of  her  love  of  dancing,  but  pre- 
fers swimming,  tennis  and  long  drives  in 
her  car.  Born  in  Vienna,  the  daughter 
of  a  bank  executive  and  reared  in  lux- 
ury; married  to  a  wealthy  munitions 
manufacturer  who  gratified  her  every 
whim;  hurtled  to  stardom  practically 
overnight  in  Hollywood,  Hedwig  Kies- 
ler,  now  Hedy  Lamarr,  has  kept  her  head 
and  is  refreshingly  unspoiled  and  un- 
sophisticated. 

James  Blazek,  Cicero,  111.  Here's  how  to 
organize  a  fan  club.  It's  loads  of  work, 
but  it's  so  much  fun.  First  of  all,  you 
must  write  to  (Continued  on  page  95) 


6 


MODERN  SCREEN 


Bette  Davis/j  Charles  Boyer 


You'll  say  when  you  see  her  that 
''Henrietta  is  a  role  heaven-sent 
just  for  Bette  Davisl  And  you  11 
know,too,whyCharlesBoyer 
had  to  return  all  the  way 
from  France  to  play  the 
impassioned  Due.  For 
so  many  reasons  this  ; 
is  the  drama  to  be 
ranked  in  your 
memory 

the  I 


j 

?  I 
i 

i> 

.  i 


Included  in  the  notable  supporting  cast  are 

JEFFREY  LYNN  •  BARBARA  O'NEIL 

Virginia  Weidler  •  Henry  Daniell 
Walter  Hampden  .  George  Coulouris 

<J1N  AN  AT  OLE  LITVAK  PRODUCTION 

Screen  Play  by  Casey  Robinson  •  Music  by  Max  Steiner 
A  Warner  Bros. -First  National  Picture 


ARE       HONORED       TO  OFFER 


ALL  THIS  AND 
HEAVEN  TOO' 

FROM  THE  WORLD-APPLAUDED   NOVEL  BY 


...and  here's  why  I  choose 


>se  ^» 


FIBS 


the  kotex 

TAMPON 


The  Ideal  Internal  Protection.  Fibs,  the  Kotex 

Tampon,  with  new  exclusive  features,  is  mote 
comfortable,  more  secure,  easier  to  use.  Be- 
cause of  the  rounded  top  no  artificial  method 
of  insertion  is  necessary!  A  Kotex  product,  Fibs 
merit  your  confidence! 


Special  Quilting  keeps  Fibs  from  expand- 
ing abnormally  in  use— prevents  risk  of  parti- 
cles of  cotton  adhering —increases  comfort  and 
lessens  possibility  of  injury  to  delicate  tissues. 


Made  of  Surgical  Cellucotton  (not  cotton) 

which  absorbs  far  more  quickly  than  surgical 
cotton,  that's  why  hospitals  use  it.  Mail 
coupon  with  10c  for  trial  supply  today. 


Accepted  for  Advertising  by  The  Journal 
of  the  American  Medical  Association 

SAMPLE  OFFER    ,T.  M.  Re,.  „.  s.  Pat.  0ff. 

FIBS-Room  1412A,  919  N.  Michigan  Ave.,  Chicago. 

I  enclose  10c  for  trial  supply  of  FIBS,  the  Kotex 
Tampon,  mailed  in  plain  package. 

Name    

Address  

City    State   


Puzzle  Solution  on  Page  84. 


ACROSS 

79.  James  wart 

80.  She's  in  "Jamaica  Inn" 

35. 
36. 

  Cahoon 

Constellation 

82.  Organ  of  hearing 

37. 

War  William 

1  &  7.  Star  of  this  puzzle 

83. 

Fluttery  comedienne  in 

39. 

Prejudice 
"Seven  " 

12. 

Femme   lead   of    '  Vir- 

"Remember ?" 

41. 

ginia  City" 

86. 

Where  our  star  was 

Weary 

18. 

Doctor  in  "Four  Wives" 

born  and  educated 

44. 

Star  of  "Remember  the 

19. 

Ann  Sothern's  hubby 

88. 

1  across  was  with  her  in 

Night" 

20. 

Melanie  in  "G.W.T.W." 

"The  Painted  Veil" 

45. 

Dancer   in  "Broadway 

21. 

Spot 

92. 

Actress  in  "The  Big 

Melody  of  1940" 

22. 

Require 

Guy" 

46. 

Bone 

24. 

She's  in  "My  Little 

93. 

Opposite  27  across 

47. 

Radical 

Chickadee" 

.  95. 

Long  ago 

49. 

Joan   Bennett's  daugh- 

26. 

Claire   

97. 

Above :  poet. 

ter  :  inda 

27. 

Star  of  "The  Spell- 

98. 

Affected  manners 

50. 

Small  insect 

binder" 

100. 

Again 

51. 

Presented 

28. 

"Each  I  Die" 

102. 

 Barrie 

52. 

Horns 

29. 

Midday 

103. 

Snips 

62. 

"Cap"  Huff  in  "North- 

31. 

"The  Ghost  B  kers" 

104. 

Cubic  meters 

west  Passage" 

32. 

Follow 

106. 

"The  Singing  Cop" 

63. 

What  Joan  Fontaine  is 

34. 

"Ukulele  Ike" 

108. 

Quickly 

to  Olivia 

38. 

Deep  chasm :  poet. 

no. 

Male  lead  of  "Daytime 

64. 

Heraldry  :  grafted 

40. 

"Brother  " 

Wife" 

65. 

Era 

42. 

Star  of  "Secret  of  Dr. 

111. 

Lewis  

66. 

"My  ,  My  Son" 

Kildare" 

112. 

To  become  gloomy 

67. 

On  the  sheltered  side 

43. 

Three  :  prefix 

68. 

Optical  illusion 

44. 

English  dramatic  star 

DOWN 

69. 

Number  of  Lane  sisters 

48. 

Girl  in  "House  of  Seven 

71." 

in  films :  Rom.  num. 

Gables" 

Peril 

49. 

With  our  star  in  "Ad- 

1. 

Tough  guy  in  "Strange 

Cargo" 

73. 

 Zorina 

venture  in  Diamonds" 

75. 

That  lady 

S3. 

One  to  whom  property 

2. 

Heroine  in  "Geronimo" 

76. 

Friend 

is  transferred 

3. 

Wind  instruments 

77. 

Period  of  time 

54. 

Gradual  disintegration 

■  4. 

"The  Invisible  Man 

80. 

Commands 

55. 

1  across  was  in  the  Irish 

  urns" 

81. 

Any  person 

 ellion 

5. 

Star  of  "The  Primrose 

83. 

Brag 

56. 

"Str---ed" 

Path"  :  init. 

84. 

Harmony 

57. 

Comic  who  says  "mon- 

6. 

Volcano 

85. 

More  unusual 

keys  is  the  cwaziest 

7. 

Opposite  1  across  in 
"The  Rains  Came" 

86. 

Actor  in  "Strange 

people" 

Cargo" 

58. 

Dynamite 

8. 

Actor  of  the  silent  days 

87. 

Star  of  "Swanee  River" 

59. 

Doctor  in  "Vigil  in  the 

9. 

For  example  :  abbr. 

89. 

Circular 

Night"  :  init. 

10. 

Fresh 

90. 

She  was  "The  Old 

60. 

Singer  in  "Swanee 

11. 

Tendencies 

Maid" 

River" 

12.. 

"Mr.  's  Last  Warn- 

91. 

Radio  star  who  went 

61. 

The  "oomph"  girl 

ing"         _  - 

Hollywood 

63. 

Ocean 

13. 

Italian  article 

94. 

Comfort 

66. 

Producer  of  "The 

14. 

Free 

96. 

Knocks 

Westerner" 

15. 

Precious  substance 

99. 

A  "sign"  of  a  star's 

69. 

Suffix   denoting   a  fol- 

16. 

Assistants 

popularity 

lower 

17. 

Feminine  title  of  respect 

101. 

Damp 

"The  From  Dakota" 

70. 

"  Twenties" 

23. 

Female  sheep 

102. 

72. 

Star  of  "Rebecca" 

25. 

Distress  signal 

103. 

Fish 

74. 

A  performer 

28. 

Singer  of  "It's  a  Date" 

105. 

"Gold  -  -  Arrow" 

75. 

"  cial  Agent" 

30. 

Not  wide 

107. 

He  was  a  "-  -  Getter" 

78. 

Sea  nymphs 

33. 

Incite 

109. 

Sun  god 

8 


MODERN  SCREEN 


Find  your  most  Becoming  Powder  Shade  now 
and  get  it  in  my  GRIT- FREE  powder! 


/GRIT  IN  YOUR  FACE  POWDER  CAN  GIVE  1 
t  YOUR  SKIN  A  HARSH,  "POWDERY "LOOK!/  SO^g- 


The  wrong  shade  of  powder  is  a  tragedy— but 
even  the  most  becoming  shade  can  raise  the  dickens 
with  your  appearance— if  that  powder  contains  grit! 
For  powders  containing  grit  can  make  you  look 
older— can  give  your  skin  a  harsh,  "hard"  look. 


Does  a  higher  price  mean  a  better 
powder?  Don't  be  deceived!  For  even 
expensive  powders  often  contain  grit. 
Impartial  laboratory  tests  showed  many 
powders  costing  $1.00,  $2.00,  $3.00,  and 
even  more,  contained  up  to  20.44%  grit! 

But  there  is  no  grit  in  Lady  Esther 
Face  Powder.  Day  or  evening,  when  you 
wear  it,  no  harsh,  "powdery"  look  will 
spoil  your  loveliness.  For  my  powder  will 
flatter  you  through  busy  hours  with 
never  a  trace  of  grit  to  ruin  its  smooth- 
ness ...  to  spoil  the  perfect  blending  of 
your  most  becoming  shade. 


The  "Bite  Test"  will  tell  you. 
You  have  a  laboratory  right  in 
your  own  mouth!  Put  a  bit  of 
your  present  powder  between 
your  teeth!  Be  sure  your  teeth  are 
even,  then  grind  slowly.  Your 
teeth  will  tell  you  if  your  face 
powder  contains  grit. 


Lady  Esther  powder  passes  the  bite  test  with 
colors  flying.  It's  GRIT-FREE— so  smooth  that  it 
clings  actually  FOUR  LONG  HOURS.  Pat  it  on  after 
dinner,  say  at  8,  and  at  midnight  it  will  still  be 
there,  flattering  you  and  your  skin. 


Find  Your  One  Luckiest  Shade— Here  and  Now 


If  you  want  to  look  your  best  at  a 

party,  a  dinner,  or  a  dance,  you  must 
have  the  right  shade  of  face  powder.  Why 
guess,  when  you  can  be  certain  as  to  which 
is  exactly  the  right  shade  for  you,  the 
becoming  shade,  the  flattering  shade! 

Find  out  right  now!  Write  me— and  I 
will  send  you  10  glorious  new  shades  of 
my  grit-free  face  powder  (including  my 
Champagne  Rachel).  Try  all  my  shades 
—you'll  be  amazed  to  see  that  my  beiges, 
dark  rachels,  light  rachels,  rose  tones 


and  my  natural  are  so  much  more  flat- 
tering than  the  equivalent  shades  of 
other  brands  you  may  have  tried. 

From  this  complete  range  you  will 
surely  find  the  one  shade  that  is  made  to 
order  for  you  —  the  one  shade  that  will 
make  you  look  younger  and  lovelier! 
And  because  my  powder  is  grit-free,  it 
will  never  give  you  an  ungroomed,"pow- 
dery"  look!  There  is  no  finer,  no  higher 
quality  powder  in  the  world  today— no 
lovelier  shades.  So  mail  the  coupon  now! 


*  10  shades  FREE!  * 


(You  can  paste  this  on  a  penny  postcard) 

Lady  Esther,  (56) 
7110  West  65th  Street,  Chicago,  111. 
Please  send  me  FREE  AND  POSTPAID  your 
10  new  shades  of  face  powder,  also  a  tube  of 
your  Four  Purpose  Face  Cream.  (Offer  lim- 
ited to  one  per  family.) 


If  you  Use  in  Canada,  ivrite  Lady  Esther,  Toronto,  Ont. 


JUNE,  1940 


9 


J 


n 


WHEN  THE  Earl  of  Sandwich— card 
loving  gentleman  of  another  land  and 
century — reluctant  to  leave  the  gaming 
tables,  ordered  for  the  first  time  on 
record  a  piece  of  meat  encased  between 
two  slices  of  bread,  all  unknowingly  he 
invented  a  novel  food  idea  which  was 
to  make  him  famous!  But  it  is  a  far  cry, 
indeed,  from  that  simple  suggestion  of 
his  to  the  amazing  variety  of  combina- 
tions which  still  bear  his  lordship's  name 
— however  little  they  may  resemble  his 
initial  idea! 

A  veritable  gold  mine  of  information 
on  this  sandwich  subject  is  cute  little 
Rosemary  Lane,  currently  appearing  in 
"An  Angel  from  Texas."  Encouraged  in 
childhood  to  take  an  interest  in  culinary 
matters  by  a  supremely  sensible  mother, 
Rosemary  followed  up  with  a  post  grad- 
uate course  in  sandwiches  in  and  around 
Hollywood.  Here  sandwiches,  like  every- 
thing else,  are  "glamourized"  (sometimes 
beyond  recognition!),  and  stars  are 
honored  by  having  sandwiches  named 
after  them!  So  it  is  small  wonder  that 
this  bright  young  member  of  the  Lane 
quintette  of  girls  has  several  sandwich 
specialties  which  deserve  your  inter- 
ested attention.  And  particularly  so  at 
this  time  of  year  when  warmer  days 
bring  with  them  a  desire  for  lighter, 
simpler  meals  and  a  freer  outdoor  life. 


High  time,  therefore,  for  a  review  of 
the  sandwich  situation,  especially  since 
Rosemary  is  willing  and  ready  to  act 
as,  our  guide  and  to  provide  some  of 
her  own  favorite  ideas  for  us  to  try. 

First,  however,  let  me  point  out  that 
nowadays  sandwiches  are  an  open  and 
shut  proposition — the  name  being  used 
to  describe  practically  any  type  of  filling 
or  spread  placed  on  a  slice  of  bread  and 
topped  with  a  second  slice  of  bread,  or 
not.  However,  when  crackers  or  slices 
of  cake  are  used  in  place  of  bread,  then 
the  filling  must  be  "sandwiched  in"  to 
belong  under  this  classification. 

And  now  for  some  tips  on  the  tech- 
nique of  sandwich  making  and  on  the 
interesting  types  you  can  concoct. 

IDEAS  IN  GENERAL 

Day-old  bread  is  usually  recommended 
for  sandwich  making  because,  though 
still  fresh,  it  cuts  well.  However,  for 
rolled  sandwiches,  bread  should  be  as 
fresh  as  possible  to  make  it  more  pliable. 
For  some  types  of  sandwiches  unsliced 
bread  must  be  used;  also,  when  many 
varieties  of  sandwiches  are  to  be  made, 
an  unsliced  loaf  is  more  convenient 
since  then  you  can  cut  the  fancy  ones  the 
long  way  of  the  loaf. 

Of   course,   you   will   need   a  sharp 


a  Vtrea 


Co*' 


•gad 


DDflD 


s 


knife  .  .  .  with  a  well  sharpened  tool 
you  can  cut  even  the  freshest  of  bread 
paper  thin,  especially  if  you  heat  the 
knife  between  each  slicing  by  dipping 
it  in  boiling  water  or  holding  it  over 
a  flame.  There  is  also  a  new  bread  holder 
on  the  market  which  enables  you  to  cut 
each  piece  of  already-sliced  bread — just 
as  it  comes  from  the  store — into  two 
thinner  slices  for  daintier  sandwiches. 
This  is  real  convenience  since  we  gen- 
erally have,  or  can  always  procure,  the 
sliced  loaves. 

Butter  or  margarine  should  be  well 
"creamed"  before  using;  that  is,  it  should 
be  worked  with  a  stiff  knife  until  it  is 
soft  and  fluffy,  so  that  it  will  spread 
easily  and  without  danger  of  tearing 
the  bread.  Adding  flavoring  to  the  butter 
— such  as  anchovy  and  other  fish  pastes, 
onion  juice  or  minced  chives,  chili  sauce, 
molasses,  honey  and  the  like — also  sim- 
plifies preparation  and  serves  as  a  spread, 
or  as  a  base  for  other  spreads.  Cheese 
of  the  type  that  is  spread  on  the  bread 
should  be  softened  by  standing  at  room 
temperature  or,  if  necessary,  by  mashing. 
Frequently  mayonnaise,  cream  or  some 
relish  is  added  to  the  cheese  to  make  it 
spread  more  easily. 

For  the  very  thinnest  sandwiches,  the 
filling  is  spread  on  before  cutting  the 
bread  from  the  loaf.  This  also  is  done 


10 


MODERN  SCREEN 


when  the  loaf  is  to  be  spread  lengthwise. 
A  sawing  motion  is  recommended  when 
cutting  the  loaf  from  end  to  end.  Crusts 
should  always  be  removed,^  except  for 
the  filling  type  of  picnic  "and  school 
lunch  sandwiches. 

IDEAS  IN  PARTICULAR 

Your  Party  Sandwich  repertory,  ac- 
cording to  Rosemary  Lane,  should  in- 
clude, besides  the  regulation  wafer-thin 
tea  sandwiches,  such  things  as  Cornu- 
copias, Window  and  Ribbon  Sandwiches, 
Pinwheels,  Iced  Open-Faced  Bridge- 
card-shaped  specialties  and  cream- 
cheese-frosted  Sandwich  Loaves.  Her 
description  of  how  to  make  all  of  these 
follows  shortly. 

Bread — the  base  for  most  sandwiches 
—should  be  varied.  The  same  spread  on 
different  breads  provides  a  welcome 
variety  in  both  appearance  and  flavor. 
Using  two  breads  for  one  sandwich  is 
attractive  looking.  Then  there  are  certain 
breads  which  call  for  certain  accompani- 
ments— such  as  ham  on  rye,  high- 
flavored  cheese  on  pumpernickel,  cream 
cheese  on  date  or  raisin  bread  and  on 
Boston  Brown  Bread,  as  well. 

Luncheon  and  supper  sandwiches, 
whether  open-faced,  single  or  double- 
deckers,  are  generally  of  the  toasted  or 
broiled  variety.  Sometimes  they  are  deep 
fat  fried,  and  Rosemary's  idea  for  this 
is  a  honey!  The  same  general  idea,  ex- 
cept that  the  sandwich  is  sauteed  in 
butter,  becomes  a  French  Toast  Sand- 
wich and  a  palpable  hit! 

Sweet  sandwiches  are  also  a  pleasing 
variation  of  this  popular  theme.  A  Des- 
sert Sandwich  at  the  Lane's  may  mean 
any  one  of  several  treats.  Sometimes  it 
is  a  slice  of  ice  cream  between  two 
pieces  of  sponge  cake,  generally  with  a 
sauce  over  it  all.  Other  times  it  consists 
of  chocolate  or  ginger  wafers  with  a 
marshmallow  or  cream  filling  in  between, 
and  here  several  cookies  are  used  to  a 
serving.  Frequently  a  Frozen  Fruit 
Sandwich  makes  its  welcome  appearance. 
They're  easy  to  prepare  and  will  make 
the  same  sort  of  hit  with  your  family 
as  they  do  with  Rosemary's  enthusiastic 
household. 

But  right  now  it's  knives  and  bread 
board,  special  cutters  and  extra-special 
spreads,  loaves — sliced  or  unsliced — for 
we're  about  to  make  some  mighty  attrac- 
tive sandwiches.  (Continued  on  page  62) 


You  may  have  thought  you  knew 
all  there  was  to  know  about  sand- 
wich-making, but  Rosemary  Lane 
has  a  few  clever  suggestions  that 
are  revolutionary — but  oh  so  good! 


Meddle!  Meddle!  Meddle!  Goodness  only  knows  why,  but  this  busy  neighbor 
does  it  plenty!  She  criticizes  you  for  this.  She  criticizes  you  for  that.  And  glory, 
what  a  spot  you're  in  —  if  she  looks  at  your  little  angel  and  finds  her  dressed  in 
dingy,  tattle-tale  gray! 


Don't  get  mad — just  get  wise!  For  no  matter  how  hard  you  rub  and  rub,  some 
soaps  are  so  weak-kneed  they  simply  can't  budge  all  the  dirt  out  of  clothes.  So 
hurry  to  the  grocer's  and  switch  to  the  soap  that  doesn't  give  dirt  a  chance!  Switch 
to  Fels-Naptha — golden  bar  or  golden  chips ! 


Then  parade  the  baby  in  style!  And  prick  up  your  ears— whenever  that  meddler 
comes  around.  For  Fels-Naptha's  richer  golden  soap  and  gentle,  dirt-loosening  naptha, 
working  as  a  well-balanced  team,  make  tattle-tale  gray  give  up  in  despair.  They 
get  clothes  honestly  clean  all  the  way  through.  So  sunny-white  and  sweet  —it's  a 
thrill  to  have  even  a  meddler  notice— to  hear  her  sing  your  praises  to  the  skies! 

Now — Fels-Naptha  brings  you  2  grand 
ways  to  banish  "Tattle  -Tale  Gray"! 


'4  \ 


ft: 


"Use  the  golden  bar  for  all  bar-soap  jobs.  It's  just  the  best 
ever!  Use  the  golden  chips  wherever  you  use  box-soap.  They're 
HUSKIER  flakes— not  puffed  up  with  air  like  flimsy,  sneezy 
powders.  And  now  they've  got  a  new  suds-builder  that 
makes  oodles  of  rich,  busy  suds.  Simply  grand  for  washing 
machines."  COPR  ,940  FELS  a  c0 


JUNE,  1940 


11 


jQJJJJ  REVIEWS 

"  ^  ^  |. 

tAt"^"^"^  RebGCCa  °^  daphne  du  Maurier's  novel,  already  a  stupendous  com-  ! 

mercial  success  in  book  form,  the  brilliant  British  director,  Alfred 
Hitchcock,  has  successfully  created  a  two-hour-long  mood  com-  | 
pounded  of  highly  effective  mystery,  terror  and  suspense. 

Writhing  with  diffidence,  the  second  Mrs.  de  Winter  (Joan  1 
Fontaine)  is  brought  from  Monte  Carlo,  where  she  was  the  brow- 
beaten companion  of  wealthy  Mrs.  Van  Hopper  (Florence  Bates), 
into  one  of  the  greatest  manor  houses  in  England — one  of  those 
houses  which  apparently  one  lives  for,  rather  than  in.  There  she 
finds  that  the  first  wife  has  left  her  imperious  stamp  on  everything, 
not  merely  on  linen  and  silver,  but  on  the  servants  and  daily 
routines  of  the  great  household,  on  the  very  soul  of  her  bitter  i 
and  introvert  husband  (Laurence  Olivier),  who  betrays  at  every 
turn  his  secret  preoccupation  with  the  dead  woman. 

Relentlessly  faithful  performances  by  Joan  Fontaine  and  Lau- 
rence Olivier,  who  is  the  brooding  and  melancholy  Heathcliff  of 
"Wuthering  Heights"  all  over  again,  make  "Rebecca"  one  of  the 
most  powerful  fictions  in  its  peculiar  cinematic  field. 

Judith  Anderson  is  strikingly  effective  as  the  demented 
housekeeper,  Mrs.  Danvers,  and  George  Sanders,  Reginald 
Denny  and  C.  Aubrey  Smith  are  also  outstanding. — Selznick. 


***  l/2  Primrose  Path 


From  a  fair-to-middling  Broadway  play  of  last  season,  Greg- 
ory LaCava  has  fashioned  the  most  interesting,  the  most  provoc- 
ative and  the  most  adult  motion  picture  to  come  from  Hollywood 
in  years.  Protectively  cloaked  in  a  conventional  movie  plot,  it 
relates  with  tenderness,  humor  and  an  occasional  touch  of  heart- 
break, how  a  little  girl  from  the  wrong  side  of  the  tracks,  with 
heredity  and  the  social  order  solidly  leagued  against  her,  by  dint 
of  awkward  charm  and  determination,  finally  achieves  love  and 
happiness  within  the  safe  enclosures  of  the  respectable  community. 

Mr.  LaCava's  selection  of  Ginger  Rogers  for  the  role  of  Elbe 
May  proves  to  be  as  brilliantly  right  as  it  was  daring.  Joel  Mc- 
Crea,  likewise,  has  been  blest  in  his  election  for  the  role  of  Ed 
Wallace,  whose  "unserious"  kiss  kindles  in  Ellie  May's  heart  the 
dangerous  fires  of  love.  But  the  entire  cast  is  perfection  itself. 

By  conventional  standards,  it  is  a  region  of  queer  and  fantastic 
human  fish  into  which  Mr.  LaCava  so  fastidiously  dips  his  net, 
but  it  is  the  bona-fide  folk  life  of  America.  There  seems  to  be  no 
good  reason  why  Hollywood  should  continue  to  neglect  it  in  favor 
of  a  phony  world  of  pre-fabricated  characters,  imported  accents, 
and  a  dialogue  writer's  idea  of  polite  conversation.  It  can  be 
first-rate  cinema  material.    Mr.  LaCava  proved  that. — RKO. 


★**  1/2  It's  a  Date 


There  is  something  inescapably  routine  about  this  business  of 
recording  Deanna  Durbin's  cinematic  successes,  which  follow  one 
after  another  in  an  orderly  and  an  almost  indistinguishably  ex- 
cellent procession.  By  careful  watching,  however,  it  is  possible 
to  detect  differences;  for  example,  a  professional  reviewer  with 
a  mind  and  memory  for  such  hairline  things,  can  confidently  say 
that  "It's  a  Date"  is  superior  by  several  technical  degrees  to  its 
immediate  predecessor,  "First  Love,"  although  to  Durbin  dev- 
otees, of  course,  this  jaded  judgment  will  mean  nothing. 

The  plot,  which  last  time  was  frankly  Cinderella,  as  usual  is 
something  simple  and  well-worn;  that  of  the  aging  actress  (Kay 
Francis),  and  the  ebullient  and  gifted  daughter  (Deanna  Durbin) 
who  wins  the  big  role  and  then,  too  late,  tries  to  keep  the  humiliat- 
ing knowledge  from  Mama.  The  solution  in  this  case  is  a  pine- 
apple king  who  resembles  Walter  Pidgeon,  and  who  evens  matters 
in  the  feminine-vanity  sweepstakes  by  preferring  Mama  to 
daughter.  Thus,  daughter  gets  stage  role,  Mama  gets  no-longer- 
young  boy,  and  we  get  the  usual  number  of  Durbin  solos.  Samuel 
S.  Hinds,  Lewis  Howard,  Cissie  Loftus,  Eugene  Pallette,  Fritz 
Feld  and  S.  Z.  Sakall  stand  out  in  supporting  roles.  Directed 
by  William  Seiter. — Universal.  (Continued  on  page  16) 


12 


MODERN  SCREEN 


THE  FACTS  BEHIND  THE  FICTION  ON  THE  STARS  IN  REVIEW 


Joan  Fontaine 


Joan  Fontaine  insists  she  doesn't  deserve  the  widespread  acclaim  she's 
been  getting  for  her  subtle  portrayal  of  Mrs.  de  Winter  in  "Rebecca."  "You 
wouldn't  praise  Lincoln  to  the  skies  if  he  came  back  to  life  and  gave  a  good 
performance  in  'Abe  Lincoln  in  Illinois,'  would  you?"  she  asks.  "Well,  Mrs. 
de  Winter  is  myself  in  practically  every  respect,  just  as  I  was  a  few  years 
ago.  Why  shouldn't  I  do  the  part  with  feeling?" 

As  a  child,  Joan  was  a  semi-invalid  who  whiled  away  the  bed-ridden  hours 
with  fantasies  and  daydreams.  Growing  older,  she  found  herself  shrinking 
from  everything  harsh  and  ugly,  and  retreating  more  and  more  into  herself. 
Too  frail  at  that  time-  to  do  anything  energetic,  she  turned  to  painting.  This 
hobby,  together  with  her  acting,  has  given  her  the  escape  her  temperament 
really  needs.  Perseverance,  sensible  living  and  a  sense  of  humor  have 
restored  her  to  buoyant  health,  and  in  eight-months  of  marriage  to  Brian 
Aherne,  she  has  found  a  love  and  understanding  she  never  dreamed  possible. 

Brian's  pictures  and  his  problems  are  her  chief  concern  now.  And  even 
as  the  young  wife  in  "Rebecca"  bloomed  when  she  began  to  share  her  hus- 
band's worries,  so  has  Joan,  since  her  whirlwind  courtship  and  marriage. 


Joel  McCrea 


As  early  as  1912,  when  Joel  McCrea  was  an  unwilling  student  at  Holly- 
wood School  for  Girls  (the  only  private  kindergarten  in  his  neighborhood), 
he  decided  he'd  own  a  ranch  some  day,  and  gallop  the  length  and  breadth 
of  it  in  a  big  sombrero  and  fur  chaps.  Where  the  ranch  would  be,  he  didn't 
know  or  care,  but  he  did  know  one  thing!  There'd  be  no  women  on  it! 
That  hectic  year  with  the  co-eds  of  H.  S.  F.  G.  had  soured  him  on  everything 
feminine. 

He  spent  the  required  number  of  years  in  high  school,  and  later  studied 
at  Pomona  College,  where  he  appeared  opposite  Director  Sam  Wood's 
daughter  in  a  college  play.  Though  Mr.  Wood  came  to  Pomona  to  admire 
his  child,  he  was  so  favorably  impressed  by  Joel's  performance,  he  re- 
mained to  discuss  a  contract. 

Today,  acting  is  merely  a  sideline  for  Joel.  He's  managed  to  get  that  ranch, 
you  see — 1200  acres  of  it.  There  have  been  some  slight  amendments  to  his 
original  plans,  however.  There  is  a  woman  on  it;  has  been  for  nearly  seven 
years — Frances  Dee,  whom  Joel  met  when  they  played  together  in  "The 
Silver  Cord"  in  1933.    But  luckily,  she  shares  his  love  for  the  range. 


Deanna  Durbin 


Whoever  the  prototype  for  the  temperamental  comic  strip  prima  donna 
may  have  been,  she  wasn't  Deanna  Durbin;  we  have  that  on  the  irrefutable 
authority  of  Henry  Koster,  who  directed  five  of  her  previous  hits.  Contrari- 
wise, she's  disarmingly  modest.  "I  just  happen  to  have  one  of  those  throats," 
she'll  say  and  quickly  change  the  subject.  Not  that  the  exciting  events  of 
the  past  five  years  wouldn't  entitle  her  to  a  slight  case  of  temperament. 
First,  there  was  her  discovery,  then  her  tremendous  success,  followed  by  a 
new  contract  at  a  salary  which  reads  like  a  social  security  number,  and  a 
romance  spectacular  enough  to  be  a  publicity  stunt,  but  strictly  on  the  level. 

The  first  song  she  ever  sang  was  "Pal  O'  My  Cradle  Days,"  and  her  family 
used  to  bribe  her  with  dimes  to  get  her  to  stop.  Sensitive,  shy  and  reserved, 
seventeen-year-old  Deanna  doesn't  crave  adulation.  Yes,  she's  thrilled  by 
her  9,000  fan  letters  a  week,  by  the  knowledge  that  she's  the  only  honorary 
"girl"  boy-scout  in  the  world,  and  by  the  fact  that  she's  been  dubbed  Holly- 
wood's Joe  di  Maggio,  having  brought  in  seven  screen  home  runs  on  seven 
hits.  Yet,  if  it  all  went  up  in  smoke  tomorrow,  she  wouldn't  really  mind. 
Singing  means  everything  to  her,  and  success  is  just  an  enjoyable  by-product. 


IN 


I     JUNE,  1940 

I 


13 


IRRESISTIBLE  LIPS  I 


USE 


IRRESISTIBLE  LIPSTICK 


IT'S  . 

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Appeal"  apply  the  magic  of  IRRESISTIBLE 
LIPSTICK,  the  lipstick  that's  WHIP-TEXT  for 
greater  smoothness.  Whipped  again  and 
again  by  a  new  secret  process,  Irresistible 
Lipstick  is  softer,  smoother,  more  lasting, 
non-drying.  In  vibrant,  exciting,  clear  colors 
that  add  witchery  to  your  make-up:  FLASH 
RED,  FIRE  PINK,  FUCHSIA  PLUM,  ORCHID 
and  other  smart  shades,  with 
matching  Rouge  and 
Face  Powder. 


AT  ALL 
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STORES 


AIR  YOUR  VIEWS  AND  WALK  OFF  WITH  ONE  OF  THE  TEN 


USE  IRRESISTIBLE  PERFUME 
TONIGHT! 


Leave  'em  Alone 

Every  time  one  picks  up  a  movie  fan 
magazine  or  a  newspaper  column  dealing 
with  Hollywood  screen  stars,  one  finds 
somebody  crabbing  because  some  impor- 
tant star  or  other  refuses  to  live  his  or 
her  life  in  full  view  of  the  ogling  public. 
It  makes  a  person  sore. 

I  think  a  screen  personality  owes  no 
more  and  no  less  to  his  or  her  public 
than  to  give  genuine  relaxation  and  en- 
joyment while  on  the  screen.  What  a 
screen  actor  does  in  his  spare  time  is  the 
business  of  that  screen  actor  only,  and 
not  the  public  at  large.  Can  a  talented 
and  finely  strung  human  being,  who 
works  hard  all  day  before  a  battery  of 
cameras  and  bright  lights,  dash  out  with 
a  new  escort  to  some  whoopee  spot  every 
other  night  and  still  give  an  unselfish 
performance  before  the  same  cameras 
the  next  day?  Of  course  not.  And 
neither  can  a  marriage  last  and  be  suc- 
cessful if  husband  and  wife  can't  enjoy 
a  little  of  this  country's  famous  "personal 
freedom." 

If  Greta  Garbo  wants  to  be  alone,  leave 
her  alone,  I  say.  She's  only  being  sensi- 
ble. And  if  Bing  Crosby  doesn't  answer 
personally  every  phone  call  from  some 
good  friend,  he's  not  being  snooty.  No- 
body likes  to  live  in  a  glass  house  all 
the  time. — Ray  Ellsworth,  Rochester,  N.Y. 

To  Hedy  Lamarr 

I've  heard  them  complain  about  Hedy 
So  loudly  they  ruined  the  show; 
Some  less  gifted  ladies  are  ready 
To  tear  her  to  pieces,  I  know. 


I  don't  blame  the  unhappy  biddies 
Who  take  out  their  hammers  and  knock. 
To  one  with  a  face  that  scares  kiddies, 
Perfection  must  come  as  a  shock. 

I'm  really  no  judge  of  an  actress. 
Perhaps  she  won't  rank  with  the  best. 
Rut  I  know  she's  my  benefactress 
Whenever  my  eyes  need  a  rest. 

A  "close-up"  of  her  in  the  moonlight, 
A  breeze  doing  tricks  with  her  hair, 
And  maybe  she  can't  act  the  least  mite; 
I  don't  know  and  don't  even  care. 

— L.  Paul  Roberts,  Salt  Lake  City,  Utah. 

Dissenting  Voice 

I  was  extremely  disappointed  to  learn 
that  Vivien  Leigh,  not  Bette  Davis,  was 
the  recipient  of  this  year's  Academy 
Award.  What  right  had  they  to  give  the 
"Oscar"  to  a  star  who  has  had  only  one 
great  picture  to  back  her?  Hasn't  Miss 
Leigh  been  in  pictures  before  this 
"G.W.T.W."  epic?  And  hasn't  she  just 
been  "among  those  present"  as  far  as  the 
fans  were  concerned?  Did  she  ever  at- 
tract any  attention  before  they  thought 
she  looked  the  way  Scarlett  O'Hara 
should  look?  It  isn't  fair  that  Miss  Davis 
be  de-throned  by  a  star  who  was  lucky 
enough  to  get  the  most  talked  about  role 
in  all  movie  history.  Furthermore,  Bette 
could  have  acted  that  part  just  as  con- 
vincingly. 

Physically  speaking,  Bette  isn't  as  much 
Scarlett  as  is  Vivien  Leigh,  but  that 
doesn't  say  she  couldn't  have  handled  the 
role  just  as  well  or  better.  Look  at  what 
she  did  with  "Elizabeth"  and  "The  Old 


14 


MODERN  SCREEN 


n 


b 


PRIZES  AWARDED  MONTHLY 

Maid!"  She  didn't  look  like  either  of 
them,  either,  but  did  we  ever  give  that 
a  thought? 

I  don't  dislike  Vivien  at  all.  She  was 
grand  in  "Gone  With  the  Wind."  We 
cannot,  however,  adjudge  her  worthy  of 
that  most  coveted  award  just  on  the 
strength  of  one  picture.  The  other 
choices  were  perfectly  satisfactory.  I  did 
think  Clark  Gable  would  get  one  for  his 
18  carat  "Rhett,"  but  then  Robert  Donat 
was  just  as  good  in  "Goodbye,  Mr. 
Chips."  All  in  all,  it  was  a  pretty  fair 
outcome,  and  the  "best  of  everything  to 
the  winners." — Jane  Brennan,  Beverly, 
New  Jersey. 

Accuracy  or  Artistry? 

When  I  saw  "Swanee  River"  I  thought 
it  the  most  beautiful  picture  I  had  ever 
seen  from  the  standpoint  of  Technicolor. 
The  picture,  in  a  biographical  respect, 
disturbed  me  so  that  I  could  hardly  wait 
to  get  home  and  straighten  myself  out  on 
the  dates  and  doings  of  Stephen  Foster. 
When  I  discovered  I  was  right  and  the 
screen  wrong,  I  was  about  to  sit  down 
and  write  a  letter  asking  how  come  the 
research  department  hadn't  caught  the 
slips!  Before  I  wrote  that  letter,  how- 
ever, I  got  hold  of  a  copy  of  your  mag- 
azine (April)  and  read  that  biographies 
are  sometimes  revised,  and  that  such  was 
the  case  in  "Swanee  River,"  in  order  to 
give  Don  Ameche  more  opportunity  to 
use  his  grand  singing  voice.  This  was 
quite  satisfying  to  me,  but  I  wished  I  had 
been  tipped  off  before  seeing  the  picture. 

Biographical  pictures  could  be  very 
educational,  and  I  believe  that  they 
(Continued  on  page  89) 


PERSONAL     INTERVIEWS    WITH    THE  BEAUTIFUL 


CLAIRE 
TREVOR 

discovers  the 

Woodbury 
Beauty  Nightcap 

...  a  night  treatment  with  luscious 
Woodbury  Cold  Cream  ...  as  told  by 

Louella  Parsons 


Famous  Movie  Columnist 


CLAIRE  TREVOR'S  BEAUTY  CAPTIVATES  IN  REPUBLIC'S  PRODUCTION,  "THE  DARK  COMMAND" 


I.  I  dropped  in  recently  at  the  atelier  of  a 
leading  Hollywood  dress  designer,  where 
Claire  was  having  a  new  gown  fitted.  Ma- 
dame E.  was  saying,  "The  perfect  care  for 
your  skin  is  a  Woodbury  Beauty  Nightcap." 


3.  Next  time  I  saw  Claire  Trevor  was  at 
the  Charity  Benefit.  She  looked  a  dream  in 
her  new  gown.  And  she  whispered  that 
her  Woodbury  Beauty  Nightcaps  seemed  to 
have  kindled  new  loveliness  in  her  skin. 


CLEANSES  safely 
Smooths  as  it  LUBRICATES 
INVIGORATES 


WOODBURY  COLD  CREAM 

THE  3-WAY  BEAUTY  CREAM 


2.  "You  know,  Woodbury  Cold  Cream," 
Madame  E.  continued,  "acts  three  ways... 
cleans,  softens  and  peps  up  your  skin.  Apply 
a  liberal  coating  of  this  germ-free  cream. 
Then  leave  on  a  light  film  all  night." 


Bestir  Your  Skin's  Glamour 
While  You  Sleep 

Tonight  at  bedtime,  give  your  skin  the 
tender  care  of  3 -Way  Woodbury  Cold 
Cream.  Woodbury's  germ-free  purity 
vouches  for  immaculate  cleansing.  Its 
rich  oils  cope  with  dryness. ..Woodbury 
smooths  skin  as  it  lubricates.  A  special 
Vitamin  in  Woodbury  invigorates ,  too. 
Try  a  Woodbury  Beauty  Nightcap  to 
awaken  clear  freshness  in  your  skin! 
Generous  jars,  $1.00,  50^,  25^,  10^. 


MAIL  NOW  FOR  GENEROUS  TUBE  .  .  .  FREE! 

(Paste  on  Penny  Postcard) 
John  H.Wood  bury,  Inc. ,6614  Alfred  St.,  Cincinnati, Ohio 
(In  Canada)  John  H.  Woodbury,  Ltd.,  Perth,  Ontario 
Please  send  me,  free  and  postpaid,  a  generous-size 
tube  of  3-Way  Woodbury  Cold  Cream.  Also  8  smart 
shades  of  Woodbury  Powder. 


Nami . 


Addrtss . 


JUNE,  1940 


15 


MOVIE  REVIEWS  j 

(Continued  from  page  12) 


RINSE  OFF  UNSIGHTLY 
HAIR  THIS  EASY  WAY 

Glorify  your  legs  with  the  NEW  Neet !  For 
years  the  favorite  cream  hair  remover  of 
hundreds  of  thousands,  NEET  now  is  pleas- 
antly scented!  No  disagreeable  chemical 
odor.  NEET  is  gentle,  painless.  Takes  little 
time,  no  bother  to  use!  Just  spread  NEET 
over  unwanted  hair.  Leave  on  ONLY  four  to 
five  minutes.  Then  rinse  off  with  water. 
Ugly  hair  disappears  from  your  legs,  fore- 
arms and  underarms.  Your  skin  is  smooth 
as  satin  and  petal-soft! 

Avoid  Sharp  Razor  Stubble 

There  are  no  sharp-edged  hair  stubs  to 
snag  your  stockings,  no  razor-scraped 
skin,  and  no  danger  of  cuts— when  you 
use  NEET !  Get  NEET  at  drug,  dept.  stores. 
Generous  trial  size  at  ten-cent  stores. 


^kkk  Too  Many  Husbands 

Like  too  many  screen  comedies,  "Too 
Many  Husbands"  depends  on  the  names 
and  personalities  of  its  stars  to  enhance 
the  effect  of  its  comical  lines  and  inci- 
dents. The  names  and  personalities  of 
Jean  Arthur,  Fred  MacMurray  and  Mel- 
vyn  Douglas  have  become  sufficiently 
impressive  through  their  work  in  fairly 
serious  contexts  to  make  their  shameless 
clowning  in  the  present  exhibit  seem  a 
good  deal  more  laughable  than  the  ex- 
hibit itself.  However,  there  are  moments 
when  even  Miss  Arthur,  Mr.  Douglas 
and  Mr.  MacMurray  seem  to  find  it  diffi- 
cult to  keep  their  faces  straight  and  it 
would  be  surprising  if  the  infection  of 
silliness  didn't  spread  to  the  audience. 

The  plot,  adapted  with  farcical  unre- 
straint by  Writer  Claude  Binyon  and 
Director  Wesley  Ruggles  from  a  Somer- 
set Maugham  play  of  the  same  title,  is 
a  screwball  variation  on  the  Enoch  Ar- 
den  theme.  It  appears  that  globe-trotter 
MacMurray  returns  from  a  supposed 
watery  grave  to  find  that  his  business 
partner,  the  double-dealing  Douglas,  has 
married  his  "widow"  and  moved  in  on 
everything  which  was  formerly  sacred  to 
himself  alone.  The  obdurate  Douglas  re- 
fuses to  bow  out,  as  any  sportsman 
would,  and  the  arch  Arthur,  relishing 
bigamy,  keeps  both  spouses  dangling  till 
she  finally  extorts  a  desperate  promise 
from  MacMurray  to  settle  down.  The 
only  other  outstanding  persons  in  the 
cast  are  Dorothy  Peterson  as  an  improb- 
ably romantic  and  garrulous  secretary, 
and  Melville  Cooper  as  an  improbably 
frozen-faced  butler.  Directed  by  Wesley 
Ruggles. — Columbia. 

kk^k  Virginia  City 

Errol  Flynn's  failure  to  show  up  for 
Warner  Brothers'  colossal  publicity  jun- 
ket out  in  Virginia  City,  Nevada,  might 
have  had  some  connection  with  the  way 
he  shows  up  in  the  role  of  a  Union 
intelligence  officer  in  the  motion  picture 


of  the  same  name.  He  and  Miriam  Hop-  I 
kins,  as  a  chorus-girl  Daughter  of  the 
Confederacy,   vie   with   each   other   in  i 
making  the  characters  they  portray  seem 
less  believable  than  the  things  which 
happen  to  them.   Fortunately,  "Virginia  1 
City"  is  too  big,  too  explosive  and  too  | 
spectacular  a  picture  to  be  bogged  down 
by  anything  so  minor  as  the  defection 
of  its  two  principal  actors.    Like  the 
Soviet  army,  it  suffers  great  losses  and 
abandons  a  lot  of  gear  en  route,  but  it  1 
keeps  rolling  irresistibly  on. 

It  rolls  for  two  solid  hours,  a  cross- 
country wagon  train  heading  for  the 
beleaguered  Confederate  treasury  with 
five  million  dollars  in  gold.  Humphrey  ' 
Bogart  and  his  guerrillas  are  to  right  and 
left  of  it,  Errol  Flynn  and  the  whole 
United  States  Army  are  behind  it,  and 
gaining,  a  dozen  Union  garrisons  are  in 
front  of  it,  but  the  wagons  keep  rolling 
along,  accompanied  by  Max  Steiner 
music  on  the  sound  track.  But  Mr.  Flynn 
overtakes  them,  of  course,  saves  the  gold 
and  gets  the  girl,  just  as  peace  con- 
veniently causes  old  enmities  to  be  for- 
gotten. Michael  Curtiz  directed. — War- 
ner Brothers. 

kick  A  Bill  of  Divorcement 

Since  "A  Bill  of  Divorcement"  has  been 
screened  twice  before,  the  familiarity  of 
the  story  may  dim  interest  to  a  large 
extent.  However,  the  excellence  of  the 
present  cast  makes  the  picture  worth 
seeing  again.  Maureen  O'Hara  and 
Adolphe  Menjou  are  the  daughter  and 
father  who  are  faced  with  the  tragic 
situation  of  hereditary  insanity.  Fay 
Bainter  plays  the  role  of  Menjou's  wife, 
and  Herbert  Marshall  is  the  man  with 
whom  she  is  trying  to  rebuild  her  un- 
happy life.  With  three  such  capable 
actors,  Maureen  O'Hara  would  deserve 
considerable  credit  if  only  she  managed 
to  hold  her  own.  But  the  Irish  lass  does 
more  than  that — she  gives  a  sensitive 
and  beautiful  performance  which  high- 
lights the  entire  picture.  Adolphe  Men- 
jou is  splendid  in  his  role,  while  Fay 


Martha  Scott 
and  Bill  Holden 
bring  the  Pulitzer 
Prize  winning  "Our 
Town1'  to  the 
screen.  This  will  be 
Bill's  fourth  film, 
but  it's  Martha's 
very  first.  On  the 
strength  of  her 
acting  in  the 
stage  play  «of  the 
same  name,  she's 
been  signed  to  a 
five-year  contract. 


NOW  PLEASANTLY  SCENTED 

GET  N  E  ET  TODAY!  Jjfc^J 


16 


MODERN  SCREEN 


"Dusk  Rose  is  a  Divine 
New  Shade!  So  Flattering!" 


Dusk  Rose  keeps  Nancy  exquisite  even  under 
harsh  electric  lights  or  brilliant  sun 


DUSK  ROSE . . .  exciting  new 
summer  shade  in  Pond's  "anti-shine" 
Powders  . . .  reflects  a  softer  light 


Bainter  and  Marshall  give  satisfactory 
performances,  but  are  not  very  convinc- 
ing in  the  romantic  feelings  they  sup- 
posedly entertain  for  one  another. 
Dame  May  Whitty  as  the  soured  spin- 
|    ster  aunt  is  perfect,  and  Patric  Knowles 
is  appealing  in  the  romantic  role  oppo- 
site Maureen  O'Hara.   C.  Aubrey  Smith 
is  effective  as  the  family  physician  and 
i[    adviser,  and  both  Kathryn  Collier,  the 
j    housekeeper,  and  Lauri  Beatty  are  note- 
worthy. A  sombre  note  is  struck  from 
the  moment  the  picture  opens,  and  the 
sense  of  impending  sorrow  and  sacrifice 
j    throughout  is  not  conducive  to  relaxation. 
However,  it  is  a  fascinating  picture  if 
you  are  not  bent  on  pure  unadulterated 
entertainment.  Directed  by  John  Farrow. 
—RKO-Radio. 

Dr.  Cyclops 

A  weird,  fantastic  tale  set  in  the  deep 
jungle,  with  a  mad  doctor  as  the  raging 
"Dr.  Cyclops,"  this  picture  is  one  of  the 
most  unusual  ever  filmed  in  Technicolor. 
And  to  a  group  of  little-known  players 
falls  the  burden  of  enacting  the  strang- 
est roles  ever  to  come  out  of  Hollywood. 

A  group  of  biologists  venture  into  the 
jungle  to  help  Dr.  Thorkel  ("Dr.  Cy- 
clops") in  his  scientific  studies.  The 
terrifying  action  begins  when  the  de- 
luded doctor  thinks  they  are  all  trying 
to  interfere  with  his  work,  and  he  re- 
duces them  to  Lilliputian  size.  The  help- 
less little  people  are  completely  in  the 
toils  of  their  mad  Gulliver,  and  the  re- 
sulting situations  are  guaranteed  to  keep 
you  in  chills  and  thrills  for  weeks. 

Albert  Dekker,  as  the  scientist  who  is 
slowly  going  blind,  is  the  most  forceful 
actor  in  the  picture.  He  makes  you  feel 
as  though  he  were  about  to  reach  out 
in  the  audience  and  turn  you  into  a 
minute  human  being  before  the  next 
scene  is  finished.  Janice  Logan,  Thomas 
Coley,  Victor  Kilian,  Charles  Halton  and 
Frank  Yaconelli  as  the  Lilliputian  people, 
all  fulfill  their  roles  well,  though  ac- 
tually they  are  not  called  upon  to  do 
much  more  than  scurry  about  like  ants. 

The  trick  photography  and  excellent 
Technicolor  help  to  create  the  illusion  of 
naturalness  between  the  tiny  people  and 
normal  individuals.  Direction  of  the  film 
is  practically  flawless,  and,  though  the 
technical  difficulties  must  have  caused  a 
lot  of  headaches,  those  concerned  can 
now  fling  their  aspirin  away.  Directed 
by  Ernest  Schoedsack. — Paramount. 

Three  Cheers  for  the  Irish 

As  full  of  homespun  humor  as  an  old- 
fashioned  taffy  pull,  "Three  Cheers  for 
the  Irish"  is  one  of  the  best  down-to-earth 
comedies  Warner  Brothers  has  produced 
since  "Four  Daughters."  And,  in  addition, 
it  has  Scotch  and  Irish  accents  so  thick 
you  could  cut  them  with  the  proverbial 
knife. 

The  cast,  topped  by  Thomas  Mitchell — 
Academy  Award  winner — Priscilla  Lane 
and  Dennis  Morgan,  play  their  parts  to 
perfection.  As  the  Irish  cop  who  has 
served  the  force  for  twenty-five  faithful 
years  and  is  then  retired,  Mitchell  turns 
in  a  performance  that  is  rich  in  Irish 
brogue  and  fine  acting.  Dennis  Morgan, 
the  Scotch  rookie  policeman  assigned 
to  take  over  Mitchell's  old  beat,  vies 
with  him  for  acting  honors  and  should 
develop  into  one  of  the  screen's  top  lead- 
ing men.  The  three  daughters  of  the  old 
cop,  played  by  Priscilla  Lane,  Virginia 
Grey  and  Irene  Hervey,  are  subordinated 
to  the  men,  but  they  turn  in  capable 
performances.  Alan  Hale,  as  the  bluster  - 
(Continued  on  page  64) 

JUNE,  1940 


/ATTRACTIVE  NANCY  CALHOUN 
finds  that  with  Dusk  Rose  her 
face  is  even  more  bewitching  than 
ever.  And  on  hot  summer  days 
when  she  rushes  around  having  fun 
from  morning  to  long  past  midnight, 
she  looks  as  lovely  as  a  summer  rose. 

That's  because  the  strong  sum- 
mer sun  or  the  glaring  electric  lights 
can't  cast  hard  shadows  on  her  face. 
Dusk  Rose  .  .  .  and  all  Pond's  "anti- 
shine"  Powders  .  .  .  absorb  harsh 
lights  and  reflect  the  softer  ones 


from  your  face.  They  make  powder- 
ing a  far  less  frequent  job! 

Let  Dusk  Rose  make  you  as 
romantic  and  bewitching  as  this 
Southern  belle. 

Pond's  "anti-shine"  Powders 
come  in  7  lovely  shades  in  1CK,  20tf 
and  55^  sizes.  Go  out  and  buy  one 
now! 

Or  write  for  free  samples  of  the  spe- 
cial summer  shades:  lovely  Rose  Dawn, 
Rose  Brunette,  Sunlight  .  .  .  and  the 
newest,  smartest  shade  of  all,  Dusk  Rose. 
Pond's,  Dept.  9MS-PF,  Clinton,  Conn. 

©pyriffht,  1940,  Pond's  Extract  Company 


^ #    Here  is  your  chance  to  win  One 
Thousand  Dollars — or  any  of  132  other  big  cash 
prizes!  It's  easy!  It's  fun!  The  glamorous,  fas- 
cinating beauty,  whose  life  and  loves  soon 
will  be  seen  in  the  spectacular  20th  Century- 
Fox  picture,  "Lillian  Russell, "  inspired  this 
Contest!  All  you  have  to  do  is  check  as  < 
True  or  False  the  statements  in  the  column 
at  the  right.  Then  write  a  letter  of  not 
more  than  50  words  on  the  subject: 

'WHY LILLIAN  RUSSELL  IS 
FAMOUS  AS  AMERICA'S 
NO.  1  GLAMOR  GIRL." 

Be  sure  to  send  in  your  True  or  False 
List  with  your  letter  to  20th 
Century-Fox — and  you  can  be  one 
of  the  many  winners!  Read  care- 
fully the  Contest  Rules  below 
.  .  .  and  start  immediately! 


1  Lillian   Russell  was  called  "The 
Most  Beautiful  Woman  in  America." 

True  □   False  Q 

2  "Diamond  Jim"  Brady  was  Lillian 
Russell's  ardent  admirer  and  show- 
ered her  with  costly  jewels. 

True  □   False  □ 

3  Lillian  Russell  was  given  a  king- 
dom by  the  Maharajah  of  Rahndi- 
goor.  True  □    False  □ 

4  Lillian  Russell's  exciting  life  and 
loves  will  be  seen  in  a  motion  pic- 
ture made  by  Darryl  F.  Zanuck. 

True  □   False  □ 

5  Lillian  Russell  was  discovered  by 
the  famous  showman,  Tony  Pastor, 
when  he  heard  her  sing. 

True  □   False  □ 

6  The  pavement  outside  Lillian 
Russell's  home  was  studded  with 
diamonds  and  rubies.  True  □  False  □  // 


EASY  2PO  WIN!    '/  7  Lillian  Russell  was the  daughter  of 


EASY  RULES! 


a  President  of  the  United  States. 

True  □    False  □ 

8  Celebrated  New  York  men. about. 

town  returned  to  the  theatre  week 
after  week  to  see  and  applaud 
Lillian  Russell.       True  □   False  □ 

9  Alice  Faye  will  portray  Lillian 
Russell  in  a  motion  picture  soon  to 
be  released  by  20th  Century-Fox. 

True  □    False  □ 


Russell  wore  a  wondrous 
gown  woven  entirely  of 


Lillian 
evening 

rare  butterfly  wings.  TrueQ  False  □ 
YOUR  NAME 


*7 

0/  STREET 


i 


CITY   STATE  . 


ATTACH  THIS  TO  YOUR  LETTER  ON 
'WHY  LILLIAN  RUSSELL  IS  FAMOUS 


II   AS  AMERICA'S  NO.  1  GLAMOR  GIRL." 


Check  the  True  or  False  statements  in  the 
space  provided.  Print  or  write  plainly  your 
name  and  address  on  the  coupon  and  attach 
it  firmly  to  an  original  letter  of  not  more  than 
50  words  on  the  subject:  WHY  LILLIAN 
RUSSELL  IS  FAMOUS  AS  AMERICA'S  No. 
1  GLAMOR  GIRL. 

Mail  your  True  or  False  List  and  your  letter 
oi  not  more  than  50  words  to  the  Lillian 
Russell  Contest  Editor,  20th  Century -Fox 
Film  Corporation,  444  West  56th  St.,  New 
York.  You  can  submit  as  many  letters  as  you 
want,  provided  each  is  accompanied  by  a 
eeparate  True  or  False  printed  form. 

Residents  of  the  United  States,  Hawaii  or  the 
Dominion  of  Canada  may  compete,  except 
employees  of  20th  Century-Fox,  their  adver- 
tising agency  and  their  families.  Contest  is 
subject  to  Federal,  State  and  local  regula- 
tions. Contest  closes  June  15,  1940.  All  en- 
tries become  the  property  of  20th  Century- 
Fox  Film  Corporation. 

Entries  will  be  judged  by  the  highest  number 
of  correct  answers  to  the  True  or  False  List 
and,  in  the  event  of  a  tie,  by  the  merit  and 
originality  of  the  letter  of  not  more  than  50 
words.  .The  decision  of  the  judges  will  be 
final.  No  correspondence  will  be  entered 
into  regarding  the  Contest. 

Checks  will  be  mailed  to  the  winners  within 
a  month  of  the  close  of  the  Contest.  Anyone 
wishing  a  complete  list  of  winners  may  obtain 
same  by  writing  20th  Century- Fox  and  en- 
closing a  stamped,  self- addressed  envelope. 


18 


MODERN  SCREEN 


was 
hand, 
st  his 
es  he 
era; 
llain 
jtice 
he 
up 

ul 

en 
ce 
ed 
ist 


'.EN 


He  may  want  variety  in  some  things  but, 
matrimonially  speaking,  Jimmy  Cagney  has 
a  one-track  mind.  Billie  married  him  on  a 
shoe  string  twelve  years  ago  and  doesn't 
look  a  bit  abused  in  spite  of  Jimmy's 
screen  reputation  for  treating  'em  rough. 

By  (Catherine  Best 


Jimmy  claims  he's  frustrated.  First  he 
wanted  to  paint,  but  it  was  too  un- 
remunerative.  Now  he  wants  to  be  a 
matinee  idol,  and  his  fans  won't  have  it. 

Side,  a  residential  district  not  considered  delectable  by 
anyone  who  has  ever  seen  the  squalid  fronts  of  those 
close-quartered  tenements.  It  was  on  that  date  that  Mrs. 
Cagney  was  presented  with  a  wee,  vociferous  offspring 
which  she  immediately  christened  James  Francis  Cagney. 
According  to  existing  records,  it  did  not  occur  to  her  at 
the  time  that  one  day  this  same  James  Francis  Cagney 
would  walk  out  on  $4,500  a  week. 

In  time,  the  Cagney  menage  was  transferred  to  the  York- 
ville  section  of  New  York  City,  a  famous  breeding  ground 
for  criminals  of  precisely  the  type  that  James  was  to 
imitate  at  $4,500  a  week.  By  now  the  family  was  larger 
by  a  son  and  a  daughter;  making  in  all  four  boys  and 
one  girl.  The  next  to  youngest  son,  Jimmy,  spent  what  is 
not  considered  a  normal  boyhood  for  the  Yorkville  region. 
He  was  interested  in  street  games  and  fights,  all  right,  but 
he  was  also  interested  in  books,  painting,  dancing  and 
music.  There  was  no  trace  of  the  criminal  tendencies  that 
were  eventually  to  crop  out  in  his  playmates. 

His  father  was  a  bartender,  and  when  that  ignominious 
amendment  was  passed  prohibiting  the  sale  of  alcoholic 
beverages,  the  Cagney  household  found  itself  without  a 
breadwinner.  Circumstances  fell  rapidly  from  comfortable 
to  dire.    The  boys  must  go  to  work — that  was  the  edict 


of  Mrs.  Cagney.  James'  first  job  was  custodian  in  the 
public  library  at  67th  Street  and  First  Avenue.  Being 
"custodian"  consisted  of  trundling  books  from  one  shelf 
to  another.  He  was,  within  the  next  few  years,  a  bundle 
wrapper  at  Wanamaker's  Department  Store,  a  waiter  in 
a  restaurant,  an  errand  boy  in  Wall  Street,  a  bellhop  in 
the  Friars  Club  and  an  office  boy  on  the  New  York  Sun. 
All  this  time  he  wanted  to  be  a  painter. 

All  this  time,  too,  he  was  getting  a  sound  education.  He 
graduated  from  Stuyvesant  High  School  and  took  a  course 
in  Fine  Arts  at  Columbia  University.  He  was  averaging 
about  $23  a  week  from  his  various  jobs,  and  when  the 
opportunity  arose  to  get  a  spot  in  vaudeville  at  $25  a 
week,  Jimmy  Cagney  did  what  is  known  as  jump.  His 
first  appearance  before  a  public  that  was  to  grow  and  grow 
was  as  a  female  impersonator.  Records  do  not  show  how 
this  public  reacted,  but  it  is  common  knowledge  that  the 
situation  in  the  Cagney  household  the  following  day  did 
not  add  to  James'  estimation  of  his  theatrical  talents. 

He  gave  up  playing  women  roles,  but  there  was  grease- 
paint in  his  nostrils  now.  The  theatre  had  given  him  a 
mighty  stimulation,  and  he  was  determined  to  stay  in  it. 
Painting  was  forgotten.  His  activities  for  the  next  few 
years  were  as  intense  as  they  were  rewarding:  the  chorus 
of  "Pitter  Patter"  at  $35  a  week;  a  specialty  act  in  the 
vaudeville  team  of  Parker,  Rand  and  Cagney  at  $75  a 
week;  the  lead  in  "Outside  Looking  In"  (Charles  Bickford 
was  also  in  the  cast)  at  $200  a  week;  a  dancing  act  in 
'  "Broadway,"  then  in  "The  Grand  Street  Follies,"  "Maggie, 
the  Magnificent"  and  "Penny  Arcade."  It  was  during  the 
run  of  this  last  show  that  a  Warner  scout  sat  in  the 
audience  to  size  up  the  picture  possibilities  of  a  young 
player  named  Joan  Blondell.  Blondell  made  the  movie 
grade  all  right,  but  so  did  another  player,  a  red-headed 
dancer  named  James  Cagney.  Warners  signed  him  for 
three  weeks  at  $500  a  week.  Then  another  week  at  the 
same  salary.  Cagney  was  on  his  (Continued  on  page  96) 


JUNE,  1940 


/ 


31 


Director  Li+vak,  Dia- 
logue director  Rapper 
and  Charles  Boyer  pull 
some  lines  out  of  Mr. 
Richard  Nichols,  who 
"isn't  in  the  mood." 


AUTHORESS  Rachel  Field  has  some  high-toned  ancestors.  From  her 
sturdy  family  tree  dangle  the  impressive  names  of  Cyrus  Field,  father 
of  the  Atlantic  cable,  Henry  Field,  editor,  writer  and  preacher,  and 
several  other  citizens  outstanding  in  American  affairs.  Authoress 
Rachel  is  very  proud  of  her  distinguished  kin,  but  when  she  decided 
to  write  a  book  about  them,  she  did  a  sly  thing.  Blithely  glossing  over 
the  famous,  she  built  her  tale  around  a  comparative  unknown — 
Mile.  Henriette  Desportes. 

Ninety  years  ago,  Mile.  Desportes  was  the  most  notorious  woman 
in  France.  Engulfed  by  a  scandal  she  never  made,  her  name  flared 
from  every  headline  while  her  reputation  crumbled  in  the  ruthless 
hands  of  gossip.  Finally,  pecked  at  and  hounded  beyond  endurance, 
she  fled  to  these  United  States  in  the  hope  that  here  she  could  bury, 
deep  and  well,  the  shocking  story  of  her  past. 

And  bury  it  she  did.  As  Henry  Field's  wife,  Henriette  Desportes 
built  a  new  life  in  this  country.  Discussion  of  her  early  history  be- 
came taboo  and  not  until  1917,  forty -five  years  after  her  death,  did 


v 

The  hairdresser  tidy- 
ing up  Bette  Davis  rs 
hired  by  the  studio,  is 
on  the  set  the  entire 
day  and  gets  a  salary 
of  $75-$  1 00  per  week. 


v 


Litvak  shows  Boyer  how 
to  handle  Richard. 
Boyer  grew  very  fond 
of  the  little  shaver 
who  was  picked  from 
500  child  applicants. 


Virginia  Weidler  and 
Davis  get  in  position 
for  a  scene.  Miss  W. 
was  loaned  by  M-G-M, 
to  whom  Warners  pay 
her  salary  plus  10%. 


7  ' 
/  ; 

cr 
I 


An  electrician  is  set- 
ting ,  the  lights  on  the 
stand-ins  for  Boyer, 
Richard,  Virginia  and 
Davis.  Stand-ins  re- 
ceive  $35   a  week. 


"ALL  THIS,  AND  HEAVEN 
TOO,"  ANOTHER  BEST- 
SELLER, PROUDLY  FINDS 
ITS  WAY  TO  THE  SCREEN 


sin 


any  Field  dare  to  poke  into  her  story.  Then,  with  a  book  in  mind, 
great-niece  Rachel  really  got  going.  For  two  whole  decades  Rachel 
gathered  the  facts  of  Henriette's  life,  scouring  old  letters,  pouring 
over  newspaper  reports  and  court  records  of  the  sensational  Parisian 
affair  and  even  turning  to  the  Library  of  Congress  at  Washington 
for  additional  shreds  of  information.  Her  material  collected,  she  spent 
the  next  two  years  spinning  it  into  fiction  and  in  1939  produced  her 
results,  a  fascinating  yarn  entitled  "All  This,  and  Heaven  Too." 

It  is  a  compliment  to  the  Warner  Brothers  that  they  recognized  the 
book  as  a  movie  "natural"  and  bought  it  for  $100,000  before  it  hit 
the  best-seller  lists — in  fact,  while  it  was  still  in  galley  form.  Now, 
with  Bette  Davis  as  the  ill-starred  Henriette,  and  Charles  Boyer  as 
the  man  in  the  case,  "All  This  .  .  .,"  somewhat  condensed,  is  being 
filmed.  The  book  is  so  authentic  a  portrait  of  the  period  that  no 
research  was  necessary  in  the  preparation  of  the  screenplay,  and 
Rachel  Field,  though  a  resident  of  California  and  very  handy,  was 
not  called  upon  to  act  as  advisor.  Miss  Field,  (Continued  on  page  73) 


By  Kirtley  Baskette 


You  think  Ann's  just  threading  a  needle 
but,  in  truth,  she's  giving  an  interview, 
whipping  up  a  poem  and  planning  a  party. 


But  this  doesn't  mean  that  her  sewing 
suffers.  She  does  most  all  of  it  by  hand, 
priding  herself  on  her  dainty  stitches. 


Sp  n  rn n 
J  UU L Ju 


D 


IF  ANN  RUTHERFORD  were  only  quintuplets,  life  would 
be  so  much  simpler  and  five  times  the  fun. 

As  it  is,  Mary  Cecelia  Ramona  Theresa  Rutherford  does 
the  best  she  can  about  it.  She  has  five  quite  nice  names, 
as  you  can  see.  Another  that's  much  better  known  is 
Polly  Benedict,  Mickey  Rooney's  pulchritudinous  puppy- 
love  passion  in  the  popular  Hardy  movie  family. 

Aim  celebrates  a  couple  of  birthdays  with  cake,  candles 
and  presents — her  own  and  Abraham  Lincoln's.  She  has 
two  homelands — Canada  and  the  United  States.  She's  the 
official  sweetheart  of  five  different  national  college  frater- 
nities, which  is  plenty  of  sweethearting,  if  you  ask  me. 
And  while  she  played  Careen  in  Selznick's  "Gone  With 
the  Wind"  last  year,  Ann  managed  to  knock  off  five  other 
pictures  at  the  same  time. 

The  point  is,  Ann  Rutherford  has  recently  been  discov- 
ered in  a  big  way  by  both  Hollywood  and  the  country  at 
large.  And  right  now  the  demand  for  Rutherford  in  all 
directions  is  so  pressing  that — well,  there  just  isn't  enough 
of  Ann  to  go  around!   Even  having  a  twin  would  help! 


All  this  would  be  bad  enough  in  the  case  of  the  aver- 
age young  Hollywood  starlet  who  doesn't  have  much  to 
do  except  look  beautiful  emoting  during  the  day  and 
decorating  the  cocktail  clubs  at  night.  But  in  the  case  of 
ambidextrous  Annie,  that  life  would  be  like  lying  in  bed. 
For  a  girl  who  designs  and  makes  her  own  dresses  and 
hats,  shampoos  and  sets  her  own  locks,  takes  care  of  her 
nails  and  skin,  refinishes  her  own  furniture,  tracks  down 
her  own  antiques,  knits  her  own  sweaters,  plans  her  own 
houses,  cooks  the  food  for  her  own  parties,  studies  French, 
models  in  clay,  plays  the  trapdrums — even  writes  her  own 
poetry  and  brews  up  her  own  entanglements  with  boy 
friends — well — as  Ann  Rutherford  sighed,  "I  feel  like  I'm 
always  running  to  a  fire.  But,"  she  confessed,  "if  I  had 
to  sit  still,  I'd  die!" 

Ann  Rutherford  was  sitting  comparatively  still  at  that 
particular  moment,  in  her  pink  and  white  dressing-room 
at  M-G-M,  where  she  had  come  for  a  quick  lunch  with 
me  between  scenes  in  "Pride  and  Prejudice."  She  didn't 
look  exactly  at  death's  door.   In  fact,  I  can  personally 


34 


MODERN  SCREEN 


Miss  R.  is  her  own  designer,  too.  If  she 
sees  a  tricky  bit  of  fashion  at  the  stu- 
dio, she's  not  averse  to  a  little  piracy ! 


These  cozy  photos  notwithstanding,  Ann 
can't  be  typed  as  a  homebody.  Sweetheart  of 
5  fraternities,  she  manages  to  get  around! 


TURNING  OUT  FIVE  HITS  AT  ONCE  IS  A  CINCH  FOR  ENTERPRISING  ANN 
RUTHERFORD,  WHO  BELIEVES  IN  TAKING  THINGS  INTO  HER  OWN  HANDS 


testify  that  Ann  Rutherford,  in  the  flesh,  could  "divy"  up 
her  natural  helping  of  fresh  beauty  among  four  or  five 
other  spare  selves  and  still  have  .  enough  left  to  drive 
young  males  to  drowning  their  sweet  sorrows  in  double 
chocolate  malts. 

She  has  a  round,  little  Valentine-heart  face  with  a  peach 
bloom  complexion,  eyes  like  dark  brown  agates  and  a 
cunning  beauty  spot  mole  on  her  left  cheek.  The  rest  of 
Ann  was  effectively  curtained  by  her  pink,  bouffant  cos- 
tume which  billowed  around  her  figure  in  terraces  like  a 
wedding  cake.  But  I've  never  heard  any  complaints — five 
feet  three,  and  a  hundred  and  nine  pounds  well  distrib- 
uted are  the  official  figures. 

Ann  fed  Mary,  Cecelia,  Ramona  and  Theresa  with 
daintiness  but  determination.  She  goes  in  for  meat  and 
solids.  Having  just  turned  twenty,  she's  still  a  growing 
girl.  While  she  polished  off  two  double  lamb  chops,  a 
stack  of  French  fries,  peas,  salad,  and  enough  white  bread 
to  fatten  the  average  star  right  out  of  pictures,  she  dropped 
her  fork  now  and  then  to  knit  furiously,  to  give  a  quick 


gander  at  the  morning  mail  and  doubtless  to  conside] 
the  complications  of  her  social  life  for  the  next  two  weeks 
All  this  time  she  was  talking  what  is  known  as  a  blue 
streak  and  making  it  very  interesting,  indeed. 

It's  lucky,  really,  that  Ann  Rutherford  is  ambidextrous 
like  this.  She  got  in  the  habit  of  doing  several  things  at 
once  fairly  early  in  fife.  The  immediate  results  were 
sometimes  tragic  but,  in  the  long  run,  they  paid  off.  For 
instance,  some  seven  years  ago,  when  Ann  was  still  Mary 
Cecelia  Ramona,  etc.,  and  a  thirteen-year-old  Los  An- 
geles high  school  freshman,  she  was  huddled  behind  a 
history  book  one  day  studying  the  saga  of  the  ancient 
Phoenicians.  Ann  could  take  the  ancient  Phoenicians  or 
leave  them  at  that  point,  so  she  absorbed  a  few  dull  de- 
tails and  then  let  her  spirit  soar  by  scribbling  a  poem. 
A  firm  hand  gripped  her  middy  blouse,  and  the  teacher's 
voice  read  her  poem  to  the  giggling  class.  When  she  had 
finished  reading,  the  teacher  analyzed  Ann's  scarlet  self 
in  what  is  perhaps  an  all  time  low  for  hitting  the  nail  on 
the  head.  Said  she  to  our  Ann:  (Continued  on  page  81) 


JUNE,  1940 


35 


ESAR  ROMERO  never  calls  a 
r"\    spade  an  implement  for  dig- 
'    ging.  It  is  a  plain  spade.  But 
when  it  comes  to  answering 
the  query,  "Who  are  the  best 

U women  dancers  in  Holly- 
wood?" he  and  his  dark  sultry 
eyes  ask,  "Who  am  I  to  judge 

tnem?" 

All  he  is — as  I  hastened  to  remind 
him — is  the  best  ballroom  dancer  in 
Hollywood,  according  to  no  lesser 
lassies  than  Joan  "Dancing  Lady" 
Crawford,  Loretta  Young,  Ginger 
Rogers  and  a  dozen  other  dazzling 
damsels. 

A  slow  smile  traveled  across  his 
long  dusky  face.  "You  asked  for  it," 
he  said.  "This  is  where  diplomacy 
ends  and  the  truth  begins.  Stars,  on 
an  average,  are  no  better  dancers 
than  their  female  admirers  from  West 
Chicken  Coop  Corners  to  New  York 
City. 

"But  some  are  really  dreams  danc- 
ing and,  of  them,  the  smoothest  I've 
ever  met  is  Joan  Crawford.  She  is 
my  favorite  partner  for  more  reasons 
than  I  can  enumerate.  Joan  is  per- 
fection. When  we  dance  together,  I 
feel  as  though  we  are  one  unit  of 


action.  She  has  perfect  rhythm,  bal- 
ance and  posture.  She  seems  to  know 
where  we're  going  before  I  do.  I 
rarely  have  to  give  her  the  slightest 
signal  pressure  on  the  back  or  with 
my  leading  hand. 

"There's  something  strange  about 
Joan,  though."  Cesar  straightened  up 
in  his  chair  in  a  sunlit  publicity 
office  at  the  Twentieth  Century-Fox 
Studios.  He  flicked  a  speck  of  lint 
from  the  sleeve  of  his  grey,  collarless, 
especially  tailored  suit. 

"Perhaps  you  won't  believe  it,"  he 
continued,  "but  underneath  her 
womanly  composure,  she  is  as  shy 
and  self-conscious  as  a  little  girl.  I 
first  noticed  this  about  six  years  ago 
when  I  came  to  Hollywood  to  play  in 
"The  Thin  Man."  We  were  dancing 
to  slow  dreamy  music.  A  battery  of 
camera  men  and  bystanders  were 
watching  us.  Flashlight  bulbs  began 
exploding.  Joan  started  trembling.  I 
knew  she  wanted  to  dance  to  the 
other  side  of  the  floor  to  avoid  being 
photographed.  To  this  day,  she  comes 
closer  to  me  when  she  feels  people 
are  pointing  her  out,  watching  her  or 
taking  pictures  of  her. 

"I've  never  bothered  to  ask  her  why 


she  feels  this  reaction.  All  I  know  is 
that  she's  such  a  splendid  dancer  that 
she  certainly  need  not  be  troubled 
about  spectators,"  Cesar  said,  his 
dark  eyes  looking  thoughtfully  ahead.! 
He  fit  a  cigarette,  and  the  fat  gold! 
ring  on  the  little  finger  of  his  left 
hand  flashed  in  the  sunlight. 

"Now  Loretta  Young  is  the  answer! 
to  a  dancer's  prayer.    Man,  she  is , 
lithe  and  willowy!  I  have  yet  to  hear 
anyone  who  has  been  lucky  enough  ; 
to  dance  with  her  complain  about  her' 
style.  I'll  never  forget  the  first  timef 
we  stepped  onto  a  floor  together.   I 1 
didn't  know  what  time  it  was,  where 
it  was  or  what  the  orchestra  was  s 
playing.  All  I  knew  was  that  we  were 
floating  around. 

"Unlike  Joan,  Loretta  does  not  feel 
nervous  when  being  watched — at  least ; 
she  doesn't  give  the  slightest  sign  of  ' 
it.   She  likes  to  be  silent  when  she 
dances;  she  has  an  easy  pressure  on  ; 
the  shoulder.  They  usually  say  that 
Loretta  is  the  independent-type  girl,  f 
but  I  have  always  found  her  friendly  S 
and  considerate.   She  is  as  coopera-  1 
tive  a  partner  as  there  is.  Take  my  \ 
word  for  itl" 

Cesar  ran  a  long  index  finger  over 


The  smouldering- 
eyed  Latin  from 
Manhattan  is  build- 
ing a  bungalow  big 
enough  for  two, 
but  says  he  isn't 
ready  to  abdicate 
his  bachelorhood. 


Cesar,  who  once 
had  to  dance  that 
he  might  eat, 
would  forego  an 
entree  for  a  Conga 
with  Joan  Craw- 
ford any  time. 
She's  his  favorite. 


MODERN  SCREEN 


j  the   black-brown,    square-cut  side- 

j  burns  that  extend  below  his  ears. 
"But  there  are  other  stars  who  rate 
upper-bracketing  with  Joan  and  Lo- 
retta.  For  one,  Ginger  Rogers  does. 
She  has  something  that  most  women 
dancers  don't  have.  It's  an  odd  com- 
bination of  poise  and  balance  with 
perfect  relaxation.  In  dancing,  as  in 

j  any  sport,  relaxation  is  an  important 
factor.   Usually  a  partner  has  good 

i  posture  and  balance,  but  she  loses 
freedom  of  her  muscles  as  a  result. 
But  not  Ginger.  No  matter  what  the 
situation  demands,  she  can  do  the  step 
— anything  from  a  waltz  to  the  latest 
jitterbug  step." 

And  what  does  Cesar  think  of 
jitter  bugging? 

He  smiled.  "I  like  it — for  somebody 
else!  It  is  all  right  for  the  younger 
crowds.  But  as  for  me,  I'll  take  some- 
thing easy  like  being  a  stevedore  or 
a  stoker  in  the  hellish  heat  of  a  boiler 
room.  It's  not  that  these  steps  lack 
dignity.  You  can  waive  that  objection 
if  you're  at  an  informal  place  and  it 
isn't  crowded.  But  it's  bad  taste  to 
go  bowling  people  over  in  your  wild 
enthusiasm  and  knifing  them  in  the 
ribs  with   (Continued  on  page  77) 


CESAR  ROMERO  GIVES  YOU 


THE  LOWDOWN  ON  MOVIE- 


TOWN'S  DANCING  DAUGHTERS 


iiill 

fete"- 


Each  year  thousands  of  fans  who  know 
of  no  other  way  to  reach  their  favorites 
address  them  at  the  Derby. 


U 


WHEN  A  man  becomes  successful  in 
Hollywood,  the  first  thing  he  does  is 
provide  himself  with  a  good  cook,  an 
attractive  dining-room  and  an  atten- 
tive serving  maid.  That  done,  he  re- 
serves a  table  at  one  of  the  town's  bet- 
ter restaurants  and  eats  there  five  days 
a  week. 

This  peculiar  custom  is  no  reflection 
on  the  cook,  the  dining-room  or  the 
serving  maid.  It  is  merely  high  and 
well-deserved  praise  for  the  eateries 
of  Hollywood  which  in  recent  years 
have  become  the  most  famous  dining- 
out  places  in  the  world.  Today,  almost 


Sardi's  delectable  food,  together  with  its 
no  music  policy,  makes  it  a  haven  for 
hungry  non-jitterbugs. 


Basil  Rathbone  and  Nigel  Bruce  admire 
the  Derby's  ice-sculpture.  This  piece  is 
in  honor  of  Fight  Night. 


as  familiar  as  Garbo  and  Gable — and 
certainly  more  accessible — are  the 
Brown  Derbies,  Ciro's,  Victor  Hugo's, 
Sardi's  and  Cafe  Lamaze.  You  can  bet 
your  last  cent  that  an  evening's  tour  of 
these  spots  will  turn  up  more  movie 
personalities  than  a  day  at  Santa  Anita. 

Easily  the  most  spot-lighted  of  all  j 
are  the  Brown  Derbies,  a  chain  of  three ,  J' 
restaurants  originated  ten  years  ago  by  \ 
Herbert  Somborn,  one-time  husband  of  |fl 
Gloria  Swanson.  It  was  Somborn  who  li 
gave  the  Derbies  their  name,  proceed- ,  1 
ing  on  the  theory  that  a  restaurant 
could  make  a  hit  no  matter  what  queer!  fl 


The  Chaplins  at  Sardi's.   Charlie  talks 
a  blue  streak,  and  it's  often  an  hour 
before  the  waiter  gets  his  order 


MODERN  SCREEN 


"V" 

u 

u 

n  n 


CAN  8,379  HARVARD  MEN  BE  WRONG?  A 


MILLION  OUTRAGED  FANS  SAY  "YES" 


By    Irving  Wallace 


N  A  certain  afternoon  a  few  months  ago,  the  stu- 
dents of  Harvard  University  went  to  their  home- 
made ballot  boxes  and  listed  their  pet  Hollywood 
peeves.  On  that  historic  occasion,  they  voted  young 
Richard  Greene  as  the  film  actor  "least  likely  to 
succeed." 

When  we  passed  Harvard's  verdict  on  to  Richard 
Greene,  he  clucked  his  tongue  and  replied,  "I  really  don't 
mind  such  adverse  criticism,  as  long  as  I'm  sure  it's 
intelligent  and  not  purely  malicious.  I  prefer  a  correction 
to  a  compliment.  After  all,  adverse  criticism  can  be  help- 
ful; while,  on  the  other  hand,  you  can  listen  to  silly  flat- 
tery all  day,  gain  nothing  by  it  and  end  up  in  a  Fool's 
Paradise." 

That  was  Richard's  reply,  very  English  and  very  tactful. 
Though  well  aware  that  Harvard's  Verdict  was  not  "help- 
ful criticism,"  he  was  in  no  position  to  defend  himself. 
So,  in  a  word,  we  take  up  the  cudgels. 

The  college  poll  proved  nothing  at  all — except,  perhaps, 
that  Harvard  undergraduates  possess  the  combined  critical 
abilities  of  a  roomful  of  very  backward  juveniles. 

Of  course,  we  freely  admit  that  Greene  may  not  be  the 
greatest  actor  in  Hollywood.  His  histrionic  talents  may 
not  have  attained  the  Paul  Muni  level — at  least,  not  yet. 
But  we  absolutely  refuse  to  admit  that  he  is  Hollywood's 
"least  likely  to  succeed."  That's  utter  nonsense — because 
he  already  is  a  huge  success! 

We  see  our  first  duty  clearly.  We  must  prevent  angry 
mothers  from  boycotting  Harvard,  and  we  must  not  allow 
hot-tempered  maidens  to  mail  high  explosives  C.  O.  D.  to 
Cambridge.  It  is  our  patriotic  duty  to  explain  exactly 
why  Harvard  students  resent  Richard  Greene. 

The  explanation  is  obvious.  All  Harvard  students  are 
males.  And,  unfortunately,  the  average  American  male, 
handicapped  by  a  profile  that  resembles  a  buzz-saw,  re- 
tarded by  a  chicken-breasted  physique,  weighted  by  a 


conversational  gift  limited  to  second-hand  Bob  Hope  gags, 
resents  anyone  as  well-built,  handsome  and  articulate  as 
Richard  Greene  of  Hollywood. 

That,  ladies,  is  the  reason  why  Harvard  men  voted 
against  him.  They  saw  in  Richard  those  fine  things  they 
lacked.  And  they  resented  him,  just  as  they  resented 
Rudolph  Valentino  and  Robert  Taylor  before  him. 

Being  disliked  for  his  attractive  appearance  is  not  a 
new  problem  to  Greene.  It  has  kept  him  awake  many 
nights.  "Do  I  consider  being  handsome  a  handicap?"  asked 
Greene,  echoing  our  query.  "Well,  definitely  yes,  presum- 
ing that  I  am  handsome.  It  makes  me  too  many  enemies. 
Men,  utter  strangers  or  acquaintances,  hate  me  because 
misled  girls  think  I'm  good  looking.  It's  awfully  embar- 
rassing, really  it  is.  And  more  than  that,  if  s  damned 
annoying — especially  when  men  apply  the  phrase  'pretty 
boy'  to  me.  Also,  being  considered  handsome  is  a  double 
handicap,  because  it  immediately  types  you  in  Hollywood, 
confines  you  to  ineffectual  youthful  roles  and  prevents  you 
from  obtaining  meaty  character  parts." 

We  sat  on  a  sofa,  only  two  feet  distant  from  Greene, 
when  he  told  us  these  things.  We  sat  close  enough  to 
touch  him,  so  we  feel  competent  to  testify  that  Richard 
Greene,  off-screen  and  in  the  flesh,  does  not  look  the 
pretty  boy. 

We  could  hardly  detect  his  dimples.  He  appeared  leaner 
and  taller  than  we'd  imagined.  He  seemed  cultured,  but 
it  was  a  healthy,  fresh  and  strong  culture.  He  seemed  a 
regular  fellow,  entirely  virile,  one  who  might  know  all 
the  four  letter  words,  consume  iron  ore  for  breakfast  and 
indulge  in  Rabelaisian  pleasures  after  dark. 

While  Harvard  students  might  criticize  his  acting,  they 
can't  criticize  his  perseverance. 

"My  prime  ambition  in  life  today,"  he  confessed,  "is  to 
become  a  good  actor.  A  really  thorough  thespian,  equipped 
for  every  role.  If  I've  had  any  trouble,  it's  been  mainly 

MODERN  SCREEN 


that  I  got  to  the  top  too  fast.  Nine  major  pictures  in 
two  years.  I  lacked  experience  and  have  had  to  pick  up 
things  in  a  hurry  along  the  way.  But  I'm  still  absorbing 
knowledge  like  a  two-legged  sponge.  I'm  trying!" 

And  while  Harvard  students  might  resent  Greene's  well- 
chiseled  features,  they  certainly  can't  resent  his  courage. 

"I've  been  aching  to  go  back  to  England  to  do  my  share 
in  the  war,"  he  said,  "but  they  won't  let  me  return.  They 
have  too  many  army  men  on  hand,  and  they  don't  need 
me.  It  was  fine  of  David  Niven  to  return  on  his  own,  but 
he's  still  trying  to  see  army  activity  and  can't,  because 
they  don't  require  his  services — yet.  The  horrible  day 
will  eventually  come,  I  suppose,  when  my  country  will 
need  every  man,  and  when  it  does,  take  my  word,  I'll 
be  the  first  to  go  back.  Meantime,  I  frankly  feel  I  can 
do  more  good  staying  right  here  and,  with  the  money  I 
make,  helping  our,  cause  financially." 

TO  KEEP  the  records  straight,  Richard  Greene's  current 
activities  have  been  confined,  largely,  to  turning  in  a 
performance  in  his  most  recent  flicker,  "I  Was  An  Adven- 
turess" with  Vera  Zorina.  After  office  hours,  his  activities 
have  been  devoted  to  the  soil  and  to  Virginia  Field. 

Greene,  springing  from  a  family  that  had  the  stability 
of  traveling  salesmen,  loves  the  soil.  As  he  informed  us, 
"My  major  desire  is  today  being  realized.  I  have  bought 
a  house  and  some  land  in  the  Valley  north  of  Hollywood. 
I  love  the  earth,  and  I  want  to  build  things  of  my  own 
on  it.  I  want  to  cultivate  it.  I  want  to  construct  a  beau- 
tiful English  stone  wall,  dozens  of  dog  kennels  and  a 
thousand  other  things.  When  that  dream  is  fulfilled,  I 
suppose  I'll  have  to  find  another." 

Of  course,  the  purchase  of  that  property  and  that  new 
house,  encourages  journalistic  speculation  and  adds  up, 
perhaps,  to  the  mathematics  of  matrimony.  Did  the  land 
and  the  house  mean  Richard  Marius  Joseph  Greene,  who 

JUNE,  1940 


would  rather  read  "Flash  Gordon"  than  the  current  best- 
seller, was  about  to  settle  down? 

The  answer  was  a  shrug  of  broad  shoulders.  And  then, 
after  the  pause  that  refreshes,  an  afterthought,  "All  that 
talk  in  the  papers  about  the  exact  time  and  date  that  I'm 
going  to  marry  is  fiction.  I  have  no  plans  and,  if  I  did, 
I  wouldn't  yet  be  in  a  position  to  announce  them." 

But  when  the  time  comes,  will  gorgeous,  well-bred  Vir- 
ginia Field  be  the  girl  to  move  into  that  Valley  home? 

Greene,  a  practiced  fencer,  verbally  parried.  "This  much 
I  will  say:  I  want  no  dull  little  glamour  girl  for  a  wife. 
I  want  someone  I  don't  have  to  go  to  the  Ritz  with,  some- 
one I  can  fry  bacon  and  eggs  with,  do  you  understand? 
I  want  a  wife  intelligent,  but  not  intellectual.  I  want  a 
capable  mate,  one  with  money  sense.  Those  creatures 
whose  entire  fives  center  about  fur  coats  and  diamonds 
irk  me.  I  prefer  a  girl  who  appreciates  the  simple  and 
elemental  things.  Naturally,  I  want  an  attractive  girl  with 
plenty  of  feminine  charm,  but  above  everything  else,  I 
want  a  good  companion!" 

Did  Richard  Greene  think  Virginia  Field  possessed  all 
these  qualities?  Well,  he  didn't  wish  to  talk  about  Vir- 
ginia, but  dammit  all,  love  is  love,  and  he  couldn't  resist. 

"It's  true  that  I  find  Virginia  Field  more  attractive  than 
anyone  I've  ever  met.  She  has  it  all  over  the  glamour 
girls.  She  possesses  all  the  qualities  I  would  desire  in  a 
wife.  Naturally,  I  love  her  very  much.  Virginia  is  a 
pretty  girl,  amazingly  intelligent  and  fond  of  the  things 
I  like." 

What  philosophy  was  to  Socrates,  women  are  to  Richard 
Greene — an  open  book.  Of  course,  he  wouldn't  admit  that. 
He  is  up  to  his  ears  in  English  reticence,  but  his  torrid 
past  speaks  for  itself. 

The  most  torrid  part  of  his  past  was  his  first  love.  At 
the  mature  age  of  six  he  fell  madly  in  love  with  an 
older  woman.  She  was  a  snappy  (Continued  on  page  68) 

43 


WANT  TO  WRITE  YOURSELF  A  TICKET  TO  SUMMER  ROMANCE,  ADVENTURE  AND  SUCCESS? 


Now  is  the  time  to  use  light, 
fluffy  creams,  whether  for 
cleansing,  lubrication  or 
make-up  foundation.  Your 
skin  must  be  protected 
against  wind  and  sun,  yet 
at  the  same  time  it  must  be 
allowed  to  "breathe"  freely. 


Arms,  neck  and  shoulders 
that  have  long  been  swathed 
in  heavy  clothing  will  soon 
be  exposed  for  the  first  time 
in  many  months.  Smooth 
and  protect  them  with 
creams,  lotions,  powders. 
And  don't  forget  deodorants. 


Your  make-up  should  be 
carefully  chosen  not  only  to 
harmonize  with  your  skin  col- 
oring, but  also  to  create  a 
fresh,  cool  and,  above  all, 
a  healthy,  natural  appear- 
ance. Artificiality  is  especial- 
ly taboo  in  warm  weather. 


Hands,  to  be  glamorous, 
must  be  soft,  smooth  and 
dainty  at  all  times.  After 
every  contact  with  sun  or 
water,  as  well  as  after  each 
manicure,  massage  your  fa- 
vorite lotion  well  into  the  fin- 
gers, hands  and  also  elbows. 


Legs  and  feet  will  come  in 
for  a  lot  of  attention  at 
beaches,  pools  and  tennis 
courts.  You  will  be  wise  to 
keep  yours  smooth  and  per- 
fectly groomed.  Depilato- 
ries and  weekly  pedicures  are 
considered  definite  "musts." 


THE  DAYS  when  you  could  swathe  a  sallow,  blemished  or 
untidy  skin  in  furs  and  silks,  wools  and  satins  and  still  look 
beautiful  are  vanishing  very  fast.  Summer  will  soon  be  on 
our  doorsteps,  and  that  means  low  necks,  short  sleeves,  back- 
less dresses,  bare  legs  and  sun  drenched  days  that  demand 
smooth,  clean,  flawless  skin,  not  only  on  our  faces  but  all 
over. 

A  sedentary  winter,  robbed  of  sun  and  outdoor  exercise; 
heavy  foods  with  too  few  fresh  fruits  and  vegetables;  con- 
stant sudden  readjustments  from  hot,  dry,  artificially  heated 
houses  to  damp,  cold,  wintry  weather;  colds,  fatigue — all  these 
have  taken  their  heavy  toll  on  that  most  important  single 
asset  to  your  health  and  beauty — a  fine  textured,  smooth 
functioning,  radiantly  healthy  skin. 

It  goes  without  saying  that,  in  Hollywood,  where  beauty  is 
the  stock  in  trade  of  every  girl  ambitious  for  any  degree  of 
fame  or  success,  skin  care  and  grooming  is  one  of  the  first 
concerns  of  every  feminine  member  of  the  movie  colony.  So 
let's  pry  into  the  beauty  secrets  of  some  of  Hollywood's 
brightest  stars  and  learn  how  they  care  for  the  skins  for 
which  they  are  so  justly  famous. 

There's  Virginia  Bruce,  for  example,  the  flawless  blonde; 
and  Hedy  Lamarr,  the  enchanting  brunette;  Ann  Sheridan, 
the  gorgeous  red-head;  and  pretty,  vivacious  Helen  Parrish, 
whose  fresh  charm  is  an  ornament  wherever  she  goes.  What 
do  these  representative  girls  do  to  keep  their  skins  so  glow- 
ingly, radiantly  lovely?  The  common  sense  formulas  they 
follow  are  simple  and  intelligent,  all  rumors  and  build-ups 
to  the  contrary  notwithstanding.  The  principles  they  prac- 
tice can  be  adopted  successfully  by  every  one  of  you  who 
really  wants  to  have  a  beautiful  skin. 

First,  you  know  that  skin  is  not  only  an  important  founda- 
tion for  beauty  but  it  also  constantly  reflects  the  state  of 
your  health.  Sallowness,  blemishes  and  poor  skin  texture  of 
one  kind  or  another  are  almost  always  traceable  to  an  un- 
balanced diet  (too  many  sweets,  starches  or  sometimes 
meats),  insufficient  exercise,  fresh  air,  drinking  water  or 
sleep;  irregular  elimination  or  too  infrequent  bathing.  Physi- 
cians and  beauticians  agree  that  fine  skin  depends  primarily 
upon  good  health.  Local  disorders  such  as  eczema,  ringworm, 
etc.,  or  glandular  disturbances  (especially  thyroid)  may  pro- 
duce scaliness.  For  these  conditions  you  should,  of  course, 
see  a  doctor.  But  ordinarily,  a  good  healthy  skin  is  some- 
thing within  the  control  of  every  average  girl  without  benefit 
of  anything  more  than  energetic  common  sense. 

A  normal  skin  is  neither  too  dry  nor  too  oily.  By  virtue 
of  its  minutely  horny  construction  it  is  able  to  cast  off  dirt 
and  dead  tissue.  By  means  of  its  normal  oil  glands  it  is  able 
to  lubricate  itself  sufficiently  for  perfect  health  and  comfort. 
However,  the  stress,  strain  and  artificialities  of  modern  living 
often  exact  heavy  penalties  from  your  skin  and  it  becomes 
over  oily,  over  dry  or  the  pores  become  clogged,  stretched  and 
enlarged.  Then  coarseness,  sallowness,  blackheads,  white- 
heads, acne,  etc.,  are  the  sad  results.  What  to  do? 

Cleanliness,  thorough  and  continuous,  is  of  foremost  im- 

MODERN  SCREEN 


n 


n 


u 


THEN  GIVE  A  THOUGHT  TO  YOUR  COMPLEXION 


portance  for  both  beauty  and  health.  Your  skin  is  a  very 
busy  organ.  Not  only  does  it  have  to  provide  a  prepossessing 
exterior  for  your  appearance's  sake;  but,  even  more  impor- 
tant, it  has  to  form  an  effective  protection  between  you  .and 
the  outside  world  of  germs,  dirt  and  disease.  At  the  same 
time  it  must  perform  the  full  time  job  of  a  hard  working 
organ  of  elimination. 

Sooo — a  bath  a  day  is  the  very  least  consideration  you  can 
show  it.  Shower  or  tub — the  preference  is  purely  personal. 
But  do  use  plenty  of  mild,  oily  soap  and  water.  Also  use  a 
coarse  wash  cloth,  brush  or  friction  mit  to  stimulate  circula- 
tion and  to  help  in  the  job  of  freeing  your  skin  of  constantly 
accumulating  wastes  and  toxins. 

Fragrant  oils,  colognes,  bubble  baths  and  all  those  luxurious 
bath  preparations  are  fine,  too,  if  you  enjoy  using  them.  But 
they  aren't  exactly  essential  to  either  the  health  or  beauty 
of  your  skin,  though  goodness  knows  they  do  provide  a  de- 
lightful sense  of  daintiness  and  luxury  which  has  its  advan- 
tages in  building  up  a  girl's  morale,  to  say  nothing  of  her 
glamour.  After  whichever  kind  of  bath  you  take,  use  a  big, 
clean,  Turkish  towel  and  massage  yourself  briskly  all  over 
to  send  the  blood  coursing  through  your  veins  and  to  wake 
up  that  sleeping  color  which  should  glow  in  every  healthy 
skin.  An  after-bath  lotion  or  a  film  of  dusting  powder  add 
delightfully  fragrant  and  luxurious  final  touches. 

YOUR  FACE,  neck,  hands  and  arms  usually  need  cleansing 
additional  to  your  regular  bath.  A  good  cleansing  cream 
should  be  on  every  girl's  dressing  table.  If  your  skin  is  oily, 
you'll  want  to  use  a  liquefying  cream.  If  it's  dry,  an  emollient 
cream  will  do  more  for  you.  Apply  either  one  generously, 
immediately  after  washing  your  face.  Massage  it  in  with 
deep,  firm,  rotary,  upward  strokes,  being  .careful  not  to 
stretch  the  delicate  face  skin.  Allow  cleansing  cream  to  re- 
main on  at  least  a  couple  of  minutes,  then  remove  with  facial 
tissue  or  soft  linen. 

An  oily  skin  is  simply  one  whose  oil  glands  are  overactive. 
A  good  diet,  including  plenty  of  fresh  fruits  and  vegetables, 
lots  of  drinking  water,  outdoor  exercise  and  special  attention 
to  cleanliness  are  extremely  important  in  your  efforts  to 
overcome  it.  Scrubbing  the  face  with  a  soft  bristled  com- 
plexion brush  and  a  mild  soap,  then  applying  an  astringent 
or  skin  freshener,  is  an  excellent  daily  habit.  A  cream  of  the 
vanishing  type  is  best  as  a  powder  foundation  for  oily-skinned 
lassies.  Be  sure  that  you  fluff  your  powder  on  lightly,  never 
grind  or  rub  it  in  to  further  clog  the  over-large  and  too- 
relaxed  pores  that  accompany  this  condition.  Frequent  addi- 
tional cleansing  through  the  day  with  liquefying  cream  and 
astringent  or  some  of  those  handy  little  prepared  pads  which 
you  can  carry  in  your  purse  or  keep  on  your  dressing  table, 
will  help  relieve  the  annoyance  of  an  excessively  oily  skin. 

Dry  skin  is  common  in  our  larger  cities  where  continuous 
scrubbing  is  necessary  for  cleanliness,  and  high  nervous  ten- 
sion is  always  more  or  less  present.  It  is  also  common  among 
women  who  diet  and  deny  themselves  (Continued  on  page  74) 

JUNE,  1940 


SO  YOU  would  like  to  be  a  secretary  to  a  movie  star? 

You  went  to  high  school  for  four  years.  You're  a  typist. 
You're  a  stenographer.  You  think  it  should  be  a  cinch. 

But — how  would  you  like  to  exercise  a  pair  of  wild 
horses  in  your  lunch  hour,  introduce  twenty-five  people 
you  don't  know  to  a  member  of  the  United  States  cabinet, 
help  your  boss'  wife  be  a  columnist,  buy  woolen  under- 
wear for  Annabella  to  ski  in  or  explain  to  hundreds  of 
adoring  fans  why  they  can't  have  a  lock  of  your  mas- 
ter's hair? 

Yep,  that's  all  part  of  the  day's  work  to  the  widely- 
envied  members  of  Hollywood's  notebook  and  pencil 
brigade.  No  wonder  they  love  their  jobs,  hate  their  jobs, 
swear  to  quit  and  vow  to  go  on  forever. 

But  none  of  those  chores  could  discourage  you?  You 
still  want  to  know  the  ingredients  that  go  into  the  making 
of  a  Movieland  secretary.  Okay.  Let's  track  them  down. 

First,  take  the  case-  of  Peggy  Gough.  Peggy  works  for 
Spencer  Tracy.  Two  years  ago,  when  Spence's  former 
secretary  met  with  an  accident,  Peggy,  who  held  a  clerical 
position  on  the  Metro  lot,  walked  into  her  job — and  into 
a  combination  office-dressing  room,  next  door  to  the  one 
occupied  by  Greta  Garbo. 

"As  it  happens,"  says  -  Peggy,  "I've  never  seen  Miss 
Garbo.  However,  when  Mr.  Tracy  is  working,  I  visit  the 
set  twice  a  day  and,  in  the  past  few  months,  have  taken 
dictation  while  either  Hedy  Lamarr,  Claudette  Colbert  or 
Clark  Gable  was  sitting  just  a  few  feet  away  from  me." 

That  doesn't  sound  too  tough,  does  it?  And  neither 
does  working  from  nine  to  five  daily  with  a  half  a  day 
on  Saturday,  or  answering  requests  for  Mr.  Tracy's  photo- 
graph and  autograph,  or  seeing  to  it  that  his  replies  to 
fan  letters  reach  a  post-office  box,  or  typing  the  stencil 
for  the  fourteen-page  magazine  young  Johnny  Tracy  pub- 
lishes monthly. 

"Up  to  there,  it's  pie,"  agrees  Peggy.  "But  when  people 
begin  to  ask  for  such  things  as  a  button  off  the  jacket 
Mr.  Tracy  wore  in  the  last  reel  of  his  first  picture,  that's 
another  matter!  And  don't  think  it's  easy  to  make  his 
admirers  understand  that  my  boss  would  be  bald  as  an 


Peggy's  been  office-wife 
to  Spence  for  two  whole 
years  but  he  still  ad- 
dresses her  as  "Miss 
Gough."  She's  27,  looks 
21,   and   is  unmarried. 


eagle  if  he  obliged  everyone  who  wants  a  snip  of  his  hair 
for  a  locket  charm!" 

Her  typewriter  and  erasers  aren't  the  only  tools  Peggy 
must  have  at  her  finger-tips.  She  keeps  aspirins  and  an 
encyclopedia  handy,  too,  for  those  occasions  when  she 
receives  scrawls  like  the  one  sent  by  the  little  boy  who'd 
seen  "Stanley  and  Livingstone."  The  youngster  didn't 
want  an  autograph.  He  didn't  want  a  picture.  He  just 
wanted  a  few  simple  facts. 

"You're  a  great  explorer,  Mr.  Tracy,"  he  wrote,  "so  will 
you  please  tell  me  how  much  it  costs  to  take  an  expedition 
to  Africa?  I  want  to  leave  next  Saturday." 

Miss  Gough,  fortified  by  a  sheepskin  from  the  University 
of  California,  is  made  of  sturdy  stuff.  -She  can  take  it. 
She  knows  that  if  you  want  to  be  a  big  star's  Girl  Friday, 
you  have  to  keep  your  sense  of  humor  on  its  toes  twenty- 
four  hours  a  day.  And  so,  come  hell  or  high  water,  come 
checks  to  be  autographed  or  new  scenarios  to  be  judged, 
Peggy  only  smiles — and  dimples.  She'll  bear  up  under 
any  swipe,  because  she  thinks  that's  little  enough  to  do 
for  an  employer  who  is  never  cross,  never  demanding, 
never  hasty. 

"There's  one  thing,  though,"  admits  Peggy,  "Mr.  Tracy's 
a  terrible  tease!" 

But  she  smiles  when  she  says  that,  and  you  know  she 


40 


MODERN  SCREEN 


n 

J 

H 

1 

_ 

J 

doesn't  really  mind  this  little  attention  from  her  boss. 

A  college  education  isn't  part  of  the  background  of  34- 
year-old  Claire  Andre,  who  is  secretary  to  Joel  McCrea, 
as  well  as  the  mother  of  a  16-year-old  miss.  Claire,  an 
attractive  brunette,  didn't  even  finish  high  school,  although 
she  has  managed,  since  becoming  a  working  girl,  to 
squeeze  in  night  courses  in  costume  designing,  court  re- 
porting and  Spanish. 

Claire's  husband,  Carl,  has  been  Joel  McCrea's  stand- 
in  for  several  years.  One  day,  Carl  noticed  that  Joel's  fan 
mail  and  business  records  were  getting  pretty  well  jammed 
up  and  suggested  that  he  hire  a  secretary.  But  Joel  is  a 
westerner  and  doesn't  do  things  fast.  Two  months  later 
he  shook  his  head  and  decided  Carl  was  right.  Then  he 
asked  for  Claire,  whom  he  had  met  only  once. 

Claire  wasn't  keen  on  the  job.  She'd  worked  with  movie 
people  before  and  didn't  like  them  too  well.  At  her  hus- 
band's insistence,  however,  she  visited  the  lot. 


come  to  Hollywood  and  he  accepted.  Now  his  early  ambi- 
tion has  been  realized — he's  practising  diplomacy  in  a 
strange  land. 

Blond-haired  and  twenty-five,  Walter  Pick  loves  his  job. 
"It's  an  exciting  life,"  he  says,  "touching  on  every  phase 
of  modern  living." 

And  he's  not  kidding.  The  variety  of  his  tasks  even 
includes  acting  as  host  at  Douglas's  swank  dinner  parties 
when  Douglas  himself  is  too  busy  to  turn  up.  Recently, 
when  cabinet-member  Madame  Frances  Perkins  came  to 
Hollywood,  Pick  had  to  introduce  her  to  twenty-five 
guests  he  had  never  seen  before! 

Besides  taking  Melvyn's  son  to  baseball  games  and 
helping  Mrs.  Douglas  keep  up  on  the  migrant  problem, 
with  his  knowledge  of  political  science,  he  aids  Mr.  D.  with 
his  numerous  causes. 

Walter  fives  with  the  Douglases.  He  has  been  on  the 
grind  over  three  years,  yet  has  (Continued  on  page  79) 


It's  nice  work  if  you 
can  take  it — and 
Walter  Pick  can.  But 
it's  only  a  means  to 
an  end  for  Walt  who 
hopes,  some  day,  to 
and  a  movie  role. 


Bill  Gallagher,  Ty's 
secretary,  is  at  the 
beck  and  call  of  his 
boss  24  hours  a  day. 


"Well,"  drawled  McCrea  when  he  saw  her,  "I  don't  know 
whether  I  need  a  secretary  or  not." 

"Oh  yes,"  retorted  Claire.  "Well,  I  don't  know  whether 
I'd  like  working  for  you!" 

They  decided  to  try  it  for  three  months,  but  she's  stayed 
three  years.  She  labors  five  and  a  half  days  a  week  in  a 
small  office  at  the  Paramount  studios.  In  this  two  by  four, 
with  its  walls  covered  with  portraits  of  Joel,  she  does  her 
employer's  bookkeeping,  reads  and  answers  his  fan  mail 
and  sees  that  he  doesn't  forget  dinner  engagements.  Half 
of  her  time  is  devoted  to  handling  the  affairs  of  Joel's 
1,000-acre  ranch.  And  at  the  ranch,  she  must  even  exercise 
her  boss'  horses  when  he  is  busy  and  order  the  dehorning 
of  his  cattle  when  the  proper  season  rolls  round. 

The  story  of  Walter  Pick  is  slightly  different.  Walter, 
who  is  Melvyn  Douglas's  right  hand,  studied  at  the  For- 
eign Service  School  of  George  Washington  University.  He 
wanted  to  be  a  diplomat  in  a  strange  land.  In  New  York, 
a  few  years  after  graduation,  he  ran  into  Melvyn  and 
Mrs.  Douglas,  who  is  his  cousin.  The  pair  invited  him  to 

JUNE,  1940 


discuss  ranching  prob- 
lems as  intelligently  as 
any  man.  She  calls  her 
boss  "Mr.  McCrea" — 
he  calls  her  "Claire." 

47 


Ironic  that  Madeleine,  a  rabid  paci- 
fist, is  so  often  in  war  films  and  was  a 
British  captain's  wife. 


Tullio  Carminati,  Billy  Gilbert  and 
Madeleine  in  one  of  many  tense  mo- 
ments from  "Safari." 


Jungle  love  with  Doug  Fairbanks  is 
fine,  but  Madeleine's  real  heartbeat 
is  a  French  politician. 


MADELEINE  CARROLL  used  to  give 
one  the  impression  that  if  you  men- 
tioned sex  in  her  presence,  she  would 
blush,  freeze  or  swoon. 

Now  you  can  walk  up  to  her  and 
say,  "Miss  Carroll,  the  suspicion  is 
getting  around  that  you  have  a  large 
quota  of  feminine  warmth" — and  what 
happens?  She  smiles  mischievously. 
Those  blue  eyes  dance.  And  she 
doesn't  hide  the  fact  that  she  is  finally 
hearing  what  she  has  been  anxious  to 
hear  all  along. 

What  she  used  to  hear  were  things 
quite  different.  She  grimaces  comical- 
ly in  remembrance.  Such  things  as 
Director  Alfred  Hitchcock's  classic 
crack.  Hitchcock  was  to  do  a  picture 
based  on  the  S.S.  Titanic  disaster. 
The  producer  asked  him,  "What  do 
you  know  about  icebergs?"  Hitch- 
cock lifted  his  eyebrows — Madeleine, 
telling  the  story,  illustrates  how  high 
he  lifted  them — and  said,  "What  do 
I  know  about  icebergs?  Man,  I've 
directed  Madeleine  Carroll!" 

She  shakes  her  head  about  the  rep- 
utation she  seemed  to  have  had  for 
being  on  the  frigid  side. 

"People  used  to  wonder  if  anything 


could  thaw  me  out.  Nobody,"  she  says, 
with  a  mock  sigh,  "suspected  that  I 
had  human  warmth  and  only  needed 
the  opportunity  to  bring  it  out." 

How  did  she  ever  acquire  that  Arc- 
tic reputation?  Looking  back,  you  can 
detect  several  possible  explanations. 
First  and  foremost,  she  came  from 
England.  Justly  or  not,  Americans 
don't  give  Englishwomen  credit  for 
being  warm-blooded.  Particularly  if 
they  belong  to  the  social  upper  crust 
— as  Madeleine  did,  by  marriage.  Fur- 
thermore, she  was  a  college  graduate, 
daughter  of  a  professor.  That  made 
people  think  of  her  as  an  intellectual, 
a  woman  whose  head  would  dictate 
to  her  heart.  Then,  too,  press  agents 
billed  her  as  "one  of  the  ten  most 
beautiful  women  in  the  world."  They 
weren't  far  wrong.  But,  by  so  doing, 
they  placed  her  on  a  lofty  pedestal, 
and  people  considered  her  aloof. 

She  puts  most  of  the  blame  directly 
on  the  beauty  publicity — and,  indi- 
rectly, on  herself.  "At  the  time,  I 
thought  the  beauty  build-up  was  a 
great  idea,"  she  admits,  frankly.  "I 
was  feminine  enough  to  be  flattered. 
Any  woman  likes  to  be  called  beau- 


tiful. But  I  didn't  foresee  the  effects 
of  the  build-up.  It  not  only  made  me 
unpopular  with  other  women,  but  it' 
caused  producers  and  directors  to 
catalogue  me  as  The  Inspirational 
Type — a  visual  excuse  for  the  hero  to 
be  pretty  noble. 

"It  paid  well,  yes,  but  it  was  fright- 
fully dull  going.  I  wasn't  having  fun. 
And  I  began  to  sense  that  other  people 
weren't  having  fun,  watching  this  in- 
spiring creature.  I  began  to  suspect 
that  it  would  be  only  a  matter  of  time 
before  they  resented  seeing  her — al- 
ways with  every  hair  in  place,  every 
expression  beatific,  every  action 
chaste.  She  just  wasn't  human." 

She  tried  to  do  something  about  it. 
For  one  thing,  she  tried  to  forget  the 
camera  and  be  herself.  They  wouldn't 
let  her.  When  she  talks,  she  has  a 
habit  of  making  faces,  to  help  express 
what  she  means.  "Madeleine,"  they 
would  say,  "you  mustn't  make  those 
faces.  They  aren't  becoming.  And  they 
aren't  in  character."  Or,  "Madeleine, 
you  didn't  keep  your  profile  before 
the  camera.  We'll  have  to  shoot  it 
over." 

The  climax  came  during  the  filming 


DON'T  LET  HER  COLD,  CLASSIC  BEAUTY  MISLEAD  YOU— SHE  EVEN  HAD  HOLLYWOOD 

48  MODERN  SCREEN 


n  n 


of  "The  Prisoner  of  Zenda."  Toward 
the  end,  there  was  a  parting  kiss  be- 
tween the  lovers — Ronald  Colman  and 
Madeleine.  She  approached  the  scene 
with  the  thought,  "This  should  be  a 
terrific  moment,  but  it  won't  be  if  we 
both  express  our  emotions  like  polite, 
reticent  English  people.  I'm  going  to 
do  my  share  to  make  it  memorable." 
And  she  did. 

The  director,  John  Cromwell,  liked 
the  result.  But  that  night  the  pro- 
ducer, David  O.  Selznick,  saw  the 
rushes.  He  called  Madeleine  at  3:00 
a.m.  "What  on  earth  were  you  trying 
to  do  in  that  scene?  You're  so  sexy 
in  it."  Madeleine  beamed.  So  she  had 
finally  demonstrated  that  she  was  no 
iceberg!  "I  was  only  trying  to  behave 
like  a  woman  desperately  in  love."  He 
protested,  "But  this  woman  is  a  prin- 
cess. She  would  be  more  reserved." 
"Princess  or  not,"  said  Madeleine, 
"she  is  a  woman  in  love."  They  had 
quite  an  argument.  Madeleine  didn't 
win  it.  A  few  days  later,  there  were 
retakes.  She  had  to  change  her  per- 
formance. 

But  Madeleine  didn't  change  her 
convictions.   (Continued  on  page  91) 


B  y 
George 
Benjamin 


FOOLED  FOR  A  LONG  TIME 


JUNE,  19.40 


He'll  select  your  hats,  sell  your  talent,  look  after  your  morals  and,  if  you  look  anything 
like  Margaret  Sullavan  or  Lynn  Bari,  your  agent  may  even  decide  to  propose  to  you. 


F  YOU'VE  seen  "Gone  With  the  Wind,"  you 
know  that  Vivien  Leigh  is  a  sensation  as  Scarlett 
O'Hara.  Even  if  you  haven't  seen  the  picture, 
you  are  sold  on  that  idea.  You  have  read  the 
reviews.  You  know  she  won  the  Academy 
A. ward.  You  have  read  articles  explaining  her 
success. 

Some  of  the  articles  give  the  credit  to  Vivien, 
aerself,  to  her  individuality,  her  talent,  her  will-to- 
succeed;  others,  to  Producer  David  O.  Selznick,  who 
was  astute  enough  to  see  her  possibilities;  to  Director 
Victor  Fleming,  who  handled  her  shrewdly,  or  to 
Author  Margaret  Mitchell,  who  created  the  colorful 
character  Vivien  portrayed. 

The  only  person  who  doesn't  seem  to  be  getting  any 
credit  is  the  man  who  sold  Selznick  the  idea  that 
Vivien  Leigh,  an  English  girl,  would  be  a  remarkable 
Scarlett.    That  man  is  her  agent.  . 

His  name  is  Myron  Selznick  and  he  is  one  of  Holly- 
wood's most  successful  salesmen  of  stars.  He  also  hap- 
pens to  be  a  brother  of  David  O.  Selznick.  Vivien  knew 
what  she  was  doing  when  she  told  him  she  wouldn't 
be  averse  to  working  in  Hollywood  if  he  could  sell  her 
as  a  dramatic  vixen.  The  more  Myron  studied  her, 
the  more  he  saw  her  as  one  particular  charmer.  But 
how  to  interest  David  in  another  unknown — especially 
an  English  girl?  That  called  for  genius. 

Myron  displayed  just  that.  He  didn't  go  into  a  high- 
pressure  rave  about  the  girl.  In  fact  he  didn't  even 
mention  her  name.   He  sprang  her  upon  David  as  a 


complete  surprise.  He  took  her  out  to  the  "Gone  With 
the  Wind"  set  the  night  that  David  started  production 
by  putting  the  torch  to  acres  of  old  movie  backdrops, 
for  "the  burning  of  Atlanta"  scene.  Myron  waited  until 
the  fire  had  become  spectacular.  Then  he  walked  up 
to  his  brother  and  said,  "David,  I  want  you  to  meet 
Scarlett  O'Hara."  David  turned — and  saw  the  vivid 
face  of  Vivien  Leigh  for  the  first  time,  lighted  by  flames 
that  Scarlett  was  supposed  to  see.  Myron  didn't  have 
to  suggest  a  film  test.  David  was  startled  into  suggest- 
ing it,  himself. 

Vivien  Leigh  is  a  star  today  because  she  had  a  smart 
agent. 

The  same  can  be  said  of  every  star  in  Hollywood, 
from  Lionel  Barrymore  to  Shirley  Temple. 

You  may  photograph  better  than  Hedy  Lamarr  or 
Robert  Taylor,  and  be  able  to  act  circles  around  Bette 
Davis  or  Spencer  Tracy,  but  you  still  need  something 
else  to  become  a  star.  Or  remain  one.  You  need  a 
good  agent. 

This  isn't  a  glamorous  fact.  It  is  carefully  omitted 
from  all  of  Hollywood's  success  stories.  But  it  still 
remains  a  fact. 

Every  player  in  Hollywood  is  aware  of  it.  Every 
player  earning  $150  or  more  has  an  agent.  And  every 
player  earning  less  would  have  one,  only  there  aren't 
enough  to  go  around.  Particularly  of  the  kind  willing 
to  gamble  on  unknowns  who  want  to  act,  but  haven't 
yet  proved  that  they  can. 

Stars  know  what  they  are  talking  about  when  they 


50 


MODERN  SCREEN 


Gary  Cooper  Greta  Garbo  Margaret  Sullavan  Ronald  Colman 


L  u 

at LL  a 


n 


no 


BEHIND  THE  SUCCESS  STORIES  OF  GARBO,  LEIGH  AND  EVERY  IMPORTANT 


STAR  IS  A  SUPER-SALESMAN  WHOSE  PRAISES  ARE  SELDOM  SUNG 


By    James  Reid 


advise  unknowns  with  movie  ambitions:  "Don't  come 
to  Hollywood  until  you  have  proved  your  possibilities." 
Some  day,  some  star  is  going  to  be  honest  enough  to 
add,  "and  can  afford  an  agent." 

Why  is  an  agent  so  necessary?  Why  can't  an  actor 
sell  himself?  The  answer  is  this: 

Once  upon  a  time,  there  were  no  agents.  Actors  had 
to  sell  themselves.  Most  of  them  didn't  do  very  well 
at  it.  They  were  in  a  class  with  gypsies.  They  lived 
precariously,  constantly  on  the  move.  Here  today, 
somewhere  else  tomorrow.  They  couldn't  own  any- 
thing that  wouldn't  fit  into  a  trunk.  The  only  way 
they  could  find  employment  was  to  be  on  hand  when 
the  work  was  passed  out.  When  they  did  work,  even 
stars  earned  little.  Talent  was  valued  low.  There  was 
a  phrase:  "Actors  are  a  worthless  lot." 

Agents  have  changed  all  that.  Today,  actors  are  a 
respected  race.  If  they  have  any  standing  in  their  pro- 
fession; they  also  have  substantial  incomes.  They  have 
contracts  guaranteeing  them  those  incomes.  They  settle 
down  in  one  place,  raise  families,  have  gardens,  vote 
and  make  thousands  of  dollars  a  week. 

Talent  is  a  strange  commodity.  It  can  be  neither 
weighed  nor  measured.  But  agents  have  brought  some- 
thing to  the  selling  of  talent  that  is  used  in  the  selling 
of  any  other  commodity — business  methods. 

To  give  you  an  idea  of  the  importance  of  agents  in 
the  movie  scheme  of  things,  there  are  approximately  110 
agencies  in  Hollywood  today.  The  William  Morris 
Agency — the  oldest,  and  one  of  the  largest — sells  more 


than  a  million  dollars'  worth  of  talent  a  month.  Of  this, 
their  take  is  one-tenth,  or  better  than  $1,000,000  a  year. 
Myron  Selznick  is  suspected  of  making  as  much,  if  not 
more.  (He  is  generally  credited  as  the  first  to  educate 
studios  to  pay  featured  players,  as  well  as  stars,  those 
colossal  salaries.)  High  in  the  six-figure-a-year  bracket 
are  Berg-Allenberg,  Feldman-Blum,  M.  C.  Levee,  Sam 
Jaffe,  A.  and  S.  Lyons,  Zeppo  Marx,  Edington  and  Vin- 
cent, Nat  Goldstone — among  others. 

An  agent  is  first,  last  and  always  a  salesman.  That 
is  enough  to  make  him  useful  to  anyone  with  talent 
to  sell.  What  makes  him  indispensable  is  that  he  is 
also  a  number  of  other  things. 

He  is  a  shrewd  judge  of  ability,  and  as  shrewd  a  judge 
of  the  possibilities  of  roles.  (And  he  knows,  from  day 
to  day,  every  role  that  is  being  cast  in  every  studio.) 
He  is  more  than  a  job-finder;  he  is  a  career-builder. 
(It  is  to  his  advantage  to  be  this,  since  he  has  a  ten 
per  cent  investment  in  a  player.)  He  is  a  personality- 
developer,  a  legal  adviser,  a  business  manager,  a  con- 
fidant of  personal  as  well  as  professional  troubles,  a 
chaperon,  an  errand  boy,  a  soft  spot  for  a  "touch" 
(loan,  to  you). 

To  show  you  how  an  agent  operates,  let's  take  a 
hypothetical  case  of  a  young  player  who  gets  a  movie 
chance — a  case  that  is  a  composite  of  hundreds.  For 
the  sake  of  convenience,  let's  call  that  player  "you." 

A  talent  scout  for  Studio  A  has  spotted  you  in  sum- 
mer stock,  a  Little  Theatre  play,  or  possibly  a  Broadway 
show.   You  have  been  offered  (Continued  on  page  87) 


51 


! 


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try      tbe  A-sS.    wneht  tv.e  +v>  the 

Ration  en]  sCTeen.  *\  belongs  ~lt  shoP^-t  they 

^Som^Se^f  ♦  the^The'p 

r^he  ViSuv."  Be 


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uvBo^^f  prepe  to,   \He^°st  tn°Te  p*l  many  &nA 
filet  wiS"0"'  sm^sSie  c,e*art 

W^SSy  W°°"f.y  But  ft         (un  to  sWV 


1940 


ond  ^e  ^  smi\inc j  otter 
mob  OT 


,  Uareso\°^e 


S3 


1^ 


These  new  faces  belong  to  Carole 
Landis  and  Kenny  Morgan.  Miss  L. 
already  has  one  movie  to  her  credit 
and  is  now  at  work  on  her  second. 


Don  Ameche  was  off-salary  for  re- 
fusing a  movie  role  when  this  was 
taken,  but  still  manages  that 
smile.    He  even  has  Mrs.  A.  doing  it. 


Joan  Blondell  takes  time  out  from 
her  acting  and  household  duties  to 
read  palms  at  Ciro's.  "It  can't 
be  that  bad!"  shouts  Mischa  Auer. 


Stuart  Erwin,  who  looks  groggy, 
himself,  puts  Pat  O'Brien  to 
sleep  with  a  "funny"  story.  It's 
not  often  that  Pat's  caught  napping. 


George  Montgomery,  20th  Century- 
Fox  player,  substitutes  for  Brenda 
Joyce's  best  bea,u,  Owen  Ward.  Her 
boy  friend  had  to  work  that  night. 


William  Powell  and  his  twenty-one- 
year-old  wife  relax  at  Cafe  Lamaze. 
They've  been  stepping  out  seven 
nights  a  week  to  show  each  other  off. 


Vic  Orsatti,  who  usually  flits-  from 
beauty  to  beauty,  is  on  his  fourth 
date  with  Helen  Gilbert — which  is 
practically  "going  steady"  for  Vic. 


That  look  of  contentment  on  the 
faces  of  Adolphe  Menjou  and  wife 
speaks  well  of  Sardi's.  But  this 
was  before  they'd  seen  the  check. 


Leave  it  to  a  Marx  to  figure  out 
a  new  way  to  light  a  cigar.  Minus 
his  movie  mustache,  Groucho  and 
his   antics  are  as   novel  as  ever. 

54 


Reginald  Gardiner  and  Lucile  Fair- 
banks (Doug's  Cousin)  "swing  it" 
at  Hugo's.  He's  handing  her  the 
old    line,    but    Lucile    isn't  falling. 


Helen  Parrish  goes  gallivantin'  with 
Boy  friend  Forrest  Tucker  and  Homer 
Sprinkle.  Her  silver  fox  coat  was 
a    birthday    gift    from    Forrest  T. 

MODERN  SCREEN 


Burns  &  Allen  have  a  home  but 
never  seem  to  stay,  in  it.  Dining 
with  them  and  in  high  spirits  is  Lupe 
Velez,   another  night  club  habitue. 


Linda  Darnell  is  the  ever-constant 
companion  of  Bob  Shaw.  It's  a  sister- 
and-brother  combination  that  origin- 
ated in  Texas,  where  both  were  born. 


June  Lang  is  being  taken  around  town 
by  James  McKinley  Bryant,  well-known 
author.  June  is  the  former  wife  and 
client  of  actors'  agent,  Vic  Orsatti. 


Arthur  Lake  drinks  a  toast  to  the 
missus  who's  sporting  a  red,  white 
and  blue  plaid  jacket,  topped  by 
an    off-the-face    Flemish  bonnet. 


Rosalind  Russell  says  she'll  marry — 
when  the  right  man  comes  along.  And 
Mr.  Right  Man  for  the  evening  is  John 
Durant,  wealthy  Los  Angeles  socialite. 


Director  Litvak  is  the  busiest  man- 
about-town.  This  time,  it's  Barbara 
O'Neil,  who  emotes  for  Anatole  on 
the  "All  This,  And  Heaven  Too"  set. 


0 

7 


Mary  Astor  and  her  husband,  Manuel 
del  Campo,  film  editor,  leave  their 
new  baby  long  enough  to  have  din- 
ner at  Ciro's  on  maid's  night  off. 


Mighty  proud  was  Ida  Lupino  of  Hus- 
band Louis  Hayward's  performance 
in  "My  Son,  My  Son."  Her  mother 
substituted   for   the   absent  spouse. 


Hedy  Lamarr  and  Arthur  Hornblow, 
Jr.,  desert  their  respective  mates,  Gene 
Markey  and  Myrna  Loy,  to  make  a 
tour  of  Ciro's  sumptuous  dance  floor. 


ft 


Lana  Turner  and  Husband  Artie  Shaw 
ran  into  Greg  Bautzer,  Lana's  "ex," 
the  night  this  was  snapped,  and 
the  three  exchanged  some  icy  stares. 

JUNE,  1940 


Joan  Bennett  celebrates  her  birthday 
with  Husband  Walter  Wanger  and 
Producer  Selznick,  who  seem  none  too 
happy.   It  was  a  thirtieth  for  Joan. 


Not  only  has  Andrea  Leeds  changed 
her  mind  about  retiring,  but  Hubby 
Bob  Howard  has  accepted  screen  test 
offers  and  wants  to  .make  a  movie. 

55 


n 


THE  CLICK  OF  A  CAMERA,  THE  CLACK  OF  A  TYPEWRITER,  AND  ZIP!  A  SCOOP  IS  BORN. 


GOING  NATIVE 

Joan  Bennett  decided  that  her  invitation  to 
appear  on  the  Bing  Crosby  air-show  really 
warranted  the  purchase  of  a  new  bonnet. 
So  the  star  spent  a  whole  day  making  the 
rounds  of  her  favorite  shops  looking  for  a 
chapeau  worthy  of  the  occasion.  In  a  very- 
exclusive  establishment  she  came  upon  a 
becoming  turban — the  very  last  word  accord- 
ing to  the  salesgirl — and,  since  it  was  un- 
usual enough  to  attract  plenty  of  attention, 
Joan  purchased  it  right  then  and  there.  She 
arrived  at  the  broadcast  feeling  as  chipper 
and  self-confident  as  only  a  woman  in  a 
becoming  new  hat  can  feel — only  to  find 
that  someone  in  a  similar  headpiece  had  ar- 
rived first.  It  was  Sabu,  the  young  Indian 
movie  actor,  wearing,  one  of  his  native  tur- 
bans fashioned  of  the  same  material  as 
Joan's.  After  the  first  horrified  moment,  Joan 
took  it  like  a  trouper.  "We'll  just  have  to 
see  that  we  don't  go  to  the  same  parties," 
she  laughed. 

TAYLOR  VS.  GABLE 

We  had  the  opportunity,  the  other  day,  to 
test  the  comparative  popularity  of  two  fa- 
vorite stars  in  the  Hollywood  firmament. 
Conversation  stopped  abruptly  at  the  Brown 
Derby  one  noon,  women  nudged  their  com- 
panions, buzzed  excitedly  and  ejected  de- 
lighted "Oh's"  as  Robert  Taylor  walked  in. 
But  Bob  was  no  sooner  seated  when  the 
door  re-opened,  and  in  came  Clark  Gable. 
No  buzzing  accompanied  his  entrance,  just 
a  series  of  long  drawn  out  "Aaaaaahs." 


AN  ULTIMATUM 

Jed  Prouty  is  learning  you  can't  argue  with 
studio  executives.  Figuring  that  the  Jones 
Family  couldn't  get  along  without  him,  he 
refused  to  make  another  picture  without  a 
substantial  salary  increase.  Imagine  his 
surprise  at  discovering  that  his  bosses  were 
willing  to  release  him!  In  the  next  Jones 
family  epic,  Mrs.  (Spring  Byington)  Jones  can 
look  forward  to  being  a  movie  widow,  unless 
her  screen  spouse  learns  his  lesson  in  time 
to  forestall  such  a  tragedy. 

THE  DeMILLE  TOUCH 

A  friend  of  Cecil  B.  DeMille's  told  him  that 
his  closing  remark  on  the  Lux  Show  had  been 
picked  up  by  one  of  her  youngsters.  The 
friend's  little  girl  now  kneels  beside  her  bed 
at  night,  recites  her  prayers  and  ends  with 
"And  now,  good  night  to  you — from  Holly- 
wood." 

A  GOOD  SCENT 

Jean  Parker's  current  heart  interest,  and 
very  serious,  too,  is  Douglas  Dawson,  the 
captain  of  Errol  Flynn's  boat.  Though  no 
wedding  date  has  been  set,  Jean  and  the 
Captain  have  started  to  purchase  things  for 
their  home..  The  first  item  was  "Golden  Boy," 
a  St.  Bernard  puppy,  the  size  of  a  small 
pony.     Until  their  marriage,   they  thought 


ROBERT  TAYLOR 


JEAN  PARKER 


it  would  be  only  fair  to  divide  the  puppy's 
time  between  them,  each  having  "Golden 
Boy"  for  two  weeks  at  a  stretch.  But  the 
pooch  clearly  preferred  Jean,  and  Cap  was 


somewhat  puzzled.  A  chance  meeting  with 
the  original  owner  uncovered  the  fact  that 
"Golden  Boy"  loved  all  ladies  who  used 
perfumes  with  floral  scents.  The  next  eve- 
ning, Jean  was  mystified  at  Goldy's  complete 
devotion  to  Doug.  What  she  didn't  know 
was  that  he  had  a  cake  of  violet  perfumed 
soap  in  various  pockets.  After  the  pooch 
had  jumped  joyfully  into  the  car  when  Doug 
started  for  home,  he  finally  confessed. 

DID] A  KNOW 

That  Marlene  Dietrich  is  so  grateful  for  the 
chance  given  her  at  Universal,  she's  turned 
down  a  $150,000  offer  from  Metro  and  will 
stick  with  Universal  .  .  .  That  Ida  Lupino 
is  a  composer,  and  her  "Aladdin  Suite"  has 
been  played  by  the  Los  Angeles  Philhar- 
monic Orchestra  .  .  .  That  Guy  Kibbee 
began  his  theatrical  career  as  a  "prop"  man 
.  .  .  That  Rochelle  Hudson,  who  was  once 
a  steno,  memorizes  lines  by  first  copying 
them  in  shorthand  .  .  .  That  Rita  HaYwortri 
wears  hosiery  made  from  the  sheerest  steel 
thread  .  .  .  That  Willie  Best  has  a  trunkful 
of  horseshoes  collected  during  his  career  in 


56 


CLARK  GABLE 

pictures  .  .  .  That  Anthony  Quinn's  hobby  is 
book-binding,  and  he's  won  several  prizes  at 
county  fairs  with  his  exhibits  .  .  .  That  Edna 
Best's  eighteen-year-old  twins  are  working 
as  extras  in  pictures  under  the  names  of 
John  Barry  and  James  Seymour  .  .  .  That 
Mrs.  Spencer  Tracy's  recent  emergency  op- 
eration was  just  in  the  nick  of  time  to  save 
her  life  .  .  .  That  John  Farrow  is  leaving 
Hollywood  to  serve  with  the  British  forces 
in  France  .  .  .  That  Maureen  O'Sullivan  has 

MODERN  SCREEN 


n 


WE  BRING  'EM  TO  YOU  FRESH  AS  A  MICKEY  ROONEY  WISECRACK-RIGHT  FROM  THE  COAST 


taken  a  small  house  in  Beverly  Hills,  and  the 
Farrow  Bel-Air  home  is  up  for  sale  .  .  .  That 
Fritz  Mandl,  millionaire  and  former  husband 
of  Hedy  Lamarr  Markey,  is  going  to  be  a 
Hollywood  picture  producer  .  .  .  That  you 
couldn't  squeeze  into  the  Cocoanut  Grove 
when  Benny  Goodman  opened  there  .  .  . 
That  Marjorie  Rambeau  lost  42  pounds  and  is 
still  "slimming?"  .  .  .  That  Wally  Beery  asked 
her  to  put  on  15  pounds  for  "20  Mule  Team" 
and  almost  lost  his  leading  lady  as  a  result 


BY  LOIS 
SVENSRUD 


.  .  .  That  Ann  Sothern's  back  on  the  Warner 
lot  for  the  first  time  in  eleven  years  .  .  . 
That  Deanna  Durbin  had  28  changes  in  her 
last  picture  but  doesn't  give  a  hoot'  about 
clothes,  personally? 

JEAN  ARTHUR  KNOWS  BEST 

Rumor  has  it  that  Jean  Arthur  wasn't  too 
pleased  with  the  selection  of  William  Holden 
to  play  opposite  her  in  "Arizona."  Jean  com- 
plained that  he  might  pass  as  her  sweet- 
heart in  the  first  half  of  the  picture,  but  if 
she  ran  true  to  form  (she's  usually  a  ner- 
vously-exhausted woman  after  the  first  few 
weeks  of  shooting  and  looks  ten  years  older 
than  she  really  is)  he  would  look  like  her 
son  in  the  last  half.  The  director  pooh- 
poohed  her  ideas  but  those  in  the  know 
contend  that  William  has  a  tou_gh  assign- 
ment ahead  of  .him. 

TIGHT  SPOT 

The  Holden  boys  are  accustomed  to  prob- 
lems, however.     Last  month  we  told  you 

JUNE,  1940 


ERROL  FLYNN 


about  Brother  Bob  and  how  we've  met  Dick, 
from  South  Pasadena  Junior  High.  Dick's 
theatrical  experience  had  been  a  one-day 
visit  to  Brother  Bill's  set  while  he  was  mak- 
ing. "Golden  Boy."  But  that  didn't  stop  him 
from  bragging  about  his  knowledge  of  stage 
productions  when  the  subject  of  the  school's 
yearly  play  came  up.  The  result  was  that 
Dick  found  himself  stage  manager  and  has 
been  spending  all  of  his  spare  time  at  the 
studio  trying  to  pick  up  enough  information 
to  carry  through  his  bluff. 

ALONG  SUNSET  STRIP 

Clark  Gable  stopping  at  Schwab's  for  a 
cup  of  coffee  and  a  powdered-sugar  dough- 
nut en  route  to  the  studio  for  the  day's  work 
.  .  .  Nancy  Carroll  standing  on  the  corner 
of  Sunset  and  Laurel  Canyon  waving  at  a 
taxicab  and  getting  the  horn  from  several 
passing  cars  .  .  .  Joel  McCrea  and  Frances 
Dee  rolling  down  the  avenue  in  a  brand 
new  black  sedan,  with  four  children  in  the 
back  seat  (only  two  of  them  McCreas,  how- 
ever) .  .  .  Jeanette  MacDonald  paying  off 
a  corner  florist,  while  her  chauffeur  loads 
pink  and  yellow  gladioli  into  the  station- 
wagon  at  the  curb  .  .  .  Linda  Hayes  care- 
fully parking  a  spanking  new  green  roadster 
in  front  of  the  Glenn  O.  Raike  Voice  Studio 
and  anxiously  looking  back  before  entering 
the  studio  .  .  .  Edward  G.  Robinson  asking 


for  "all  the  children's  magazines"  at  a  corner 
drug-store  for  his  son,  Manny  .  .  .  Lili 
Damita  and  Errol  Flynn  munching  on  French- 
fries  at  a  drive-in  stand  and  appearing  com- 
pletely at  peace  with  the  world  and  each 
other. 

A  FRIEND  IN  NEED 

For  years  Errol  Flynn  has  seen  to  it  that  his 
pal  and  side-kick,  Johnny  Meyers,  was  given 
a  role  in  all  of  his  pictures.  Johnny's  no 
great  shakes  as  an  actor,  but  as  an  extra 
he  gets  by.  However,  when  Errol  tried  to 
get  him  a  part  in  "The  Sea  Hawk,"  it  looked 
as  if  Johnny  wouldn't  even  qualify  as  an 
extra,  since  one  requirement  for  the  job  was 
a  beard.  And  try  as  he  would,  Johnny  could 
not  raise  more  than  a  stubble.  But  Errol 
came  through  again.  He  bribed  a  make-up 
man  into  designing  a  chin-piece  for  Johnny 
that  not  only  had  the  director  fooled,  but 
made  him  the  envy  of  every  extra  for  the 
duration  of  the  picture. 

IN  HIDING,  STILL 

A  list  of  the  people  who  watch  the  Jack 
Benny  show  from  the  secluded  sponsor's 
booth  overlooking  the  NBC  stage  would  read 
like  a  copy  of  Hollywood's  Who's  Who; 
nearly  every  star  of  screen  and  radio  has 
dropped  in  at  one  time  or  another.  The  other 
Sunday  an  NBC  official  escorted  a  lady  to 
her  seat  just  as  the  show  went  on  the  air. 
A  droopy  straw  hat  covered  her  eyes,  a 
chenille-dotted  veil  flowed  over  her  face, 
and  her  navy-blue  suit  was  anything  but 
striking.    In  short,  the  lady  was  no  "looker," 

57 


ROGER  PRYOR 


and  no  one  paid  her  much  attention.  This 
probably  suited  the  visitor  to  a  T,  for  after 
escorting  her  out  during  the  last  five-  min- 
utes of  the  show,  the  official  returned  and 
told  the  flabbergasted  group  that  Jack 
Benny's  mysterious  fan  was  Greta  Garbo. 

AN  EXPENSIVE  HOBBY 

Roger  Pryor  has  a  yen  for  all  sorts  of  gadgets, 
and  Ann  Sothern  is  in  despair  of  ever  bal- 
ancing the  family  budget  because  of  her 
husband's  expenditures.  Last  week,  though, 
Ann  felt  more  optimistic.  Roger's  latest  buy 
had  been  an  "electric  eye"  for  his  garage, 
but  something  happened  to  the  mechanism, 
and  he  spent  an  entire  afternoon  locked  in 
the  garage  before  the  servants  heard  his 
cries  for  help.  However,  when  Ann  came 
home  from  the  studio  the  next  day,  she  dis- 
covered her  husband  was  back  in  the  gar- 
age with  two  gadget  salesmen,  who  were 
installing  a  loud-speaker  system  to  connect 
with  the  house. 

PERSONAL  APPEARANCE 

Baby  Sandy  is  one  movie  star  who  won't 
have  to  worry  if  she's  "through"  in  pictures. 
At  the  age  of  two  and  a  half  she  already 
has  a  nice  new  profession  to  take  over — that 
of  hostess  at  the  Van  de  Camp  drive-in. 
Sandy  has  proved  time  after  time  that  the 
mere  addition  of  her  presence  can  boom 
business  one  hundred  per  cent.  Gilbert 
Hemming,  the  cafe  manager,  used  to  be  a 
college  pal  of  Sandy's  dad,  so  the  family 
often  drops  in  for  a  meal  with  him.  Accord- 
ing to  Hemming,  the  customers  are  always 
asking  when  Sandy  is  due  for  another  visit 
and,  if  he  knows  in  advance,  they  invari- 
ably show  up  with  several  friends. 

ROONEY  ON  GLAMOUR 

"This  is  the  life,"  said  Mickey  Rooney  when 
we  met  him  on  the  "Andy  Hardy  Meets  a 
Debutante"  set  the  other  day.  Like  a  sultan 
surveying  his  harem,  he  looked  over  the 
crowd  of  thirty  pretty  co-eds  lined  up  for  that 
day's  scene  and  gave  a  deep  sigh  of  satis- 
faction. The  "debutante"  in  the  case,  you 
know,  is  Diana  Lewis  and,  according  to 
Mickey,  it's  a  far  greater  thrill  to  work  with 
Mrs.  William  Powell  than  with  Brenda 
Frazier,  herself.  "Mrs.  Powell's  got  glam- 
our," he  said.  That  statement  must  be  true, 
backed  up  as  it  is  by  two  such  recognized 
authorities  as  the  Messrs.  Powell  and  Rooney. 


PAULETTE  GODDARD 


SHE'S  A  NATURAL 

If  there  was  ever  any  doubt  about  Norma 
Shearer  and  George  Raft  meaning  business, 
it's  now  been  banished  once  and  for  all. 
For  Norma  appeared  at  a  party  the  other 
evening  looking  very  girlish  and  admitted 
to  the  other  feminine  guests  that  her  pale 
rose  lip-stick  was  not  a  new  fad,  but  just  a 
gesture  to  please  Mr.  R  who  likes  "that  nat- 
ural look."  And  the  final  proof  of  Shearer's 
complete  devotion  was  her  finger-tips — also 
pale  rose! 

PAGING  FRANK  BUCK 

The  two  Janes — Withers  and  Darwell — have 
more  livestock  between  them  than  anyone 
in  Hollywood.  Jane  Withers'  menagerie  is 
practically  as  famous  as  the  Bronx  Zoo,  but 
Jane  Darwell's  is  just  now  coming  to  light. 
Ever  since  Miss  Darwell  came  to  Hollywood, 
her  backyard  has  been  a  refuge  for  every 
stray  cat  and  dog  that  happened  by,  to  say 
nothing  of  a  few  raccoons,  rabbits,  geese, 
turtles,  turkeys  and  one  beautifully  man- 
nered skunk.  Miss  Darwell's  first  thought 
on  learning  of  her  great  success  as  "Ma 
Joad"  was  that  she  could  now  afford  a 
ranch  in  the  San  Fernando  Valley  where 
she  could  begin  building  a  stable  around  her 
newest  backyard  addition — a  pedigreed 
Guernsey  heifer.  This  was  a  surprise  gift 
— and  a  welcome  one,  from  Mrs.  George 
DeVries,  a  Darwell  fan  in  Sacramento. 

FLEDGELINGS 

Getting  lost  in  their  super-elegant  station 
wagon  is  beginning  to  pall  on  the  Clark 
Gables,  and  their  latest  diversion  is  learning 
to  fly.  As  soon  as  they  pile  up  sufficient 
flying  hours,  they  plan  to  get  their  licenses, 
buy  a  plane  and  depart  for  parts  unknown 
every  week-end.  Less  hardy  studios  might 
blanch  at  the  thought  of  their  favorite  chil- 
dren playing  Lindbergh  whenever  the  spirit 
moved  them,  but  RKO  and  M-G-M  are  be- 
coming calloused  to  the  antics  of  these  two 
renegades.  Still,  as  one  wistful  Metro 
official  put  it,  it  was  a  little  more  comforting 
to  think  of  them  disappearing  into  Mexico 
than  just  disappearing  into  the  blue. 

REST  CURE  FOR  TRACY 

During  the  making  of  "Edison,  The  Man," 
Spencer  Tracy  threw  himself  so  completely 


SPENCER  TRACY 


into  the  part  that,  not  only  did  he  begin  to 
look  like  Edison,  but  he  even  acguired  one 
of  his  habits — notably  and  unfortunately,  the 
one  of  sleeping  only  a  couple  of  hours  a 
night.  The  last  day  of  shooting  found  poor 
Spence  practically  a  sleep-walker.  A  vaca- 
tion was  in  order,  and  no  doubt  about  it! 
Without  even  stopping  to  comb  his  hair  back 
to  its  usual  left  part  (a  right  hand  part  was 
the  extent  of  Tracy's  "make-up"  for  the  pic- 
ture), he  whipped  off  the  set  and  onto  a 
boat  bound  for  a  month's  cruise  in  Mexican 
waters.  Retakes  have  been  postponed  until 
after  his  return. 

HOW  TO  WIN  FRIENDS 

Madeleine  Carroll  and  Paulette  Goddard 
have  become  very  fast  friends.  They  met 
on  the  set  of  "North  West  Mounted  Police" 
and  struck  up  the  friendship  over  luncheon 
the  first  day.  Both  girls  are  on  the  same  diet 
— that  of  fruit,  vegetables  and  tea.  Made- 
leine's purpose  is  reducing  and  Paulette 's 
keeping  up  the  old  vim,  vigor  and  vitality. 
Two  women  on  the  same  diet,  whether  movie 
stars  or  neighbors,  are  bound  to  have  much 
in  common. 

TWO  LOVES  HAS  NANCY 

Another  local  romance  on  the  sizzling  side 
is  that  of  Nancy  Kelly  and  Irving  Cummings, 
Jr.  Since  Edmond  O'Brien  took  off  for  New 
York,  Nancy's  been  dating  the  director's  son 
every  night  of  the  week  and  admits  that  he 
has  the  inside  track  on  her  affections.  Irv- 
ing, now  under  contract  to  20th  Century-Fox 
as  a  writer,  is  a  smart  lad  as  well  as  a  tall 
and  handsome  one. 

HARD  TO  GET 

Jackie  Cooper's  heart  does  nip-ups  at  the 
mere  mention  of  Leila  Ernst's  name  these 
days.  The  two  met  on  the  set  of  the  new 
Henry  Aldrich  picture,  in  which  beauteous, 
blonde  Leila  was  making  her  screen  debut. 
However,  far  from  being  humbly  grateful  for 
any  scraps  of  attention  Old-Timer  Cooper 
flung  in  her  direction,  she  showed  no  interest 
whatever  in  Jackie's  plans  for  her  "after 
hours"  entertainment,  though  his  invitations 
became  successively  more  elaborate  and 
tempting.  She  gave  him  huge  doses  of 
what  is  known  as  "the  ice."  Jackie  was 
getting  no  place  fast  trying  to  impress  the 
blase  Leila  as  a  young-man-about-town,  and 
(Continued  on  page  60) 


58 


MODERN  SCREEN 


Whitney  Bourne's  luxurious 
New  York  apartment  is  the 
meeting  place  of  society  and 
the  arts.  She  spends  a  great 
deal  of  time  in  Hollywood 
where  she  follows  a  career 
in  the  movies. 


Miss  June  Rof/ie,  TWA  air 

hostess,  has  learned  to  serve 
a  7-course  meal — alone — to 
21  people  traveling  at  200 
miles  per  hour!  Charm, 
limited  weight,  nurse's  train- 
in  g  are  other  job  requirements. 


BUT  BOTH  GIVE 
THEIR  SKIN  THIS 

SAME  THOROUGH 
CARE 


QUESTION  TO  MISS  BOURNE: 

With  a  busy  social  life  and  a  de- 
manding career  like  yours,  Miss 
Bourne,  how  do  you  keep  your 
complexion  so  vibrant  and  fresh 
looking? 

ANSWER:  "It's  a  matter  of  regular 
skin  care  with  Pond's  2  grand 
Creams.  To  keep  my  skin  clear 
and  glowing,  I  cleanse  it  thoroughly 
with  Pond's  Cold  Cream  night 
and  morning.  And,  of  course, 
before  fresh  make-up." 

QUESTION:  Aren't  the  sudden 
changes  from  California  sun  to 
New  York  weather  hard  on  your 
skin? 

ANSWER:  "No,  because  my  pow- 
der base — Pond's  Vanishing  Cream 
— also  serves  as  a  marvelous  pro- 
tection against  sun  and  wind  and 
weather.  I  always  use  it  before 
make-up! " 


QUESTION  TO  MISS  ROTHE:  , 

Does  your  appearance  count  very 
heavily  when  you  apply  for  a  job 
as  air  hostess.  Miss  Rothe? 

ANSWER:  "Yes — we  needn't  be 
actually  beautiful,  but  we  must 
look  attractive.  I  give  my  com- 
plexion the  best  care  I  know  —  with 
Pond's  2  Creams.  I  use  Pond's 
Cold  Cream  to  cleanse  my  skin, 
help  keep  it  soft  and  supple — and 
Pond's  Vanishing  Cream  to  smooth 
it  for  powder." 

QUESTION:  Does  using  two  Creams 
seem  to  affect  the  way  your 
make-up  goes  on? 

ANSWER:  "Definitely!  Cleansing 
with  Pond's  Cold  Cream  freshens 
my  skin.  Then  a  light,  satiny  film 
of  Pond's  Vanishing  Cream 
smooths  little  roughnesses  and 
makes  a  perfect  powder  base.  No 
wonder  make-up  looks  better!'' 


POND'S 


11 


J 


SEND  FOR    POND's>  DeP«-  9MS-CVF,  Cliiilon,  Conn. 
DIAL         Rush   special  tube  of  Pond's  Cold  Cream, 
TRI  enough  for  9  treatments,  with  generous 

-eALITY  KIT  samples  of  Pond's  Vanishing  Cream,  Pond's 
°  Liquefying  Cream  (quicker-melting  cleansing 

cream),   and    5   different   shades   of  Pond's 
Face  Powder.  I  enclose  10^  to  cover  postage  and  packing. 


Name- 
Street. 
City  


.Slate- 


Copyright.  1940,  Pond's  Extract  Company 


(Continued  from  page  58) 
was  about  to  give  up  in  despair,  when  she 
greeted  him,  one  morning,  with  great  ex- 
citement. "Gee,  Jackie,"  she  cried,  "why 
didn't  you  tell  me  about  how  clever  you  are?" 
Jackie  could  only  manage  a  "Wh-what?"  It 
developed  that  Leila  had  just  learned  about 
those  eight  ribbons  Jackie  had  won  for  calf- 
roping  and  riding  at  Palm  Springs.  "And 
here  I  thought  you  were  just  a  movie  actor," 
said  the  fifteen-year-old,  "not  a  regular  guy!" 

ROMANCE  DEPT. 

Bette  Davis  is  going  places  with  Tom  Lewis, 
radio  advertising  executive  who  was  re- 
cently rumored  interested  in  Loretta  Young 
.  .  .  Tim  Durant,  the  busiest  young  man  in 
town,  escorts  by  turns  Olivia  de  Havilland, 
Rosalind  Russell  and  Marlene  Dietrich,  but 
refuses  to  divulge  his  favorite  .  .  .  Eleanor 
Powell  and  Merrill  Pye  of  M-G-M  are  mighty 
fond  of  each  other  .  .  .  Jackie  Coogan  and 
Sugar  Geise  think  the  sun  rises  and  sets 
just  for  them  .  .  .  Arleen  Whelan  is  getting  a 
big  rush  from  Ken  Murray  while  Alex  D'Arcy 
mopes  around  town  all  alone  .  .  .  Richard 
Greene  hovered  around  the  hospital  day  and 
night  when  Virginia  Field  was  there  for  a 
sinus  operation.  If  it  isn't  love,  a  lot  of 
time's  a-wastin'  .  .  .  Reginald  Gardiner  set 
an  all  time  high  by  appearing  at  Ciro's  with 
five  beauties  from  Earl  Carroll's  show  .  .  . 
Judy  Garland  thinks  Bob  Stack  is  a  swell 
guy,  and  he  thinks  Judy's  a  swell  gal — as 
who  doesn't  .  .  .  Lew  Ayres  would  like  to 
date  Olivia  de  Havilland  oftener,  but  she 
prefers  to  give  most  of  her  leisure  time  to 
Jimmy  Stewart  .  .  .  Anita  Louise,  scotching 
all  those  rumors  that  started  when  she  left 
on  a  personal  appearance  tour,  came  right 
back  to  where  she  left  off  with  Buddy  Adler, 
and  it's  wedding  bells  very  soon  .  .  .  Phyllis 
Brooks  visits  the  night  spots  regularly 
with  Pat  Di  Cicco,  but  takes  time  out  for 
tea  with  Cary  Grant  occasionally  .  .  .  Mar- 
jorie  Weaver  and  Walter  Brooks  are  soooo 
interested  in  each  other  .  .  .  The  Artie  Shaws 
spurn  the  night  clubs.  Marry  in  haste  and 
repent  at  leisure  is  the  silliest  maxim  ever 
thought  up,  contend  the  Shaws  .  .  .  Orson 
Welles  and  his  ex-wife  are  ready  to  forgive 
and  forget. 

SHORT  SHOTS 

Stuart  Erwin  is  busy  authoring  a  child's 
book,  called  "The  Cat  With  the  Hobnail 
Boots"  .  .  .  Since  Rochester  came  into  his 
own,  there's  been  a  premium  on  colored 
comedians  in  Hollywood,  and  any  negro 
who  can  read  a  comedy  line  is  working 
overtime.  .  .  .  Jane  Darwell's  niece,  Daphne 
Darwell,  is  crashing  the'  movies  the  hard 
way.  Following  her  aunt's  suggestions,  she 
won't  even  be  screen-tested  until  she's  had 
a  year  of  schooling  on  the  Fox  lot.  .  '.  . 
Gracie  Allen  says  she  hopes  all  the  babies 
she  has  to  kiss  during  her  presidential 
campaign  will  look  like  Tyrone  Power.  .  .  . 
Myrna  Loy  is  going  to  keep  up  the  old 
family  ranch  near  Helena,  Montana,  and 
use  it  for  a  hide-out.  .  .  .  Hedy  Lamarr's 
short  tresses  are  the  topic  of  the  town. 
If  you  want  to  get  on  the  glamour  band- 
wagon before  the  others  in  town,  girls,  crop 
the  curls  before  "Boom  Town,"  Hedy's  lat- 
est, is  released.  .  .  .  Gary  Cooper's  booked 
passage  on  a  freighter  for  parts  unknown 
and   will    be    gone    several    weeks    .    .  . 


AND  STILL  THEY  COME 

You  may  be  seeing  another  Lane  sister  in 
the  movies.  The  latest  one  to  join  the  go- 
west  movement  is  Leota,  who  made  her 
grand  opera  debut  last  year  in  New  York. 
Warner  Brothers  screen-tested  her  some  time 
ago,  but  have  evinced  little  interest.  The 
lovely  Leota  is  unruffled  by  this  and  more 
determined  than  ever  to  crash  the  pearly 
gates  of  a  studio — if  not  Warner's,  then 
another.  And  Rosemary,  Lola  and  Priscilla 
are  just  as  determined  that  she'll  make  the 
grade.  Our  money's  on  Leota.  With  a  trio 
of  press  agents  like  that,  thev  gal  can't 'miss. 


SONJA  HENIE 


CARY  GRANT 

BITTERSWEET 

Linda  Darnell's  trip  to  New  York'  was  the 
most  exciting  thing  that  ever  happened  to 
her,  and  not  just  because  it  was  her  first 
visit  to  the  Big  City,  either.  The  principal 
excitement  was  the  wardrobe  with  which 
the  studio  presented  her.  Linda's  had  pretty 
clothes,  and  lots  of  them,  for  pictures.  But 
this  was  the  first  time  she's  ever  had  dresses 
and  hats  and  shoes  that  were  the  last  word 
— and  that  belonged  just  to  her.  There  was 
so  much  hustle  and  bustle  over  fittings,  train 
schedules  and  last-minute  studio  work,  that 
it  wasn't  until  the  train  was  pulling  out  of 
the  Los  Angeles  station,  and  Linda  had 
blown  a  last  kiss  to  Robert  Shaw  on  the 
platform,  that  she  looked  suddenly  crest- 
fallen. "Gee,"  she  said,  "I  just  happened 
to  think.  The  clothes  won't  be  so  much  fun 
after  all.  Because  Bob  won't  be  able  to 
see  how  pretty  I  look  in  them!" 


STUDIO  ORDERS 

Cesar  Romero  is  having  troubles,  too.  He 
hasn't  been  able  to  get  a  haircut  since  he 
became  the  "Cisco  Kid."  "Every  time  I 
finish  one  of  the  pictures,"  Cesar  complained, 
"I  start  for  the  barber.  But  just  as  I  get 
settled  into  the  chair  I  get  a  note — 'Don't 
cut.  We're  going  to  make  another  one.'  " 

BEAUTIFUL— AND  WISE 

Carole  Lombard  turned  her  dressing-room 
into  a  business  office  during  the  four  days 
in  which  she  was  rehearsing  at  the  Lux 
Theatre  for  a  recent  broadcast.  She  had 
the  furniture  removed  and  a  desk  installed, 
complete  with  typewriter  and  secretary.  If 
rehearsals  were  scheduled  for  4:00  P.M. 
she  arrived  on  ihe  dot  of  2:00,  dictated  let- 
ters and  kept  business  appointments  until 
time  for  rehearsal.  Carole  cleared  the  mys- 
tery by  explaining  that  she  had  determined 
to  take  care  of  all  business  matters  before 
going  home.  Clark's  career,  it  seems,  is 
going  to  be  the  only  one  discussed  in  the 
Gable  home. 

VERSATILE  ATHLETE 

Sonja  Henie  and  Dan  Topping  are  a  bona 
fide  item.  Since  returning  from  their  Ha- 
waiian vacation  the  two  have  been  prac- 
tically inseparable.  What's  more,  Dan's 
even  taken  up  skating.  When  you  think  of 
it,  Sonja's  record  in  athletic  prowess  is 
enough  to  discourage  any  man  but  an 
Olympic  champ.  She's  won  championships 
in  swimming,  tennis,  skiing  and,  of  all  things, 
auto-racing. 

PLEASANTLY  SURPRISED 

On  the  set  of  "Waterloo  Bridge"  everyone 
waited  for  Vivien  Leigh  to  show  signs  of  a 
"Scarlett"  temperament.  But  they  waited  in 
vain — for  never  has  an  actress  shown  more 
willingness  to  cooperate  with  cast  and  crew. 
She  asked  for  just  one  special  favor  during 
the  filming  of  the  picture,  and  that  was  to 
get  off  the  set  ten  minutes  early  one  noon. 
She  had  a  date,  Vivien  explained  to  the 
director,  and  didn't  want  to  be  seen  in  the 
black  cotton  stockings  which  she  was  wear- 
ing for  the  day's  scene.  At  twelve  sharp 
Laurence  Olivier  arrived  on  the  set,  picked 
up  the  chiffon-stockinged  star  at  her  dressing- 
room  door,  and  off  they  went  for  lunch. 

NOT  A  HAYWARD  FAN 

If  there's  one  guy  Louis  Hayward  can't  stand 
to  see  on  the  screen,  it's  Louis  Hayward.  At 
the  gala  premiere  of  "My  Son,  My  Son,"  Ida 
Lupino  stepped  out  of  their  limousine  with 
her  mother.  "Louis  was  all  dressed  and 
ready  to  come  along,"  she  explained  to 
curious  friends,  "but  he  got  the  jitters  just 
as  we  were  ready  to  leave  the  house.  Said 
he  just  couldn't  go  through  with  it."  When 
"My  Son,  My  Son"  was  put  on  the  air- 
waves a  week  later,  Producer  DeMille  re- 
corded the  dress  rehearsal  and  played  back 
the  record  to  the  casl.  To  the  entire  cast, 
that  is,  with  one  exception — the  Hayward 
boy.  "If  you'll  excuse  me,"  he  said  to  De- 
Mille, "I'll  step  outside  and  smoke  a  ciga- 
rette. I  guess  I'm  not  a  very  good  audience 
for  myself."        (Continued  on  page  65) 


60 


MODERN  SCREEN 


Three  fights  a  day 


Those  upsetting  "scenes"— those 
long-drawn-out  conflicts  about  eating- 
do  not  have  to  happen.  Countless  mothers 
have  proved  with  Clapp's  Strained  and 
Chopped  Foods  that  such  troubles  can 
be  avoided.  They've  shown  how  impor- 
tant it  is  to  offer  foods  whose  flavors  and 
textures  please  the  baby  and  suit  his  stage 
of  development. 


Or  three  happy  meals? 


Babies  like  the  flavors  of  Clapp's 
foods  — special  vegetables  bred,  grown, 
cooked,  and  lightly  seasoned  to  please 
the  taste  of  babies.  (And  they  test  high 
in  vitamins  and  minerals,  too.) 

Babies  like  the  textures— not  too  coarse 
for  easy  handling,  nor  too  fine  for  exercise. 

Babies  like  the  variety— more  kinds 
than  any  other  brand  offers. 

Babies  like  the  pleasant  placid  transition 
from  Strained  Foods  to  Chopped  Foods 
—the  same  good  garden-fresh  flavors 
they've  always  known. 
•  Any  wonder  Clapp's  know  what  babies 
like?  Doctors  and  mothers  have  been  giv- 
ing them  tips  about  it  for  almost  20 
years!  Clapp's  is  the  oldest  baby  foods 
house,  and  the  only  one  of  any  impor- 
tance that  makes  nothing  else. 


Babies  take  to  Clapp's! 


17  Strained  Foods  for  Babies 


Clapps 


Soups — Vegetable  Soup  •  Beef  Broth  •  Liver  Soup  •  Un- 
strained Baby  Soup  •  Vegetables  with  Beef  •  Vegetables 
— Asparagus  •  Spinach  •  Peas  •  Beets  •  Carrots  •  Green 
Beans  •  Mixed  Greens  •  Fruits — Apricots  •  Prunes  •  Apple-  |sJrained| 
sauce  •  Pears-and-Peaches  •  Cereal — Baby  Cereal. 


12  Chopped  Foods  for  Toddlers 

Soup — Vegetable  Soup  •  Junior  Dinners  ■ — Vegetables 
with  Beef  •  Vegetables  with  Lamb  •  Vegetables  with 
Liver  •  Vegetables — Carrots  •  Spinach  •  Beets  •  Green 
Beans  •  Mixed  Greens  •  Fruits  — Applesauce  •  Prunes 
Dessert — Pineapple  Rice  with  Raisins. 


Clapp's  Baby  Foods 

OKAYED  BY  DOCTORS  AND  BABIES 


JUNE,  1940 


61 


*M4buys  this 

g*f'  <?PIEC£ 


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clear,  gleaming  Pyrex  ware! 
9-piece  Ovenware  set  above 
includes  six  custard  cups, 
wire  cooking  rack,  9Vi"  pie  plate,  and  new 
8-oz.  level-full  red-marked  measuring  cup. 
Set  #179  packaged,  ready-to-give,  only  79c. 
Corning  Glass  Works,  Corning,  New  York. 


c 


ALL  PYREX  OVENWARE  REDUCED 
30%  TO  50%  IN  PAST  2  YEARS 


NEW  THIS  YEAR!  8-oz. 
level-full  measuring 
cup  with  easy-to-read 
red  markings.  Heat, 
cold,  and  acid  re- 
sistant.  Easily 
cleaned.  Only 


15* 


ROUND  CAKE  DISH  with 
ea9y -to -grasp  han- 
dles. See  cake  bottoms 
turn  a  rich  gold- 
en brown  I  8% 
wide,  2"  deep  ■ 


35* 


OBLONG  UTILITY  DISH 

for  baked  chops,  cakes, 
rolls — any  kind  of  bak- 
ing or  serving. 
12%"  size  65c. 
lOW  size  only 


OVAL  KNOB  CASSEROLE 

Pyrex  glass  cover  keeps 
foods  hot.  Perfect  for  all 
baked  dishes.  3 
sizes  to  75c.  1  qt. 
size,  now  only 


50* 


A  PRODUCT  OF  CORNING 
RESEARCH  IN  GLASS 


pyzex 

evemioikB-FMMEMtKe  & 


SANDWICHES— AN  OPEN  AND  SHOT  PROPOSITION 


(Continued  from  page  11) 


Cornucopias:  Already -sliced  bread  may 
be  used,  or  thinner  slices  cut  from  an 
unsliced  loaf.  Remove  crusts,  spread  each 
slice  on  one  side  only  with  softened 
butter.  Roll  in  cornucopia  shape,  butter 
side  in.  Seal  where  one  side  overlaps  the 
other  with  butter.  Chill  in  refrigerator 
in  covered  bowl  until  butter  hardens. 
Fill  with  any  desired  filling  and  chill 
again,  if  desired.  Garnish  the  filling  with 
a  sprig  of  mint,  parsley  or  watercress. 

Frosted  Sandwich  Loaf:  Remove  crusts 
from  an  unsliced  loaf,  which  should  then 
be  cut  into  four  or  five  slices,  lengthwise. 
Put  slices  back  together  in  loaf  shape, 
having  softened  butter  and  a  different 
filling  between  each  slice.  Press  firmly 
together,  wrap  in  waxed  paper,  chill 
under  a  weight.  Spread  loaf  with  cream 
cheese  which  has  been  seasoned,  then 
softened  with  cream  or  mayonnaise. 
Garnish  attractively.  Slice  and  serve. 

Ribbon  Sandwiches:  Proceed  as  for  the 
sandwich  loaf  except  that,  after  chilling, 
the  layers  (unfrosted)  are  cut  in  inch- 
wide  slices  and  placed  on  the  sandwich 
tray.  In  either  type,  Loaf  or  Ribbon,  an 
especially  attractive  effect  is  achieved 
by  alternating  white  and  whole  wheat 
bread.  Ribbon  Sandwiches,  unlike  the 
Loaf,  may  also  be  made  with  four  or 
five  slices  of  already-cut  bread. 

Window  Sandwiches:  Cut  slices  of 
bread  into  circles  with  a  cookie  cutter. 
Make  a  "window"  in  half  of  these  circles 
by  cutting  out  the  centers  with  smaller 
cutters — either  round  ones,  star-shaped 
or  other  fancy  ones.  Spread  the  uncut 
circles  with  colorful  filling,  top  with  the 
fancy-cut  circles. 

Iced  Bridge  Sandwiches:  Cut  slices  of 
bread  with  bridge  card  cutters  or  use 
other  fancy  shapes.  Spread  with  any 
desired  filling  and  "ice"  with  softened 
cream  cheese.  A  sweet  bread  such  as 
orange  bread,  gingerbread,  etc.,  may 
even  be  iced  with  a  regulation  Cream 
Cheese  Frosting. 

Pin  wheels:  Remove  crusts  from  a  loaf 
of  unsliced  bread.  Cut  loaf  into  length- 


wise slices,  the  thinner  the  better.  Spread 
slices  with  different  soft  fillings.  Roll 
each  slice  separately  and  firmly,  the  nar- 
row way  of  the  loaf.  Seal  the  edges  with 
butter.  Wrap  in  waxed  paper  and  chill 
in  refrigerator.  Slice  down  through  each 
roll  as  when  cutting  jelly  roll,  to  make 
individual  pinwheels. 

ROSEMARY'S   IOWA  SPECIAL 

To  Vz  cup  chopped  cooked  chicken, 
which  has  been  seasoned  with  salt,  pep- 
per and  onion  juice,  add  1  slightly  beaten 
egg.  Spread  this  mixture  between  slices 
of  bread  with  crusts  removed  (2  slices 
per  person).  Cut  each  sandwich  in  half 
and  dip  in  mixture  of  1  egg  beaten  with 
Y2  cup  milk.  Fry  in  deep  fat  to  a  light 
brown.   Drain  on  white  paper  toweling. 

Variation:  Omit  egg  from  chicken 
mixture.  Spread,  cut  and  dip  as  described 
above  but,  instead  of  deep-fat-frying, 
saute  sandwiches  in  hot  fat  on  both  sides 
until  golden  brown.  Other  fillings  may 
be  used. 


% 
2 
Vi 

1 
1 
1 


FROZEN   FRUIT  SANDWICH 

cup  cream 

tablespoons  powdered  sugar 
teaspoon  vanilla 
a  pinch  of  salt 
teaspoon  lemon  juice 
cup  mashed  banana 
egg  white,  beaten 
sponge  cake  or  plain  loaf  cake 


Whip  cream  until  it  will  just  hold  a 
peak.  Add  sugar,  vanilla  and  salt.  Com- 
bine lemon  juice  and  mashed  banana, 
fold  gently  into  whipped  cream.  Care- 
fully fold  in  egg  white,  beaten  until  stiff 
but  not  dry.  Line  a  refrigerator  tray  with 
waxed  paper.  Cover  the  bottom  with 
thin  slices  of  cake,  fitted  close  together. 
Add  banana  mixture.  Top  with  more 
cake,  cover  with  waxed  paper  and  press 
down  lightly.  Freeze  quickly  until  firm. 
To  serve,  cut  into  inch-thick  slices  and 
top  with  additional  whipped  cream,  gar- 
nished with  sliced  bananas,  if  desired. 


Don't  believe  it 
when  they  tell  you 
that  all  comedians 
are  Gloomy  Sus- 
ses off-screen. 
Here's  evidence 
to  the  contrary. 
Charlie  Ruggles, 
Martha  Raye, 
Alan  Mowbray, 
Joan  Davis,  Benny 
Rubin  and  Joe  E. 
Brown  panic  them- 
selves at  Dave 
Rose's  home-com- 
ing party  for  Wife  I 
Martha.  She's 
been  personal-ap- 
pearancing,  you 
know. 


62 


MODERN  SCREEN 


I  NEVER  NEGLECT  MY  DAILY 

ACTIVE-LATHER  FACIAL 

with  Lux  Soap 


WALTER  WANGER  STAR  I 


Try  this 

gentle  Lux  Toilet  Soap 
beauty  care  for  30  days! 


Hollywood's  lovely  screen 
stars  tell  you  Lux  Toilet 
Soap's  ACTIVE  lather  does  the 
trick — gives  gentle,  thorough 
care.  Try  ACTIVE -LATHER 
FACIALS  regularly  for  30  days. 
See  if  Hollywood's  fragrant, 
white  beauty  soap  doesn't  work 
for  you  — help  you  keep  skin 
smooth  and  soft  —  attractive. 


9  out  of  10  Screen  Stars  use  Lux  Toilet  Soap 


JUNE,  1940 


63 


MOVIE  REVIEWS 

(Continued  from  page  17) 


T"\EAR  and  gentle  reader,  how  can  we  make 
you  realize  the  difference  to  you  when 
you  use  Tampax?  Doesn't  it  mean  something 
to  tell  you  that  over  two  hundred  fifty  million 
have  already  been  sold?  Doesn't  that  give 
you  assurance?  There  is  an  old  saying  "What 
others  can  do,  you  can  do." 

The  principle  of  internal  absorption  has  been 
long  known  to  physicians.  Tampax  has  simply 
made  it  available  to  all  women  for  regular 
monthly  sanitary  protection.  No  pins  or  belts. 
No  chafing,  wrinkling.  No  odor  can  form.  No 
disposal  troubles.  Tampax  is  made  of  pure 
surgical  cotton,  greatly  compressed.  Each  is 
hygienically  sealed  in  dainty,  patented  one- 
time-use container.  Your  hands  never  touch 
the  Tampax  and  the  user  is  unaware  of  it. 

Tampax  now  is  made  in  three  sizes:  Regular, 
Super,  Junior.  These  meet  every  individual 
need.  You  can  travel,  dance,  golf  .  .  .  use  tub 
or  shower  .  .  .  Sold  at  drug  stores  and  notion 
counters.  Introductory  box,  200.  Large  econ- 


TAMPAX  INCORPORATED  MM-60-C 
New  Brunswick,  N.  J. 

Please  send  me  in  plain  wrapper  the  new  trial  package 
of  Tampax.  I  enclose  lOf  (stamps  or  silver)  to  cover  cost 
of  mailing.  Size  is  checked  below: 

(     )  REGULAR  (     )  SUPER  (     )  JUNIOR 

Nam  e  - 

Address  

City  State  


ing  practical  joker  who  plays  politics, 
and  Henry  Armetta,  the  Italian  fruit 
peddler,  contribute  their  share  of  laughs 
every  time  they  make  an  appearance. 

A  few  slapstick  scenes  in  the  picture 
are  as  old  as  the  Scotch  jokes  of  thrifti- 
ness,  but  for  the  most  part,  the  screen 
play,  written  by  Richard  Macaulay  and 
Jerry  Wald,  is  as  fast-moving  as  Mit- 
chell's Irish  temper.  Directed  by  Lloyd 
Bacon. — Warner  Brothers. 

**'/2*  Buck  Benny  Rides  Again 

"There's  one  of  your  kind  in  front  of 
every  drug  store,"  Ellen  Drew  exclaims 
to  the  handsome  hero  early  in  this  gal- 
loping opus  and,  while  to  many  this  will 
sound  like  an  excellent  critical  judgment 
of  Jack  Benny's  comedy,  there  is  no 
denying  that  "Buck  Benny  Rides  Again" 
is  fair-to-middling  Benny.  And  since,  as 
Benny  goes  so  go  the  nation's  radio 
editors,  perhaps  it  should  be  recom- 
mended without  more  ado,  particularly 
as  "Rochester"  (Eddie  Anderson)  again 
"steals"  a  goodly  portion  of  the  footage, 
apparently  with  Mr.  Benny's  grateful 
consent  and  cooperation. 

As  usual  in  a  Benny  plot,  it  is  some- 
times a  little  difficult  to  make  out  who 
is  fact  and  who  is  fiction,  if  that  matters, 
so  we  have  prepared  a  little  guide  to  the 
cast  of  characters:  Jack  Benny,  for  in- 
stance, plays  Jack  Benny;  Phil  Harris 
plays  Phil  Harris,  (getting  his  teeth 
rather  conspicuously  into  the  part;) 
Andy  Devine  plays  a  ranch  owner  named 
Andy  Devine;  but  Ellen  Drew  plays  an 
imaginary  member  of  a  close-harmony 
trio  called  Joan  Cameron,  of  which  the 
other  two  members  are  called  Peggy  and 
Brenda  Tracy,  for  some  reason.  We  hope 
this  proves  helpful.  The  whole  thing  is 
heckled  by  an  off-screen  radio  voice, 
easily  identifiable  as  that  of  Fred  Allen. 
And  well  it  might  be,  too.— Mark  Sand- 
rich,  producer-director. — Paramount. 

**'/2*  The  Road  to  Singapore 

"The  Road  to  Singapore"  is  one  of 
those  recurrent  tropical  disturbances 
with  Dorothy  Lamour  back  in  a  sarong 
and  with  Bing  Crosby  and  Bob  Hope 
kidding  everything  and  everybody  in 
sight,  including  the  Paramount  camera- 
man. Bing  as  the  irresponsible  son  of  a 
San  Francisco  shipping  tycoon,  with  a 
penchant  for  hitching  trans-Pacific 
cruises  on  the  paternal  fleet,  and  Bob 
as  his  impecunious  companion,  too  lazy 
to  comb  a  beach,  are  probably  the  only 
two  people  in  the  world  who  could  ren- 
der such  aimless  fooling  bearable.  Even 
so,  you  will  have  to  see  it  to  believe  how 
aimless  it  is.  Bing,  a  fugitive  from  mat- 
rimony, in  the  very  pretty  shape  of 
Judith  Barrett,  runs  off  to  a  tropical 
island  with  Bob  Hope.  Both  the  boys 
rescue  Dorothy  Lamour  from  Anthony 
Quinn  and  discover  that  even  women 
on  tropic  isles,  alas!  are  cursed  with 
domestic  instincts. 

Since  tropical  pictures  with  tropical- 
weight  plots  are  to  Paramount  what 
prison  pictures  are  to  Warner  Brothers, 
the  screen  public  by  this  time  should  be 
able  to  take  or  leave  such  periodical 
seizures  as  "The  Road  to  Singapore." 
This  one's  most  nonsensical  sequence  de- 
pends for  its  comic  effect  on  Bob  Hope's 
reaction  to  a  primitive  Paramount  mar- 
riage dance  in  which,  as  a  climax,  the 


male  pursues  his  coyly  fleeing  partner 
into  the  jungle.  Needless  to  add,  it  is 
not  likely  that  any  record  of  such  a 
dance  will  be  found  in  leading  works  on 
anthropology.  Directed  by  Victor  Schert- 
zinger. — Paramount. 

**'/2*  Shooting  High 

Riding  and  singing  his  way  through  his 
latest  picture,  "Shooting  High,"  Gene 
Autry  has  a  new  companion  in  the  per- 
son of  Jane  Withers,  who  plays  a  shout- 
ing Cupid  with  a  forceful  bow  and 
arrow. 

A  family  feud,  a  Hollywood  picture 
company  on  location  and  a  trio  of  big 
city  gangsters  provide  the  smiling,  affa- 
ble Gene  with  a  plot  that  almost  takes 
the  picture  out  of  the  usual  cowboy  and 
robbers  fare.  But  the  film  winds  up  in 
true  thriller  style,  with  the  hero  cap- 
turing, single-handed,  the  gangsters  who 
have  escaped  with  the  money  from  the 
home-town  bank.  It  provides  Gene  with 
ample  opportunity  to  show  off  his  horse 
and  lasso  tricks,  and  will  give  the  Satur- 
day afternoon  audience  of  kids  some- 
thing to  shout  about.  Jane  Withers  could 
have  helped  matters  by  making  fewer 
faces  and  keeping  her  voice  down  to  a 
quiet  yell.  As  Gabby,  the  Hollywood 
hand-shaking  press  agent,  Jack  Carson 
gets  a  whoop  of  admiration  every  time 
he  appears.  Marjorie  Weaver,  playing 
the  part  of  Gene's  sweetheart,  looks 
pretty  throughout  the  picture,  but  her 
acting  ends  at  that  point.  Hobart  Cava- 
naugh  and  Katharine  Aldridge  turn  in 
good  work  with  Cavanaugh,  as  the  town 
constable,  responsible  for  many  of  the 
laughs  in  the  film. 

Children  will  put  their  stamp  of  ap- 
proval on  the  new  Autry  adventure,  and 
if  you're  a  fan  of  Jane  Withers  or  Gene 
Autry,  you'll  be  entertained,  too.  Di- 
rected by  Alfred  E.  Green. — Twentieth 
Century-Fox. 

Irk  The  House  Across  the  Bay 

With  George  Raft  in  the  cast  you  know 
that  "The  House  Across  the  Bay"  must 
be  Alcatraz  and  that  Mr.  Raft  is  a  gang- 
ster who  visits  there  at  the  government's 
invitation.  With  Joan  Bennett  in  the 
line-up,  you  further  surmise  that  there 
are  going  to  be  some  heart-rending 
farewell  scenes,  lots  of  good-looking 
clothes  and  a  couple  of  would-be  suitors 
in  the  offing.  In  this  case,  the  latter  are 
Walter  Pidgeon  and  Lloyd  Nolan,  who 
manage  to  complicate  things  enough  to 
insure  plenty  of  activity,  even  after 
Raft  is  relegated  to  "The  Rock."  In 
more  detail,  Raft  and  Miss  Bennett  are 
married.  She's  afraid  that  rival  gangsters 
will  bump  him  off,  so  decides  that  a 
year  in  the  safe-keeping  of  the  govern- 
ment will  be  her  husband's  best  means 
of  protection.  Joanie  reckons,  however, 
without  Lloyd  Nolan,  who  double-crosses 
the  pair  by  trumping  up  a  charge  against 
the  hero  that  will  keep  him  in  the  hoose- 
gow  for  ten  years.  In  the  meantime,  of 
course,  he  figures  he'll  be  able  to  win 
the  leading  lady  for  his  very  own.  This 
is  Walter  Pidgeon's  cue  to  step  into  the 
picture,  and  by  the  time  it's  all  over 
he's  become  the  object  of  Miss  Bennett's 
affections,  with  Mr.  Raft  killing  off  Mr. 
Nolan  and  then  getting  himself  out  of 
the  way  by  an  attempted  prison-break. 
Directed  by  Archie  Mayo. — United  Art- 
ists. 


64 


MODERN  SCREEN 


GOOD  NEWS 

(Continued  from  page  60) 


WRONG  GUESS 

The  other  day  Jimmy  Cagney  noticed  that 
Humphrey  Bogart  appeared  upset.  "What's 
the  trouble?"  asked  Jimmy.  "You  look  like 
the  woes  of  the  world  are  on  your  shoulders." 
Humphrey  nodded,  "I  don't  feel  so  good — it's 
this  cold  weather."  Cagney  was  concerned 
and  asked  if  it  was  rheumatism.  "No,"  said 
Bad-man  Bogart,  "it's  my  petunias."  Warner's 
screen  thug,  believe  it  or  not,  is  Holly- 
wood's most  ardent  gardener. 

FRIENDLY  MEETING 

All  those  stories  of  feuds  between  Mrs.  Gene 
Markey  and  Mrs.  Walter  Wanger  can  be 
discounted.  The  other  day  Hedy  Lamarr 
Markey  and  Joan  Bennett  Wanger  found 
themselves  staring  at  each  other  across  the 
tables  at  Saks'  tea-room.  Joan  attempted  a 
smile,  and  Hedy  returned  a  wide,  friendly 
grin  and  patted  the  empty  chair  beside  her. 
In  no  time  at  all,  they  had  joined  forces  and 
were  obviously  having  a  fine  time  getting 
acguainted. 

A  SIMPLE  REQUEST 

Shirley  Temple  came  home  from  school  the 
other  day  bursting  with  a  story  about  one 
of  her  lucky  schoolmates.  The  girl,  Shirley 
told  her  mother,  knew  a  boy  who  took  her 
riding  every  afternoon  in  his  out-dated  Ford. 
"I'd  like  a  beau  with  a  jalopy,"  said  Shirley 
wistfully.     "Or  anyhow,  a  jalopy." 

BONITA  LOOKS  AT  MARRIAGE 

This  business  of  being  an  old  lady  in  "Those 
Were  the  Days"  has  aged  Bonita  Granville 
considerably.  She's  acquired  definite  ideas 
on  life  and  love,  particularly  on  the  latter. 
"Of  course,  I  plan  to  marry,"  she  said  the 
other  day,  "and  when  I'm  twenty  years  old. 
But,"  she  added  firmly,  "I  don't  intend  to 
make  the  mistake  that  most  movie  women 
make  when  they  get  married — none  of  this 
good  sport,  smile-if-it-kills-you  stuff  for  me. 
I'm  going  to  get  up  on  a  pedestal  and  stay 
there,  come  hell  or  high  water."  So  would-be 
suitors  of  Bonita  would  do  well  to  shine  up 
their  armor. 

MERMAID 

On  the  "Pride  and  Prejudice"  set,  Edna  May 
Oliver  was  showing  fellow  actors  the  plans 
for  her  new  Brentwood  home.  Since  Brent- 
wood happens  to  be  one  of  the  swankier 
residential  neighborhoods  around  Hollywood, 
there  was  considerable  amazement  when  the 
plans  showed  only  a  modest  Cape  Cod  cot- 
tage of  four  rooms.  "That's  all  I  need,"  said 
Miss  Oliver.  "But  the  building  restrictions 
of  the  neighborhood  make  it  necessary  for 
me  to  have  an  estate.  So  I'm  adding  a 
swimming  pool."  The  last  thing  in  this  world 
that  Miss  Oliver  needs  is  a  pool,  for  every 
morning,  rain  or  shine,  she  hitches  a  trailer 
to  her  car  and  drives  to  the  ocean  for  a 
swim.  She  even  has  a  clause  in  her  contract 
saying  that  she  doesn't  have  to  appear  any 


/VVVVVVVW  WVVVVVVVVVl\VVW 


"Do  you  know  that  a 

GLAMOROUS 
NEW  SKIN 

is  'ABOUT  to  be  BORN'  to  you?" 

t  VVVW/VWVVVVVVVWVVVVYaWVVVVVV^^ 


ww\i 


Why  let  your  new  skin  look  dull  and 
drab?  It  can  bring  you  new  beauty  if 
you  help  remove  those  tiny,  menacing 
flakes  of  older  skin ! 

RIGHT  NOW  your  old  skin  is  departing  in 
.  almost  invisible,  worn-out  flakes.  Why 
let  these  tiny  flakes  menace  your  loveliness? 
Why  not  help  your  new  skin  bring  new  youth- 
fulness  to  you? 

You  can,  says  Lady  Esther,  if  only  you 
will  let  my  4J>urpose  Cream  help  you  to 
remove  those  tiny  flakes  of  worn-out  skin 
beclouding  the  glory  of  your  new  skin! 

Run  your  fingertips  over  your  face  now.  Do 
you  feel  little  rough  spots  left  by  your  old, 
dry  skin?  They're  the  thieves  that  steal  your 
loveliness— make  you  look  older !  My  4-Pur- 
pose  Cream  loosens  each  tiny  flake— and  the 
other  impurities.  It  helps  Nature  refine  your 
pores— and  reveal  the  fresh  youthfulness  of 
your  "new-born  skin"! 

Ask  Your  Doctor 
About  Your  Face  Cream 

Ask  him  about  so-called  skin  foods— about 
hormones  and  vitamins.  I'll  be  amazed  if 
your  doctor  tells  you  that  vitamin  deficien- 
cies should  be  remedied  by  your  face  cream. 

But  ask  him  if  every  word  Lady  Esther 
says  isn't  absolutely  true— that  her  cream  re- 
moves the  dirt,  impurities  and  worn-out 
flakes  of  older  skin  . . .  that  it  helps  Nature 
refine  your  pores  . . .  and  thus  brings  beauty 
to  your  new-born  skin! 


Accept  Lady  Esther's  7-Day  Tube  FREE! 


(You  can  paste  this  on  a  penny  postcard)  (56) 
Lady  Esther,  7110  West  65th  St.,  Chicago,  111. 

Please  send  me  your  generous 
supply  of  Lady  Esther  Face 
Cream;  also  ten  shades  of  Face  Powder,  post- 
paid. (Offer  limited  to  one  per  family.) 


FREE 


Name- 


Add  ress_ 


City_ 


-State- 


( If  you  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont.)  5 


JUNE,  1940 


65 


THERE  'S  NO 
CATCH  TO 

THIS  SAID  THE 

FISHERMA 


What,  no 
/y  whales?"  said 
Jerry,  laughing  at 
my  empty  creel." Well, 
just  quit  jiggling  your  rod 
for  a  minute  and  sweeten  your 
temper  with  a  taste  of  Beeman's. 
That's  real  flavor,  my  lady.  Refreshing 
enough  to  change  any  fisherman's  luck ! ' ' 

"Beeman's!"  I  cried.  "Jerry,  you  angel 
—you  know  I  can't  resist  it.  Beeman's 
flavor  is  so  luscious!  So  smooth  and 
tangy.  Refreshing  as  a  breeze  at  sun- 
down. And  look — !"  But  Jerry  was 
already  reeling  in  my  line  —  with  a 
whale  of  a  catch!  I'll  say  Beeman's 
brings  me  luck! 


1 


morning  for  work  until  eleven  o'clock,  after 
her  dip  in  the  briny  deep. 

CELEBRITY 

In  the  Broadway  Department  Store  the  other 
day,  Jane  Withers  got  into  the  elevator  with 
her  mother.  A  woman  in  the  back  of  the 
crowded  lift  whispered,  "That's  lane 
Withers."  The  whispering  campaign  was 
on,  and  Jane  tried  to  look  very  unconcerned. 
But  when  a  saucer-eyed  little  girl  breathed 
an  awed  "I  wonder  what  she's  doing  here," 
Jane  turned  and  smiled  at  her.  "I'm  shop- 
ping," she  laughed,  "for  a  new  bonnet.  Want 
to  come  along?"  Needless  to  say,  a  delighted 
little  girl  stepped  out  of  the  elevator  with 
Jane  at  the  millinery  department. 

ONE  GOOD  TURN— 

Clark  Gable  hasn't  enough  to  do — with  his 
twenty-five  costume  changes  in  "Boom  Town" 
— but  has  even  gone  in  for  technical  ad- 
vising, as  well!  Gable  was  an  oil-field 
worker  himself,  way  back  when,  so  one  day 
on  the  set  he  offered  a  few  tips  to  the  di- 
rector and  was  promptly  encouraged  to  give 
out  with  more.  "Not  for  nothing,"  said  Gable. 
"Okay,  I'll  buy  your  lunch,"  offered  the  di- 
rector. "Lunch  and  a  bottle  of  beer,"  said 
Gable,  always  the  business  man. 

SIT-DOWN  STRIKE 

When  Ann  Sothern  came  to  Warners  for 
the  picture,  "Brother  Orchid,"  her  first  re- 
quest was  for  a  rocking-chair.  Ann  can't 
relax  between  scenes  unless  she  can  chew 
gum  and  rock  in  perfect  rhythm.  The  prop 
men  made  a  frantic  search  of  the  studio,  but 
had  to  report  that  there  was  no  such  thing 
to  be  found.  They  would,  however,  send  a 
truck  to  Metro  to  pick  up  the  rocking-chair 
which  Ann  had  used  there.-  And  that  ac- 
counts for  the  strange  scene  witnessed  by 
many  people  in  Hollywood,  as  a  truck  went 
through  the  town  bearing  an  old  rocking- 
chair  with  "Ann  Sothern"  printed  in  large 
letters  on  the  head  rest.  Incidentally,  that 
makes  two  chair  addicts  on  the  "Brother 
Orchid"  set,  for  Edward  G.-  Robinson  has  a 
huge  red  leather  lounge  chair  which  is  in- 
dispensable to  his  relaxation  when  making 
a  picture.   It's  simply  lettered  "Private." 


JOHNSON  AND  JOHNSON 

Laraine  Day  is  probably  the  most  talked 
about  actress  in  Hollywood  today,  after  her 
big  success  in  "My  Son,  My  Son."  Her 
name  is  really  Laraine  Johnson,  and  she 
acquired  her  first  dramatic  training  with  the 
"Johnson  Players" — a  troupe  composed  of 
Laraine,  her  twin  brother,  Lamar,  two  older 
brothers  and  a  sister.  Their  theatre  was  the 
Johnson  backyard  in  Roosevelt,  Utah.  La- 
raine claims  that  the  real  star  of  the  com- 
pany was  her  twin,  and  now  she's  going 
to  try  to  inveigle  him  into  a  screen  test. 

HONEST  INJUNS 

The  Marx  Bros,  are  hard  at  work  on  another 
picture,  to  be  titled  "Go  West."  But  they're 
running  into  snags,  for  the  script  calls  for 
Indians  and  the  boys  are  determined  to  have 
honest-to-goodness  wild  Injuns  or  none.  A 
call  to*  Central  Casting  would  bring  out 
hundreds  of  domesticated  Hollywood  Indians, 
but  the  studio  is  sending  scouts  to  Nebraska 
and  South  Dakota  reservations  to  round  up 
the  kind  that  will  suit  their  stars.  The  one 
qualification — and  this  is  the  item  that  has 
the  scouts  gnashing  their  teeth — is  that  they 
have  to  be  wilder  than  the  Marx  brothers! 

HOUSE  FOR  SALE 

Alice  Faye  has  come  to  the  conclusion  that 
she  was  never  meant  to  have  a  home.  The 
beautiful  place  which  she  and  Tony  Martin 
had  built  in  the  San  Fernando  Valley  burned 
to  the  ground  before  they  had  a  chance  to 
move  in.  Undaunted,  they  arranged  for  an 
even  lovelier  place  to  be  built  on  the  same 
spot.  And  now,  with  the  house  half-finished, 
it's  up  for  sale.  Alice  says  that  the  sudden 
divorce  decision  reached  by  her  and  Tony 
has  destroyed  all  the  interest  she  ever  had 
in  it.  But  she  thinks  that  if  they  had  ever 
had  the  chance  to  get  settled  in  their  home, 
she  and  Tony  would  have  made  a  go  of  it. 

SPONGERS 

Frances  Langford  and  Jon  Hall  are  putting 
the  $3000  insurance,  collected  on  their  play- 
house which  burned  down,  in  a  good  old 
savings  account.  At  first,  the  Halls  thought 
they  would  build  a  swimming  pool  with  the 


Barbara  Read  has  a 
clever  new  way  of 
perking  up  a  severe- 
ly tailored  suit  — 
flowers  planted  in 
the  pocket!  The 
young  star  of  "Cur- 
tain Call,"  whose 
stormy  marriage  to 
William  Paul  ended 
after  a  few  weeks, 
was  re-married  in 
February  to  Don 
Briggs. 


66 


MODERN  SCREEN 


money.  But  then  they  learned  that  Ken 
Murray  was  having  one  built  so,  as  Frances 
said,'  "Why  should  we  waste  our  money  on 
a  pool — when  Ken  has  one  right  around  the 
corner?" 

PARTY  BOY 

Manny  Robinson,  Edward  G.'s  small  son, 
is  the  outstanding  host  of  the  season  since 
the  great  success  of  his  recent  birthday  party. 
Mrs.  Robinson  was  responsible  for  most  of 
the  gayety,  it's  true,  but  it  was  Manny's 
own  idea  to  collect  his  guests  in  a  black 
Maria.  The  police-wagon  had  a  heavy  day 
of  it  for,  besides  Manny's  own  particular 
pals,  the  guests  included  fifty  youngsters 
from  a  San  Fernando  Valley  orphanage. 

BRENDA'S  BEAU 

Brenda  Joyce,  in  spite  of  fame  and  fortune, 
is  remaining  true  to  her  college  sweetheart, 
Owen  Ward.  The  studio  is  so  concerned  over 
the  unglamorous  aspects  of  this,  that  they 
are  trying  to  get  Owen  to  be  a  movie  star, 
too.  So  far,  they  haven't  been  able  to  talk 
him  into  a  screen  test.  One  movie  actor 
in  the  family's  enough,  according  to  Owen, 
and  he'll   just   stick  to  public  accounting. 

CAN  YOU  TIE  IT? 

On  the  set  the  other  day,  Ray  Milland  was 
given  a  package  from  a  fan  in  England.  On 
opening  it,  he  found  it  contained  a  gift — 
an  orange  and  red  plaid  tie.  "It's  evident," 
said  Ray,  blinking  at  the  colors,  "that  the 
censors  are  either  laying  down  on  the  job 
or  else  they're  color-blind." 

TABLE  TALK 

Bette  Davis'  dressing-table  on  the  set  is  an 
old  battered  one  which  she's  had  for  years. 
It's  specially  designed  and  very  convenient 
because  it  is  set  on  wheels  and  can  be 
"  pushed  around  at  will.  When  Charles  Boyer 
saw  the  many  handy  features  of  the  table, 
he  ordered  one  just  like  it  from  the  studio 
carpenter  shop.  In  true  studio  style,  how- 
ever, the  new  table  was  built  along  much 
fancier  lines — a  streamlined  and  gleaming 
affair  of  chromium,  that  looked  like  a  Busby 
Berkeley  prop.  Boyer  was  horrified  when  he 
saw  it,  and  his  fellow-actors  didn't  make  him 
feel  any  belter.  They  had  ganged  up  on 
him,  at  Bette's  instigation,  and  spent  the 
morning  giving  him  disapproving  glances 
and  making  remarks  about  "the  vulgar 
taste  of  some  of  these  actors"  whenever  they 
came  within  earshot.  Finally,  Bette  couldn't 
stand  Bpyer's  completely  crushed  look  an- 
other minute  and  confessed  that  they  all 
knew  it  was  a  mistake  and,  what's  more, 
offered  to  swap  dressing-tables  on  the  spot. 

WO  CINCH  FOR  DEANNA 

If  you  ever  sigh  for  the  luck  of  these  movie 
youngsters  who  don't  have  to  grind  away  at 
books  and  exams,  just  consider  Deanna 
Durbin's  case.  She  works  eight  hours  a  day 
at  the  studio,  but  before  coming  to  work  she 
has  to  have  her  regular  school  lessons — 
and  study  periods,  too!  Deanna's  devoting 
all  her  leisure  this  summer  to  "cramming" 
on  college  entrance  requirements.  When  we 
say  "all  her  leisure"  we  mean,  of  course, 
with  the  exception  of  those  Saturday  night 
dates  with  Vaughn. 


Why  not  dress  him  like  a  girl 
and  be  done  with  it!" 


1.  FATHER-IN-LAW:  Now  look,  I  know  you 
wanted  a  girl.  But  you  got  a  boy!  Come 
to  your  senses  and  treat  him  like  one! 

MARY:  Who  says  I'm  treating  him  like 
anything  else? 


2.  FATHER-IN-LAW:  Don't  make  me  laugh! 
You've  got  enough  SPECIAL  gadgets,  for 
that  child,  to  open  a  drug  store. 

MARY:  Why,  of  course  I  use  special  things! 
Name  me  a  mother  who  doesn't! 


3.  FATHER-IN-LAW:  I  still  call.it  nonsense. 

MARY:  Look  . . .  my  doctor  says  a  baby's 
system  is  the  most  delicate  thing  on  earth. 
Everything  a  baby  gets  should  be  made 
especially  for  him... even  a  special  laxative! 


4.  FATHER-IN-LAW:  A  special  laxative,  too? 

MARY:  It's  logical,  isn't  it?  You  wouldn't 
dream  of  giving  an  infant  the  same  foods 
you  eat.  Then  why  give  him  a  grown-up's 
laxative? 


5.  FATHER-IN-LAW:  Um... sounds  reasonable. 
MARY:  Certainly!  That's  why  I  use  FLETCH- 
ER'S CASTORIA.  It's  made  only  for  chil- 
dren... hasn't  a  single  "adult"  drug.  So  it's 
mild  enough  for  the  tiniest  system.  You 
couldn't  ask  for  a  safer  laxative. 


6.  FATHER-IN-LAW:  Sounds  good  so  far  .  .  . 
but  will  he  take  it? 

MARY:  Just  watch!  It'll  warm  your  heart 
to  see  him  go  for  the  wonderful  taste  of 
Fletcher's  Castoria...I  wouldn't  know  what 
to  do  without  a  bottle  of  it  in  the  house! 


C%aASH-&2c3leA  CASTORIA 

The  modern  — SAFE  —  laxative  made  especially  for  children 


JUNE,  1940 


67 


A  STUDY  IN  GREENE 

(Continued  from  page  43) 


VWVVVWIWVVVVVWVVVVVVVVVV^ 

Put  your  Best 
FINGERS  Forward! 

These  12  stunning  N\  tf^ 
colors  help  you  to  N^ajp 
glamour  and  charm!  lBv\\ 

ANEW  NAIL   POLISH         JlM,  % 
color  gives  a  girl's  ■■■W 
heart  a  lift!  And  these  12 
new  colors  give  her  a     III Wk 
dozen  chances  to  add  new  /'f^HftjwW\ 
charm  to  her  hands  and  mWl  HKK 
new  glamour  to  herself.  ^^S^^K> 

For  they  are  as  "fashion-right"  as  Park 
Avenue  can  make  them  and  durable,  dura- 
ble, DURABLE  beyond  your  fondest  hopes. 
Two  coats  last  actually  longer  than  7  days. 
Yes,  this  Lady  Esther  7-Day  Nail  Polish  is 
a  great  advance  over  any  other  polish  you 
have  ever  known! 

I  offer  you,  says  Lady  Esther,  a  wonder- 
ful, new  way  to  find  exactly  the  shade  that 
is  luckiest  for  you.  Read  the  coupon— send 
for  my  12  "Magic  Fingertips"— pale  shades, 
soft,  dusty  tones  . . .  dark  and  vibrant  col- 
ors. Put  your  best  fingers  forward  with  the 
smartest  new  shades  on  your  fingertips. 


Shown  above  is  one  oj  my  12  "Magic  Fingertips." 


*  12  shades  FREE! * 

■;.        <  .         ..    (.:■  ■      ..........    ~  . 


(You  can  paste  this  on  a  penny  postcard) 

Lady  Esther,  7110  W.  65th  St.,  Chicago,  111. 

Only  with  my  12  "Magic  Fingertips"  can  you 
choose  at  home  your  most  flattering  shade.  Each 
is  shaped  like  your  own  nail,  and  each  wears  a 
different,  new  Lady  Esther  shade,  exactly  as  it 
will  look  on  your  hands.  Send  today.  Find  your 
luckiest  shade  jree!  (56) 

name  .  - 

ADDRESS   . 

CITY  STATE  

//  you  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont. 


brunette  named  Betty,  all  of  eight  years 
old,  and  she  lived  downstairs.  She  made 
her  mark  on  Master  Greene's  heart. 

Our  hero  was  shy  with  women  until 
he  went  on  the  stage.  Actresses,  aggres- 
sive and  sophisticated,  cured  him  of  that. 
But  he  has  always  been  very  proper 
about  girls.  When  he  first  came  to  Holly- 
wood and  learned  by  the  papers  that  he 
was  engaged  to  Arleen  Whelan,  he  al- 
most dislocated  a  knee  cap  racing  to 
the  publicity  office,  shouting,  "Oh,  I  say, 
it's  positively  indecent!  I  don't  even 
know  her!  It's  not  fair  to  Miss  Whelan!" 

Today,  slowly  becoming  Americanized, 
Richard  Greene  will  speak  candidly 
about  his  affairs  of  the  heart  but,  we 
repeat,  within  proper  limits. 

THOUGH  he  enjoys  dancing,  he  doesn't 
like  night  clubs.  He  told  us  he  went 
to  Ciro's  last  week  and  that  it  was  his 
first  night  club  in  nine  months.  "Vir- 
ginia and  I  prefer  to  hang  around  with 
the  gang,"  he  said.  "Like  most  couples, 
we're  fortunate  in  having  excellent  in- 
timate friends  and  a  grand  secondary 
group  of  acquaintances.  We  have  our 
happiest  times  attending  little  parties 
with  the  gang.  You  know,  simple  parties 
in  someone's  home,  where  we  dance, 
sing,  joke  and  devour  cold  beef  for 
dinner." 

Sometimes  Greene  escorts  Miss  Field, 
to  whom  he  is  rumored  engaged,  to  small 
eateries  like  A  Bit  O'  Hungary  and  The 
Beachcombers. 

Concerning  females  in  general,  Greene 
didn't  mind  putting  his  foot  into  it. 
"Sure,  like  any  other  fellow  my  age,  I 
have  definite  ideas.  Since  I've  been  over 
here,  I've  learned  to  like  American  girls 
perhaps  more  than  the  girls  I  knew  in 
England.  Maybe  it's  because  American 
girls  are  easier  to  meet  and  get  along 
with.  But,  and  I  hope  no  young  ladies 
take  offense,  they  have  one  habit  I  can't 
stand:  Too  many  of  them  make  them- 
selves unattractive  by  chewing  gum." 

Chewing  gum  has  made  America  the 
land  of  wide  open  faces  and,  though 
Greene  objects  to  the  practice  in  the 
opposite  sex,  he  himself  always  has  a 
wad  in  his  mouth.  He  doesn't  care  to 
play  cards  with  women.  He  thinks  it's 
as  safe  as  tangling  with  a  truck.  He 
doesn't  mind  women  smoking,  if  they 
know  how  to  smoke  properly — and  he 
thinks  none  of  them  do.  He  wishes, 
sadly,  that  Hollywood  lassies  wouldn't 
dye  their  hair. 

Addicted  to  sending  his  loved  one 
roses  and  gardenias,  he  likes  Virginia  to 
wear  a  flower  when  they  go  out,  and  he 
is  delightfully  moon-eyed  when  she 
sports  a  delicate  perfume. 

There  is  only  one  more  romantic  note 
to  make:  When  he  first  arrived  at 
Zanuck's  thespian  temple  on  Pico  Boule- 
vard, he  announced  decisively  that  he 
would  not  marry  for  five  years.  And 
now,  after  two  summers  in  Hollywood, 
he  may  any  day  go  the  way  of  all  flesh 
and  prove  that  two  can  live  as  cheaply 
as  one. 

In  brief,  feminine  readers  are  advised 
to  withhold  mash  notes.  Richard  Greene, 
at  this  writing,  is  hanging  out  the  matri- 
monial S.R.O.  sign. 

But  speaking  of  mash  notes,  we  have 
always  been  curious  about  stars  and  their 
fan  mail,  and  so  we  asked  Greene  if  he 
actually  ever  saw  a  fan  letter. 

"Of  course  I  read  my  fan  mail.  It's 
obvious  I  don't  have  time  to  do  so  daily, 


but  once  a  month  the  studio  sends  over 
a  bundle  of  the  most  interesting  and 
sincere  fan  letters,  and  I  spend  an  after- 
noon reading  them  and  personally  an- 
swering the  best.  I  have  a  little  black 
book  in  my  desk.  In  it  are  listed  the 
names  and  addresses  of  my  favorite  ad- 
mirers, whose  letters  interested  me,  and 
with  whom  I've  been  corresponding  since 
I  came  out  here." 

For  the  benefit  of  those  who  came  in 
late,  Greene  was  born  of  actor  parents, 
in  Devonshire,  was  groomed  to  be  a 
painter  or  a  writer,  and  wound  up  play- 
ing a  walk-on  at  the  traditional  Old  Vic 
Theatre  in  London,  where  Laughton  and 
Donat  gained  their  fame.  That  walk-on 
was  in  "Julius  Caesar."  Though  he  was 
supposed  to  do.  nothing  but  carry  a  spear, 
Greene,  being  what  his  name  implied, 
tried  to  steal  the  show.  Instead  of  stand- 
ing at  rigid  attention,  he  leaned  against 
a  prop  column,  spat  lustily  a  few  times 
and  engaged  another  spear  carrier  in 
animated  and  ribald  conversation.  It  was 
all  for  realism,  but  it  stole  fire  from  the 
star  of  the  show  and  the  next  day 
Greene  was  looking  for  employment. 

He  obtained  a  job  in  the  Gracie  Fields' 
picture,  "Sing  As  You  Go."  That  was  in 
1934.  He  was  given  one  line,  "Not  yet." 
He  rehearsed  that  line,  those  two  words, 
for  thirty-six  hours.  He  spoke  them. 
And  then,  when  he  went  to  see  himself 
and  hear  his  two  words,  he  learned  he 
had  been  entirely  cut  out. 

Success  came  on  the  stage,  at  last,  in 
that  three  act  cream  puff  labeled,  "French 
Without  Tears."  Talent  scouts  saw  him. 
In  one  week  he  was  transferred  from 
London's  fog  to  Hollywood's  heat,  and 
he  was  kissing  a  strange  woman  named 
Loretta  Young  in  his  first  picture,  "Four 
Men  and  a  Prayer." 

That's  how  it  happened  to  young  Rich- 
ard Greene.  And  if  the  reader  still 
doesn't  believe  that  Hans  Christian  An- 
dersen was  writing  fact  and  not  fiction, 
well,  it's  not  our  fault. 

"^[O  longer  a  Hollywood  freshman, 
-L^1  Greene  has  now  acquired  a  per- 
spective on  the  daffy  village  and  its  odd 
inhabitants.  We  wondered  what  he 
thought  of  his  co-workers,  and  he  stated, 
"Hollywood  isn't  a  zoo,  as  we  in  Eng- 
land are  led  to  believe.  The  bulk  of  the 
movie  folks  are  very  sane.  Naturally,  in 
a  place  where  so  much  money  is  made, 
there  are  apt  to  be  shallow-minded 
squanderers.  But  by  and  large,  most 
movie  workers  attained  their  positions 
and  high  incomes  through  hard  work 
and  miserable  years  of  struggle.  If  they 
desire  a  mansion  and  a  swimming  pool — 
fine! — I  think  they  jolly  well  deserve 
them!" 

Contrary  to  the  general  impression, 
Richard  Greene  is  no  fashion  plate.  In 
his  early  days,  the  only  time  he  wore 
decent  clothes  was  when  he  posed,  self- 
consciously, for  English  collar  and  hat 
ads  at  five  dollars  a  sitting.  We  asked 
him  about  his  clothes,  not  because  we 
are  of  a  snoopy  nature,  but  because 
we  always  wondered  just  what  a  movie 
star  hung  in  his  closets. 

"I  possess  about  fifteen  sack  suits," 
admitted  Greene,  "along  with  two  tux- 
edos and  one  full-dress  suit.  Sport 
outfits,  however,  are  my  forte;  I  have 
almost  two  dozen.  Usually  I  pay  about 
$80  to  $120  for  a  suit,  and  I  feel  it's  a 
good  investment,  because  looking  decent 
in  public  is  a  movie  actor's  business. 


68 


MODERN  SCREEN 


"Actually  though,  since  I've  been  out 
here,  I  just  don't  dress  up  any  more, 
and  I  seldom  shave.  In  fact,  the  only 
time  I  try  to  appear  halfway  presentable 
during  the  day  is  when  I  come  to  the 
studio. 

"Ahead  of  everything,  I  prefer  blue 
jeans.  You  can  wear  them  all  the  time 
and  for  years  without  their  going  out 
of  fashion." 

Greene's  pride  and  prejudices,  in  re- 
gard to  attire  run  to  liking  tan  shoes, 
pullover  sweaters,  sloppy  old  felt  hats, 
grey-colored  suits  and  cheap  canes.  He 
doesn't  care  much  for  the  popular  Holly- 
wood rubber-soled  bootery.  He  abhors 
silk  shirts  and  wears  garters  only  with 
dinner  clothes. 

His  last  extravagance  was  a  pair  of 
thirty  -  five  -  dollar  custom  -  made  riding 
boots.  Compared  with  Menjou's  or 
Astaire's,  his  wardrobe  is  shamefully 
modest. 

During  the  course  of  conversation, 
when  we  dared  inquire  about  his  most 
embarrassing  experience,  Greene  went 
red.  He  wouldn't  talk.  "There  have  been 
some  very  embarrassing  things,"  he 
blushed.  "One  just  can't  talk  about 
them." 

He  confided  a  yen  for  writing.  "I'm 
still  a  tyro,"  he  said.  "Not  a  word 
published."  He  considered  Daphne  du 
Maurier,  who  gave  birth  to  "Rebecca," 
his  favorite  writer.  He  thought  he  would 
like,  one  day,  to  write  a  three  act  his- 
torical play  about  Bonnie  Prince  Charley, 
and  then,  a  la  Noel  Coward,  perform 
in  it. 

AND  if  ever  he  wrote  his  memoirs,  he 
■would  tell  his  most  thrilling  experi- 
ence in  America.  "It  was  a  silly  thing. 
It  was  the  time,  a  year  ago  at  Palm 
Springs  in  the  desert,  when  I  rode  a 
bucking  bronco  for  a  full  minute.  It 
was  something  I  had  always  wanted  to 
do,  and  which  I  would  never  do  again. 
Why,  listen,  it  took  me  the  entire  after- 
noon to  swallow  my  heart.  But  what 
a  thrill!" 

In  his  memoirs,  he  would  also  recall 
his  most  terrible  experience.  "Terrible 
is  right!  It  was  in  England,  some  good 
years  ago,  when  I  was  chased  dizzy  by 
a  wild  bull.  I  hid  in  a  shed,  quaking, 
for  two  dreary  hours — and  had  to  break 
a  date  it  had  taken  me  months  to  make!" 

Besides  enjoying  hamburgers,  cowboy 
ballads,  Ray  Noble,  amateur  photography, 
hunting  trips,  chess,  "The  Volga  Boat- 
man" and  his  pet  cat  named  Jacqueline, 
Greene  continues  to  enjoy  picture- 
making. 

Hard  working,  energetic,  constantly 
absorbing  tricks  and  technique,  Richard 
Greene  is  one  of  Hollywood's  seven  most 
popular  males. 

There  is  as  much  possibility  of  Rich- 
ard Greene  being  Filmdom's  "least  likely 
to  succeed"  as  there  is  of  his  sending  his 
children,  if  and  when,  to  a  place  called 
Harvard. 

And,  ladies,  if  your  brother  or  hus- 
band or  that  fresh  fellow  next  door  in- 
sists on  calling  Greene  a  pretty  boy, 
just  tell  him  to  paste  this  in  his  hat: 
That  any  man  who  can  frankly  tell 
women  what's  wrong  with  their  hair, 
bridge,  smoking  and  manners,  any  man 
who  can  stay  on  a  leaping  bronco  fifty - 
two  seconds  longer  than  the  average 
cow-puncher — well — he's  got  to  be  more 
than  a  mere  pretty  boy.  He's  got  to 
have  "moxie."  And  if  your  mother 
hasn't  yet  told  you,  we're  telling  you 
that  "moxie"  is  a  synonym  for  the  stuff 
they  string  inside  tennis  rackets. 

That's  what  Richard  Greene  has — and 
believe  us,  if  he  had  nothing  else,  that 
attribute  alone  would  be  enough. 

JUNE,  1940 


THE  EYES  OFEASHIOI 

6y 


Costumes  of  yellow, 
chartreuse,  rust,  brown, 
green,  or  any  of  the  deep 
"Woodland"  colors  call  for 
Maybelline  black  or  brown 
shades  of  Mascara  with 
matching  eyebrow  pencil. 
The  harmonizing  shades  of 
Maybelline  Eye  Shadow  are 
Brown  and  Green. 

With  blue,  wine,  black, 
fuchsia,  all  the  purplish  col- 
ors, wear  Maybelline  black 
or  blue  shade  of  Mascara 
and  black  eyebrow  pencil, 
lightly  applied.  And  to  har- 
monize, Maybelline  Eye 
Shadow  in  shades  of  Blue, 
Gray,  Blue-Gray  or  Violet. 


FASHION  DICTATES 


FOR  YOUR  EYES 


It's  a  "must"  in  the  Fashion  outlook  —  and  it's 
here  to  stay.  Glamour  that  gives  your  eyes  new 
importance  with  every  costume  you  wear.  All  it 
takes  is  smart  harmony  in  eye  make-up.  And  that's 
easy  with  Maybelline  Eye  Beauty  Aids.  Simply 
choose  your  Mascara,  Eyebrow  Pencil  and  Eye 
Shadow  in  harmonizing  shades  .  .  .  and  notice 
the  thrilling  difference.  It's  fascinating  to 
step  up  your  beauty  and  style  so  naturally  with 
Maybelline— the  eye  make-up  that's  smart  because 
it's  always  in  good  taste. 


Maybelline  Solid- 
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Maybelline 
Cream-form 
Mascara  (applied  without 
water)  in  zipper  case,  75c. 


Maybelline  creamy  Eye 
Shadow  indainty  pastel  box. 


Maybelline 
smooth-marking  Eyebrow 
Pencil  with  point  protector. 


EYE    BEAUTY  AIDS 

69 


MOTHER! 

IT'S  "CRIMINAL" 

TO  SUFFER 
IN  SILENCE! 


RELIEF  IS  YOUR  RIGHT 
AND  YOUR  DUTY! 

If  any  trouble  is  needful  of  attention,  it  is  simple 
Piles! 

Simple  Piles  cannot  only  plague  and  torture  you, 
but  they  can  tax  your  health.  Yes,  they  can  drain 
strength  and  vitality  and  make  you  feel  and  look 
like  an  old  woman. 

Both  men  and  women  suffer  from  simple  Piles. 
But,  women,  during  pregnancy  and  after  childbirth, 
are  particularly  subject  to  this  trouble. 

TO  RELIEVE  THE  PAIN  AND  ITCHING 

What  you  want  to  do  to  relieve  the  pain  and  itching 
of  simple  Piles  is  use  Pazo  Ointment. 

Pazo  Ointment  really  alleviates  the  torment  of 
simple  Piles.  Its  very  touch  is  relief.  It  quickly  eases 
the  pain;  quickly  relieves  the  itching. 

Many  call  Pazo  a  blessing  and  say  it  isone  thing  that 
gives  them  relief  from  the  distress  of  simple  Piles. 

SEVERAL  EFFECTS  IN  ONE! 

Pazo  does  a  good  job  for  several  reasons. 

First,  it  soothes  simple  Piles.  This  relieves  the  pain, 
soreness  and  itching.  Second,  it  lubricates  the  affected 
parts.  This  tends  to  keep  the  parts  from  drying  and 
cracking  and  also  makes  passage  easier.  Third,  it 
tends  to  shrink  or  reduce  the  swelling  which  occurs 
in  the  case  of  simple  Piles. 

Yes,  you  get  grateful  effects  in  the  use  of  Pazo ! 

Pazo  comes  in  collapsible  tubes,  with  a  small  per- 
forated Pile  Pipe  attached.  This  tiny  Pile  Pipe,  easily 
inserted  in  the  rectum,  makes  application  neat,  easy 
and  thorough.  (Pazo  also  comes  in  suppository  form 
for  those  who  prefer  suppositories.) 

TRY  IT  FREE ! 

Give  Pazo  a  trial  and  see  the  relief  it  affords  in 
many  cases  of  simple  Piles.  Get  Pazo  at  any  drug 
store  or  write  for  a  free  trial  tube.  A  liberal  trial  tube 
will  be  sent  you  postpaid  and  free  upon  request. 
Just  mail  the  coupon  or  postcard  today. 


GROVE  LABORATORIES,  INC. 
Dept.  120-MO,  St.  Louie,  Mo. 

FREE! 

Gentlemen:  Please  send  me  free  PAZO. 

Name~  

A  ddress  

City  Sfnre 

This  offer  is  good  only  in  V.  S. 


WHY  STARS  LEAVE  HOME 

(Continued  from  page  39) 


pug-ugly  Maxie  Rosenbloom  tripping  in 
for  his  5  o'clock  tea  and  crumpets! 

Second  to  the  Derbies,  but  first  in  the 
night  club  field  since  the  Trocadero  hung 
out  its  "For  Rent"  shingle,  is  Ciro's,  a 
super -swank  eating,  drinking  and  danc- 
ing spot  which  pulls  its  trade  from  the 
Social  Register  as  well  as  from  the  front 
ranks  of  Filmland.  Here,  cigarette  girls 
tout  their  wares  for  twenty -five  cents  a 
pack,  and  the  man  who  tips  them  less 
than  a  quarter  is  a  cheap-skate.  Here, 
Mischa  Auer  bows  to  the  waiters.  And 
here,  a  party  of  six  movie  people,  in  one 
evening,  ran  up  a  check  for  $365! 

BUILT  at  a  cost  of  $150,000,  Ciro's  is 
housed  in  a  modern-style  building 
painted  the  color  of  coffee  when  you've 
put  too  much  cream  in  it.  Its  interior, 
as  described  by  one  leading  man  who 
ought  to  know,  bears  a  startling  re- 
semblance to  a  lady's  boudoir.  It  has  a 
pale  green  background  and  ceiling,  and 
maroon -colored  padding  running  scallop - 
shaped  up  a  third  of  the  wall  and  clear 
around  the  room.  And,  off  the  record, 
our  leading  man  appears  quite  as  much 
at  home  in  such  feminine  surroundings 
as  do  the  numerous  women  he  brings 
there. 

Music  for  Ciro's  is  provided  by  Emil, 
Coleman,  a  man  blessed  with  an  amazing 
memory  that  enables  him  to  recall  at  a 
flash  the  favorite  tunes  of  all  steady 
customers.  These  he  orders  struck  up  the 
moment  a  familiar  face  looms  on  the 
threshold.  Needless  to  say,  it's  mildly 
confusing  to  his  musicians,  who  are 
usually  unprepared  for  a  sudden  switch 
from  "Oh,  Johnny"  to  "They'll  Be  Com- 
ing 'Round  the  Mountain." 

Liquor  at  Ciro's  is  provided  by  any 
waiter  who's  asked  for  it.  Right  here 
we'd  like  to  drop  a  tip  to  potential  Ciro 
drinkers.  When  ordering  champagne — 
unless  you  are  the  happy  possessor  of 
an  unlimited  purse — always  specify  ex- 
actly how  much  you'd  like.  If  you  don't, 
your  waiter  will  assume  you  want  an 
unlimited  flow  and  just  keep  filling  'em 
up  until  someone  remembers  to  stop 
him.  Since  the  stuff  averages  $10  per 
bottle,  it's  generally  advisable  to  keep 
an  eye  on  the  proceedings. 

Food  at  Ciro's  is  perfection  itself. 
Every  ingredient  in  every  dish  is  abso- 
lute tops  and  the  finished  products  are 
so  alluring^  they  have  made  many  a 
famous  femme  forget  the  clause  in  her 
contract  that  would  hold  her  poundage 
at  103! 

Victor  Hugo's,  which  seats  600  people 
(about  twice  as  many  as  Ciro's),  is 
another  paradise  for  lovers  of  fine  vic- 
tuals. But  if  the  great  Frenchman  whom 
it  honors  ever  saw  it,  he'd  probably  howl 
in  his  beard  at  the  sight  of  his  name 
blinking  in  neon  lights  with  "Benny 
Goodman"  or  "Rudy  Vallee"  in  huge  let- 
ters beside  it.  It's  certain,  though,  he'd 
cool  off  once  he  passed  through  the 
arched  doorway  into  the  beautiful  Gar- 
den Room,  where  a  softly-lighted  bar, 
circular  dance  floor  and  trickling  foun- 
tain offer  relaxation  to  some  of  the 
highest -priced  nerves  in  Hollywood. 
He'd  also  be  comforted  by  the  knowledge 
that  the  restaurant  leaves  semi-nude 
chorus  girls  and  the  stale  jokes  of  m-cees 
to  less  distinctive  dining  places  and 
uses  only  good  food  and  "name"  bands 
as  customer  bait.  Both  of  these  are 
"can't  miss"  attractions  for  the  younger 
set,  and  regular  Hugoites  include  Judy 


Garland,  Ann  Rutherford,  Deanna  Dur- 
bin  and  Vaughn  Paul. 

Overseeing  the  entire  works  is  Henry 
DeSoto,  a  restaurateur  of  twenty-five 
years  standing.  Besides  being  a  capable 
manager,  Henry  is  one  of  the  best  sources 
of  scoops  on  Hollywood  romances,  be- 
cause he  keeps  a  practised  eye  on  cooing 
twosomes  and  can  always  tell  by  what 
is  ordered  and  what  is  eaten  just  how 
an  affair  is  progressing.  His  process  of 
deduction  is  simple — and  generally  in- 
volves steak.  Steak  is  the  easiest  dish  to 
order,  and  when  a  couple  calls  for  it  he 
knows  they're  "on  fire"  and  are  taking 
the  first  thing  that  comes  to  their  minds. 
Then,  when  they  hardly  nibble,  Henry's 
positive  the  "I  do's"  are  not  far  in  the 
offing! 

To  date,  with  the  aid  of  his  unique 
method,  Henry  has  foretold  the  mar- 
riages of  Hedy  Lamarr  and  Gene  Markey, 
William  Powell  and  Diana  Lewis,  and 
Betty  Grable  and  Jackie  Coogan.  He  is 
sorrowful,  however,  because  he  has  not 
yet  perfected  a  pat  formula  for  the  pre- 
diction of  bust-ups. 

Far  from  the  shouts  of  "Cut"  and  "Let 
them  roll" — in  atmosphere  at  least — is 
the  star-studded,  no-music  eatery  known 
as  Sardi's.  Here  go  the  creme  de  la 
creme  of  Moviedom  when  they  want 
peace  as  well  as  nourishment,  for  within 
Sardi's  caricature -bedecked  walls  is  a 
quiet  that  few  can  find  at  home. 

Sardi's  attracts  tourists,  too,  and  it  has 
been  noticed  that  many  an  out-of-town 
visitor  who  can  take  or  leave  his  movie 
stars,  is  enraptured  by  the  portable, 
plug-in  telephones  that  can  be  set  up  at 
any  table.  In  fact,  a  number  of  them  ask 
to  have  an  instrument  placed  between 
their  silverware  and  bread  basket,  and 
then  don't  even  lift  the  receiver! 

In  their  class  is  Hugh  Herbert  who 
calls  for  a  phone  as  soon  as  he  walks  in, 
but  just  sits  and  stares  at  it  throughout 
his  entire  meal.  Jackie  Coogan,  on  the 
other  hand,  once  made  thirty-six  calls 
in  two  hours  in  an  attempt  to  get  a 
last-minute  date.  P.S.  He  stayed  at  home 
with  a  good  book. 

THE  chummiest  spot  in  town  is  Cafe 
Lamaze  which,  like  the  average  drug 
store  luncheonette,  can't  seat  more  than 
seventy-five  persons  at  any  one  time.  Of 
course,  the  similarity  ends  where  it  be- 
gins, for  while  $3  will  feed  a  family 
of  six  at  a  luncheonette,  it's  only  the  be- 
ginning for  a  single  spread  at  Lamaze's. 
But  then,  how  many  luncheonettes  are 
equipped  with  a  small  orchestra  or  feed 
their  guests  chickens  that  but  a  few 
hours  earlier  were  squawking  in  Andy 
Devine's  back  yard?  None,  according  to 
the  last  Gallup  check-up. 

Principal  novelty  at  Lamaze's  is  the 
method  of  serving  relishes  and  fruit 
desserts.  No  one  remembers  who  thought 
it  up,  but  now  foot-high,  cone-shaped 
ice  mounds,  encasing  glowing  electric 
light  bulbs,  are  studded  with  radishes, 
grapes,  olives,  etc.,  and  placed  in  the 
center  of  every  table.  Quite  a  brain- 
storm, wasn't  it?  But  it  takes  2,000 
pounds  of  ice  a  day  to  keep  it  going! 

And  there  you  have  them — seven  good 
reasons  why  almost  every  Hollywood 
dinner  hour  finds  the  cook  and  the  serv- 
ing maid  sitting  in  the  kitchen  playing 
parchesi.  But  don't  go  envying  their 
soft  jobs.  They  still  have  to  snap  to  at- 
tention when  their  master  rolls  in  at 
four  and  yells  for  a  steaming  pot  of  tea! 


70 


MODERN  SCREEN 


"DON'T  CALL  ME 
A  GREAT  LOVER!" 

(Continued  from  page  27) 


of  August,  when  their  long-awaited  di- 
vorces become  final. 

Of  all  this  star-bright  femininity,  did 
he  have  any  personal  preferences? 

"I  played  opposite  Gertie  Lawrence 
nine  years  ago,  and  she  was  as  easy  and 
pleasant  as  Greer  Garson  is  in  this  pic- 
ture. Really,  I've  been  fortunate;  they've 
all  been  fine  and  brilliant  actresses.  But, 
as  you  may  be  aware,  I  would  rather  play 
an  act  opposite  Miss  Leigh  than  all  the 
others  combined. 

"Another  thing,  I  don't  find  much  dif- 
ference between  the  American  women  I 
have  met  and  those  I  have  known  that 
were  French,  Irish,  Russian,  English  or 
any  other  nationality.  The  American 
woman  is  made  up  of  all  the  others — and 
as  an  individual,  she  combines  the  best 
qualities  of  other  races  and  nations.  I 
find  her  very  kind.  She  is  usually  warm 
and  wonderfully  helpful.  I  don't  under- 
stand why  it  is,  but  American  young 
ladies  have  a  curious  trick  or  ability  of 
making  you  think  you  know  them  better 
than  you  really  do." 

AT  this  point  Olivier  was  summoned  to 
-^*-play  a  touching  scene  with  Miss 
Garson.  It  was  a  big  "Pride  and  Preju- 
dice" moment,  and  I  sat  watching  the 
classic  come  to  life.  Contrary  to  com- 
mon opinion,  "Pride  and  Prejudice"  is 
anything  but  a  stuffy  costume  piece.  It 
is  a  bright  comedy,  set  in  a  small  English 
village  of  the  1820's.  It  is  the  tabloid 
saga  of  a  zany  mother  who  is  trying  to 
land  rich  husbands  for  her  five  daughters. 
Miss  Garson  is  one  of  these  daughters, 
and  Mr.  Olivier  is  the  catch  of  the  sea- 
son. The  conflict  arises  when  Greer  Gar- 
son tries  to  crush  Laurence  Olivier's  great 
pride,  and  he  tries  to  shatter  her  over- 
whelming prejudice. 

After  Robert  Z.  Leonard  had  taken  the 
same  three-line  scene  over  and  over, 
seven  times  in  all,  the  company  moved  to 
another  set.  Greer  Garson  rested  stand- 
ing up,  leaning  against  a  perpendicular 
canoe-shaped  brace  to  keep  her  hoop- 
skirt  from  being  mangled,  and  Olivier 
trotted  back  to  the  interview  inquisition. 

Strands  of  his  dark-brown  hair  hung 
limply  on  his  forehead,  and  he  appeared 
very  handsome  and  tired.  He  sat  down 
slowly,  carefully.  One  false  move  and 
those  breeches  would  expose  him  to  the 
wrath  of  the  Will  Hays  decency  board. 

He  began  to  talk  about  his  immediate 
future.  His  speech  took  on  an  irresist- 
ible earnestness.  He  was  speaking  of 
the  project  closest  his  heart,  the  version 
of  Shakespeare's  "Romeo  and  Juliet"  he 
had  personally  cut  and  adapted  for  the 
American  stage. 

He  and  Miss  Leigh — he  always  refers 
to  her  as  "Miss  Leigh" — were  declining 
numerous  picture  offers  to  return  to  the 
stage  in  a  play  dear  to  them  both.  They 
were  going  back  to  the  stage  now,  in- 
stead of  in  three  or  four  years,  because 
they  didn't  want  to  be  known  as  "movie 
stars  taking  a  fling  at  the  legitimate 
stage." 

"Romeo  and  Juliet,"  scheduled  to  open 
in  San  Francisco  eariy  in  April,  and  play 
Chicago  and  New  York  until  early 
August,  would  not  be  a  mercenary 
project  for  Olivier.  It  would  be  some- 
thing every  human  dreams  of — some- 
thing participated  in  for  pure  enjoyment. 

Besides  acting  in  the  drama,  Olivier 
has   produced   it,   directed   it,  written 


"MBNER  * 


AL  CAPP 


I'M  THE 

ONE  WHO 
WAS-ER-HURT, 
LI'L  ABNER, 
DEAREST- BUT 
IT'S  YOU 
WHO  LOOK 
FAINT.V 


Gl/LPf-THK5S  MERELYV'^fS IOOKIN'  \ 
ON  ACCOUNTO'5IMPLYj/9f/A727r/l/V'  J 
BECUZ  AH  HAIN'T  HAD  \FAMTER  < 
MAH  BRECK-FU55  YETfAw/FWK/N  \ 
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Gi/lPf  r  -AH  GOTTA  / 
WORKFA5T/')  ) 


CREAMofWHEAT 


NOW  TWO  KINDS- 
new  5  MINUTE 
AND  "REGULAR" 


uf  Wheat"  Reg.  U.  S.  Pat.  Off. 


JUNE,  1940 


71 


A  lRT  M  5DERNS  PREFER 


4 


BOB  PINS 


Vacation  Vanity  begins 
with  this  Longer  -  torso 
Frock  Accented  by  Sand- 
ch  Pockets  .  .  .  and 


High  Honors  for  this 
Youthful  Dress  with 
Rows  of  Stitching,  for 
Decoration,  Triangular 
Pockets  as  Hipline  Em- 


Smart 


Keep  cool  in  this  Molded 
Frock  with  Square  Yoke 
.  .  .  and  Shorter  Hair.  Use 
DeLong  Bob  Pins  to  Set 
the  Rolls  and  Keep  Them 
Neat. 


some  of  the  music  and  laid  out  the  ten 
sets.  Even  Orson  Welles  couldn't  im- 
prove on  that. 

Never,  perhaps,  in  all  the  modern  his- 
tory of  the  dramatic  stage  has  there  been 
a  happier  and  more  colorful  combination 
of  principals  and  production.  Two  in- 
ternationally famed  lovers  of  fact,  Olivier 
and  Leigh,  projecting  themselves  into  the 
two  most  famed  lovers  of  fiction,  Romeo 
and  Juliet. 

But,  man  and  sir,  to  hear  Olivier  speak 
of  Shakespeare,  to  detect  the  quickening 
of  his  speech,  the  lift  of  his  voice!  To 
watch  his  face,  animated,  his  eyes  bright, 
his  boyish  excitement!  Why,  it's  an 
event  remarkable.  Olivier's  voice  brings 
you  back  to  the  old  Mermaid  Tavern,  to 
the  coffee  house  and  the  tankards  of  ale. 

I  asked  Olivier  why  he  was  so  certain 
Miss  Leigh  would  make  a  stunning 
Juliet.   I  asked  him  to  be  frank.  He  was. 

^Smilingly,  he  murmured,  "  'Age  cannot 
wither  nor  custom  stale  her  infinite  va- 
riety.' Miss  Leigh  has  youth  with 
strength.  Beauty  with  character.  Pathos 
with  comedy.  And  exceptional  fire.  The 
thing  most  persons  don't  know  about  her, 
and  I  do,  is  that  she  is  an  extraordinarily 
good  comedienne.  She's  going  to  sur- 
prise everyone.  Scarlett  is  over  and  done 
with.  As  Juliet  she  will  be  sweet,  clever, 
young  and  very  tragic  and  will  invest 
the  character  with  a  subtle  comedy, 
hitherto,  I  believe,  unsuspected  in  the 
role." 

NATURALLY,  "Romeo  and  Juliet" 
is  synonymous  with  talk  about 
romance.  A  legend,  I  repeat,  has  already 
been  woven  about  Olivier — that  as  a  ro- 
mantic type  he  is  sometimes  pensive, 
sometimes  smoldering.  Intimates  have 
labeled  him  an  enigma,  aloof  and  distant, 
and  I  have  heard  women,  upon  viewing 
him  on  the  screen,  sigh  and  call  him  a 
"Great  Lover." 

All  of  which,  naturally,  is  most  embar- 
rassing to  Laurence  Olivier.  He  thinks  of 
himself  as  a  human  being,  an  actor,  a 
student  of  music,  a  thousand  things,  but 
not  as  a  romantic  legend.  And  that, 
after  all,  is  easy  enough  to  understand. 
Just  call  your  husband,  or  brother,  or 
father  a  "Great  Lover" — watch  him 
either  blush  or  bristle. 

"Of  course  I  don't  wish  to  be  called  a 
Great  Lover,"  Olivier  insisted.  "The  ap- 
pellation is  so  absurd.  I  don't  feel  like 
one,  so  I  don't  think  I  am  one. 

"I  suppose  the  publicity  I've  had,  the 
roles  I've  played  and  my  attachment  for 
Miss  Leigh  have  all  aided  in  the  Great 
Lover  myth.  But  believe  me,  I  would 
rather  be  known  as  a  second-rate  char- 
acter actor  than  an  over-publicized 
glamour  boy. 

"My  parts  as  Heathcliff  in  'Wuthering 
Heights'  and  Max  de  Winter  in  'Rebecca' 
may  have  created  the  wrong  idea  and 
made  me  out  a  moody  Don  Juan.  But, 
of  course,  those  fans  who  take  pleasure 
in  the  illusion  of  my  so-called  glamour 
are  welcome  to  it!" 

Laurence  Olivier,  fortunately,  has  a 
sense  of  humor.  Sudden  and  intense 
hero  worship,  which  made  Valentino 
vain  and  turned  other  matinee  idols  to 
flight  and  temporary  insanity,  leave  Oli- 
vier a  trifle  amused.  He  is  too  honest 
with  himself  to  think  of  himself  as  an 
exciting  figure,  as  anything  more  than  a 
hard-working  actor. 

And  purely  as  a  hard-working  actor, 
looking  toward  his  more  distant  future, 
Olivier,  in  his  deliberate  manner  of 
speech,  explained  that  he  would  divide 
his  time  between  stage  and  screen.  But 
honestly,  he  prefers  the  stage.  He 
thought  participating  in  both  was  fine, 
saying,  "Each  theatre  contributes  essen- 
tially to  the  other.  Both  are  important." 


He  had  too  much  on  his  mind  to  worry 
about  what  far-off  tomorrows  held  in 
store  for  him.  He  was  too  immersed  in 
the  many  projects  at  hand.    But — 

"I  do  firmly  believe  circumstances  con- 
tinually change  one's  life  and  career 
course.  Up  to  now,  I've  been  awfully 
lucky.    I  just  pray  it  continues!" 

However,  past  performances  show  that 
what  Olivier  modestly  considers  "luck" 
has  actually  been  a  steely  perseverance 
and  drive  toward  the  top. 

Now,  at  the  age  of  33,  Olivier  can  look 
back  on  a  life  penned  in  greasepaint. 

His  family  tree  dripped  with  French 
Huguenots.  Today,  the  Huguenots'  only 
claim  to  immortality,  besides  bringing 
the  bedbug  to  the  New  World,  the  fact 
that  Olivier  comes  from  their  kind.  His 
father  was  a  clergyman — the  High 
Episcopal  Church  in  England.  Oli- 
vier began  emoting  at  nine,  and  at  four- 
teen, in  celebration  of  Shakespeare's 
birthday,  he  clapped  a  wig  on  his  head, 
wore  petticoats  and  played  the  wench 
Katherine  in  "The  Taming  of  the  Shrew" 
at  Stratford-on-Avon. 

At  school  he  did  Puck  in  "Midsummer 
Night's  Dream"  and  sang  lustily  in  the 
choir.  Of  course,  acting  and  singing  were 
considered  sissy  stuff  by  the  older  lads 
at  school,  and  they  tormented  young 
Olivier.  This  drove  him  within  himself, 
and  as  the  late  mental  medicos,  Freud 
and  Adler,  would  assure  us,  furnished 
him  with  the  introspection  and  the  push 
to  later  succeed  against  all  odds. 

After  an  eventful  stage  career  and  one 
unsuccessful  try  at  Hollywood,  M-G-M 
brought  him  back  in  1933  to  work  oppo- 
site Greta  Garbo  in  "Queen  Christina." 
He  was  beginning  to  mistrust  Hollywood 
and  so  came  over  with  only  one  bag  of 
clothes.   This  precaution  was  justified. 

According  to  the  most  accurate  story, 
Greta  Garbo  wanted  John  Gilbert  for  her 
leading  man.  She  didn't  want  a  com- 
paratively unknown  English  youth.  In 
the  clinches,  she  refused  to  give  out. 

Recalling  the  incident,  Olivier  smiled 
broadly,  and  confessed,  "I  have  never 
been  bitter  toward  Miss  Garbo.  Ac- 
tually, so  much  has  happened  since  then 
I've  forgotten  the  entire  thing.  It  hap- 
pens every  day.  I  have  a  colossal  admi- 
ration for  Miss  Garbo,  but  I  do  feel  her 
leading  men  are  apt  to  be  obscured.  It 
is  a  great  credit  to  Robert  Taylor  that 
he  came  off  so  brilliantly  with  Miss 
Garbo  in  'Camille.' 

"In  reality,  being  dropped  from  the 
Garbo  picture  was  a  big  break  for  me. 
It  gave  me  a  magnificent  opportunity  in 
'The  Green  Bay  Tree'  on  Broadway." 

CHECKING  back,  Olivier  likes  to  re- 
^  member  his  fine  friends,  Ralph  Rich- 
ardson, the  grand  English  actor,  An- 
thony Bushnell  and  many  others.  He 
likes  to  remember  his  most  thrilling  ex- 
perience, playing  the  uncut  version  of 
Hamlet  in  1937,  in  Denmark,  at  an  out- 
door festival.  "I  played  before  nearly 
4,000  people  at  a  time,  and  the  show  ran 
four  hours.  Sometimes  we  gave  two  per- 
formances in  a  single  day,  and  that 
meant  eight  to  nine  hours  of  continuous 
acting.  It  left  me  limp,  but  Miss  Leigh, 
who  played  Ophelia,  thrived  on  it.  And 
very  beautiful  she  was  in  the  part!" 

Laurence  Olivier,  reminiscing,  was  re- 
minded of  a  story.  It  seemed  he  was  in  a 
road  show,  and  one  day  the  company 
reached  his  home  town  of  Latchworth. 
It  was  a  stirring  moment.  None  of  his 
family  had  seen  him  perform,  so  Lau- 
rence bought  dozens  of  tickets  for  the 
relatives,  the  neighbors  and  even  the 
cook. 

They  all  crowded  in  to  watch  their 
local  boy  make  good.  The  show  played 
two  hours.    After  it  was  done,  the  cook 


MODERN  SCREEN 


came  waddling  backstage  to  get  straight- 
ened out  on  a  little  matter. 

"What  did  you  think  of  me,  cook?"  in- 
quired Olivier. 

She  seemed  bewildered.  "Well,  I  don't 
know,  Master  Laurence.  I  kept  looking 
for  you  and  looking  for  you,  but  I  didn't 
see  you." 

"What?"  bellowed  Olivier.  "What's 
wrong,  woman?  You  heard  the  bell  after 
the  tea  interval,  didn't  you?  Well,  I 
rang  it!" 

Laurence  Olivier  laughed  heartily  after 
telling  the  story.  It's  one  of  his  favorites. 
It's  one  he  likes  to  tell  to  those  who  re- 
gard him  as  a  smoldering  romantic. 


ON  THE  SET 

(Continued  from  page  33) 


by  the  way,  looked  in  on  the  operations 
and  is  reported  to  have  given  her  un- 
qualified okay  to  the  Hollywoodization 
of  her  relative. 

The  script  of  "All  This,  .  .  ."  which  was 
two  months  in  the  writing,  calls  for  68 
sets,  none  of  which  is  very  troublesome. 
The  cast  is  a  comparatively  intimate 
affair,  consisting  of  50  members  who  have 
speaking  parts  and  200  extras  who  walk 
or  run  through  the  various  scenes  with- 
out uttering  a  sound.  Ordinarily,  such  a 
set-up  would  make  for  painless  produc- 
tion, but  as  luck  and  history  would  have 
it,  four  young  children  are  necessary  to 
the  plot. 

CHILDREN,  the  saying  goes,  are  nat- 
ural-born actors — but  you  couldn't 
prove  it  by  Director  Anatole  Litvak. 
Poor  Mr.  Litvak  is  having  himself  one 
bad  time  trying  to  make  Boyers  and 
Davises  out  of  the  youngsters  assigned 
to  him  for,  with  the  exception  of  thir- 
teen-year-old Virginia  Weidler,  they  are 
not  screen  veterans. 

Most  inexperienced  is  four-year-old 
Richard  Nichols,  chosen  from  over  five 
hundred  little  boys  for  an  extremely  ex- 
acting role.  Richard,  incidentally,  was 
not  awarded  his  part  the  moment  he 
shuffled  into  the  casting  director's  pres- 
ence. Actually,  of  the  five  hundred  kids 
who  turned  out,  twenty-two  were 
screen-tested  before  the  selection  was 
narrowed  down  to  him  and  a  certain 
Jean  DeRiver.  When,  after  heavy  consid- 
eration, the  job  was  awarded  to  Richard, 
the  mother  of  Jean  did  not  faint  dead 
away.  But  the  casting  director  nearly 
did,  for,  since  it  no  longer  mattered,  Mrs. 
DeRiver  revealed  that  her  son  was  really 
a  female  named  June!  Most  amusing 
sidelight  on  the  incident  is  the  fact  that, 
although  the  child  had  been  costumed  by 
the  wardrobe  department  several  times, 
no  one  had  ever  seemed  to  question  her 
masculinity! 

Remembrance  of  such  duplicity  isn't 
sweetening  Mr.  Litvak  on  the  youngest 
generation.  Neither  are  his  present  trials. 
The  last  time  we  saw  him,  his  face  was 
livid,  and  his  breath  was  coming  hard. 
No,  Mr.  Litvak  was  not  going  mad.  He 
was  merely  trying  to  show  Richard  how 
to  do  a  scene  in  which  the  boy,  des- 
perately ill  with  pneumonia,  struggles 
for  a  bit  of  relief.  Richard,  we  are  sorry 
to  say,  did  not  find  the  emoting  con- 
tagious. Instead,  being  highly  entertained 
by  such  antics,  he  giggled  into  his  hands 
while  the  rest  of  the  cast,  feeling  their 
nerves  going  raw,  waited  for  the  proper 
mood  to  hit  him. 

Notwithstanding,  Mr.  Litvak  professes 
a  tremendous  love  for  little  shavers. 
Notably,  he  has  no  children  of  his  own. 

JUNE,  1940 


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73 


CHECK  UGLY 
PERSPIRATION 


Dew  is  the  dainty  deodorant  that  checks 
perspiration  too.  Safe,  sure,  Dew  will  not 
irritate  the  skin  even  after  shaving. 

KILL  ITS  ODOR 


If  you  like  cream,  ask  for  Dri-Dew,  daintily- 
scented,  harmless  to  fabrics.  If  liquid  is 
preferred,  Instant  Dew 
dries  in  seconds.  Use 
Dew  today  and  be  safe. 
At  drug,  department 
and  lO-cent  stores. 

USE  m  ™t%t 


LIQUID 

OR 
CREAM 


the  DOUBLE -PURPOSE  deodorants 


Clear,  Soothe 

TIRED  EYES 

IN  SECONDS! 


Only  TWO  DROPS  of  this  eye  specialist's 
formula  are  needed  to  SOOTHE  and 
REFRESH  dull,  tired  eyes  ...  Its  special 
EXCLUSIVE  ingredient  quickly  CLEARS  eyes 
red  and  inflamed  *(from  late  hours, 
fatigue,  driving,  overindulgence,  etc.). 


Thousands  prefer  stainless,  sanitary, 
safe  EYE-GENE,  because  it  is  quickly 
EFFECTIVE  in  making  EYES  FEEL  GOOD. 
WASH  your  eyes  with  EYE-GENE 
today.On  sale  at  drug,depart- 
ment  and  ten-cent  stores. 

USE  ^^JM^ 


EYE  GENE 


HOLLYWOOD  SKIN  MAGIC 

{Continued  from  page  45) 


foods  rich  in  the  fats  their  systems  need. 
Poor  health,  fatigue,  dry  climate  and 
hard  water  also  contribute  to  this  con- 
dition. If  your  skin  is  very  dry,  cleanse 
it  thoroughly  with  cold  cream  or  one  of 
the  emollient,  oily  cleansing  creams.  Pro- 
tect it  with  rich  lotions  and  lubricating 
creams  night  and  morning  and  use  one 
of  the  heavier,  richer  foundations  under 
your  make-up.  Dry  skin  wrinkles  and 
shows  age  much  earlier  than  oily  skin 
so,  if  this  is  one  of  your  pet  problems, 
by  all  means  pamper  yourself  with  extra 
massage  deep  and  firm  and  rotary  in 
direction,  never  superficial  or  with  a 
downward  motion  [of  course,  always 
using  a  rich  lubricating  cream.] 

Oily  skin  is  much  more  susceptible  to 
blackheads,  whiteheads,  acne  and  other 
blemishes  than  is  the  dryer  type,  so 
extra  thorough  cleanliness  with  soap  and 
water,  creams  and  astringents  should  be 
the  constant  watchword  of  all  you  who 
possess  it.  Enlarged  pores  are  really 
dilated  oil  glands  which  have  come  to 
appear  like  large  pits  arotlnd  the  nose 
and  nearby  cheek  areas.  Besides  per- 
sistent cleanliness,  stimulation  with  cold 
applications  of  ice  or  ice  water  is  often 
helpful.  Drink  plenty  of  water  and  fruit 
juices  and  cut  down  on  rich,  highly  sea- 
soned foods.  Crisp  green  salads  and  all 
kinds  of  fresh  fruits  and  vegetables 
should  be  your  special  forte. 

THE  causes  of  acne  are  often  ob- 
scure, though  disturbances  of  the  oil 
glands  are  involved  somewhere  along 
the  line.  The  treatment  here  again  is 
meticulous  daily  cleansing  with  a  com- 
plexion brush,  soap  and  warm  water. 
Steaming  the  face  over  a  basin  or  with 
hot  towels  followed  by  application,  of 
cold  water  and  an  astringent  often  helps. 
Go  easy  on  the  make-up  while  your  skin 
is  in  such  a  condition.  Get  lots  of  sun- 
shine and  fresh  air.  Keep  yourself  to  a 
diet  free  from  starches  and  sweets,  and 
you  should  get  satisfactory  results.  If 
you  don't,  see  a  doctor.  Never  take 
chances  with  chronic  skin  blemishes. 
Try  to  break  yourself  of  the  bad  habit 


of  touching  soiled  hands  to  your  face. 
Infections  which  cause  many  kinds 
of  blemishes  often  originate  in  such 
thoughtless  mannerisms. 

All  cosmetic  care  of  the  skin  is  based 
on  the  three  important  principles  of 
cleansing,  stimulation  and  softening. 
We've  gone  pretty  thoroughly  into  the 
business  of  cleansing.  One  more  point 
we  might  add  before  we  go  on  to  stimu- 
lation. And  that  is,  never  apply  new 
make-up  over  old — or  over  a  soiled  skin, 
either.  Cleanse  away  every  trace  of  both 
and  start  fresh.  If  you  aren't  at  home 
where  you  can  use  soap  and  water,  you 
can  always  carry  a  small  tube  of  cleans- 
ing cream  or  a  flat,  purse-sized  box  of 
those  ready-to-use  cleansing  pads  we 
mentioned  before.  If  you  don't  want 
pores  that  are  clogged  and  distended  and 
a  complexion  that  looks  more  like  paste 
than  the  clear,  fine-grained  thing  of 
beauty  that  it  should  be,  do  heed  this 
little  warning.  And  never  use  a  powder 
puff  that  isn't  perfectly  clean.  A  fresh 
puff  every  day  is  not  only  a  mark  of 
feminine  daintiness  but  also  an  im- 
portant protector  of  complexion  loveli- 
ness. 

Under  the  heading  of  skin  stimulation 
you  want  to  put  down  not  only  local 
massage  but  also  sunshine,  outdoor  ex- 
ercise and,  to  a  lesser  but  still  important 
degree,  indoor  gymnastics.  Brisk  after- 
bath  rub-downs  with  cologne,  lotion  or 
just  a  clean,  heavy  towel — all  are  ex- 
cellent skin  stimulants. 

Face  patting  and  massage  exercises 
are  good  when  correctly  done.  Gently 
slapping  the  cheeks  with  your  open 
palms  covered  with  cream,  muscle  oil  or 
lotion  creates  a  gentle  suction  which 
stimulates  and  refreshes.  Patting  the 
forehead  upward  from  the  eyebrows 
with  a  firm,  rhythmic  movement  of 
hands  covered  with  a  lubricant,  relaxes 
and  helps  to  modify  those  horizontal 
lines  which  make  us  look  so  much  older. 
The  massage  motion  along  your  jaw  line 
should  be  a  fairly  smart  slapping  upward, 
from  chin  along  the  jaw  bone,  with  hands 
again  well  lubricated. 


Miss  Howard  placidly  takes  a  letter  from  her  beauteous  boss,  Joan  Crawford, 
amid  the  clatter  and  confusion  on  the  "Susan  and  God"  set. 


74 


MODERN  SCREEN 


BUTCH,  THE  BALLROOM  BARON 

(Continued  from  page  37) 


flying  elbows.  I'm  no  grandpappy  but, 
frankly,  I  can't  take  an  evening  of  jit— 
terbugging.  It's  a  little  too  much  on  the 
physical  culture  side." 

Cesar  Julio  Romero  II — the  Cisco  Kid 
to  you — went  Terpsichorean  at  the  age 
of  five  and,  as  he  says,  "to  the  tinny 
music  of  an  old  graphophone,  whirled 
around  the  kitchen  with  Victoria,  our 
negress  cook,  who  was  built  along  Aunt 
Jemima  lines." 

Years  later,  while  a  popular  profes- 
sional dancer  on  the  Great  White  Way 
and  in  the  swankiest  night  spots  in  many 
big  cities,  he  danced  with  the  A  to  Z 
in  variety  of  partners— some  of  America's 
best.  That  is  why  Hollywood  will  not 
protest  in  the  least  when  Cesar  says 
that  Mrs.  Lewis  Milestone,  wife  of  the 
producer,  Sally  Blane  and  Binnie  Barnes 
are  among  the  Grade  A  partners  in  cine- 
matic circles. 

"They  are  so  good  that  you  just  feel 
it.  You  can't  analyze  it  and  say  they  are 
tops  because  they  do  this  or  that  well," 
he  explained.  "They  are  the  best  just 
because  they  are.  See  what  I  mean?" 

I  did  more  or  less.  Yet  I  wanted  to 
know  more  about  how  Movieland's  stars 
and  glamourettes  act  within  the  arms  of 
the  romantic  Romero,  whom  Joan  Craw- 
ford calls  "Butch,  the  Ballroom  Baron." 
Rumor  has  it  that  Cesar  has  danced  with 
every  eligible  female  in  Hollywood. 
When  asked  about  this,  he  laughed  the 
kind  of  laugh  that  comes  from  mellow 
good  humor. 

"Preposterous,"  he  said.  "I  have  danced 


with  so  few  of  the  girls  in  this  town." 

Well,  if  "so  few"  amount  to  packages 
of  pulchritude  like  Marlene  Dietrich, 
Ann  Sheridan  and  .  .  . 

"I  mean,"  Cesar  quickened  the  pace  of 
his  words,  "all  this  business  about  my 
dancing  with  everyone  who  sets  foot  in 
the  wilds  of  a  Hollywood  night  club  is 
myth.  And,  in  this  case,  a  myth  is  as 
good  as  a  mile. 

"As  for  dancing  with  Marlene  Dietrich, 
actually  the  first  time  I  really  had  the 
opportunity  was  last  night  at  a  party 
given  by  the  Jack  Warners."  He  leaned 
forward,  speaking  earnestly. 

"She  is  a  woman  who  has  everything — 
culture,  poise,  allure.  And  her  dancing 
has  everything  she  possesses.  I  cannot 
understand  where  some  people  get  the 
notion  that  she  is  cold  and  distant.  She 
isn't.  There  is  not  the  least  bit  of  aloof- 
ness about  her.  She  never  closes  her 
eyes  when  she  dances;  I  remember  that 
clearly.  She  follows  every  step  with- 
out the  slightest  hesitation,  indecision 
or  error." 

U*OR  a  moment  Cesar  was  silent.  He 
*■  squashed  his  cigarette  in  the  gargoyle- 
shaped  ash  tray  and  began  thinking 
aloud,  gradually  putting  oomphasis  on 
Ann  Sheridan. 

"Take  Ann  Sheridan!"  (Which  would 
be  no  hardship.)  "She's  a  girl  few  people 
know  well.  She's  constantly  bantering. 
Her  humor  is  natural,  and  you  love  it. 
I  do,  especially,  because  I'm  moody  quite 
often.    She  talks  more  than  any  other 


star  while  she  dances.  Then  again,  some- 
times she  closes  her  eyes  entirely  and 
is  very  quiet. 

"I  don't  know  why  for  certain,  but 
Ann  often  kids  about  her  dancing.  She 
says  she's  going  to  notch  a  leather  belt 
at  home  for  every  time  she  autographs 
the  shine  on  my  shoes  with  the  soles  of 
hers.  Actually  she's  a  lot  better  than 
good  on  the  ballroom  floor. 

"I  think  she  has  an  inferiority  com- 
plex to  a  certain  extent.  She's  a  trifle 
camera-shy  on  the  floor;  she's  a  little 
like  Joan  Crawford  in  that  respect.  Ann 
radiates  warmth  and  friendliness.  Occa- 
sionally she  hums  a  tune  softly  while 
we  dance.  It's  pleasant.  Often  she's  told 
me  how  this  'oomph  girl'  business  has 
affected  her.  She's  still  worried  about 
too  big  a  build-up  and  a  possible  let- 
down." 

Cesar,  who  has  never  danced  with 
tears  in  his  eyes,  doesn't  mind  a  girl's 
humming  or  singing  while  dancing.  A 
cheerful  little  earful  is  all  right,  if  the 
singer  doesn't  try  to  entertain  the  entire 
room  and  if  her  voice  isn't  scratchy.  In 
fact,  Cesar  catches  himself  vocalizing  at 
times. 

"Sonja  Henie  is  a  hummer  when  she 
dances,"  he  confided.  "Slow  music  us- 
ually makes  her  sing  softly.  She's  a  girl 
who  is  a  spontaneous,  tireless  dancer. 
When  my  legs  are  wobbly,  she  still  has 
energy  to  burn.  On  a  date  with  either 
Sonja  or  Loretta  Young  you  can  be  sure 
you  won't  sit  out  a  number  the  whole 
evening.  They  dance  a  full  program. 


YVONNE  FOX,  SYRACUSE  UNIVERSITY  JUNIOR,  SAYS: 


4  #JL 


AND  IT'S  YOURS  WITH  THIS  FACE  POWDER 
YOU  CHOOSE  BY  THE  COLOR  OF  YOUR  EYES! 


Follow  the  modern  trend  in  makeup! 
Achieve  the  engaging  natural  look  of 
gay,  young  "collegiennes."  It's  easy 
with  Richard  Hudnut  Marvelous  Face 
Powder  .  .  .  the  wonderful  new  powder 
you  choose  by  the  color  of  your  eyes! 

Eye  color,  you  see,  is  definitely  re- 
lated to  the  color  of  your  skin  and  the 
color  of  your  hair.  It  is  the  simplest 
guide  to  cosmetic  shades  that  match 
and  glorify  the  beauty  of  your  own 
coloring  .  .  .  give  you  that  modern 
natural  look  that  men  prefer! 


So,  whether  your  eyes  are  blue,  brown, 
gray  or  hazel,  you'll  find  the  shade  that 
is  exactly  right  for  you  in  Hudnut 
Marvelous  Face  Powder  .  .  .  the  pure, 
fine-textured  powder  that  you  choose 
by  the  color  of  your  eyes! 

See  how  smoothly  Marvelous  Face 
Powder  goes  on  .  .  .  how  it  agrees  with 
even  the  most  sensitive  skin!  And  how 
it  lasts — ends  powder-puff  dabbing  for 
hours  and  hours!  For  complete  color  har- 
mony, use  matching  Marvelous  Rouge 
and  Lipstick,  too. 


Hudnut  Marvelous  Face  Powder  and  harmonizing  Rouge  and  Lipstick 
at  drug  and  department  stores — only  55i  each.  65i  in  Canada. 


HUDNUT 

ITlflRVELOUS 

FACE  POWDER 

AND    MATCHED  MAKEUP 


PERSONAL  TRY-OUT  KIT! 

Generous  junior  sizes  of 
Hudnut  Marvelous  Face 
Powder  and  harmonizing 
Rouge  and  Lipstick  .  .  . 
packaged  together  in  an 
attractive  kit,  perfect  for 
home  or  office. 


In  Canada,  65? 


t 


JUNE,  1940 


77 


The 

time  has 

come 

for 

Beech-Nut 

Gum 

Bicycling!  Tennis!  Gotf!  All  sports 
are  extra  fun  when  you  refresh 
with  Beech  -Nut  Gum.  Your  choice 
of  Peppermint,  Spearmint,  Oral- 
gum  and  three  flavors  of  candy- 
coated  BEECHIES,  Peppermint, 
Spearmint  and  Pepsin.  Beech-Nut 
Gum  -  is  made  in  Flavor -Town 
(Canajoharie,  N.  Y.)  .  .  .  famous 
for  Beech-Nut  flavor  and  quality. 


Beech-Nut 
Gum 


"One  odd  thing  about  Sonja.  She 
dances  beautifully.  Then,  occasionally, 
you  find  her  trying  to  lead  you.  Gently 
you  exert  pressure  on  her  back.  Then 
she  realizes  what  she  has  been  doing, 
smiles,  relaxes  and  goes  on  smoothly. 
She's  easily  as  graceful  on  the  waxed 
floor  as  she  is  on  ice,"  he  said. 

Columnists  would  have  us  believe 
Cesar  Romero  confines  himself  to  two 
activities:  nightclubbing  with  filmdom's 
fairest  and  emoting  in  pictures. 

Truth  is,  bright  lights  have  lost  their 
magnetic  attraction  for  Cesar.  He  spends 
most  of  his  nights  in  his  Brentwood 
apartment,  relaxing  from  a  day's  work 
by  reading  anything  and  everything 
from  Steinbeck  to  "Ferdinand  the  Bull." 

His  favorite  topic  is  the  nine-room, 
Mexican  ranch  house  he's  having  con- 
structed on  a  100  by  300  foot  hillside 
lot  in  Brentwood. 

"It  won't  be  long  now,"  he  said,  "and 
Joe,  my  colored  houseboy,  and  I  will  be 
moving  in — to  peace  and  quiet.  But  don't 
get  me  wrong.  This  building  project 
doesn't  mean  that  I'll  turn  Kermit  the 
Hermit.  I'll  still  go  out  dancing  and  to 
parties  occasionally.  Nor  does  it  mean 
that  I'm  choosing  a  co-ruler  for  the 
House  of  Romero.  There's  no  immediate 
danger  of  my  getting  married." 

ALL  of  which  implies  that  Cesar  hasn't 
■asked  Joan  Crawford,  Ann  Sheri- 
dan, Loretta  Young,  Sonja  Henie,  nor 
any  unknown  quantity  in  Movieland  to 
take  fittings  for  a  ring.  However,  he 
says  that  the  girl  to  whom  he  puts  the 
important  question  will  not  have  to  be 
a  Crawford  on  the  dance  floor.  "So  long 
as  she  is  fairly  lissome,  light  on  her  feet 
and  has  rhythm — that's  enough.  If  she 
has  the  beauty  of  blonde  Virginia  Bruce, 
brunette  Dolores  Del  Rio  or  copper- 
haired  Marlene  Dietrich,  I  shall  be  more 
than  satisfied.  Life  isn't  just  a  song  and 
a  dance;  I  know  that.  Beauty  isn't 
enough,  either.  I  want  someone  with  a 
good  sense  of  humor  to  cheer  me  up 
when  I'm  moody;  I  want  a  person  with 
intelligence  and  kindness,  and  one  who, 
more  or  less,  likes  what  I  do." 
Well,  there's  the  formula,  girls. 
Legend  has  it  that  Cesar  Romero  has 
never  been  seen  to  make  a  misstep  on 
a  ballroom  floor. 

"Don't  believe  a  word  of  that,"  Cesar 
says  and  insists  that  if  Hollywoodians 
actually  do  think  highly  of  his  dancing 
it  is  because  they  have  never  seen  him 
do  a  nosedive. 

Some  years  ago  in  Jersey  City,  New 
Jersey,  before  he  was  his  suave,  tux- 
edoed,  1940  self,  he  danced  with  "a  sweet 
girl  named  Lillian  Mundt."  They  whirled 
wildly  with  the  music  and  seemed  to 
have  been  made  for  each  other  until 
they  ran  into  the  foot  of  a  nearby  dancer. 
Whack!  Cesar's  leg  struck  the  other 
person's. 

"Up  we  went  and  over."  He  laughed 
loudly.  "I  plopped  on  my  back,  and  she 
landed  on  top  of  me.  It  was  on  the  edge 
of  the  crowd,  right  near  the  stag  line. 
One  of  my  friends  in  the  line  turned 
Brutus  and  commented  in  a  foghorn 
voice,  "How  the  mighty  Cesar  hath 
fallen." 

Despite  the  fact  that  the  Ballroom 
Baron's  list  of  the  five  best  male  dancers 
in  Hollywood  does  not  include  himself, 
Cesar  is  Number  One  Male  Dancer.  And 
girls  hereabouts  would  trip  the  light  fan- 
tastic in  stocking  feet  on  carpet  tacks  to 
get  him  as  a  partner. 

Incidentally,  George  Murphy,  George 
Raft,  Fred  Astaire,  Lee  Bowman  and 
Paul  Draper  are  the  Romero  choices. 

"There  aren't  many  excellent  dancers 
among  the  actors,"  he  said.  "You  would 
be  surprised  how  many  prominent  males 


take  dancing  instructions.   Now  it  may  1 
sound  peculiar  that  I  think  Fred  Astaire  1 
is  excellent  on  the  ballroom  floor,  for  "  j 
when  he's  out  in  public,  he  just  dances.  ! 
Once  he  said  to  me,  'I  don't  dance  for 
show  purposes  when  I'm  at  a  night  club. 
I  forget  about  cameras,  sound  and  tap- 
ping and  just  get  lost  in  the  shuffle.' " 

The  Commandments  For  Women  Danc- 
ers which  Cesar  framed  while  lazing 
in  the  soft  chair  of  the  sunlit  publicity 
office,  are  worth  noting: 

1.  Thou  shalt  not  chin  thyself  on  thy  , 
partners  shoulder,  nor  hook  your  arm 
around  his  neck  and  anchor  him  down. 

2.  Thou  shalt  not  dance  on  thy  part- 
ner's feet.    (Stand  on  your  own  two.) 

3.  Thou   shalt   not   kill   romance   by  I 
over -cuddling,  sticking  to  your  partner 
like  fly  paper. 

4.  Thou  shalt  not  covet  thy  neighbor's 
partner.  (At  least  not  openly  in  winks,  i 
come-on   looks,    or   smiles    over  your 
partner's  shoulder.) 

5.  Thou  shalt  not  lead  thy  partner. 
(Born  leaders  are  all  right  in  biogra- 
phies and  in  business,  but  on  the  dance 
floor  they  are  as  popular  as  the  boors 
who  windmill  around  knocking  into 
everyone  around  them.) 

6.  Thou  shalt  not  deliver  a  monologue 
of  chatter  during  the  dance. 

7.  Thou  shalt  not  display  affection. 
(There's  a  time  and  place  for  everything. 
It  may  be  "Stardust"  or  muted  trumpets 
or  a  couple  of  whiskey  sours  that  put 
your  inhibitions  in  their  place.  But  re- 
serve the  lipstick  smooches  on  his  cheek 
till  A.D. — after  dance.) 

8.  Thou  shalt  not  wear  a  hat  that  will 
keep  him  at  a  distance. 

9.  Thou  shalt  not  forget  that  personal 
cleanliness  is  next  to  godliness.  (And 
carelessness  is  next  to  impossible  for  the 
girl  who  wants  to  be  popular.  Dancing 
means  exercise,  and  exercise  means,  well, 
it  means  that  perhaps  one  happy  couple 
may  become  two  sorry  people.) 

10.  Thou  shalt  not  stand  straight  as  a 
poker  nor  bent  as  a  bow.  (Position  may 
not  be  everything  in  life,  but  in  dancing 
it  is  important.  An  in-between  posture 
that  is  relaxed  is  best.  And  the  tall  girl 
with  a  shorter  partner  should  not  try  to 
cut  inches  from  her  height  by  bending 
in  the  middle.  Because  height  becomes 
width,  and  width  increases  Southern  Ex- 
posure. It  is  well  to  be  tall  gracefully, 
and  beware  of  being  caught  short.) 

BUTCH,  the  Ballroom  Baron  hasn't 
danced  his  way  to  screen  renown. 
He's  specialized  in  being  any  of  57  varie- 
ties of  cad.  When  casting  directors 
think  of  a  movie  triangle,  they  imme- 
diately visualize  Cesar  Romero  as  the 
third  angle. 

Cad  has  been  the  word  for  Cesar  until, 
recently,  when  he  took  over  the  heroic 
Cisco  Kid  roles  where  Warner  Baxter 
left  off.  It  was  for  "The  Cisco  Kid  and 
the  Lady"  that  he  polished  up  his 
rhumba.  He  actually  danced  before  the 
camera. 

To  dance  or  not  to  dance  may  be  the 
question,  but  not  for  Romero.  It  is  im- 
material to  him  if  his  dancing  is  re- 
corded on  celluloid.  He  likes  the  novelty 
of  Cisco  Kid  assignments,  and  doesn't 
mind  being  triangular. 

"I  don't  like  to  receive  hisses,  nasty 
fan  letters  or  time  bombs,"  he  said.  "But 
so  long  as  being  a  cad  keeps  me  in  the 
movies  and  in  the  money  and  gives  me 
a  chance  to  dance  with  Joan,  Loretta, 
Sonja,  Ann  and  the  others,  I  don't  mind. 
Not  bad  compensation,  is  it?" 

Not  bad  at  all.  And,  conditions  being 
the  same,  who  wouldn't  cultivate  side- 
burns, acquire  an  accent,  study  the 
rhumba,  and  become  an  Ail-American 
Cad  to  be  in  Cesar  Romero's  oxfords? 


78 


MODERN  SCREEN 


CALLING  ALL  SECRETARIES! 

(Continued  from  page  47) 


never  had  a  vacation — has  never  wanted 
one.  He's  six  feet  tall  and  looks  like 
your  favorite  collar  ad.  Once  he  won  a 
scholarship  to  the  New  York  School  of 
the  Theatre  and  studied  there  for  two 
years.  He  also  directed  a  summer  theatre 
group  for  three  seasons.  He'd  still  like 
to  be  an  actor  but  doesn't  intend  to  ride 
in  on  the  boss'  pull.  He  has  a  comfort- 
able berth  at  present,  and  he's  willing  to 
let  the  other  matter  take  its  course. 

Though  they  seldom  pat  him  on  the 
back,  Walter  knows  that  Melvyn  and 
Helen  Douglas  are  genuinely  interested 
in  him.  They  proved  it  once,  very  beau- 
tifully. It  seems  that  Walter  was  in  love 
and  suddenly,  one  afternoon,  his  girl 
announced  her  engagement  to  someone 
else.  When  the  Douglases  heard  the 
news,  they  wired  from  Tucson,  the  im- 
mortal words:  "Dear  Walter,  don't  be 
too  unhappy  about  Patty.  We  will  raise 
your  salary  so  you,  too,  can  buy  a  ring. 
We  love  you."  Things  like  that  keep  a 
man  satisfied  with  his  job. 

Bill  Gallagher's  story  is  a  variation  of 
a  familiar  theme.  Five  years  ago  Tyrone 
Power  was  in  New  York  working  with 
Katharine  Cornell.  His  guardian,  who  is 
Bill's  uncle,  came  east  and  introduced 
the  boys.  Later,  when  Ty  was  settled  in 
Hollywood,  he  remembered  Bill,  sent  for 
him  and  they've  been  inseparable  ever 
since. 

Gallagher,  a  31-year-old  fugitive  from 
Fordham  University,  considers  keeping 
Ty  level-headed  his  main  duty.  After  a 
preview,  when  the  leeches  and  yes-men 
gather  around  and  buzz  nauseating  flat- 


tery into  the  young  actor's  ear,  Bill  takes 
him  aside.  If  Bill  thinks  the  others  aren't 
honest,  he  says,  "Boss,  the  picture  was 
a  stinker!  If  you  listen  to  those  blood- 
suckers, I'll  bawl  hell  out  of  you!"  Bill 
further  endears  himself  to  his  employer 
by  showing  him  all  bad  press  notices 
and  repeating  all  adverse  comments  he 
hears  about  him. 

Working  at  home,  or  in  a  studio  dress- 
ing-room or  on  an  airplane  en  route  to 
South  America,  Bill  takes  dictation  in 
longhand  so  that  Ty  can  read  it  back 
himself.  He  also  purchases  Ty's  shoes 
and  shirts  and  frequently  shops  for 
Annabella. 

HIS  great  fun,  though,  is  fussing  with 
Ty's  electric  trains.  Mr.  P.  was  al- 
ways interested  in  trains  but  never  had 
the  patience  to  build  them.  Bill  was 
always  interested  in  trains  but  never  had 
the  money  to  build  them.  Now  Bill  does 
the  detail  work,  and  Ty  is  happy  to  come 
around  and  play. 

"It's  a  swell  job!"  exclaims  Bill,  "es- 
pecially since  Ty's  married.  I  once  had  to 
go  everywhere  with  him — to  the  dentist, 
to  the  doctor,  to  the  bank.  But  Anna- 
bella's  taken  over  half  my  duties  so  I 
have  more  time  to  myself." 

Iola  Clark  is  a  twenty-four-year-old 
eyeful  who's  fairly  new  at  her  job. 
Trained  in  high  school  and  business  col- 
lege, and  having  pushed  a  pencil  for  an 
insurance  company  and  an  aluminum 
company,  Miss  Clark  is  now  in  the  em- 
ploy of  Edward  G.  Robinson. 
Three  months   ago,  a  friend  of  the 


Robinsons,  hearing  they  needed  a  secre- 
tary, drove  Iola  to  their  ranch  and  intro- 
duced her.  After  spending  three  sleep- 
less nights  anticipating  the  interview,  she 
landed  the  job  right  off. 

Today,  Iola  is  fast  becoming  a  veteran. 
She  works  in  a  cottage  in  the  shadows 
of  the  ornate  Robinson  abode.  Since  the 
Warner  Brothers  studio  takes  care  of 
Robinson's  fan  letters,  she  handles  only 
radio  and  personal  mail.  She's  at  her 
desk  from  nine  in  the  morning  until  five 
in  the  afternoon. 

Sometimes,  she  is  not  only  a  secretary, 
but  a  nurse,  editorial  assistant  and  guide. 
She  takes  young  Manny  Robinson  to  his 
father's  broadcasts,  helps  Mrs.  R.  in  the 
preparation  of  her  weekly  magazine 
column  and  escorts  Robinson's  visitors, 
art  critics  and  collectors  through  the 
house,  pointing  out  the  Van  Goghs  and 
Picassos. 

Despite  the  infinite  and  upsetting  va- 
riety, or  maybe  because  of  it,  Iola  loves 
her  work.  She  loves  the  things  that  go 
with  it — the  association  with  a  fine  man, 
the  people  she  meets  and  the  carefully 
prepared  lunches  served  to  her  by  the 
family  butler. 

And  now,  having  met  five  typical 
Hollywood  aides  and  opened  the  door  on 
their  business  lives,  do  you  still  want 
to  be  a  secretary  to  a  star?  You  prob- 
ably do. 

Sure,  maybe  sometimes  it  is  three 
kinds  of  hell.  Maybe  it's  not  confined 
to  anything  as  sweet  and  simple  as 
shorthand.  But  it  is  a  good  living  on  a 
merry-go-round  of  thrill  and  gossip. 


"Colgate's  special/>eH- 
etrating  foam  gets  into 
hidden  crevices  be- 
tween your  teeth  .  .  . 
helps  your  toothbrush 
clean  out  decaying 
food  particles  and  stop 
the  stagnant  saliva  odors  that  cause 
much  bad  breath.  And  Colgate's 
safe  polishing  agent  makes  teeth 
naturally  bright  and  sparkling!  Al- 
ways use  Colgate  Dental  Cream — 
regularly  and  frequently.  No  other 
dentifrice  is  exactly  like  it." 


NOW-  NO  BAD  BREATH  BEHIND  HER  SPARKLING  SMILE  / 


JUNE,  1940 


79 


New  under-arm 

Cream  Deodorant 


safely 


Stops  Perspiration 


1.  Does  not  harm  dresses  —  does  not 
irritate  skin. 

2.  No  waiting  to  dry.  Can  be  used 
right  after  shaving. 

3.  Instantly  checks  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  "white,  greaseless,  stainless 
vanishing  cream. 

5.  Arrid  has  been  awarded  the 
Approval  Seal  of  the  American 
Institute  of  Laundering  for  being 
harmless  to  fabric. 


More  than  25  MILLION 
jars  of  Arrid  have  been 
sold  ..  .Try  a  jar  today. 


ARRID 


39<* 


a  jar 


AT  ALL  STORES  WHICH  SELL  TOILET  GOODS 
( Also  in  10  cent  and  59  cent  jars ) 


WAKE  UP  YOUR 
LIVER  BILE  - 

Without  Calomel — And  You'll  Jump  Out 
of  Bed  in  the  Morning  Rarin'  to  Go 

The  liver  should  pour  out  two  pints  of  liquid 
bile  into  your  bowels  daily.  If  this  bile  is  not  flow- 
ing freely,  your  food  may  not  digest.  It  may  just 
decay  in  the  bowels.  Gas  bloats  up  your  stomach. 
You  get  constipated.  You  feel  sour,  sunk  and  the 
world  looks  punk. 

It  takes  those  good,  old  Carter's  Little  Liver  Pills 
to  get  these  two  pints  of  bile  flowing  freely  to 
make  you  feel  "up  and  up."  Amazing  in  making 
bile  flow  freely.  Ask  for  Carter's  Little  Liver  Pills 
by  name.  104  and  25^  at  all  drug  stores.  Stubbornly 
refuse  anything  else. 

NEW  ODORLESS*  CREAM 
safely  REMOVES  HAIR 

Nair  is  painless  .  .  .  not  irritating  to  normal 
healthy  skin...*no  sulphide  depilatory  odor... 
economical. ..39?!  a  tube  at  stores  or  mr  <m  wmm 
from  Carter  Products,  New  York.  IvAlAi 


ft 


n 


u 

L 

THESE  COTTONS  ARE  FUN  TO  MAKE  AND  FUN  TO  WEAR 


3 


IF  you've  finally  tucked 
away  your  woolly 
Brookses  and  are  already 
pining  for  their  com- 
fortable casualness,  take 
heart,  for  here  are  two 
brand  new  summer 
loves.  Both  are  of 
pebble-twist  cotton  and 
are  zephyr-light  in  spite 
of  their  sturdiness. 

Every  smart  girl 
knows  that  summer  is 
really  the  season  where- 
in a  young  man's  fancy  ■■■  '" 
turns  to  thoughts  of 
love,  and  it  would  take 
a  mighty  stalwart  chap 

to  resist  you,  jaunty  and   ■*—  

gay  in  the  little  striped 
number  above,  or  allur- 
ingly feminine  in  the 
cardigan,  right. 

Wear  the  pullover  for 
your  gamin  moments.    He'll  think  you're 
the  world's  best  sport  when  the  sailboat 
tips  over,  and  you  come  up  drenched  but 
smiling,  knowing  your  sweater's  color-fast. 

The  figure -hugging  cardigan  is  a  co- 
quette at  heart.  It's  at  home  on  the  beach 
and  even  at  the  country  club  dance,  atop 
a  bright  cotton  skirt.  It  tubs  beautifully, 
too,  and  is  a  real  pick-me-up  for  any  of 
your  dresses  when  worn  jacket-fashion. 

Instructions  for  making  either  or  both 
of  these  adorable  sweaters  are  yours  just 
for  the  asking.  Fill  in  the  coupon,  and 
we'll  send  you  full  details,  absolutely  free. 


ANN  WILLS,  Modern  Screen 

149  Madison  Avenue,  New  York,  N.  Y. 

Kindly  send,  at  no  cost  to  me: 

Knitting  directions  for  No.  616  

Knitting  directions  for  No.  614  

I  enclose  a  stamped,  self-addressed  (large) 
envelope. 

Name  

Address  

City  State  

Check  one  or  both  designs  and  please  print 
name  and  address  plainly. 


80 


MODERN  SCREEN 


SUCCESS  WITH  A  WHOOP! 

(Continued  from  page  35) 


"You  are  just  a  butterfly  floating  on 
the  crest  of  a  wave  of  idleness!  You 
think  you  can  skim  along  without  doing 
any  work.  You'll  never,  never  get  any- 
where!" 

Burned  to  a  fine  cinder,  Ann  swished 
right  out  of  class  and  didn't  go  back  that 
afternoon,  or  any  other.  Instead  she  took 
a  walk  and  the  more  she  walked  the 
madder  she  got.  When  she  was  hitting 
somewhere  around  the  boiling  point,  she 
passed  a  Los  Angeles  radio  station, 
KFAC,  and  the  white  fire  of  indignation 
flared  up  with  an  idea.  She  popped  right 
in  and  said,  "I'm  having  difficulties.  I've 
got  to  have  a  job."  And  the  funny  thing 
is — that's  what  she  got! 

Not  very  many  thirteen-year-old  girls, 
of  course,  would  stand  a  chance  of  walk- 
ing in,  unknown,  unhonored  and  unsung 
and  landing  a  job  in  a  radio  station. 
But  Ann  at  thirteen  was  really  a  veteran 
actress.  "In  fact,"  chattered  Annie  be- 
tween chops,  "I  was  a  has-been.  I  was 
all  washed  up  at  nine.  What  I'm  doing 
now  is  really  my  comeback!" 

Her  father,  John  Rutherford,  alias 
John  Guilberti,  was  a  famous  tenor  with 
the  Metropolitan  Opera  Company  in  New 
York,  before  he  reformed  and  became 
a  San  Francisco  broker.  Her  mother  was 
a  Mansfield,  and  the  pride  of  her  Ken- 
tucky tribe  was  a  cousin  named  Richard 
Mansfield,  a  pretty  fair  Shakespearean 
star,  as  everybody  knows.  You  see,  it 
was  in  the  blood. 

Ann  herself  had  toddled  away  from 
her  toys  to  play  in  "Mrs.  Wiggs  of  the 
Cabbage  Patch"  with  a  San  Francisco 


stock  company  when  she  was  still  in 
kindergarten.  She  kept  up  kiddie  acting 
until  her  front  teeth  developed  yawning 
gaps.  Then  she  resigned  herself  to  school 
— until  the  ancient  Phoenicians  forced 
her  into  poesy,  and  poesy  forced  her  into 
public  disgrace. 

Anyway,  KFAC  put  her  in  a  radio 
thriller  called  "Nancy  and  Dick  and  the 
Spirit  of  '76."  With  the  money  she  drew, 
Ann  could  afford  a  tutor  who  wouldn't 
fuss  about  reading  her  poetry.  She  was 
very  happy  in  her  radio  work,  too,  be- 
cause, as  I  said,  Ann  would  rather  talk 
than — well,  maybe  not  eat,  but  she  does 
like  to  talk. 

A FEW  weeks  ago,  for  instance,  when 
her  studio  sent  Ann  east  on  a  per- 
sonal appearance  tour,  a  studio  writer 
said  he'd  write  her  something  to  say  on 
the  stage.  "Oh,  no!"  said  Ann,  "I'll  just 
talk." 

"But  what  about?"  inquired  the  writer. 

"Oh,  lots  of  things,"  said  Ann.  "That's 
easy."  She  rattled  on  through  twenty- 
one  states,  chattering  from  theatre  stages 
for  twenty  minutes  at  a  time  and  never 
missing  a  lick.  She  never  had  a  script. 
,  In  Washington,  where  some  Southern 
senators  entertained  her  at  lunch  in  the 
Capitol,  Senator  Radcliffe  made  the  mis- 
take of  saying,  "And  now  we'll  hear  from 
Miss  Rutherford."  It  was  very  edifying, 
they  say,  to  see  Solons  "Cotton  Ed" 
Smith,  Radcliffe,  Byrnes,  Speaker  Bank- 
head  and  all,  sitting  around  just  listen- 
ing for  a  change — and  to  a  twenty-year- 
old  Hollywood  girl  at  that.    But  there 


isn't  much  even  a  senator  can  do  when 
Ann  gets  going. 

Of  course,  talking  is  the  main  idea  in 
front  of  a  microphone.  So  Ann  was  a 
natural  at  KFAC.  The  Spirit  of  '76  was 
absorbing  but  not  enough  to  keep  Ann 
out  of  multiple  mischief.  Around  the 
broadcasting  studio  she  was  soon  running 
in  and  out  of  every  program  in  the  place, 
being  a  baby's  gurgle  one  minute  and 
an  eerie  scream  the  next.  One  day  an 
agent,  John  Lancaster,  who  is  Ann's 
manager  today,  dropped  by  and  heard  a 
particularly  blood-curdling  yelp,  saw  the 
fair  face  that  uttered  it  and  was  im- 
pressed. He  dashed  in  to  the  manager. 
"I  want  to  meet  the  girl  who  does  all 
the  screaming  around  here,"  he  de- 
manded. That  was  Annie. 

Well — before  she  knew  it  Ann  was 
making  a  screen  test  at  the  old  Fox 
studios,  in  a  cast-off  dress  of  Janet  Gay- 
nor's.  All  of  which  shows  you  can  some- 
times crack  Hollywood  by  yelling  loudly 
enough.  Not  that  the  Fox  test  did  it  for 
Ann,  for  it  really  happened  later  at 
Republic.  Ann  did  a  little  discreet  fib- 
bing about  her  age.  You  can  work  only 
six  hours  a  day  by  California  law  when 
you're  sixteen,  and  Ann  wanted  to  work. 
She  said  she  was  eighteen,  changed  her 
name  from  Mary  to  Ann  and  became  the 
horse-opera  queen  of  San  Fernando  Val- 
ley, with  Gene  Autry  and  John  Wayne 
and  Republic's  crop  of  cinema  cowpokes. 

What  Annie  did  at  Republic  was  typ- 
ically Rutherford.  She  arose  at  the  crack 
of  dawn  and  worked  far  into  the  night. 
She    made    thirteen    pictures    in  nine 


PEPSI   ^  PETE 


^ofcfcACH  BOTTLE 


V  MAKE  SUR£. 
6RANDTASr/A/^ 


;,  to01' 


GOOD  NEWS  FOR  HOSTESSES 

It's  easy  and  economical  to  entertain  when 
you  have  Pepsi-Cola  in  the  house.  The 
handy  home  carton  holds  6  big  bottles  — 
and  each  bottle  holds  12  full  ounces. 


JUNE,  1940 


81 


„„  w  »»»'  <°  „U  »=  «"       0,cHlO  • 

•  R£0  R« UR  *6°    »y  .  U6H1  •  *l* 


i  in  o  dltt    -.her  «l,h  wt 
end   


1     Send  r^e  5  V             y  T^sue .      ^  ,„ 
I  stomps  or  co   


10*  and  25* 


•  Also  ask  for  FLAME -GLO  ROUGE  in  harmonizing  colors! 


a  SHAMPOO 

Ml 


JUT,  dull  hair  will  shine  like  satin  and  drab 
'hair,  like  pale  cheeks,  only  needs  a  little 
makeup  to  have  a  healthy,  peppy  look  or  to  hide  a 
prematuresprinkleof  gray.  These  thrilling  features 
can  be  had,  by  using  the  New  Golden  Glint  Shampoo 
and  Rinse.  The  splendid  new  certified  colors  in  the 
New  Golden  Glint  are  exciting  and  safe  to  use — like 
makeup,  it  washes  out  but  won't  rub  off.  Woman's 
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lovely,  soft-glowing,  colored  highlights.  Get  the  New 
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(PLEASE  PRINT) 


Address  _ 


City  and  State  

PLEASE  RUSH.  Enclosed  find  Ten  Cents  (10c)  in 
coin  for  handling  charges.  My  shade  of  hair  is  

□  Brunette  Q  Blonde    □  White  or  Platinum 

□  Brownette       □  Auburn    □  Lustre  (Colorless) 


GDI  flPII  Rl  IIIT.  632  RAINIER  AVENUE, 
UULUCII  ULIIII  *  SEATTLE.  WASHINGTON, U.S.A. 


months,  until  her  mother  stepped  in  and 
firmly  yanked  her  into  court  to  break 
her  contract.  "By  which  time,"  recalled 
Ann,  "the  circles  under  my  eyes  had 
turned  to  ruffles!"  But  that  shows  you 
what  her  studio  is  up  •  against  trying  to 
keep  Annie  comparatively  relaxed  with- 
out pinning  her  down  with  a  hypodermic. 

The  sad  truth  is  that  Ann  Rutherford 
is  a  natural-born  fussbudget,  chatterbox, 
busybody  and  one-girl  perpetual  motion 
machine.  She  knows  it,  but  she  just 
can't  help  it.  She's  a  young  lady  in  a 
rush — to  get  something  done. 

"On  the  set,"  Ann  confessed;  "they're 
calling  me  'the  little  eavesdropper.'  That's 
because  I'm  always  snooping  around  lis- 
tening to  Greer  Garson  and  Laurence 
Olivier's  conversation.  I  know  it  isn't 
nice,  but  I've  simply  got  to  develop  an 
English  accent!" 

SHE  keeps  a  hunk  of  plastolene  for 
modeling  in  her  otherwise  dainty 
studio  dressing-room,  "just  to  keep  busy" 
in  the  rare  minutes  she  has  away  from 
the  set.  She  hauls  her  knitting  bag  all 
over  the  lot.  Wherever  she  goes,  needles 
are  clicking  like  a  turnstile.  She's  always 
whipping  up  a  poem,  dipping  into  a  book 
or  doing  something  between  takes. 

At  home,  in  the  duplex  flat  where  Ann 
lives  with  her  mother,  grandmother  and 
older  sister,  Judith,  restless  Annie  keeps 
buzzing  busily  around  like  a  jitterbug 
bee.  She  practices  on  her  baby  grand 
piano,  or  gives  French  a  whirl  with  her 
lingaphone  records.  She  furiously  clat- 
ters out  long  letters  to  her  friends  on 
the  typewriter.  She  polishes  up  her  col- 
lection of  toby-jugs,  punches  away  at  a 
needlework  chair  cover,  starts  changing 
the  furniture  around  or  fusses  around 
her  cages  of  canaries  and  parakeets. 

If  she  can't  think  of  anything  better 
to  do,  Ann  drags  a  big  bass  drum  and 
set  of  traps  out  of  the  corner.  The  drum 
has  a  lovely  yellow  moon  painted  on 
the  head,  and  when  Ann  turns  a  switch 
the  moon  lights  up.  Then  she  beats  out 
time  to  radio  dance  bands,  which  is 
pretty  tough  on  the  family  and  the 
neighbors. 

Usually,  however,  Ann  has  far  more 
to  do  than  rattle  out  riffs.  She  makes 
practically  all  her  own  clothes,  except 
shoes  (which  are  her  pet  extravagance) 
and  the  crazy  lapel  jewelry  (which  is 
her  weakness).  She  sketches  her  own 
designs,  snips  a  pattern  and  sews  it  into 
a  quick  Rutherford  creation.  If  she  sees 
a  particularly  tricky  fashion  at  the 
studio,  Ann's  not  averse  to  a  little  piracy. 
She  can  copy  like  a  cat  and  hum  a 
dress  out  of  her  sewing  machine  or  a 
hat  off  her  frames  between  dinner  and 
bedtime. 

When  the  studio  packed  her  away  on 
personal  appearances,  Ann  had  just  two 
hours  to  get  ready.  There  was  hardly 
time  to  pack,  let  alone  shop.  Ann  didn't 
have  a  thing  to  wear  in  the  cocktail  hat 
department.  So  she  tossed  her  needles, 
thread,  scissors  and  hat  frames  into  her 
traveling  bag.  Before  she'd  crossed  the 
desert,  two  bonnets,  a  blue  with  a  bustle 
and  a  red  velvet  with  a  fox  head,  hung 
on  her  clothes  hooks.  "I  wore  them  all 
the  time,  too,"  asserted  Annie.  "I've  got 
pictures  to  prove  it.  What's  more,  they 
looked  darn  cute!  Everybody  said  so!" 

That's  another  nice  thing  about  Ann. 
If  she  thinks  she's  good,  she  doesn't  keep 
it  a  secret.  For  instance,  Ann  admits  she 
makes  just  about  the  best  potato  pan- 
cakes and  sausage  in  town  when  she 
entertains  her  friends  at  Sunday  morning 
breakfast.  She  states  flatly  that  she 
doesn't  go  to  beauty  parlors  because 
they're  uncomfortable,  and  she  can 
shampoo  rings  around  the  best  of  'em, 
anyway.  She'll  tell  you  about  the  needle- 


point footstool  she  has  just  refinished 
and  admit  it's  a  masterpiece.  And  Ann's 
very  frank  about  why  she  makes  her 
own  clothes.  "I  know  what  I  want,"  ex- 
plained Annie,  "but  I  can  shop  all  day 
and  never  find  it.  So  I  make  it  myself!" 

A  young  lady  with  a  mind  of  her  own 
will  get  along  almost  anywhere  and  is 
bound  to  win  friends  and  influence  peo- 
ple. Nobody  at  her  studio,  where  she's 
a  spoiled  pet,  wants  Annie  to  change. 
But  they  do  admit  that,  when  they  got 
her,  they  had  no  idea  what  they  were 
getting. 

M-G-M  first  pulled  Annie  to  Culver 
City  for  a  rather  sentimental,  sticky 
short  subject,  "Annie  Laurie."  Ann,  they 
thought,  was  exactly  the  sweet,  wistful 
type  to  picturize  the  old  Scotch  ballad. 
They  have  reaped  some  headaches  in- 
stead of  haunting  heart  throbs  via  Annie 
incarnate,  but  things  have  always  turned 
out  for  the  best,  so  everybody's  satisfied. 

For  instance,  maybe  you  didn't  know 
that  Mickey  Rooney  wasn't  the  original 
choice  for  Andy  Hardy.  The  Hardys 
started  out  as  a  little  picture  called  "A 
Family  Affair,"  and  Ann  Rutherford 
drew  the  part  of  Polly.  Frankie  Thomas, 
not  Mickey  Rooney,  was  then  tagged  for 
the  boy  role,  but  Frankie  turned  out  to 
be  too  tall  for  Ann,  and  Ann  was  already 
signed  up.  There  was  quite  a  production 
impasse  then  and,  of  course,  Ann  was 
the  joker.  Mickey  was  dragged  in  to 
match  up  and — well — you  know  what 
happened.  To  say  it  was  a  happy  head- 
ache is  an  understatement. 

Just  a  few  weeks  ago  when  "Pride  and 
Prejudice"  was  being  cast,  Ann  was 
picked  to  play  Jane.  She  didn't  know 
about  it,  of  course,  being  en  route  home 
from  the  East  on  a  train.  All  her  Holly- 
wood wire  had  said  was  "Hurry  back. 
Part  in  'Pride  and  Prejudice.' "  But 
Annie  bought  the  Jane  Austen  classic 
and  buried  herself  in  it  from  one  dining- 
car  gong  to  another — in  spite  of  the 
diverting  birthday  cake  Mickey  Rooney 
had  sent  her  which  tinkled  "Happy 
Birthday  to  You"  every  time  the  train 
jolted.  What  happened  was  that  Ann 
fell  madly  in  love  with  the  part  of  Lydia, 
who  was  as  different  from  Jane  as  day 
and  night.  Jane  was  sweet  and  goody- 
goody;  Lydia  was  something  of  an 
eighteenth  century  terror.  Ann  didn't 
want  to  be  goody-goody.  Terror  stuff 
was  what  she  craved  for  a  change. 

IT  was  a  little  disconcerting  to  the  big 
shots  to  face  an  angry  Rutherford,  who 
rushed  off  the  train  to  the  front  office, 
stamped  her  French  heels  and  argued, 
"If  Mickey  Rooney  can  drink  and  smoke 
and  swear  like  a  trooper  in  'Boys'  Town' 
and  do  all  those  shocking  things — why 
can't  I  be  a  little  shocking  for  a  change?" 

They  didn't  have  an  answer  to  that, 
so  Ann  is  playing  the  shocking  Lydia. 
Her  studio  bosses  are  not  exactly 
shocked,  but  they  are  surprised.  It  looks 
like  a  perfect  job  of  casting — so  again 
everybody's  happy. 

From  all  of  this,  Ann  Rutherford  has 
collected  a  cheery  little  creed  about  her- 


UP-TO-DATE  ADDRESS  LIST! 

Send  today  for  the  newly  revised  list  of 
Hollywood  stars  with  their  correct  studio 
addresses.  It  is  a  convenient  sire  to 
handle  or  keep  in  a  scrap-book.  To  re- 
ceive a  list,  all  you  have  to  do  Is  write 
to  us  and  ask  for  it,  enclosing  a  large, 
self-addressed  and  stamped  envelope. 
Don't  forget  that  last  item,  as  no  request 
can  be  complied  with  otherwise.  Please 
send  requests  to  Information  Desk,  Mod- 
ern Screen,  149  Madison  Ave.,  New 
York,  N.  Y. 


82 


MODERN  SCREEN 


self  and  fortunes — that  everything  hap- 
pens for  the  best.  "There's  a  law  of  com- 
pensation in  Hollywood  and  everywhere 
else,"  declared  Ann,  shaking  her  fork 
for  emphasis.  "You  can't  kid  me.  I  know 
there  is."  Well,  I'd  never  try  to  kid 
Annie,  let  alone  contradict  her.  It  would 
be  much  too  long  and  harrowing  a 
process,  I'm  sure,  and  such  a  strain  on 
the  eardrums!  I  just  nodded,  and  Ann 
explained. 

She  was  called  up,  for  instance,  to  do 
a  punkish  part  in  "The  Bride  Wore  Red" 
with  Joan  Crawford,  some  time  ago.  Ann 
didn't  like  it,  so  she  kicked  like  a  mule. 
But  she  gave  in  finally  when  Producer 
Joe  Mankiewicz  appealed  to  her  better 
nature.  Result — when  Joe  later  made 
"A  Christmas  Carol"  he  spotted  Annie 
in  a  grand  part. 

She  was  all  set  last  year  to  do  "Winter 
Carnival"  on  a  loan-out  to  Walter  Wan- 
ger,  when  a  Hardy  Family  picture  came 
up.  M-G-M  yanked  her  right  back  home, 
and  Ann  was  just  crushed.  But  "Winter 
Carnival"  turned  out  to  be  a  pretty  dis- 
mal turkey  at  the  box-office,  and  the 
Hardy  picture  was  a  wow. 

Last  September,  when  the  entire  Hardy 
Family  was  set  to  sail  for  England  on 
'a  two  months'  vacation  tour,  war  sud- 
denly smashed  the  trip  into  a  thousand 
pieces.  Ann  could  have  died  with  dis- 
appointment. But  a  week  later  she  found 
herself  on  the  train  hurrying  East  to  be 
queen  of  South  Carolina's  Cotton  Car- 
nival. She  had  more  fun  than  she  could 
ever  have  had  abroad,  and  found  a  $1,000 
bonus  waiting  for  her  when  she  got  back 
to  Hollywood! 

Annie  swears  she  fully  intended  to 
plunk  her  thousand  into  a  government 
bond,  as  she  does  all  the  other  grands 
she  accumulates  with  her  salary  checks. 
But,  with  the  draft  neatly  folded  in  her 


purse,  she  happened  to  walk  by  a  fur 
store  window.  "And  there,"  explained 
Annie,  "was  the  most  darling  mink  coat!" 
Three  guesses  where  the  thousand  went, 
as  a  down  payment! 

However,  Ann  Rutherford  considers 
the  mink  coat  a  solid  investment.  After 
all,  ambition  is  okay  and  idle  hands  are 
the  devil's  playthings  and  all  that,  but 
there's  no  doubt  about  it — in  the  hectic 
life  she  leads,  her  social  career  is  suffer- 
ing. Maybe,  thinks  Ann,  the  mink  will 
help  to  get  her  back  into  the  good  graces 
of  her  boy  friends. 

FOR  instance,  the  other  night  one  of 
her  swains  planned  a  dinner  party  in 
Ann's  honor  and  had  the  soup,  entree 
and  favors  all  set.  Then  a  couple  of 
hours  before  the  event,  Ann  found  she 
had  to  work  at  the  studio.  "You'll  just 
have  to  give  me  another  dinner  party," 
said  Ann  over  the  phone  to  her  dismayed 
host,  "I  have  to  work  tonight."  That  sort 
of  thing,  says  Ann,  doesn't  pile  up  votes 
in  a  popularity  contest.  She  herself 
whipped  up  a  gala  birthday  event  at  the 
Cocoanut  Grove  for  sixteen  couples,  then 
she  got  so  excited  about  going  on  her 
trip  she  forgot  to  call  it  off.  When  she 
tried  to  wire  the  sad  news  from  the  East, 
she  didn't  have  enough  addresses.  Half 
the  party  showed  up — and  there  wasn't 
any  Ann  or  any  party!  That  sort  of  thing 
doesn't  help,  either,  says  Ann. 

As  a  matter  of  fact,  Ann  Rutherford 
claims  a  special  talent  for  getting  into 
jams  with  the  boy  friends.  In  Wash- 
ington, D.  C,  the  Sigma  Nus  made  her 
their  official  sweetheart.  Then  in  Cin- 
cinnati the  Sigma  Alpha  Epsilons  laid 
their  hearts  officially  at  her  feet — and 
how  could  she  refuse?  In  a  couple  of 
other  cities  the  Sigma  Chis,  the  Alpha 
Tau  Omegas  and  assorted  Greek  brother- 


hoods presented  her  with  jeweled  badges 
and  official  oaths  of  undying  love.  At 
this  point  Ann  began  to  get  pangs  of 
conscience.  She  knew  her  heart  wasn't 
big  enough  for  everybody.  "I  thought  at 
first  I'd  better  tell  them  I  was  already 
taken,"  sighed  Ann,  "but  the  pins  were 
all  so  pretty!  So  I  decided  I'd  just  as 
well  get  a  mess  of  them  and  be  an  All- 
American  girl!"  But  she  does  hope  all 
the  scattered  brothers  don't  get  together 
and  compare  notes. 

Ann  still  remembers  too  well  a  fine 
fix  she  got  caught  in  just  the  other  night 
in  Hollywood.  Somebody  sent  her  sister, 
Judy,  a  corsage  of  tiger  orchids.  Judy 
had  had  a  spat  with  a  certain  suitor,  so 
she  supposed  he  did  it.  But  the  boy  in 
question  showed  up  later,  toting  gar- 
denias. Ann  was  going  out,  so  she 
thought  she'd  just  wear  the  tiger  orchids. 
That  was  swell — except  where  she  went 
she  ran  into  the  boy  who  had  sent  them 
to  sister  Judy! 

Things  like  that,  Ann  says,  are  why 
she  hasn't  a  steady  beau,  although  Rand 
Brooks,  Edward  Arnold,  Jr.,  Donald 
Kahn  and  a  good  half  dozen  other  local 
Lotharios  are  doing  their  best  about 
remedying  that  situation. 

But  nobody  has  a  chance,  Ann  states 
firmly,  until  three  or  four  years  anyway. 
"I'm  not  even  shopping  now,"  smiled 
Annie.  "I'm  just  not  in  the  marriage 
market."  But  she's  planning  to  build  a 
house  (yep,  drawing  the  plans  herself.) 
When  she  does  that  she's  going  to  paint 
a  blue  gate  and  hang  it  out  in  front,  like 
the  Pennsylvania  Mennonites  do  when 
they  have  a  marriageable  daughter. 

"Then,"  grinned  Ann  Rutherford, 
"when  the  right  man  comes  along,  I'm 
going  to  settle  down  and  have  five 
children!"  And  from  the  way  she  does 
everything  else,  I  wouldn't  be  surprised. 


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BRUNETTE— WITH  A 
BLONDE  PERSONALITY 

(Continued  from  page  41) 


"Miss  Morison,  this  is  Mr.  .  .  ."  (For 
the  sake  of  the  gentleman  in  question, 
because  if  his  face  isn't  red  it  should 
be,  we  will  omit  his  name) . 

She  might  have  been  a  trained  seal 
from  the  way  he  looked  her  over.  Then, 
"You  won't  do!"  he  barked.  "You're  not 
the  type!" 

Too  taken  aback  to  protest,  too  crushed 
to  ask  what  type  she  was  supposed  to 
be,  the  young  actress  just  sat  there  and 
looked  at  him  with  eyes  that  would  have 
melted  a  monster.  And  when  the  studio 
officials  insisted  she  be  used,  type  or  no 
type,  the  director  walked  out!  Miss 
Morison  returned  to  her  hotel  and  had 
a  good  cry. 

ANOTHER  director  was  called  in.  He, 
too,  looked  her  over  as  if  she  were 
a  specimen  from  the  zoo.  "You're  not 
the  type!"  he  bawled.  "Too  ladylike! 
This  girl  you're  to  portray,"  he  added 
with  brutal  frankness,  "is  a  .  .  ."  (The 
rest  is  deleted — if  we  didn't  the  editor 
would.) 

"A — a — what?"  gasped  Miss  Morison. 

"A  hellion!  A  tramp!  A  hussy!"  the  di- 
rector explained.  "She's  Kitty  Kelly, 
wife  of  Machine  Gun  Kelly,  and  she's  a 
toughie!  You,"  he  added  condescend- 
ingly, "couldn't  possibly  play  a  charac- 
ter like  that.  You're  too  much  of  a 
lady!" 

"Oh,  yes,  1  can!"  retorted  Patricia, 
gathering  courage,  for  she  hadn't  come 
3,000  miles  to  be  told  she  couldn't  act! 
"I  can  play  anybody!" 

"H'm!"  For  the  first  time  the  director 
looked  interested.  Her  spunk  seemed  to 
please  him.  "Well,  I'll  take  a  chance, 
but  you'll  have  to  bleach  your  hair  and 
pad.   This  girl  is  bigger  than  you!" 

It  was  then  that  the  slim,  blue-eyed 
girl  who  had  longed  to  play  "Victoria 
Regina"  just  once,  gained  the  reputation 
of  getting  what  she  wanted  without 
screaming,  kicking  or  clawing.  "I'll  be 
glad  to  pad,"  she  told  him  quietly,  "but 
I  couldn't  bleach  my  hair.  I'll  wear  a 
wig!" 

"The  tests,"  says  Miss  Morison  in  tell- 
ing the  story,  "were  terrible!  I  knew 
they  would  be.  So  I  suggested  they  let 
me  try  without  the  wig  and  the  padding. 
The  second  test  was  all  right." 

"And  do  you  always  get  your  own 
way  without  fighting?" 

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MODERN  SCREEN 


Miss  Morison  shrugged  her  pretty 
shoulders.  "What's  the  use  of  fighting? 
It  doesn't  get  you  anywhere!"  She  dim- 
pled. "I  let  them  do  it  their  way,  and 
if  it  doesn't  turn  out  right,  I  suggest  my 
way.  Only" — and  she  looked  as  demure 
as  a  kitten  with  cream  on  its  whiskers, 
"I  always  let  the  director  think  he  sug- 
gested it!" 

The  net  result  was  that,  when  Para- 
mount officials  saw  the  first  rushes  of 
Kitty  Kelly  in  J.  Edgar  Hoover's  "Per- 
sons in  Hiding,"  they  sat  up  and  rubbed 
their  eyes.  The  Kitty  Kelly  they  saw 
was  beautiful.  Poverty-stricken,  she  was 
young  and  wanted,  so  passionately,  to 
have  the  things  that  every  young  girl 
longs  for — clothes,  furs,  jewels  and  a 
car.  She  wanted  to  go  places  and  see 
things.  Because  she  had  never  had  a 
chance  and  knew  no  better,  she  set  out 
to  get  them  in  her  own  way.  Not  slangy, 
not  gum-chewing,  yet  not  quite  the  lady, 
she  made  Machine  Gun  Kelly,  who  loved 
her  desperately,  the  tool  of  her  desires. 
And  she  got  what  she  wanted — until  the 
G-Men  caught  up  with  her! 

That  was  the  Kitty  Kelly  Patricia 
Morison  portrayed.  And  when  the  pro- 
ducers had  recovered  from  their  surprise 
they  ordered  her  groomed  for  stardom. 
But  it  wasn't  until  she  had  made  two 
more  pictures,  "I'm  From  Missouri"  with 
Bob  Burns  and  "The  Magnificent  Fraud" 
that  they  put  a  star  in  her  hair.  And 
today  Patricia  Morison,  who  dislikes  be- 
ing called  a  "glamour  girl,"  has  both  her 
dainty  feet  firmly  planted  on  the  ladder 
of  success. 

But  what  of  the  girl— the  real  Patricia 
Morison?  What  is  she  like?  Is  she  as 
exotic,  alluring  and  beautiful  as  her 
pictures?  The  answer  is  yes!  She  is 
really  more  beautiful  than  her  pictures. 

She  is  sweet  without  being  sugary; 


modest,  yet  quietly  sure  of  herself; 
friendly  and,  once  you  get  past  that  bar- 
rier which  experience  with  the  public 
has  naturally  'built  up,  impulsive  and 
affectionate.  Her  graciousness  is  genuine, 
for  it  comes  from  the  heart.  Perhaps  it 
is  because  she  has  never  known  what 
it  is  to  live  in  a  hall  bedroom,  cook  on 
a  one -plate  gas  burner  and  dodge  the 
landlady.  But  it  is  genuine,  nevertheless. 

Like  all  great  or  potentially  great  ac- 
tresses, she  has  the  knack  of  expressing 
herself  with  slight  gestures  of  the  body. 
Her  hands  and  wrists  are  exquisitely 
graceful,  and  she  uses  them  constantly 
in  describing  things  or  people  that  espe- 
cially interest  her.  She  is  inherently  the 
actress.  By  that  I  mean  that  when  she 
tells  you  what  somebody  else  has  said, 
she  will  draw  down  the  corners  of  her 
mouth,  lift  an  eyebrow  or  change  the 
tone  of  her  voice  until  you  just  see  the 
person  about  whom  she  is  speaking. 

So  poised  that  she  gives  the  impres- 
sion of  Juno-like  calm  with  the  statu- 
esque beauty  of  that  goddess,  it  is  sur- 
prising to  find,  when  she  stands,  that 
she  is  not  tall  at  all. 

THERE  is  no  doubt  that  her  work  is 
her  absorbing  passion  and,  when  she 
speaks  of  it,  you  can  see  in  the  earnest 
blue  eyes,  the  sensitive  mouth,  the  Pa- 
tricia Morison  of  tomorrow — the  actress 
who-is-to-be.  Were  we  a  prophet,  we 
would  say  that  within  two  years  Miss 
Morison  will  give  every  great  actress  on 
the  screen  a  run  for  her  money.  / 

Born  in  New  York  City  two  months 
before  a  crack-pot  patriot  started  the 
World  War  by  shooting  the  Archduke 
Ferdinand,  Patricia  has  the  distinction 
of  being  the  youngest  person  who  sailed 
for  England  on  the  ill-fated  Arabic.  Her 
parents,  Mr.  and  Mrs.  William  Rainey 


Morison,  had  come  to  America  in  1905. 
But  when  war  was  declared,  they  re- 
turned to  their  native  England  to  offer 
their  services — Mr.  Morison,  in  the  Brit- 
ish Army;  Mrs.  Morison,  in  the  British 
Intelligence  Service.  Brother  Alex,  who 
is  about  two  years  younger  than  Patricia, 
was  born  during  a  Zeppelin  raid  in  war- 
torn  London. 

Pat,  as  her  family  calls  her,  was  four 
when  the  Morisons  again  saw  the  Statue 
of  Liberty  in  New  York  harbor.  From 
that  day  on,  until  she  came  to  Hollywood 
eighteen  months  ago,  she  lived  in  New 
York — first,  as  a  school  girl,  then  as  an 
art  student,  a  successful  dress  designer 
and,  finally,  as  a  musical  comedy  star. 

She  and  her  brother,  who  are  great 
pals,  recently  returned  from  a  three 
weeks  sojourn  in  Mexico  City  where  Alex 
was  starred  as  a  singer  at  "El  Patio," 
the  capital's  swankiest  night  club. 

Alex  is  as  dark  as  his  sister  is  fair 
for  although  she  is,  strictly  speaking,  a 
brunette,  Miss  Morison  has  the  delicate 
white  skin  and  blue  eyes  of  a  blonde. 
Probably  her  Irish  and  Scotch  ancestry 
accounts  for  the  combination. 

Like  all  beautiful  and  successful  girls, 
Pat  has  her  share  of  beaux.  She  loves 
parties.  She  loves  to  dine  and  dance. 
When  she  is  working  on  a  picture,  she 
never  goes  out  socially.  She  has  to  get 
up  at  5:30  in  order  to  be  at  the  studio  at 
7:30  and,  by  the  time  the  day  is  over, 
she  is  too  exhausted  to  do  anything  but 
go  to  bed.  She  even  has  dinner  in  bed. 
Then  she  studies  her  lines  for  the  next 
day  and,  by  ten  o'clock,  lights  are  out. 

During  rests  between  pictures,  Miss 
Morison  may  be  seen  dancing  the  rhumba 
at  a  little  Spanish  restaurant  (she  calls 
it  a  "joint")  in  old  Los  Angeles.  She 
adores  things  Spanish  and  Mexican,  in- 
cluding bull  fights,  which  she  found,  to 


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her  amazement,  she  could  watch  without 
fainting. 

Miss  Morison  was  so  enthusiastic  about 
Mexico  itself  that  she  returned  from  her 
trip  laden  with  shawls,  jewelry  and 
laces.  She  was  wearing  one  of  the  brace- 
lets, a  brilliant  trinket  of  beaten  silver 
and  semi-precious  stones. 

She  adores  clothes,  especially  evening 
clothes  and  hostess  gowns.  Except  for 
one  or  two  dance  frocks  designed  for 
doing  the  rhumba,  she  goes  in  for  trains 
on  her  formal  gowns.  She  also  has  an 
ermine  wrap  which  she  wears  to  Ciro's 
or  to  premieres,  because  she  feels  that 
the  public  expects  its  stars  to  live  up 
to  their  reputations  for  glamour.  But  it 
is  in  her  own  home  that  she  really  goes 
in  for  the  outlandish  and  exotic.  "I 
think,"  she  says,  "that's  one  time  you 
can  go  completely  wild." 

HER  costume  for  the  interview  was  not 
wild  but  very  smart  and  sophis- 
ticated. It  consisted  of  an  embroidered 
linen,  Gibson  girl  blouse  with  long 
sleeves  gathered  at  the  wrists;  black  and 
white  checked  taffeta  hostess  pajamas 
very  wide  at  the  hems;  tiny  red  slippers 
and  a  red  sash  at  her  waist.  A  red 
turban  just  barely  revealed  her  dark 
hair,  parted  in  the  middle  and  drawn 
severely  down  on  either  side  to  a  bun 
at  her  neck.  Her  only  make-up  was 
a  slight  shading  of  the  eyelids  and  a 
little  lip  rouge  the  color  of  the  sash  and 
turban. 

Now  that  she  is  acquainted,  she  has 
not  found  Hollywood  cold.  She  says  that 
the  more  established  stars  have  been 
very  sweet  and  helpful.  She  frankly  ad- 
mits that  she  would  like  to  meet  Garbo, 
whom  she  adores.  Her  ambition  is  to 
reach  the  dramatic  heights  of  the  Swed- 
ish star.  She  says,  "Think  of  anyone's 
taking  a  worn-out  part  like  Camille  and 
breathing  life  into  it  as  she  did!  That's 
acting!"  Another  of  her  idols  is  Irene 
Dunne. 

Asked  if  she  had  any  thoughts  of  mar- 
riage, Miss  Morison  shook  her  dark  head. 
"I  couldn't  combine  the  two,"  she  says 


simply.  "Some  people  can,  but  I  know 
I  could  not!  Acting  takes  too  much  out 
of  me!"  Her  stand  on  this  point,  we 
happen  to  know,  has  caused  many  a 
male  to  despair. 

Of  the  four  roles  she  has  played,  Miss 
Morison  liked  the  part  of  Claire  in  "The 
Magnificent  Fraud"  the  best.  "My 
lashes,"  she  says,  "were  that  long,  and  I 
had  the  most  gorgeous  clothes!  I  really 
didn't  know  myself  when  the  make-up 
experts  got  through  with  me!" 

She  never  makes  up  herself,  Miss 
Morison  said,  except  for  her  mouth, 
which  she  paints  on  with  a  brush,  and 
which  she  makes  fuller  and  more  lus- 
cious than  her  natural  one.  Picture 
make-up,  she  explains,  is  so  entirely 
different  from  that  of  the  stage.  The 
grease  paint  must  be  smoothed  in,  "not 
just  slapped  on  as  we  do  on  the  stage." 
The  powder  must  be  pounded  in  almost 
like  a  massage,  and  false  eyelashes  added 
to  give  that  dewy  look  to  the  eyes.  The 
process  takes  a  full  hour  and  cannot  be 
hurried. 

Tests,  Miss  Morison  says,  are  more 
exhausting  than  actual  work  on  a  pic- 
ture. She  never  goes  to  see  her  rushes, 
it  makes  her  too  nervous. 

"When  I  first  came  to  Hollywood," 
she  said,  "everyone  told  me,  'You  must 
see  your  rushes  so  you  can  see  your 
mistakes  and  learn  what  not  to  do.' 
But  after  watching  the  first  day's  rushes 
I  gave  up!" 

Asked  how  she  came  to  select  the 
stage  for  a  career,  Miss  Morison  said 
that  she  had  been  in  an  agent's  office 
to  pick  up  her  father's  play,  "Court 
Martial,"  which  the  producers  felt  was 
too  war-like  for  a  peaceful  era.  "The 
agent  kept  staring  at  me  so,  that  I  finally 
snapped  out,  'Why  do  you  stare  at  me! 
I'm  not  an  actress!' " 

"No?"  he  retorted  coolly.  "Then  you 
should  be!" 

Two  weeks  later  the  16-year-old  art 
student  had  resigned  from  her  classes 
and  entered  a  dramatic  school.  And  that, 
my  friends,  is  how  Patricia  Morison  came 
to  be  an  actress! 


Boy  finally  meets 
girl  in  Mickey 
Rooney's  latest, 
"Andy  Hardy 
Meets  A  Debu- 
tante." But  it's 
definitely  not  a 
love  at  first  sight 
affair.  Bill  Powell's 
cute  frau,  Diana 
Lewis,  is  the  hard- 
to-get  lassie,  and 
the  laughs  come 
as  fast  and  fu- 
riously as  do 
Andy's  rebuffs. 


86 


MODERN  SCREEN 


I  ii 


THEY  SELL  STARS 

(Continued  from  page  51) 


a  film  test  if  you  will  go  to  Hollywood 
to  make  it.  (All  expenses  paid.)  You 
arrive,  not  knowing  a  soul.  But  five 
minutes  after  the  bellhop  sets  down  your 
bag  in  the  hotel  room,  the  phone  starts 
ringing.  Agents  are  calling,  asking  to 
represent  you.  (They  have  ways  of  find- 
ing out  about  new  arrivals.)  If  you  are 
smart,  you  will  sign  with  one — after 
learning  from  the  Screen  Actors  Guild 
which  agents  are  in  good  standing.  If 
none  call,  you  will  be  smart  to  look  up 
one.  If  you  have  Broadway  experience, 
you  stand  a  chance  of  getting  one. 

You  take  your  film  test.  Studio  A 
doesn't  think  much  of  your  screen  pos- 
sibilities. To  your  dismay,  your  agent 
doesn't  put  up  any  argument.  He  lets 
them  drop  your  option — thud!  But  five 
minutes  after  that  bad  news,  he  lets  you 
in  on  a  secret:  Studio  A  already  has 
more  young  players  than  it  can  use.  If 
they  had  signed  you,  you  would  have 
been  lost  in  the  crowd.  But  Studio  B 
could  use  someone  like  you.  So  he 
takes  your  test  over  to  Studio  B.  Know- 
ing what  they  need,  he  knows  exactly 
what  to  say  about  you  to  interest  them. 
Studio  B,  as  a  result,  offers  you  a  con- 
tract starting  at,  say,  $150  a  week.  Your 
temptation  is  to  sign  it  before  they  can 
change  their  minds.  Your  agent  makes 
you  wait  while  he  reads  it  with  a  legal 
eye — to  be  sure  that  you  will  get  as  much 
out  of  the  deal  as  the  studio  will.  He 
will  want  to  ask  for  a  clause  (which  he 
may  not  be  able  to  get),  allowing  you 
to  do  radio  work  on  the  side.  He  will 
think  of  other  clauses  that  wouldn't  have 
entered  your  mind.  Only  when  he's  sure 
that  the  contract  can't  be  improved  upon 
will  he  let  you  sign. 

SO  you  report  to  Studio  B.  It  is  im- 
portant you  make  an  impression  on 
everyone  you  meet.  You  don't  know 
Hollywood  as  an  agent  does.  He  gives 
you  tips  on  how  to  make  a  favorable 
impression.  He  tells  you  where  to  live, 
what  kind  of  car  to  drive,  what  kind  of 
clothes  to  wear. 

John  Garfield's  agent  threw  fits  every 
time  he  saw  the  ancient  wreck  that  John 
first  drove.  "I'm  trying  to  sell  you  as  a 
Broadway  success,"  he  would  wail.  "What 
are  you  trying  to  do — ruin  us  both?" 

Champion  Athlete  Herman  Brix  de- 
cided to  have  a  try  at  the  movies.  By 
himself,  he  managed  to  get  thirty-four 
bit  parts.  But  they  weren't  leading  any- 
where, so  he  looked  up  an  agent — • 
Mitchell  Gertz.  Astute  ^  Mr.  Gertz 
changed  "Herman  Brix"  to  "Bruce  Ben- 
nett," lightened  the  Brix  hair,  sent  him 
to  a  voice  coach  to  lower  his  voice,  then 
took  him  around  to  studios.  He  made 
an  impression  he  had  never  made  before. 
M-G-M  and  Columbia  fought  over  him. 
Columbia  won — and  has  starring  plans 
for  him. 

If  you  can't  afford  a  new  car,  new 
clothes  or  a  new  voice,  your  agent  will 
loan  you  the  money.  That  makes  you 
obligated  to  do  things  for  him.  But  it 
also  makes  him  obligated  to  do  things 
for  you — if  only  to  get  his  money  back, 
out  of  your  future  earnings. 

Agents  aren't  gamblers.  They  are  busi- 
ness men.  When  they  put  time  and 
money  into  a  project,  they  do  everything 
possible  to  protect  their  investment.  They 
coach  you  on  your  publicity.  They  ar- 
range with  other  agents  to  have  you  meet 
the  right  people.  They  watch  your 
morals,  your  bills  and  your  tendency  to 


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go  conceited,  as  much  as  they  watch  your 
roles. 

They  can't  pick  your  roles  for  you 
when  you  are  a  small-salaried  beginner. 
You  are  at  the  mercy  of  casting  direc- 
tors. But  if  a  reasonable  period  of  time 
elapses,  and  you  are  still  playing  parts 
that  are  all  alike,  your  agent  can  do 
something  about  it — under  cover.  He 
looks  over  scripts  at  other  studios  until 
he  finds  a  part  that  would  give  you  a 
chance,  then  drops  a  hint  that  you  can 
be  borrowed  dirt-cheap  from  Studio  B, 
which  doesn't  appreciate  your  possibili- 
ties. So  Studio  C  borrows  you.  You  at- 
tract more  attention  in  the  role  than 
ever  before.  That  opens  Studio  B's  eyes. 
You  start  getting  better  breaks.  (As 
Bette  Davis  did  at  Warners,  after  she  be- 
came a  sensation  in  "Of  Human  Bond- 
age," on  loan-out  to  RKO.) 

Suppose  you  click  in  a  big  way — start 
drawing  people  to  theatres  by  the  mil- 
lions. Your  contract  states  that,  at  this 
particular  date,  your  salary  is  to  be  $350 
a  week  (Robert  Taylor's  approximate 
salary  when  the  tidal  wave  of  popu- 
larity struck.)     Obviously,  you  deserve 


more;  and  the  studio  wants  to  keep  you 
happy.  But  before  the  studio  rewrites 
your  contract,  it  wants  to  be  sure  your 
popularity  is  going  to  last.  So  your  agent 
sells  this  idea:  After  every  picture,  you 
will  receive  a  large  bonus — to  be  de- 
posited in  some  bank  in  your  name,  with 
the  studio  holding  the  bank  book.  If  you 
are  a  good  boy  or  a  good  girl,  the  studio 
promises  to  turn  over  the  bank  book  to 
you  after  two  years,  or  three.  If  you  get 
mixed  up  in  a  scandal,  or  do  anything 
else  to  jeopardize  your  value  to  the 
studio,  you  will  never  see  the  money. 
That's  fair  to  you,  and  it's  fair  to  the 
studio. 

If  your  popularity  holds,  you  will  get 
a  new  contract.  Your  agent  will  see  to 
that — at  the  right  psychological  moment. 
Which  he  is  better  equipped  to  recognize 
than  an  actor  deafened  by  press  agents 
shouting  his  name. 

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certain  role.  (You  aren't  entitled  to  ob- 
jections, by  the  way,  until  you  have  a 
reputation.)  You  don't  want  to  do  it. 
Immediately,  the  studio  charges  you  with 
being  unreasonable.    Like  a  defendant 


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in  court,  you  can't  argue  your  case  half 
as  well  as  someone  else,  trained  in  argu- 
ment.   In  this  case,  an  agent. 

Once  you  become  a  star,  it  pays  to  in- 
sist on  a  high  standard  of  roles — or  to 
have  someone  who  can  insist  for  you.  The 
long  careers  of  Ronald  Colman,  Gary 
Cooper,  Greta  Garbo — to  mention  only  a 
few — prove  that.  Greta,  in  particular, 
owes  a  large  part  of  her  success  to  her 
agent.  It  was  allegedly  Harry  Edington 
who  made  her  a  woman  of  mystery. 

If,  suddenly,  you  find  yourself  without 
any  picture  work  ahead,  an  agent  can 
do  something  about  that,  too.  A  player 
has  to  be  in  front  of  the  public  to  com- 
mand attention;  "out  of  sight,  out  of 
mind"  is  no  truer  anywhere  than  in  show 
business. 

If  you  are  a  movie  "name,"  your  agent 
can  find  you  radio  work,  provided  your 
contract  permits  it.  (Claire  Trevor's 
screen  stock  soared  again,  after  a  suc- 
cessful spell  on  the  radio.)  Or  he  can 
arrange  a  personal  appearance  tour, 
which  is  grueling  work,  but  it  will  re- 
mind Hollywood  that  crowds  will  still  pay 
to  see  you.  (Witness  Mae  West's  record- 
breaking  personal  appearance  tour,  after 
she  was  called  "box-office  poison.")  Or 
he  can  market  your  services  in  a  play. 
(Lon  Chaney,  Jr.,  was  stony  broke  and 
hadn't  eaten  for  two  days  when  his  agent 
turned  up  with  a  chance  for  him  to  try 
out  for  a  role  in  the  play,  "Of  Mice  and 
Men."  His  hit  in  the  play  led  to  his 
playing  the  same  role  in  the  picture,  and 
now  he  is  on  his  way  upward.) 

IF  it's  the  servants'  day  off,  and  you 
need  a  suit  that's  at  the  tailor's,  and 
all  three  cars  are  out,  you  can  always 
call  your  agent;  he'll  see  that  your  suit 
is  delivered,  if  he  has  to  deliver  it  him- 
self. If  you  want  to  buy  some  property, 
but  are  afraid  of  paying  twice  its  value 
because  you  are  a  movie  star,  your  agent 
can  tell  you  what  it's  worth — and  ar- 
range for  a  proxy  buyer.  If  you  are  The 
Shopgirl's  Delight  and  your  wife  is  going 
to  have  a  baby,  your  agent  may  be  upset 
but  he'll  know  of  a  good  obstetrician.  If 
there's  anyone  you  want  to  meet,  your 
agent  can  arrange  it,  if  anyone  can. 
There  is  no  limit  to  the  things  that  an 
agent  can — and  frequently  will — do  for 
a  client. 

Your  agent  may  even  want  to  marry 


you.  Leland  Hayward  married  Margaret 
Sullavan.  Walter  Kane  married  Lynn 
Bari.  Phil  Berg  married  Leila  Hyams. 
Victor  Orsatti  married  June  Lang.  Nat 
Wolfe  is  about  to  marry  Edna  Best. 

All  of  this  in  addition  to  selling  your 
talent.  And  all  for  a  tenth  of  what  he 
helps  you  earn.  However,  an  agent  with 
a  number  of  high-priced  clients  can  make 
more  money  than  any  star.  (As  a  gag, 
Carole  Lombard  once  "framed"  Myron 
Selznick,  so  that  he  signed  a  contract  giv- 
ing her  ten  per  cent  of  all  liis  earnings, 
and  great  was  the  Selznick  confusion.) 

That  little  matter  of  ten  per  cent  was 
once  a  matter  of  general  practice,  rather 
than  law.  Now  the  Screen  Actors  Guild, 
which  licenses  all  actors'  agents  (under  a 
franchise  from  the  California  State  Labor 
Commission),  has  made  it  impossible  for 
any  agent  to  get  more  than  ten  per  cent. 

In  the  old  days,  there  were  occasional 
agents  who  would  bleed  hapless  clients 
for  a  twenty  or  thirty  per  cent  fee.  But 
the  racketeers  are  rapidly  being  forced 
out  of  business.  No  agent,  for  example, 
can  fail  to  lift  a  finger  for  a  client  and 
still  collect  a  commission.  Every  contract 
now  provides  that  if  an  agent  doesn't  ob- 
tain eighteen  days'  work  for  a  client  over 
any  four-month  period,  the  contract  is 
automatically  cancelled.  There  is  also  a 
monthly  listing  of  agents  in  good  stand- 
ing with  the  Screen  Actors  Guild,  and 
any  agent  who  wants  to  stay  in  business 
is  going  to  make  a  point  of  remaining  on 
that  list. 

Actors  like  to  say:  "You  can  divorce 
your  wife,  but  you  can  never  get  rid  of 
your  agent."  This  isn't  strictly  true.  If 
you  feel  that  another  agent  could  do 
more  for  you  than  the  one  you  have,  all 
you  have  to  do  to  get  rid  of  your  present 
agent  is  to  pay  him  a  year's  commission 
in  advance. 

Actors,  particularly  the  high-salaried 
ones,  have  a  tendency  to  complain  about 
the  ten  per  cent  they  must  pay  their 
agents.  But  the  fact  still  remains  that 
they  wouldn't  be  getting  those  high 
salaries  if  they  didn't  have  agents. 

As  one  of  the  boys  says:  "The  stories 
behind  the  success  stories  of  Hollywood 
are  usually  untold,  because  agents  don't 
care  who  gets  the  credit  for  a  player's 
success,  so  long  as  they  get  the  cash 
represented  by  a  hard-earned  ten  per 
cent."    That's  all  the  glory  they  want. 


Vivid,  hand-appli- 
qued  flowers  set 
off  the  whiteness 
of  Nan  Grey's  so- 
prano crepe  dress. 
Nan,  who's  fea- 
tured in  "Sandy  Is 
A  Lady,"  wears 
white  accessories 
— the  gloves  and 
pumps  of  suede, 
and  the  novel  tur- 
ban of  angora  felt 
trimmed  with  soft 
angora  yarn. 


88 


MODERN  SCREEN 


A  DOLLAR  FOR 
YOUR  THOUGHTS 

(Continued  from  page  15) 


should  stick  to  facts  for  that  reason. 
However,  when  a  studio  sees  fit  to  revise 
a  biography,  some  announcement  should 
be  made  to  that  effect. 

Anyway,  the  picture  is  worth  seeing 
more  than  once,  and  the  revision  makes 
a  better  story  than  would  the  authentic 
version  and  leaves  memories  of  Don 
Ameche's  fine  performance.  However, 
one  regrets  that  Mr.  Foster's  true  and 
stormy  life  could  not  have  been  changed 
and  made  more  peaceful  and  happy  with 
the  same  ease  with  which  his  biography 
was  smoothed  out. — Mrs.  J.  D.  Campbell, 
Henryville,  Tenn. 

A  Plea  for  Individuality 

Hollywood  is  supposed  to  be  a  land  of 
beauty  and  charm,  where  the  make-up 
experts  wave  magic  wands  and  change 
ugly  ducklings  into  swans.  What  these 
experts  don't  seem  to  grasp  is  that  per- 
sonality, not  make-up,  is  the  real  basis 
of  beauty.  They  apparently  have  but  one 
pattern  and  want  to  mold  all  of  the  stars 
to  fit  it.  For  example:  When  Ann  Sher- 
idan was  working  in  "B"  pictures,  she 
was  a  lovely  charming  girl;  the  experts 
suddenly  decided  she  had  "oomph"  and 
unsuccessfully  tried  to  change  her  into  a 
second  Jean  Harlow.  Simone  Simon  was 
pleasantly  plump  and  sweet-faced  in 
"Girls'  Dormitory"  and  "Seventh  Heav- 
en;" by  the  time  she  progressed  to  "Love 
and  Hisses,"  she  was  thin  and  angular, 
a  replica  of  dozens  of  other  Hollywood 
beauties.  Dorothy  Lamour  in  a  sarong 
was  lovely  and  had  a  personality  all  her 
own;  a  few  pictures  later,  elaborately 
costumed  and  coiffured,  she  was  just  an- 
other "glamour  girl."  I  earnestly  hope 
that  Deanna  Durbin,  Sonja  Henie,  Linda 
Darnell  and  others  like  them,  can  man- 
age to  evade  the  so-called  experts  and 
retain  that  which  raises  them  above  the 
ranks — their  individuality. — Mrs.  Rodney 
Surgi,  Vicksburg,  Miss. 

Sugar-coated  Education 

Thanks  to  you,  Mr.  Movie  Producer, 
for  giving  the  movie-going  public  such 
inspirational  pictures  as  "Abe  Lincoln  in 
Illinois."  You  have  taken  these  historical 
characters  down  from  their  dusty  shelves 
in  the  libraries  and  breathed  life  into 
them.  You  have  not  only  afforded  us 
pleasure  by  giving  us  these  entertaining 
pictures,  but  you  are  furnishing  us  in- 
spiration by  giving  us  glimpses  into  the 
lives  of  these  famous  characters  that  we 
would  otherwise  never  have. 

As  mothers  and  teachers  of  our  chil- 
dren, we  appreciate  your  helping  our 
children  to  learn  these  facts  about  his- 
torical figures  accurately  and  entertain- 
ingly—Mrs.  G.  P.  Fleming,  Dallas,  Tex. 

Male  Bette  Davis 

After  witnessing  John  Garfield's  fine 
performance  in  "Castle  on  the  Hudson," 
I  made  up  my  mind  to  write  this  letter. 
None  of  his  pictures  of  late  have  given 
him  much  of  a  chance  to  play  a  big  role, 
such  as  the  type  Spencer  Tracy  plays. 
Outside  of  his  part  in  "Four  Daughters," 
John  hasn't  had  an  opportunity  to  prove 
his  great  acting  ability.  But,  "Castle  on 
the  Hudson"  gives  him  another  chance  to 
make  one  stand  up  and  cheer  for,  as  the 


DON'T  COVER 


LET  THE  FAMOUS  MEDICATED  CREAM 
THAT'S  AIDED  THOUSANDS  HELP  CLEAR 
UP  YOUR  COMPLEXION 

•  Don't  let  a  Poor  Complexion  cheat  you  of  a  lot 
of  life's  fun!... Don't  cover  up  a  skin  that's  rough- 
looking  or  marred  by  externally  caused  blem- 
ishes! You  may  be  making  those  very  flaws  worse! 

Let  MedicatedNoxzema  SkinCream  help  restore 
your  normal  skin  beauty.  It's  the  cream  so  many 
nurses  rely  on  for  natural  complexion  loveliness. 
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mote quicker  healing  of  externally  caused  blem- 
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Cream —  it's  greaseless!  Use  it  as 
a  protective  Powder  Base. 

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NOXZEMA 


It   ^(fl  Cre 


I  shall  begin  by  entering  my  beauty  salon.  There,  trained  eyes  will  in- 
spect my  dull  brown  hair,  note  every  streak  of  gray.  Soon,  a  shower 
of  foam  will  bubble  around  my  head,  and  I  shall  shut  my  eyes,  relax 
every  tired  nerve  in  my  body.  When  I  open  my  eyes  again,  it  will  be 
to  see  what  appears  to  be  a  new  face  in  the  mirror — my  face,  framed 
by  sparkling,  lustrous  hair  that  has  the  soft  appearance  of  youth.  I  will' 
straighten  my  body.  My  eyes  will  come  alive.  I  shall  walk  out,  feeling 
1 5  years  younger.  1  shall  have  had  an  Eternol  Treatment. 

"YOUR  BEAUTY  OPERATOR  KNOWS  BEST" 


TINT  OIL  SHAMPOO 


RECONDITIONS,  TINTS,  CLEANSES 
IN  ONE  SINGLE  SIMPLE  OPERATION 


PARAGON  DIST.  CORP.,  8  WEST  32nd  STREET,  NEW  YORK.  N.  Y. 


JUNE,  1940 


89 


fROM 


28  years  ago,  Sani- 
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from  bathroom  slavery.  This  powdered 
chemical  keeps  toilets  clean  and  sani- 
tary. It  removes  rust,  grime,  incrus- 
tations. It  has  no  odor.  It  cannot 
injure  plumbing  connections. 

For  28  years,  Sani-Flush  has  been 
the  easiest  and  best  known  way  to  keep 
toilets  sparkling  clean.  Just  sprinkle 
in  a  little  of  this  powder  twice  a  week. 
(Also  effective  for  cleaning  out  auto- 
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can.  Sold  by  grocery,  drug,  hardware 
and  5-and-10c  stores.  10c  and  25c  sizes. 
The  Hygienic  Products  Co.,  Canton,  O. 


CLEANS  TOILET  BOWLS 
WITHOUT  SCOURING 


Just  to  introduce  our  genuine  White, 
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New  FDQT 

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Dr.  Scholl's  KUROTEX,  the  new 
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stops  shoe  pressure  on  Corns,  Cal- 
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-young  gangster  who  sacrifices  himself 
that  his  girl  may  get  a  new  and  better 
chance  at  life,  he  is  more  compelling 
than  ever  before. 

The  scene  in  this  film  that  impressed 
me  most  was  the  one  in  which  he  gazed 
through  the  cell  bars,  watching  the 
guards  drag  his  friend  away  to  his  death. 
That  look  on  his  face,  so  frightened  and 
grave,  made  me  see  right  into  his  be- 
wildered young  soul.  The  expressiveness 
of  that  boy's  eyes — the  meaning  he  gives 
every  one  of  his  lines!  John  is  the  male 
Bette  Davis  of  Filmdom,  the  type  that 
puts  his  whole  heart  into  his  per- 
formances. 

Wishing  him  the  best  of  luck,  and  may 
an  Academy  Award  fall  his  way  in  the 
future. — Fredric  Raybould,  Royal  Oak, 
Mich. 

Degrading  Boyer? 

Do  Americans  prefer  a  great  actor  or 
a  great  lover? 

In  "Mayerling"  and  "Conquest," 
Charles  Boyer  was  a  great  actor,  por- 
traying characters  that  mattered  with 
finesse  and  subtlety.  His  Napoleon  was 
the  dominating,  selfish,  petty  figure  de- 
picted by  historians  rather  than  script 
writers.  As  Rudolph,  his  genius  illu- 
minated the  dark,  secret  tragedy  of 
"Mayerling." 

But  America  seems  to  prefer  the 
Michel  Of  "Love  Affair" — a  fascinating 
gentleman,  the  epitome  of  subtle  sex- 
appeal  and  sophisticated  charm,  whose 
mere  glance  makes  women  swoon;  who 
flicks  away  his  cigarette  ash  with  incom- 
parable poise.  Apparently,  American  fans 
have  a  perpetual  need  for  some  suave 
Continental  to  teach  them  adult  methods 
of  love-making.  But  why  must  a  really 
great  actor  be  degraded  to  that  role? 
■ — Margaret  Laurence,  Melbourne,  Aus- 
tralia. 

A  Rave  for  Ingrid 

Three  cheers  for  my  new  Swedish  fa- 
vorite! No,  I  don't  mean  Garbo.  I  mean 
that  grand  new  personality  (plus!)  In- 
grid Bergman. 

I  recently  saw  her  in  the  swell  picture 
"Intermezzo,  a  Love  Story."  In  my  opin- 
ion it  is  one  of  the  top  pictures  of  the 
year.  But  think  what  it  would  have  been 
without  Ingrid  Bergman!  It  would  have 
been  good,  yes,  but  Miss  Bergman's  su- 
perb personality  and  sheer  acting  ability 
are  what  made  it  truly  outstanding. 
That  look,  that  voice,  that  accent,  that 
certain  something! 


Please,  Hollywood,  leave  her  as  she  is. 
Don't  try  to  glamorize  her.  Rouges, 
paints  and  dyes  can  never  improve  her. 
She's  too  charming  as  her  own  natural 
self.  She  has  what  it  takes! — Clyde  Ruf- 
fin,  Pittsburg,  Tex. 

No  Imitations,  Please! 

With  no  intention  of  being  presumptu- 
ous, we  suggest  that  in  this  one  instance 
Hollywood  producers  restrain  their  nat- 
ural impulse  to  follow  up  the  phe- 
nomenal success  of  "Gone  With  the 
Wind"  with  a  long  series  of  similar  films. 
At  best  they  could  only  be  shoddy  imi- 
tations of  the  original  and  terribly  anti- 
climactic.  No  doubt,  with  the  musical 
clink  of  millions  of  shekels  jingling 
pleasantly  upon  the  ear,  the  temptation 
to  cash  in  on  what  producers  are  already 
terming  a  "G.W.T.W.  cycle"  is  almost 
too  great  to  be  resisted,  but  it  might 
be  wise  not  to  press  their  luck  too  far. 
Over-doses  of  the  traditional  scented 
South  might  bring  surprising  reactions. 

Hollywood  has  come  remarkably  close 
to  producing  the  perfect  picture.  Why 
not  let  it  remain  the  criterion  which 
the  motion  picture  industry  may  aspire 
— not  to  imitate,  but  to  equal.- — Willie 
Mae  Jackson,  Columbia,  Tenn. 


WRITE  A  LETTER- 
WIN  A  PRIZE 

You're  in  love  again — this  time  with 
that  brand  new  leading  man  you  saw 
last  night — and  you  can't  find  a  soul 
who'll  bear  with  you  while  you  rave. 
Or  maybe  you're  feeling  smug  and  self- 
satisfied  'cause  some  nonentity  you 
admired  months  ago  is  coming  to  the 
top.  Perhaps  you're  harboring  a 
secret  grudge  against  "America's 
Sweetheart,"  but  have  kept  it  dark, 
feeling  yourself  a  minority  of  one.  Are 
you  a  conscientious  objector  to  war 
pictures,  but  in  your  element  whoop- 
ing at  a  Western?  Whatever  your 
views  are,  we're  interested  in  them, 
so  drop  us  a  line,  and  who  knows — 
you  may  win  a  prize!  Just  one  thing 
— please  don't  copy  or  adapt  letters 
already  published.  That's  plagiarism 
and  will  be  prosecuted  as  such.  Send 
your  letter  to:  A  Dollar  For  Your 
Thoughts,  Modern  Screen,  149  Madi- 
son Ave.,  New  York,  N.  Y. 


Gloria  Jean  relaxes  with  her  stand-in,  10-year-old  sister  Lois.   The  starlet's  sweet 
voice  will  next  be  heard  in  "If  I  Had  My  Way." 


90 


MODERN  SCREEN 


Imp  J,^fc^J^llll^l  0©orn 

;i*-i°f,.!*»'iit.  „ 


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Olive  Tablets  being  purely  vegetable,  are  won- 
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TO  LIGHTEN  YOUR  SKIN 


HOW  THEY  THAWED  OUT 
MADELEINE  CARROLL 

{Continued  from  page  49) 


Next  she  did  "Blockade,"  the  Spanish 
War  story.  She  didn't  have  much  chance 
to  be  a  warm  human  being  in  that,  either 
— going  through  the  picture  as  a  nervous 

spy- 
Then  she  signed  with  Paramount.  And 
the  miracle  happened. 

She  phrases  it  this  way:  "I  finally  en- 
countered someone  willing  to  let  me  be 
more  human  and  natural  on  the  screen — 
Director  E.  H.  Griffith. 

"It  sounds  simple,  putting  it  like  that 
but,  actually,  it  wasn't.  The  studio  gave 
me  the  script  of  'Cafe  Society'  to  read. 
I  didn't  like  the  version  I  saw,  and  said 
so  to  my  agent,  Bert  Allenberg.  'It  won't 
be  the  same  script  after  Ned  Griffith  gets 
through  with  it,'  insisted  Bert.  'He's  go- 
ing to  direct,  and  you  know  his  flair  for 
sophisticated  comedy.'  So  I  agreed  to  do 
it,  on  the  assurance  that  Griffith  was 
going  to  direct.  I  had  liked  his  'Cafe 
Metropole,'  and  felt  that  the  women  in 
it  had  given  the  best  performances  of 
their  careers. 

"Bert  was  Griffith's  agent,  also.  After 
selling  Griffith  to  me,  which  wasn't  too 
difficult,  he  tackled  the  really  hard  job — 
selling  me  to  Griffith.  Players  sre  usually 
sold  on  the  basis  of  past  performances. 
But  this  case  called  for  another  approach. 
He  said  to  Ned,  'On  the  surface,  it  looks 
like  miscasting,  even  to  think  of  Made- 
leine as  the  girl.  She's  European,  and 
accustomed  to  serious  roles.  This  girl  is 
a  New  Yorker,  and  a  wisecracker.  But 
I  think  Madeleine  could  be  a  surprise 
in  the  role.' 

I DON'T  know  if  any  other  argument 
would  have  worked.  But  the  fact  that  I 
might  have  surprising  possibilities  inter- 
ested Griffith.  He  enjoys  taking  players 
typed  in  one  sort  of  thing  and  doing  the 
unexpected  with  them. 

"He  asked  just  one  question  about  me: 
Was  I  healthy?  He  doesn't  like  people 
who  are  forever  ailing.  Luckily" — she 
looked  around  for  a  piece  of  wood  to 
knock  on — "I  never  ail." 

Madeleine  is  reluctant  to  tell  how  her 
screen  transformation  was  performed. 
She  says,  "I  never  did  like  people  who 
talked  about  their  operations." 

But  the  story  should  be  told.  It  isn't 
every  actress  who  becomes  A  New 
Woman  mid-way  through  her  career. 

First  of  all,  weeks  before  the  picture 
started,  Griffith  began  taking  her  out  to 
lunch  and  dinner.  He  didn't  want  to 
talk  about  the  picture.  He  wanted  Made- 
leine to  talk  about  herself.  He  wanted 
to  find  out  everything  he  could  about 
her.  He  wanted  to  study  her,  find  out 
what  she  was  like  as  her  natural  self — 
what  little  idiosyncrasies  she  had.  So 
that  he  could  have  them  written  into 
the  picture,  make  them  part  of  the  per- 
sonality of  the  girl  in  the  story,  make 
the  girl  natural  and  real. 

No  other  director  ever  went  to  that 
trouble  with  Madeleine.  Every  other  di- 
rector had  regarded  her  as  a  reserved 
Englishwoman.  Griffith  thought  of  her 
simply  as  a  woman.  And,  as  a  result,  he 
learned  things  about  her  that  no  other 
director  probably  ever  suspected. 

He  discovered,  for  example,  that  al- 
though she  was  born  and  brought  up  in 
England,  her  mother  was  French  and  her 
father  Irish.  "With  a  combination  like 
that,"  he  reasoned,  "it's  a  cinch  you 
aren't  cold-blooded.    There's  no  telling 


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91 


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what  you  can't  do."  And  he  had  Scen- 
arist Virginia  Van  Upp  write  some  fiery 
temperament  into  the  script. 

Griffith  is  a  demon  student  of  femi- 
nine psychology.  He  has  an  eye  for 
little  feminine  tricks — tricks  bordering  on 
the  feline.  Madeleine  knows.  She  found 
some  of  hers  in  the  final  script. 

Up  to  then,  she  had  been  doing  things 
on  the  screen  that  were  terribly  heroic. 
He  set  out  to  make  her  do,  instead,  things 
that  were  typically  feminine.  Things 
other  women  could  imagine  themselves 
doing.  Like  attracting  masculine  atten- 
tion with  a  little  excess  stocking  ex- 
posure. 

He  noticed  that  Madeleine  has  a  hard 
time  subduing  her  eyes.  They  will  flirt, 
even  during  a  harmless  conversation. 
He  made  the  girl  in  the  script  have  the 
same  kind  of  eyes. 

HE  made  her  resemble  Madeleine  in 
many  little  ways.  She  could  give  the 
impression  of  having  lived.  Yet,  when 
she  actually  met  the  facts  of  life,  she 
was  invariably  startled.  Intellectually, 
she  knew  a  lot  about  love.  But  when 
a  man  said  to  her,  "What  you  want  is  to 
kiss  me,"  she  didn't  know  exactly  how 
to  meet  such  a  blunt  situation.  "You 
are  like  that,"  Amateur  Psycho -Analyst 
Griffith  said  to  Madeleine.  And  she  had 
to  admit,  "You're  right." 

He  made  it  clear  that  the  girl  in  the 
script  was  a  thoroughly  nice  girl,  with 
morals  intact;  but  with  some  disarm- 
ingly  risque  dialogue,  he  also  made  it 
clear  that  even  a  nice  girl  could  be  a 
little  naughty.  Something  that  had  never 
been  suggested  by  any  other  character 
Madeleine  had  played. 

Griffith  had  one  more  problem:  "What 
can  we  do  to  get  you  out  of  this  habit 
of  being  passive  in  front  of  the  camera?" 
He  tried  two  remedies — both  of  which 
worked.  One  was  to  speed  up  her  talk- 
ing. The  other  was  to  insist  that  she 
forget  the  camera.  "I  don't  want  poses," 
he  told  her.  "I  want  personality." 

His  object  was  to  humanize  the  girl  in 
the  script.  But  to  do  that,  he  also  had  to 
make  Madeleine  look  human — for  the 
first  time  on  any  screen. 

"So  people  had  the  idea  that  I  was 
aloof?"  comments  Madeleine,  with  a 
smile.  "He  took  a  very  fundamental  way 


of  breaking  down  the  impression.  He 
deglamorized  me.  He  knocked  me  right 
off  my  publicity-made  pedestal.  And  I 
loved  it." 

Do  you  remember  the  scene  in  which 
Shirley  Ross,  her  rival  in  the  picture, 
flung  a  glassful  of  wine  in  the  beautiful 
Carroll  face?  Madeleine  didn't  look 
pretty  when  that  happened.  And  she 
didn't  take  it  with  beautiful  poise.  She 
obeyed  that  human  impulse.  She  seized 
a  seltzer  bottle  and  showered  Shirley 
with  it. 

And  do  you  remember  the  scene  in 
which  Madeleine  had  to  ride  a  surf- 
board behind  a  speeding  launch,  hanging 
onto  the  ropes  for  dear  life?  She  didn't 
look  glamorous  doing  that,  either.  Espe- 
cially when  she  fell  off  and  was  dragged 
out  of  the  water.  She  looked  just  like 
any  woman  would  look,  who  had  taken  a 
sudden  ducking. 

"The  first  scene  I  did  for  the  picture 
was  a  love  scene,"  Madeleine  reveals, 
amusedly.  "Fred  MacMurray  and  I  were 
parked  in  a  roadster  at  the  end  of  a 
country  lane.  He  asked,  'Smoke?'  I  said, 
Yes.'  He  asked,  'Drink?'  I  said,  'No.' 
He  asked,  'Cold?'  I  said,  'Don't  you  men 
ever  think  up  a  new  approach?'  The 
scene  built  up  to  Fred's  forcibly  kissing 
me.  But  the  kick  of  the  scene  was  not 
that  the  determined  boy  finally  suc- 
ceeded in  kissing  the  standoffish  girl — 
but  that  the  girl  responded  with  such 
ardor  that  the  boy  had  to  come  up  for 
air.  Audiences  weren't  expecting  that 
reaction  from  her.  Though,  you  must 
admit,  it  was  a  perfectly  human  reaction. 

"At  the  time,  Ned  Griffith  told  me  he 
was  filming  that  scene  first  because  Fred 
dreaded  love  scenes  and  liked  to  get 
them  over  with  early.  He  has  since  ad- 
mitted he  filmed  that  scene  first  for  my 
sake,  also — to  make  me  prove  to  myself 
right  at  the  start  that  I  could  show  sur- 
prising warmth." 

(Griffith  didn't  know  about  that  "The 
Prisoner  of  Zenda"  kiss  that  landed  on 
the   cutting-room  floor.) 

"Cafe  Society"  was  no  epic,  but  Made- 
leine had  fun  making  it,  and  audiences 
had  fun  watching  it.  It  did  more  for  her 
than  any  so-called  epic  she  had  ever 
made.  It  set  people  to  wondering  if  she 
didn't  have  more  zing  than  they  sus- 
pected. "Honeymoon  in  Bali"  carried  the 


TRIMAL 


In  a  typical  cigarette-in-the-side-of-the-mouth  pose,  Humphrey  Bogart  discusses 
the  next  scene  with  Ann  Sheridan  on  the  "It  All  Came  True"  set. 


92 


MODERN  SCREEN 


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SIMPLIFIED  STEPS  TO 
BEAUTY  AND  STYLE. 


The  new  issue  of  LURE  gives  you  19 
pertinent  articles  and  features  designed 
to  help  you  dress  and  look  your  best — 
at  low  cost.  Typical  are  such  seasonal 
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•  MEDIUM  OR  WELL  DONE 

Definite  rules  for  the  sun  tan  season.  How 
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•  LOOK  PRETTY,  PLEASE! 

How  to  appear  your  best  on  those  vacation 
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•  MEN  — WHERE   1  - 

TO  MEET  THEM  r 

AND  HOW  TO 
TREAT  THEM 


campaign  forward,  making  her  a  strong- 
willed  career  woman  who  found  that 
biology  was  stronger  than  will  power. 

Then  Madeleine  did  "My  Son,  My  Son" 
— which  was  a  return  to  heavier  roles. 
Critics  reverted  to  their  old  habit  of 
looking  at  her  as  a  feminine  decoration. 
They  didn't  look  for  inner  changes,  only 
outer  ones.  "Some  of  them  stated" — 
Madeleine  raises  her  eyebrows  eloquent- 
ly— "that  I  could  stand  a  mite  of  dieting. 
A  fine  lot  of  encouragement!" 

"Safari,"  which  she  did  next,  found  her 
back  with  Griffith — but  in  a  different 
sort  of  story.  It  was  more  concerned 
with  adventure  than  with  feminine 
revelations. 

"Looking  back,"  Madeleine  says  now, 
"I  find  it  difficult  to  tell  how  I  felt,  mak- 
ing those  two  pictures.  Before  starting 
the  first  one,  I  had  gone  to  Europe  on 
vacation.  I  was  on  the  Atlantic,  on  the 
way  back,  when  war  was  declared.  I 
arrived  in  Hollywood  with  the  distraught 
feeling  that  my  world  was  falling  apart 
and  that  everything  I  had  cherished  was 
in  danger  of  destruction." 

IT  was  bad  enough  that  her  marriage 
had  gone  on  the  rocks.  Now  the  havoc 
of  war  threatened  everything  and  every- 
body she  had  known  in  Europe. 

"I  live  alone.  And,  being  alone  those 
four  months  after  the  war  began,  I 
couldn't  keep  my  mind  off  what  was 
happening  in  Europe.  And  the  more  I 
thought,  the  more  afraid  I  became  for 
the  people  there  whom  I  loved.  As  soon 
as  'Safari'  was  finished  I  rushed  over.  I 
found  them  just  as  they  had  always  been. 
Their  meals  were  a  bit  shorter,  and  they 
had  blackouts  at  night,  but  their  chins 
were  up,  and  their  courage  and  their 
ideals  were  intact.  I  came  back  tremen- 
dously buoyed  up  by  their  spirit." 

Now  she  can  think  about  work  again. 
She  likes  her  role  of  April  in  ''North 
West  Mounted  Police" — a  role,  by  the 
way,  that  Cecil  B.  DeMille  might  not 
have  given  her  if  E.  H.  Griffith  hadn't 
proved  that  she  could  play  warm-hearted 
women. 

Her  next  picture  will  be  "Virginia," 
again  with  her  Svengali,  Griffith. 

"When  I  returned  from  Europe  this 
time,"  Madeleine  says,  "he  and  Virginia 
Van  Upp  were  working  on  the  script. 
He  took  me  out  to  lunch  and  dinner 
several  times,  wanted  me  to  tell  him 
everything  I  had  done,  and  he  meant 
everything.  Really,  I'm  beginning  to 
think  of  him  as  a  father-confessor.  So 
I  talked  by  the  hour,  and  every  so  often 
he  would  jot  down  a  note.  Heaven  only 
knows  what  I'll  find  of  myself  in  the 
script  when  shooting  starts."  Those  blue 
eyes  dance  again.  "I  don't  want  my 
friends  abroad  to  think  that  I'm  the  kind 
of  girl  who  'kisses  and  tells.'  " 

Perhaps  it  is  on  those  grounds  that 
she  refuses  to  divulge  the  name  of  the 
admirer  who  gave  her  a  lion  cub  as  a 
pet,  to  bring  back  to  America.  But  who- 
ever he  is,  he  can't  think  of  her  as  an 
iceberg.  Icebergs  and  lion  cubs  don't  go 
together. 


JUNE  ISSUE 
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INFORMATION  DESK 
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JUNE,  1940 


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MOVIE  SCOREBOARD 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.  4-^-  means  very  good;  3^f,  good;  2^,  fair;  1-^-,  poor. 
C  denotes  that  the  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Picture 


General 
Rating 


Abe  Lincoln  in  Illinois (RKO)   4* 

Adventure  in  Diamonds  (Paramount)   2  + 

Allegheny  Uprising  (RKO)   2* 

Amazing  Mr.  Williams,  The  (Columbia)   3-k 

Another  Thin  Man  (M-G-M)   3k 

Babes  in  Arms  (M-G-M)  C  3* 

Balalaika  (M-G-M)   3* 

Barricade  (20th  Century-Fox)   3  * 

Beachcomber,  The  (Mayflower)  3V4* 

Beau  Geste  (Paramount)  C    3  k 

Beware  Spooks  (Columbia)   2  k 

Big  Guy,  The  (Universal)  ZVzk 

Black  Friday  (Universal)  2V2* 

*Bill  of  Divorcement,  A  (RKO)   3* 

Blondie  Brings  Up  Baby  (Columbia)   2* 

Blue  Bird,  The  (20th  Century-Fox)  C  3* 

Broadway  Melody  of  1940  (M-G-M)   3* 

Brother  Rat  and  a  Baby  (Warners)   2  ★ 

*Buck  Benny  Rides  Again  (Paramount)  2V2* 

Call  a  Messenger  (Universal)  SVzk 

Calling  Philo  Vance  (Warners)  2V2  ★ 

Castle  on  the  Hudson  (Warners)  2V2* 

Cat  and  the  Canary,  The  (Paramount)  3V21k 

Charlie  Chan  in  Panama  (20th  Century-Fox)   2* 

Charlie  McCarthy,  Detective  (Universal)   3* 

Chasing  Trouble  (Monogram)   2 1k 

Child  Is  Born,  A  (Warners)   3* 

Chump  at  Oxford,  A  (United  Artists)  2V2* 

Cisco  Kid  and  the  Lady,  The  (20th  Century-Fox)  2* 
Congo  Maisie  (M-G-M)   3  Ik- 
Cowboy  From  Texas  (Republic)   2-Ar 

Dancing  Co-ed  (M-G-M)  2V2* 

Daytime  Wife  (20th  Century-Fox)   3* 

Destry  Rides  Again  (Universal)   3  + 

Disputed  Passage  (Paramount)   31k 

Double  Alibi  (Universal)  2V21k 

*Dr.  Cyclops  (Paramount)   3 1k 

Dr.  Ehrlich's  Magic  Bullet  (Warners)  3V21k 

Drums  Along  the  Mohawk  (20th  Century-Fox)..  3 Ik- 
Dust  Be  My  Destiny  (Warners)  2V21k 

Earl  of  Chicago,  The  (M-G-M)   4* 

Elizabeth  and  Essex  (Warners)   4 1k 

Escape,  The  (20th  Century-Fox)  2V21k 

Eternally  Yours  (United  Artists)  2V21k 

Everything  Happens  at  Night  (20th.Century-Fox). .    3  -k 

Farmer's  Daughter,  The  (Paramount)  2V2lk 

Fast  and  Furious  (M-G-M)   21k 

Fifth  Avenue  Girl  (RKO)   3* 

Fighting  69th,  The  (Warners)   3* 

First  Love  (Universal)   3k 

Flying  Deuces  (RKO)   2* 

Four  Wives  (Warners)   3^r 

*Free,  Blonde  and  21  (20th  Century-Fox)   2* 

Geronimo  (Paramount)   3k 

Golden  Boy  (Columbia)   3* 

Gone  With  the  Wind  (M-G-M)   4* 

Grapes  of  Wrath,  The  (20th  Century-Fox)   4* 

Great  Victor  Herbert,  The  (Paramount)   3k 

Green  Hell  (Universal)   2* 

Gulliver's  Travels  (Paramount)  C    3  k 

He  Married  His  Wife  (20th  Century-Fox)   2  ★ 

High  School  (20th  Century-Fox)  C  3* 

His  Girl  Friday  (Columbia)   3 -*• 

Hollywood  Cavalcade  (20th  Century-Fox)  C    3  Ik 

Honeymoon  Deferred  (Universal)  2V21k 

House  Across  the  Bay,  The  (United  Artists)   2  * 

Housekeeper's  Daughter,  The  (United  Artists)   2^k 

Hunchback  of  Notre  Dame,  The  (RKO)   3  * 

Intermezzo,  A  Love  Story  (United  Artists)   3  Ik- 
Invisible  Man  Returns,  The  (Universal)                    2  Ik 

Invisible  Stripes  (Warners)   21k 

I  Take  This  Woman  (M-G-M)   2* 

It's  a  Date  (Universal)  3V2* 

Jamaica  Inn  (Paramount)   3* 

Joe  and  Ethel  Turp  Call  on  the  President  (M-G-M)    2  * 

Judge  Hardy  and  Son  (M-G-M)  C  3* 

Kid  Nightingale  (Warners)   2* 

Light  That  Failed,  The  (Paramount)   3  Ik 

Little  Accident  (Universal)  2V21k 

Little  Old  New  York  (20th  Century-Fox)   2* 

Lone  Wolf  Strikes,  The  (Columbia)   2  ★ 

Llano  Kid,  The  (Paramount)  2*/21k 

Man  From  Dakota,  The  (M-G-M)   2* 

Man  From  Montreal  (Universal)  2I/21k 

Man  Who  Wouldn't  Talk,  The  (20th  Century-Fox).2V2* 

Marines  Fly  High,  The  (RKO)   2* 

Marshal  of  Mesa  City  (RKO)  2V21k 

Marx  Bros,  at  the  Circus  (M-G-M)  C  3* 

Meet  Dr.  Christian  (RKO)  2V2* 

Mexican  Spitfire  (RKO)  2V2* 


Picture 


General 
Rating 


Midnight  (Paramount)   3  + 

Mikado,  The  (Universal)  C  3k 

Millionaire  Playboy  (RKO)   2* 

Miracles  For  Sale  (M-G-M)  2V21k 

Missing  Evidence  (Universal)   31k 

Mr.  Smith  Goes  to  Washington  (Columbia)   4* 

Music  in  My  Heart  (Columbia)   ik 

Mutiny  on  the  Blackhawk  (Universal)   2* 

My  Little  Chickadee  (Universal)  2V21k 

Nick  Carter,  Master  Detective  (M-G-M)   3* 

Night  of  Nights,  The  (Paramount)  2V21k 

Ninotehka  (M-G-M)   4k 

No  Place  To  Go  (Warners)   2* 

Northwest  Passage  (M-G-M)   4k 

Nurse  Edith  Cavell  (RKO)   4* 

Of  Mice  and  Men  (United  Artists)   4* 

Oklahoma  Frontier  (Universal)   2lk 

Oklahoma  Kid,  The  (Warners)   3  ★ 

Old  Maid,  The  (Warners)   4* 

On  Dress  Parade  (Warners)  C  2* 

One  Hour  to  Live  (Universal)   21k 

$1,000  a  Touchdov/n  (Paramount)   2* 

On  Your  Toes  (Warners)  2y21k 

Our  Leading  Citizen  (Paramount)  IVzk 

Our  Neighbors — The  Carters  (Paramount)  ZMk 

Pack  Up  Your  Troubles  (20th  Century-Fox)  2V2* 

Pinocchio  (RKO)  C  4* 

Pioneers  of  the  Frontier  (Columbia)   Ik 

Pride  of  the  Blue  Grass  (Warners)  2V2  k 

Primrose  Path,  The  (RKO)  3'/2ik 

Quick  Millions  (20th  Century-Fox)  C  21k 

Raffles  (United  Artists)   2* 

Rains  Came,  The  (20th  Century-Fox)   3  Ik 

Range  War  (Paramount)   ik 

Real  Glory,  The  (Un  ited  Artists)   3  ★ 

Rebecca  (United  Artists)   4* 

Remember?  (M-G-M)  2V21k 

Remember  the  Night  (Paramount)   3  + 

Rio  (Universal)  V>hk 

Road  to  Singapore,  The  (Paramount)  2V2ik 

Roaring  Twenties,  The  (Warners)   3  -jlr 

Rulers  of  the  Sea  (Paramount)  3xAk 

Sabotage  (Republic)  2V2ik 

Saint's  Double  Trouble,  The  (RKO)  2V21k 

Santa  Fe  Marshal  (Paramount)  IVzk 

Secret  of  Dr.  Kildare,  The  (M-G-M)   3  Ik 

Seventeen  (Paramount)  C  3* 

*Shooting  High  (20th  Century-Fox)  21/;.-* 

Shop  Around  the  Corner,  The  (M-G-M)   3  ★ 

Sidewalks  of  London  (Paramount  Release)   3ik 

Slightly  Honorable  (United  Artists)   3* 

Smashing  the  Money  Ring  (Warners)  2V21k 

Spirit  of  Culver,  The  (Universal)  C  2V2lk 

Stagecoach  (United  Artists)   4-k 

Stanley  and  Livingstone  (20th  Century-Fox)  3l/2k 

Star  Maker,  The  (Paramount)  C  2V21k 

Stop,  Look  and  Love  (20th  Century-Fox)   2-jlr 

Stranger  From  Texas  (Columbia)  2y21k 

Stronger  Than  Desire  (M-G-M)  2V21k 

Swanee  River  (20th  Century-Fox)   3* 

Swiss  Family  Robinson  (RKO)  C  3k 

Television  Spy  (Paramount)  2'/2^k 

That's  Right,  You're  Wrong  (RKO)  C  3* 

These  Glamour  Girls  (M-G-M)  2V2* 

They  Shall  Have  Music  (United  Artists). . :  C  3V2-* 

Those  High  Grey  Walls  (Columbia)  2V21k 

Three  Cheers  for  the  Irish  (Warners)   3  Ik 

Three  Smart  Girls  Grow  Up  (Universal)  C  3* 

Three  Sons  (RKO)..   3* 

Thunder  Afloat  (M-G-M)  2V2* 

Too  Busy  to  Work  (20th  Century-Fox)  C  2V21k 

Too  Many  Husbands  (Columbia)   3  ik 

Torchy  Plays  With  Dynamite  (Warners)  2l/2lk 

Tower  of  London  (Universal)   2  Ik 

Tropic  Fury  (Universal)   2  Ik 

20,000  Men  a  Year  (20th  Century-Fox)   3* 

Two  Bright  Boys  (Universal)   2  Ik 

U-Boat  29  (Columbia)   3  * 

Underpup,  The  (Universal)  C  3lk 

Vigil  in  the  Night  (RKO)   3* 

Virginia  City  (Warners)   3-jk 

Viva  Cisco  Kid  (20th  Century-Fox)   2  ★ 

We  Are  Not  Alone  (Warners)  3V2* 

What  a  Lifel  (Paramount)  C  3* 

When  Tomorrow  Comes  (Universal)  2V21k 

Wizard  of  Oz,  The  (M-G-M)  C  4* 

Wolf  of  New  York  (Republic)   2  ★ 

Women,  The  (M-G-M)   3* 

Young  As  You  Feel  (20th  Century-Fox)   2* 

Young  Tom  Edison  (M-G-M)  C  4* 


94 


MODERN  SCREEN 


NO 
DULL 
DRAB 
HAIR 

offer  you  use  this  amazing 

4  Purpose  Rinse 

In  one,  simple,  quick  operation, 
LOVALON  will  do  all  of  these  4  impor- 
tant things  for  your  hair. 

1.  Gives  lustrous  highlights. 

2.  Rinses  away  shampoo  film. 

3.  Tints  the  hair  as  it  rinses. 

4.  Helps  keep  hair  neatly  in  place. 
Lovalon  does  not  dye  or  bleach.  It  is  a 
pure,  odorless  hair  rinse,  in  12  different 
shades.  Try  Lovalon. 

At  stores  which  ^iiwiiiwiBiiiiwBwmni— 

sell  toilet  goods  HPBIrariWiPfiSlPlnl 

5rinses25c  IftflRAv  I&oBUKlB 

2  rinses  10c  PBjfllPtgBwi»«l 

.LOVALON 

MANY  NEVER 
SUSPECT  CAUSE 
OF  BACKACHES 

This  Old  Treatment  Often 
Brings  Happy  Relief 

Many  sufferers  relieve  nagging  backache  quickly, 
once  they  discover  that  the  real  cause  of  their  trouble 
may  be  tired  kidneys.  ■  .    .  , 

The  kidneys  are  Nature  s  chief  way  of  taking  the 
excess  acids  and  waste  out  of  the  blood.  They  help 
most  people  pass  about  3  pints  a  day. 

When  disorder  of  kidney  function  permits  poison- 
ous matter  to  remain  in  your  blood,  it  may  cause  nag- 
ging backache,  rheumatic  pains,  leg  pains,  loss  of  pep 
and  energy,  getting  up  nights,  swelling,  puffiness 
under  the  eyes,  headaches  and  dizziness.  Frequent  or 
scanty  passages  with  smarting  and  burning  some- 
times shows  there  is  something  wrong  with  your 
kidneys  or  bladder.  .       '  , 

Don't  wait!  Ask  your  druggist  for  Doan  s  Pills, 
used  successfuUy  by  millions  for  over  40  years.  They 
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Doan's  Pills. 


^Scratching 


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your  druggist  today  for  P.  D.  D.  PRESCRIPTION. 


77>< 


MADISON 


A  few  steps  from 
the  world-famous 
Boardwalk.  Surf- 
bathing  direct  from 
hotels. 


1*C 


Fetter  &  Hollinger,  Inc. 


JEFFERSON 

Sundecks  overlook- 
ing the  cool  Atlan- 
tic. All  sports. 
Rates  to  meet  your 
particular  require- 
ments. 

ATLANTIC  CITY 


INFORMATION  DESK 

(Continued  from  page  6) 


the  player  and  get  permission.  If  he 
grants  it,  he  often  sends  pictures  of  him- 
self as  well  as  a  mailing  list  of  his  most 
devoted  fans.  From  this  list  you  form 
the  nucleus  of  your  club.  If  you  have  a 
few  enthusiasts  in  your  town,  you  should 
nominate  a  vice-president  (you'd,  of 
course,  be  president),  a  secretary  and  a 
treasurer  to  take  care  of  the  dues, 
which  amount  to  fifty  or  seventy-five 
cents  a  year.  If  possible,  you  should 
have  a  newspaper  in  which  to  print 
news  of  your  meetings,  any  forthcoming 
contests  which  you  may  think  up  and 
news  of  the  star  which  he  will  send  you 
from  time  to  time.  If  you  would  like  to 
see  an  example  of  a  fan  newspaper,  you 
can  obtain  a  copy  of  "The  Trouper,"  a 
publication  dedicated  to  Ralph  Bellamy, 
by  sending  ten  cents  to  Jeannette  Men- 
dro,  3134  Elston  Avenue,  Chicago,  Illi- 
nois. We  wish  you  all  kinds  of  luck 
with  your  undertaking  and  are  sure  that 
it  will  prove  a  very  rewarding  venture. 
P.S.  The  dues  collected  should  offset  the 
cost  of  paper,  stencils  (for  the  news- 
paper) ,  postage,  envelopes,  occasional 
telegrams  to  the  star  in  whose  honor 
the  club  is  formed,  etc. 

Marie  Marinelli,  Milwaukee,  Wis.  We  are 
just  as  interested  as  you  are  in  clearing 
Billy  Halop's  name.  He  was  probably 
ill  at  the  time  of  that  personal  appear- 
ance and  not  in  jail,  as  the  malicious 
gossips  would  have  it.  As  far  as  we 
know,  a  ticket  for  speeding  is  as  close 
to  law-breaking  as  Billy  has  ever  come. 
He  is  sensible  and  well-behaved  off- 
screen, and  it  is  too  bad  that  people  con- 
fuse the  real  Billy  with  the  obstreper- 
ous rascal  he  portrays  so  well  in  the 
movies. 

Maxine  MacKenzie,  Alberta,  Canada.  David 
Niven  is  still  waiting  to  see  action  in  the 
war.  He  is  safe  and  sound,  and  we  join 
you  in  hoping  that  he  will  soon  be  back 
again.  His  pictures  include:  "Without 
Regret,"  1935;  "Rose  Marie,"  "Palm 
Springs,"  "Thank  You,  Jeeves,"  "Dods- 
worth,"  "Beloved  Enemy,"  "Charge  of  the 
Light  Brigade,"  1936;  "We  Have  Our 
Moments,"  "The  Prisoner  of  Zenda," 
"Dinner  at  the  Ritz,"  1937;  "Four  Men 
and  a  Prayer,"  "Three  Blind  Mice," 
"Dawn  Patrol,"  "Bluebeard's  Eighth 
Wife,"  1938;  "Wuthering  Heights,"  "Bach- 


ANSWERS 

TO    QUIZ    ON    PAGE  6 

1.  (a) 

11.  (b) 

2.  (b) 

12.  (a) 

3.  (b) 

13.  (b) 

4.  (b) 

14.  (a) 

5.  (a) 

15.  (a) 

6.  (b) 

16.  (b) 

7.  (b) 

17.  (b) 

8.  (a) 

18.  (b) 

9.  (b) 

19.  (a) 

10.  (b) 

20.  (b) 

Scoring: 

Multiply  the  number  of 

correct  answers  by  5.    If  your  score 

is  90-100,  you  can  consider  yourself 

a  first-class  fan;  if  80-90,  you  need 

some  brushing  up;  if  70-80,  watch  it, 
for  you're  slipping;  if  below  70,  you 
must  forfeit  your  title  of  "fan."  But 

not  for  long!    Keep  "in  the  know" 

with  our 

Information    Desk,  and 

you'll  soon  be  promoted. 

POUJDkBRSE 

at  our  expense! 

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how  much  lovelier  your  complexion  can  be. 
Mail  the  coupon  today,  for  your  free  sample 
At  all  cosmetic  counters  •  Over  8  million  sold 


FREE!  Powd'r-Base  and  Rouge! 


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Send  me  1  large  trialsizeof  POWD'R-  □  Brunette  I 
BASE,  also  1  of  POWD'R-BASE     R  1 

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EYEBROW  BALM 


Takes  the  "  Ouch!"  out 
of  Eyebrow  Plucking. 

It  softens  the  tissue  and  makes 
tweezing  easy.  No  sneezing,  no 
tears.  No  swelling,  no  redness. 
Keep  your  eyebrows  well  groom- 
ed by  pluckingthem  often.  After 
you  have  once  tried  Willems  Eyebrow  Balm  you  will  never 
be  without  it.  Easy  to  apply.  If  your  10  cent  store  hasn't  it 
ask  the  manager  to  order  it  for  you  or  send  10£  (Canada 
15(i)  direct  for  each  tube. 

WILLEMS  CO,  Dept.  10-F,  208  S  LaSalleSt.,  Chicago,  111. 


i 


:„  Radio  fits  your  pocket  or 
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LEARN  AT  HOME 

Study  in  spare  time  to  be  a  nurse. 
Many  earn  $2 5 -$ 35  a  week.  Course 
endorsed  by  physicians.    Thousands  of 
graduates.    41st  yr.    One  graduate  has 
charge   of    10-bed   hospital.  Another 
saved  $400  while  learning.   Equipment  included.   Men  and 
women  IS  to  60.   High  School  not  required.   Easy  tuition 
payments.   Write  now.  ..„„«..„_ 
CHICAGO   SCHOOL   OF  NURSING 
Dept.  236,  100  East  Ohio  Street,  Chicago,  III. 
Please  send  free  booklet  and  16  sample  lesson  pages. 

Name  .  _  

City  -  State  Age  


TUNE.  1940 


95 


TRUTH  ABOUT  CORNS 

What  Causes  Them— 
How  to  Get  Rid  of  Them 


A  corn  is  a  mass  of  dead  cells  packed  into  a  hard 
plug  (A),  by  pressure  and  friction.  Its  base  presses 
on  sensitive  nerves  (B)  causing  pain. 


For  quick  relief  put  a  Blue-Jay  Corn  Plaster  over 
the  corn.  Felt  pad  (C)  relieves  pain  by  removing 
pressure.  Special  medication  (D) loosens  corn  so 
it  can  be  lifted  out.  You  have  wonderful  re- 
lief! Then,  by  avoidingpressure  and  friction  which 
caused  your  corns,  you  can  prevent  their  return. 
Get  Blue- Jay— 25c  for  6.  Same  price  in  Canada. 


BAUER  S 
BLACK 


BLUE-JAY 


CORAf 
PLASTERS 


EXPECTING  A  BABY? 

#  Ask  your  doctor  about 
breast  feeding,  especially 
du  ring  early  weeks  of  infancy. 
Take  his  advice  on  supplemen- 
tary feeding,  particularly 
about  cleanliness.  Regular 
medical  care  and  advice 
on  nutrition  can  speed  \ 
development  and 
improve 

baby's  A  & 

*V  SAFER  because 
l  easier  to  clean 

REMOVE 
HAIR  without 

razor,  liquid 
paste  or  powder  m  Wc 

I Baby  Touch  Hair  Remover  is  the 
modern  way  to  remove  hair  from 
the  arms,  legs  and  face.  No  chem- 
icals— no  odor.  Use  like  a  powder 
puff.  Women  prefer  it  because  it 
is  so  convenient  to  use,  and  costs 
so  little.  Try  it — If  you  don't  like  it  better  than  any  other 
method  just  return  it  to  us.  Your  money  will  be  promptly 
refunded.  At  drug  and  department  stores  or  send  25c  for 
one  or  $1,00  for  five  of  the  Baby  Touch  Pads.  Baby  Touch 
Mittens  (Two  sides)  35c  each.  3  for  $1.00. 

BABY  TOUCH  HAIR  REMOVER  CO. 

4839  Fyler  Ave.  St.   Louis,  Mo. 


elor  Mother,"  "The  Real  Glory,"  "Eter- 
nally Yours"  and  "Raffles,"  1939. 

Albert  Cahill,  Bellevue,  Ky.  Jean  Ar- 
thur's real  name  is  Gladys  Greene,  and 
she  was  born  in  New  York  City  on 
October  17,  1908.  Her  first  ambition  was 
to  be  a  language  teacher,  but  she  had  a 
friend  who  was  a  model,  and  the  glamour 
of  that  profession  always  rather  appealed 
to  her.  One  day  she  accompanied  the 
friend  to  her  studio  and  was  stunned  to 
hear  the  photographer  asking  her,  "Have 
you  ever  thought  of  modeling?"  That 
was  the  beginning.  She  modeled  for 
Howard  Christy,  among  others,  and  was 
discovered  by  a  movie  scout  who  was 
seeking  new  talent  in  the  files  of  one 
of  the  big  modeling  agencies.  Her 
wistful  Nordic  beauty  was  just  what  the 
movies  needed,  he  decided,  and  he 
whipped  her  out  to  the  Coast.  However, 
the  climb  to  her  present  niche  in  the 
Hollywood  scheme  of  things  was  long 
and  arduous,  involving  years  of  riding 
in  Westerns  and  of  being  the  target  for 
bakeries  full  of  custard  pies.  Incred- 
ibly shy  and  unassuming,  Jean  lives 
quietly  with  her  husband,  Frank  Ross, 


abhorring  noise  and  glitter,  and  revelling 
in  good  books,  music  and  long  walks. 

Mary  Pappalardo,  Lawrence,  Mass.  James 
Corner,  who  appeared  in  "Winter  Car- 
nival" and  "What  a  Life,"  may  be 
reached  at  252  Overland  Road,  Green- 
wich, Conn.  Since  he  is  free-lancing,  it 
is  safer  to  address  his  mail  to  his  home 
and  have  it  forwarded  to  him. 

Joseph  Rossotto,  Jersey  City,  N.  J.  Yes, 
before  his  marriage  to  Ginger  Rogers, 
Lew  Ayres  was  Lola  Lane's  husband. 

Josephine  Celebriski,  Balston,  N.  Y.  Write 
to  Metro-Goldwyn-Mayer,  Culver  City, 
California,  for  those  stills  from  "Gone 
With  the  Wind."  Specify  in  writing 
that  you  prefer  pictures  of  Rhett,  and 
don't  forget  to  enclose  ten  cents  per  still. 

Frances  Hutchins,  Baltimore,  Md.  That 
picture  with  Dick  Powell  was  "Shipmates 
Forever,"  produced  in  1935.  The  youth- 
ful-looking Mr.  Powell  is  going  on 
thirty -six  and  is  the  papa  of  one  little 
girl,  Ellen,  who  will  be  two  in  June. 


LIVING  IN  SIN 

(Continued  from  page  31) 


way  to  becoming  Public  Favorite  Enemy 
Number  One. 

Those  who  saw,  in  1930,  a  picture 
called  "The  Millionaire,"  with  George 
Arliss,  will  remember  one  scene  in  which 
a  young,  excitable  salesman  confronts 
the  austere  Englishman.  Against  the 
precise  and  deliberate  pronouncements 
of  Arliss,  Cagney's  racy,  clipped  sportese 
was  uproariously  effective.  The  studio 
blared  its  approval.  So  did  all  America. 
The  young  Mr.  Cagney  was  whisked  from 
bit  parts  and  given  roles  of  length  and 
importance.  In  1930  he  made  three  pic- 
tures; in  1931-32,  five;  in  1933,  five;  in 
1934,  four;  in  1935,  five;  and  since  then, 
nine  more.  It  is  a  terrific  schedule  for 
a  leading  man.  Three  times  in  ten  years 
he  has  found  it  too  terrific.  Three  times 
in  ten  years  he  has  rebelled. 

SCREEN  heroes  ten  years  ago  were 
gentle  fellows.  Their  love-making  on 
the  screen  was  in  the  best  traditions  of 
chivalry  and  gentility.  When,  in  a  pic- 
ture called  "The  Public  Enemy,"  a  young 
player  named  James  Cagney  squashed  a 
grapefruit  into  the  face  of  his  sweetheart, 
a  young  girl  named  Mae  Clarke,  movie 
history  was  made.  Evidently  the  wishful 
thinking  of  80,000,000  courteous  Amer- 
icans was  gratified  by  the  act,  for  over- 
night Cagney's  name  became  a  house- 
hold word,  and  his  popularity  as  a  star 
zoomed  to  the  heavens.  In  "Blonde 
Crazy,"  he  kicked  Joan  Blondell  around. 


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In  "Taxi,"  Loretta  Young  was  the  butt 
of  his  virile  buffeting.  In  "The  Crowd 
Roars,"  Blondell  was  again  his  victim. 
In  "Winner  Take  All,"  Virginia  Bruce 
got  her  beautiful  face  slapped.  And  in 
"Picture  Snatcher,"  Alice  White  took  the 
consequences. 

It  was  all  very  tiresome  to  Cagney. 
He  was  not  averse  to  making  a  name  for 
himself;  nor  did  he  feel  that  an  actor 
should  hide  his  talents  under  a  hay- 
maker. But  he  did  believe  that  six 
identical  acts  was  overdoing  it  a  bit.  He 
was  not  slap-happy.  This  was  in  1932,  and 
he  was  under  contract  to  Warners  at 
$1,400  a  week.  He  threatened  to  break 
his  contract.  He  threatened  to  enter  the 
production  end  of  the  business.  He 
threatened  to  become  a  physician,  like 
his  two  older  brothers. 

The  contract  expired  on  September  15, 
1932.  Cagney  refused  to  re-sign  under 
existing  circumstances.  He  was  offered 
contracts  by  other  Hollywood  studios, 
but  none  of  these  was  sufficiently  prom- 
ising to  take  him  away  from  the  studio 
that  had  discovered  him.  Finally,  after 
two  months  of  bickering  and  compromise, 
James  Cagney  returned  to  Warners  at 
$1,750  a  week  for  forty  weeks  a  year, 
plus  a  bonus  of  $500  a  picture  and  a 
percentage  cut  in  profits  on  each  picture. 
It  was,  financially,  a  successful  strike. 
Artistically,  a  lot  remained  to  be  seen. 

His  first  picture  under  his  new  con- 
tract was  "Hard  to  Handle,"  in  which  he 
played  a  belligerent,  temperamental  pub- 
licity promoter.  His  next  fourteen  pic- 
tures were  rowdy,  blustering  shows  with 
Cagney  being  tough,  Cagney  being 
vengeful,  Cagney  being  the  same  old 
Cagney.  That  is,  his  next  fourteen  pic- 
tures, with  the  exception  of  "A  Midsum- 
mer Night's  Dream,"  were  "killer"  ones. 
"A  Midsummer  Night's  Dream"  was 
Warner's  most  colossal  failure.  Cagney's 
next  picture  was  "Frisco  Kid." 

On  the  fourth  anniversary  of  his  first 
studio  strike — in  1936 — he  again  became 
satiated  with  swaggering  roles  of  a  pure- 
ly fictional  nature.  In  thirteen  films  he 
had  played  exactly  the  same  kind  of 
fellow,  and  he  was  thoroughly  sick  of  it 
this  time.  When  Pat  O'Brien  was  billed 
above  him  at  a  theatre  showing  "Ceiling 


96 


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JUNE,  1940 


Zero,"  he  saw  his  chance  to  sue  the 
studio  and  break  a  contract  he  no  longer 
considered  just.  He  walked  out  on  a 
salary  which  by  now  read  $4,500  a  week. 
He  was  not  offered  a  job  by  other  studios 
now.  He  was  blacklisted.  Hollywood  did 
not  dare  encourage  such  willfulness  in 
its  players.  He  spent  almost  a  year  in 
retirement,  lost  approximately  $300,000 
by  not  working  and  was  finally  starred 
in  a  picture  called  "Great  Guy"  by  a 
new  company,  Grand  National,  at 
$150,000. 

"Great  Guy"  presented  James  Cagney 
— to  a  public  that  had  waited  a  year 
to  see  him — as  a  hard-hittmg,  hot-tem- 
pered city  commissioner.  Evidently  it 
was  impossible  for  him  to  appear  on  the 
screen  as  anything  but  the  original 
cut-up.  After  some  months  he  returned 
to  Warners,  with  still  another  salary 
increase  and  the  promise  of  one  of  the 
leading  roles  in  a  successful  Broadway 
comedy,  "Boy  Meets  Girl."  Mr.  Cagney's 
income  for  the  year  1938  was  $234,000. 
"Boy  Meets  Girl"  is  not  listed  anywhere 
as  a  box  office  hit. 

THUS  to  "Angels  with  Dirty  Faces" 
and  the  roles  with  which  he  seems  to 
be  saddled  for  life.  At  this  moment,  four 
years  from  his  second  strike,  he  is  cast 
in  a  comedy  titled  "Torrid  Zone."  He 
did  not  go  so  far  this  time  as  to  strike, 
but  he  complained  about  "hysterical" 
roles  until  the  studio  thought  it  wise  to 
schedule  something  besides  melodrama. 

Cagney's  belligerency  is  confined  to  his 
screen  and  studio  life,  for  his  routine 
after  working  hours  is  as  conventional 
and  unflurried  as  that  of  a  grocer's 
clerk.  He  owns  two  homes,  one  in  Bev- 
erly Hills  and  another,  a  250-year-old 
farmhouse  in  Martha's  Vineyard,  Massa- 
chusetts. He  has  been  married  for 
twelve  years  to  the  girl  he  met  in 
the  chorus  of  "Pitter  Patter."  He  owns 
goats,  a  dog  he  bought  at  the  pound 
and  one  thoroughbred  stallion.  He  has 
a  boat,  but  doesn't  indulge  in  any  but 
the  most  sedate  sailing.  Mai  de  mer 
and  a  slight  neuritis  in  his  left  arm 
are  his  only  ailments. 

He  displays  an  amazing  modesty  when 
asked  about  his  stage  and  screen  career. 
How  did  he  happen  to  get  the  lead  in 
"Outside  Looking  In?"  "I  had  the  red 
hair  necessary  for  the  part,"  he  will  say. 
How  did  he  happen  to  be  cast  in  "The 
Public  Enemy?"  "I  was  the  image  of 
Terry  Druggan,  the  beer  baron  of  Chi- 
cago," he  explains.  He  still  paints,  with 
what  accredited  critics  call  "verve."  His 
disposition  for  musical  entertainment 
divides  itself  between  Debussy  on  the 
serious  side  and  Rodgers  and  Hart  on 
the  light  and  frivolous.  There  are  no 
particular  aversions  in  his  life  unless 
they  are  morning  calls,  silly  questions 
and  aggressive  dumbbells.  And  his  fond- 
ness for  cookies  is  as  incredible  as  it  is 
renowned.  He  hopes  some  day  to  retire 
to  the  backwoods  permanently,  but  in 
the  meantime  there  are  things  to  attend 
to  in  Hollywood. 

One  of  them  is  this  comedy,  "Torrid 
Zone,"  which  will  immediately  take  him 
away  from  "hysterical"  roles  or  put  him 
right  back  in  them.  It  is  possible  that 
Cagney  underestimates  the  entertainment 
value  of  his  "hysteria."  He  is,  by  far, 
the  public  choice  in  such  matters.  The 
nearest  thing  to  a  competitor  he  has 
ever  had  is  Lee  Tracy.  However,  he 
seems  slightly  resigned  to  his  fate  at  this 
point,  which  does  not  necessarily  mean 
that  the  Cagney  spirit  is  weak.  It  just 
means  that  he  has  become  accustomed 
to  these  anniversaries  and  besides,  who 
knows  what  will  happen  next?  You  can't 
anticipate  the  behavior  of  a  Cagney. 


Hollywood  Knows  How  to 
Wake  Up  Sleeping  Beauty! 


Linda  Darnell  currently  featured  in  the 
20th  Century-Fox  picture,  "star  dust" 
—with  make-up  by  Bud  Westmore. 

Use   WESTMORE  FOUNDATION  CREAM  ...  a  film 

of  beauty  to  smooth  over  early  morning  or  mid- 
night pallor!  For  make-up  that  gives  you  the  look 
of  wide-awake,  alluring  vitality!  Created  by  Hol- 
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you'll  find  it  now  in  drug  and  department  stores. 
In  4  glowing  skin  tones,  with  powder  to  blend  .  .  . 
large  sizes,  each,  50(f.  At  variety  stores,  25$. 

send  for  Perc  Westmore's  Make-Up 
Guide  .  .  .  gives  make-up  rules  used 
for  the  star  of  your  face  type.  If  not 
on  sale  near  you,  send  25t'  to  House 
of  Westmore,  Inc.,  Dept.  B-6,  730 
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■JVESTMOHfc 

HOLLYWOOD 


UcuA  at  -Rome 


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wl 


Effect  of  Outgrown  Shoes 
Don't  let  baby  wear  outgrown  shoes.  Baby  feet 
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Baby  doctors  all  over  America  tell  mothers  to 
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Infants'  Wear  Dept.  of  the  following 
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Wee  Walkers  for  the  caee  walker 


97 


Alfjofeing  aside   ^  jackbetts 


"THE  OUlN  AOCR  IN  HUMS  TODAY  WHO 
WAS  A  STAR.  20  YEARS  AGO  IS  ~ 
JOHN  BATOfMORJE 

star  of  loncest  standing  is 
norma  shearer . 


^  id 

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/ " 

my 

THE  SCREEN  MAGNIFIES  HElGUT 
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98 


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MODERN  SCREEN 

 L 


The  new  shade  for  early 


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•  Actual  color  photograph  showing  how  ultra-violet  rays  of  sunshine  make  Luckies' 'fine  golden  tobaccos  extra  > 

Sunshine  mellows -heat  purifi 


r 


ARE  YOU  SMOKING  more  today? 
i  \  Remember  this:  The  more 
you  smoke,  the  more  you  need  the 
throat  protection  of  "It's  Toasted." 
For  "Toasting"  removes  certain  harsh 
throat  irritants  found  in  all  tobacco. 

Sunshine  mellows  —  heat  purifies 
—  and  that's  how  "Toasting"  works. 
At  the  New  York  World's  Fair  three 
million  visitors  have  seen  how  "It's 


( 


Toasted" — the  higher  heat  treatme; 
and  the  ultra-violet  ray  —  remo^ji 
certain  harsh  irritants — makes  Luck 
easy  on  your  throat. 

Try  Luckies  for  a  week.  Then  yoiJ 
see  why  with  independent  tobaql 
experts  —  buyers,  warehousemen 


auctioneers  • 


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uicw 
straw 


•  Actual  color  photograph  showing  how  ultra-violet  rays  of  sunshine  make  Luckies'  fine  golden  tobaccos  extra  »/f/j 

Sunshine  mellows -heat  purifie 


ARE  YOU  SMOKING  more  today? 
i  \  Remember  this:  The  more 
you  smoke,  the  more  you  need  the 
throat  protection  of  "It's  Toasted." 
For  "Toasting"  removes  certain  harsh 
throat  irritants  found  in  all  tobacco. 

Sunshine  mellows  —  heat  purifies 
—  and  that's  how  "Toasting"  works. 
At  the  New  York  World's  Fair  three 
million  visitors  have  seen  how  "It's 


Toasted" — the  higher  heat  treatment 
and  the  ultra-violet  ray  —  remove) 
certain  harsh  irritants — makes  Luckie 
easy  on  your  throat. 

Try  Luckies  for  a  week.  Then  you'l* 
see  why  with  independent  tobaccd 
experts  —  buyers,  warehousemen 
auctioneers  — 

.  .  .  WITH  MEN  WHO  KNOW  TO' 
BACCO  BEST— IT'S  LUCKIES  2  TO  1 


HAVE  YOU  TRIED  A  LUCKY  LATELY  ? 


0  / 


MRS.  ALEXANDER  COCHRANE  FORBES 
international  figure  in  embassy  circles 


Her  name  is  "Sunny"  Forbes.  The 
daughter  of  a  diplomat,  she  is  at  home 
with  world  notables... speaks  five  lan- 
guages fluently.  She  was  educated  in 
Rome,  made  her  New  York  debut  at  the 
Tuxedo  Ball,  was  later  presented  at  the 
Court  of  St.  James  . .  . 


Now,  in  her  Manhattan  apartment,  Mrs. 
Forbes  entertains  famous  personalities 
with  casual  teas  and  buffet  suppers  .  .  . 

ft 

"And  I  wouldn't  think  of  entertaining," 
she  says,  "without  having  a  carton  of 
Camels  handy.  My  friends  are  as 
Camel-conscious  as  I  am.  They  evi- 
dently enjoy  Camels,  too." 

ft 

She  likes  to  wear  colorless  polish  on  her 
nails  ...  do  her  own  marketing  .  .  . 
make  needlepoint  seat-covers  for  her 
Chippendale  chairs  .  .  .  collect  Lowe- 
stoft china  ...  go  to  concerts  .  . . 

One  of  those  charming  people  who  are 
"asked  everywhere"— to  attend  a  party 
for  visiting  royalty,  to  hunt  in  Virginia, 
to  swim  in  Bermuda— she  says: 

ft 

"I  see  Camels  everywhere  I  go.  Nobody 
has  to  tell  me  that  Camels  are  'extra 
cool,  extra  mild,  and  have  extra  flavor.' 
I  know— I  smoke  Camels.  They're  my 
favorite.  Positively  the  grandest-tasting 
cigarette  I  could  ever  want." 

THE  CIGARETTE  OF 
COSTLIER  TOBACCOS! 


Copyright,  1940.  R.  .7.  Reynolds  Tobacco  Company 
Winston-Salem,  North  Carolina 


A  few  of  the  many  other 
distinguished  women 
who  prefer  Camel's  mildness 
and  delicate  taste: 

Mrs.  Nicholas  Biddle,  Philadelphia 
Mrs.  Gail  Borden,  Chicago 
Mrs.  Powell  Cabot,  Boston 
Mrs.  Thomas  M.  Carnegie,  Jr.,  Philadelphia 
Mrs.  J.  Gardner  Coolidge  2nd,  Boston 
Mrs.  Anthony  J.  Drexel  3rd,  Philadelphia 
Mrs.  Nicholas  Griffith  Penniman  III,  Baltimore 
Mrs.  Thomas  Edison  Sloane,  New  York 
Mrs.  Rufus  Paine  Spalding  III,  Pasadena 
Mrs.  Oliver  De  Gray  Vanderbilt  ill,  Cincinnati 
Mrs.  Kiliaen  M.  Van  Rensselaer,  New  York 


In  recent  laboratory  tests.  Camels  burned 
25%  slower  than  the  average  of  the  15 
other  of  the  largest-selling  brands  tested— 
slower  than  any  of  them.  That  means,  on 
the  average,  a  smoking  plus  equal  to 


EXTRA 
SMOKES 
PER  PACK! 


we  4 


EXTRA  MILDNESS 


EXTRA  COOLNESS 


EXTRA  FLAVOR 


Her  "Ballerina"  Beach  Suit  held  His  Glance 
—but  Her  Smile  ran  away  with  His  Heart! 


•  Peppermint  candy  stripes 
in  a  new  cotton  beach  frock 
with  shirtwaist  top,  flaring 
"ballerina"  skirt. 


Never,  never  neglect  your  precious  smile! 
Help  guard  its  charm  with  Ipana  and  massage! 


IF  MEN  beg  for  an  introduction,  but  never 
ask  you  for  a  date,  it  may  be  your  smile 
that's  turning  love  away! 

For  alluring  and  smart  as  your  clothes 
may  be,  if  you  let  your  smile  become  dull 
and  dingy ...  if  you  ignore  the  warning  of 
"pink  tooth  brush". . .  you  lose  one  of  the 
most  precious  charms  a  girl  can  possess! 

"Pink  Tooth  Brush" a  warning  signal 

If  ever  you  see  "pink"  on  your  tooth  brush 
...see  your  dentist!  It  may  mean  nothing 
serious  . . .  but  let  him  decide!  Very  likely, 
his  opinion  will  be  that  your  gums  need 
more  exercise . . .  need  stimulation  they  don't 
get  from  today's  soft,  creamy  foods!  Then, 
like  so  many  dentists  these  days,  he  may 


suggest  "the  healthful  stimulation  of  Ipana 
and  massage!" 

For  Ipana  Tooth  Paste  is  specially  de- 
signed not  only  to  clean  teeth  thoroughly 
but,  with  massage,  to  aid  the  gums  to  health. 
Every  time  you  brush  your  teeth,  massage 
a  little  extra  Ipana  onto  your  gums.  Feel 
that  refreshing  "tang"— exclusive  with  Ipana 
and  massage.  It  tells  you  that  circulation  is 
awakening  in  the  gum  tissues  . . .  helping  to 
make  the  gums  firmer  and  healthier— more 
resistant  to  trouble. 

Get  a  tube  of  economical  Ipana  Tooth 
Paste  at  your  druggist's  today.  And  start  now 
to  let  Ipana  and  massage  help  you  to  have 
brighter,  more  sparkling  teeth... a  lovelier, 
more  charming  smile! 


IPANA  TOOTH  PASTE 


JULY,  1940 


©C1B  455952 


PEARL  H.  FINLEY.  Editor 


ZAILA    SEGUIN.    Associate  Editor 
ABRIL  LAMARQUE,  Art  Editor 


STORIES 


LOIS  SVENSRUD,  Hollywood  Editor 


FEATURES 


THE  AWFUL  TRUTH  ABOUT  GLAMOUR  GIRLS 

— James  Reid   


ANNIE  MEETS  THE  BOYS 

— James  Carson   


  28 

  30 

HOLLYWOOD'S  HOLD  ON  GABLE 

—Gladys  Hall    32 

CAREER  GIRL 

— Radie  Harris   36 

WATCH  OUT  FOR  FIREWORKS! 

— Kirtley  Baskette    40 

INFORMATION  PLEASE,  MR.  MILLAND 

— Ida  Zeitlin    42 

BATHE  FOR  BEAUTY 

— Carol  Carter   


  44 

THE  JOKE'S  ON  HOPE 

— Irving  Wallace    48 

PAULETTE'S  OUTSMARTING  HER  RIVALS 

— George  Benjamin  


50 


INFORMATION  DESK 

Questions  Answered    6 

MOVIE  REVIEWS 

Our  Ratings    8 

ICE  CREAM— AND  HOW! 

New  Recipes    10 

OUR  PUZZLE  PAGE 

Movie  X-Word    14 

A  DOLLAR  FOR  YOUR  THOUGHTS 

Prize  Letters    16 

PORTRAIT  GALLERY 

For  Your  Album   |9 

ON  THE  SET 

With  "The  Mortal  Storm"   34 

HE-MEN  ON  HORSEBACK 

Polo  Match — Stars  vs.  Producers   38 

GRACIE  FOR  PRESIDENT 

Gracie  Allen's  Campaign   46 

GOOD  NEWS 

Movie  Chatter   <   54 

MOVIE  SCOREBOARD 

General  Ratings    60 


Vol.  21,  No.  2,  July,  1940.  Copyright,  1940.  by  the  Dell  Publishing  Co.,  Inc.,  149  Madison  Ave.,  New  York.  Published  monthly.  Printed  in  U.  S.  A.  Office  of  publication 
at  Washington  and  South  Aves.,  Dunellen,  N.  J.  Single  copy  price  10c  in  U.  S.  and  Canada;  U.S.  subscription  price  $1 .00  a  year,-  Canadian  subscription  $1 .20  a  year/  foreign  sub- 
scription $2.20  a  year.  Entered  as  second-class  matter,  Sept.  18,  1930,  at  the  Postoffice,  Dunellen,  N.  J.,  under  Act  of  M-irch  3,  1879.  Additional  second  class  entries  at 
Seattle,  Wash.,-  San  Francisco,  Calif.;  Houston,  Texas;  Savannah,  Ga.,  and  New  Orleans,  La.  The  publishers  accept  no  responsibility  for  the  return  of  unsolicited  material. 
Names  of  characters  used  in  semi-fictional  matter  are  fictitious.    If  the  name  of  any  living  person  is  used  it  is  purely  a  coincidence.    Trademark  No.  301773. 

Lovely  Women  Welcome  this  Great 
New  Improvement  in  Beauty  Soaps ! 


MILLIONS  of  women  have  tried  this 
wonderful  new  Camay.  And  every- 
where they're  thrilled  to  find  a  soap 
whose  greater  mildness,  and  more  abun- 
dant lather  can  help  them  in  their  search 
for  loveliness! 

A  woman's  delicate  skin  needs  the 
right  care.  Famous  skin  specialists  have 
told  us  that  proper  cleansing  with  a  fine, 
mild  soap  will  help  to  keep  it  lovely. 

That's  why  many  women  who  feel 
that  their  skin  is  sensitive  like  Camay. 
It  is  milder  than  other  leading  beauty 
soaps  . . .  proved  by  tests  against  six  of 
the  best-selling  beauty  soaps  there  are! 

Start  using  this  wonderful  new  Camay, 
yourself.  Feel  how  your  skin  responds. 


"Camay  has  been  my  beauty  soap  for  years 
—and  now  this  new  Camay  is  even  more 
wonderful  than  ever.  I'm  just  thrilled  by  it! 
1  wouldn't  ask  for  a  milder  soap!" 

(Signed)  Suzanne  Hughes 
Yeadon,  Pa.  Mrs.  R.  C.  Hughes 


At  your  dealer's  now 
—no  change  in  wrapper! 


THE  BEAUTY  NEWS  OF  1940  IS  THE  NEW  CAMAY 


GREATER  m^f** 
MILDNESS  WT%Ig0 


New  Camay  is  milder  than  other  lead- 
ing beauty  soaps.  We  proved  this  by 
actual  tests  against  the  6  best-selling 
beauty  soaps  of  other  makers! 


MORE  ABUNDANT 


New  Camay  gives  more  abundant  lather 
in  a  short  time  than  other  leading 
beauty  soaps.  Proved  by  tests  against  6 
best-selling  beauty  soaps! 


NEW,  WINNING 
FRAGRANCE 


Camay  has  a  new,  long-lasting  fra- 
grance. Almost  2  out  of  every  3  women 
we  asked  voted  it  more  pleasing  than 
that  of  these  other  soaps! 


4 


MODERN  SCREEN 


JULY,  1940 


5 


i n fo r m hti o n  desk 

CURIOSITY  NEVER  KILLS  OUR  FRIENDS.   WE  SATISFY  AND  BRING  THEM  BACK  FOR  MORE 


NOTE:  If  you  desire  a  reply  by  mail,  send  a  stamped,  self- 
addressed  envelope  to  Informulivn  Desk,  Modern  Screen,  149 
Madison  Avenue,  New  York,  N.  Y. 

Helen  Goldberg.  Brooklyn,  N.  Y.  Just  write  to  our  Subscription 
Department,  enclosing  ten  cents,  and  ask  for  our  February, 
1940,  issue.  That's  the  one  that  car- 
ried the  first  part  of  the  chart. 

Carol  Wagner,  Indianapolis,  Indiana. 
Tom  Neal  was  born  in  Evanston, 
111.,  on  January  28,  and  he's  around 
twenty-eight  years  old.  His  first 
contact  with  the  limelight  came 
while  he  was  a  student  at  Lake 
Forest  Academy.  There  he  won 
twenty  athletic  letters,  and  cap- 
tained the  baseball,  basketball, 
swimming  and  football  teams.  At 
Northwestern,  he  further  distin- 
guished himself,  making  the  var- 
sity football  team  as  a  sophomore, 
and  being  chosen  All-Big-Ten 
Halfback  for  three  seasons.  Tom 
was  even  mentioned  on  several 
All-American  squads.  After  fin- 
ishing college,  he  joined  a  semi- 
professional  ice  hockey  team,  "The 
Chicago  Seals,"  winding  up  the 
season  in  the  hospital  with  a  dis- 
located hip.  The  excitement  of  his 
first  job  completely  spoiled  him  for 
anything  as  routine  as  a  business 
career,  but  the  glamorous  lights  of 
Broadway  appealed  to  him  no  end. 
He  hounded  the  producers  for  a 
job,  and — with  no  experience  back 
of  him  at  all — he  landed  the  lead 
in  "If  This  Be  Treason,"  just  on 
the  strength  of  his  rugged  appear- 
ance. He  went  on  to  other  plays 
and  was  really  on  his  way  to  the 
Broadway  big  time,  when  his 
roommate,  a  trapeze  artist,  was 
hurt  in  a  fall  and  ordered  to  Cali- 
fornia for  a  rest.  Tom  went  along, 
visualizing  the  studios  duelling  for 
his  services.  Unfortunately,  the 
only  job  he  was  offered  was  that  of 
assistant  in  a  bakery.  Even  this 
petered  out  after  a  while,  and 
when  his  capital  was  down  to  $2.07, 
his  movie  break  came  in  the  form 
of  a  role  in  "Out  West  With  The 
Hardys."  The  tall  dark  youngster 
with  the  broad  smile  and  wonder- 
ful sense  of  humor  may  be  reached 
at  Metro-Goldwyn-Mayer  Studios, 
Culver  City,  California. 

P.  J.  Cervo,  New  Haven,  Conn.  De- 
anna  Durbin  certainly  is  far  from 
paralyzed.  Haven't  you  noticed  her 
very  graceful  arm  movements? 
Take  a  good  look  next  time  you 
see  her  in  the  movies,  and  your 
doubts  will  be  dispelled.  Gene 
Autry  and  Richard  Greene  are  two 
stars  who  are  very  conscientious 
about  their  fan  mail.  However,  all 
the  stars  make  a  real  effort  to 
answer  as  much  of  their  mail  as  warrants  a  reply. 

An  Errol  Flynn  Fan,  Mason  City,  Iowa.  Errol  gets  lots  and  lots 
of  fan  mail,  and  is  one  of  the  most  popular  stars  at  Warner 
Brothers.  Yes,  "The  Sea  Hawk,"  his  next  picture,  was  adapted 
from  the  book  of  the  same  name  by  Rafael  Sabatini.  There 
has  been  a  good  bit  of  discussion  about  Flynn  starring  in  "The 


White  Rajah,"  which  he  himself  wrote,  but  so  far,  no  definite 
plans  have  been  made  for  its  production. 

Janis  Brodt,  Pleasant  Ridge,  Mich.  Dalies  Frantz,  who  by  the 
way  pronounces  his  first  name  Daleez,  has  had  a  typically 
American  career  in  spite  of  his  foreign  name.   He  was  born 

in  Lafayette,  Colorado,  on  January 
9.  He  was  educated  at  the  local 
schools  until  he  was  thirteen, 
studied  music  under  vigorous  pro- 
test and  got  in  and  out  of  all  the 
usual  scrapes.  Upon  graduation 
from  Huntington  Prep  School  in 
Boston,  he  went  on  to  the  Uni- 
versity of  Michigan,  then  to  the 
University  of  Washington,  starring 
on  the  swimming  teams  in  all  of 
these  schools.  Dalies  inherits  his 
musical  talent  from  his  mother, 
Amalia,  a  noted  singer,  and  it  was 
she  who  encouraged  him  to  go 
abroad  for  further  study.  He  made 
three  trips  to  Europe  and  upon  his 
return,  in  1934,  made  his  debut 
with  Stokowski  in  New  York.  Sev- 
eral coast-to-coast  concert  tours 
eventually  brought  him  to  Holly- 
wood's attention,  and  in  1938,  he 
appeared  briefly  in  "Sweethearts," 
with  Jeanette  MacDonald  and  Nel- 
son Eddy.  Since  then  M-G-M  has 
been  grooming  him  for  featured 
roles  and  his  latest  appearance  was 
in  "I  Take  This  Woman."  He  is  six 
feet  tall,  weighs  175  pounds  and  has 
blonde  hair  and  blue-green  eyes. 
Says  his  favorite  actress  is  Olive 
Oyl,  and  is  heart-broken  that  Pop- 
eye  has  the  inside  track.  He  is 
unmarried,  but  confides  that  he 
prefers  a  good  sport  to  a  glamour 
girl,  any  day. 

Rose  D.,  Cleveland,  Ohio.  Yes,  in- 
deed, you'll  soon  be  seeing  your 
favorite,  John  Carroll  again.  He's 
working  in  "Susan  and  God"  right 
now,  so  keep  a  weather  eye  out 
for  it.  John's  real  name  is  Julian 
La  Faye,  and  he  was  born  in  Man- 
deville,  Louisiana,  on  July  17,  1912. 
Six  feet  one  in  height,  he  has  black 
hair  and  brown  eyes.  He  was  what 
is  known  as  a  problem  child,  and 
at  the  age  of  twelve  ran  away  from 
home,  having  decided  to  see  the 
world.  He  saw  it  all  right — has 
circled  the  globe  no  less  than  three 
times,  in  various  capacities  rang- 
ing from  window  wiper  to  ship's 
cook.  Returning  to  New  Orleans 
years  later,  Victor  Chesnais,  a 
voice  coach,  encouraged  him  to  go 
to  Italy  and  study  singing.  Nothing 
would  have  pleased  the  roving 
Carroll  more,  the  only  drawback 
being  an  acute  case  of  financial 
embarrassment.  Chesnais  secured 
$25,000  from  a  music-loving  philan- 
thropist, and  John  was  on  the  high 
seas  once  more.  He  acquired  a 
broad  reputation  in  European  musical  circles,  and  gave  con- 
certs in  Berlin,  Vienna,  Budapest  and  Paris,  before  deciding 
that  the  singing  business  was  much  too  tame  for  him.  He  came 
back  to  America,  and  after  a  checkered  career  of  deep-sea 
diving,  steeple-jacking,  riding  the  range  and  doing  trick  flying 
he  found  his  way  to  Hollywood,  where  his  versatility  was 
rewarded.   He  played  in  every  sort  (Continued  on  page  15) 


HOLLYWOOD  SLANGUAGE 


IF  YOU  were  visiting  a  movie  set  and  heard  "Take 
the  clothes  off  that  broad!"  fly  through  the  air 
with  the  greatest  of  ease,  would  your  face  be 
red?  If  someone  roared  out,  "Slap  a  barn  door 
over  a  barrel!"  would  you  run  for  cover?  Well, 
lads  and  lassies,  relax  for  you'd  be  as  safe  as  in 
your  own  little  beds.  What  sounds  to  you  like 
rough  and  tough  words  are  merely  everyday  terms 
of  endearment  to  movie  folk.  We'll  let  you  in 
on  a  few  and  what  they  mean: 

1.  "Take  the  clothes  off  that  broad" — make  the 
lights  brighter. 

2.  "Kill  the  headlights" — remove  flashy  ring  from 
player's  finger. 

3.  "Flaunt  the  ghost" — set  up  a  tent  on  location. 

4.  "It's  a  polly" — because  of  an  echo,  the  scene 
must  be  reshot. 

5.  "Monkey" — the  man  handling  the  microphone. 

6.  "Slap  a  barn  door  over  a  barrel" — put  a  shade 
over  a  powerful  light  shaped  like  a  beer  barrel. 

7.  "Loused  up" — a  scene  in  which  an  actor  plays 
badly  or  forgets  his  lines. 

8.  "M.O.S." — a  silent  shot  (  Mit  out  sound). 

9.  "Walla-walla" — crowd  background  noise. 

10.  "Kill  the  baby"— turn  off  the  small  light. 
I  I.  "One-eyed  Connolly" — one  who  crashes  a  set 

where  pretty  chorus  girls  are  working. 

12.  "Juicer" — studio  electrician. 

13.  "Grips" — stage  hands. 

14.  "You've  got  egg  on   your  face" — what  a 
director  says  to  an  actor  who  muddles  lines. 

15.  "Roll  'em,"  "Turn  'em," — start  the  cameras. 


6 


MODERN  SCREEN 


"  The  Summer  Sun  has  changed  your  skin 
■why  not  change  the  shade  of  your  Face  Powder  ?" 


[FIND  YOUR  LUCKY  SUMMER  SHADE— 

AND  GET  IT  IN  MY  GRIT- FREE  POIVDER] 


Slowly,  subtly— the  sun  has  deep- 
ened your  skin  tones,  making  them 
richer— more  vibrant.  But ...  are 
you  innocently  spoiling  your  skin's 
sun-tinted  warmth  with  a  too  light 
shade  of  powder?  It's  so  important 
to  change  to  a  warmer,  richer  shade 
—a  shade  that  will  harmonize  with 
your  skin  tones  as  they  are  now! 


Find  out  now  which  is  your  most  flattering 
shade!  But  remember,  even  a  richer  shade  won't 
help ...  if  your  powder  is  too  coarse  for  your  skin! 
For  the  deeper  the  shade,  the  more  important  that 
your  powder  should  be  free  from  grit! 


Make  my  famous  "Bite  Test"!  Put 

a  pinch  of  your  present  powder  be- 
tween your  teeth.  Make  sure  your 
teeth  are  even,  then  grind  them  slowly. 
If  your  powder  contains  grit,  your 
teeth  instantly  detect  it.  But  how  eas- 
ily Lady  Esther  Powder  passes  the  same 
test!  Youv  teeth  will  find  no  grit! 


Lady  Esther  Face  Powder  is  so  smooth  it 
clings  for  4  long  hours!  Put  it  on  after  dinner— 
say  at  eight— and  at  midnight  it  will  still  flatter 
your  skin.  No  coarse  particles  ruin  its  perfect 
blending... or  give  you  a  harsh,  "powdery"  look! 


Get  your  lucky  shade  in  my  GRIT- FREE  Powder! 


You  can't  judge  powder  shades  by  the 
appearance  of  the  powder  in  the  box.  To 
find  the  most  flattering  shade  for  the  new, 
warmer  tones  of  your  complexion  . . .  try 
each  shade  of  my  powder  on  your  own  skin 
...  at  my  expense! 

Mail  me  the  coupon, and  there  will  come 
to  you  ten  new  shades  of  my  grit-free 
powder— brunette  shades,  rachels,  rose 
tones.  Try  each  shade  on  your  own  face. 
Find  the  one  that  is  just  right  for  you! 
And  as  you  try  on  these  lovely  shades . . . 


notice  how  smooth  my  powder  is.  Don't 
mistakenly  believe  a  high  price  means  a 
grit-free  face  powder. 

Impartial  laboratory  tests  showed  that  many 
expensive  powders— costing  $1.00,  $2.00,  $3.00 
and  even  more— contained  up  to  20.44%  grit. 

Find  your  lucky  shade  of  my  grit-free 
powder,  and  wear  it  confidently.  No 
coarse  particles  will  streak  or  fade  your 
powder. . .  or  give  your  skin  a  harsh,  "pow- 
dery" look.  You  cannot  find  a  finer,  higher 
quality  powder.  So  mail  the  coupon  now! 


*  10  shades  free!  * 


{You  can  paste  this  on  a  penny  postcard) 

Lady  Esther,  (57) 
7110  West  65 th  Street,  Chicago,  111. 
Please  send  me  FREE  AND  POSTPAID  your 
10  new  shades  of  face  powder,  also  a  tube  of 
your 'Four  Purpose  Face  Cream. 


JULY,  1940 


7 


fllOVIE  REVIEWS 


Dottie  Lamour  and  Ty  Power  confer 
with  Lawyer  Charley  Grapewin  in  a 
scene  from  "Johnny  Apollo." 


Pat   O'Brien,    Merle    Oberon  and 
George  Brent  make  "  'Til  We  Meet 
Again"  a  thrilling  experience. 


Anna    Neagle's   the   Irish  Cinderella 
and  Ray  Milland,  her  pursuer  in  the 
Technicolor  "Irene." 


Movie  of  the  Pulitzer  Prize  play,  "Sat- 
urday's Children,"  teams  John  Gar- 
field with  Anne  Shirley. 


Johnny  Apollo 

Tyrone  Power  scores  a  success  in  this, 
enacting  a  spoiled  college  youth  who 
can't  take  the  disgrace  of  his  father's 
imprisonment,  denies  their  relationship 
and  sets  out  to  make  a  name  for  himself. 
But  he  discovers  the  world  has  no  place 
for  a  soft  guy,  and  drifts  into  under- 
world rackets,  becoming  so  deeply  in- 
volved that  he  finally  lands  in  the  same 
penitentiary  as  his  father.  The  climax 
comes  with  a  prison  break,  and  Ty 
still  trying  to  outsmart  justice  by  escap- 
ing. His  father  is  wounded  while  trying 
to  prevent  the  escape  and  this  brings  the 
youth  to  his  senses.  It's  harrowing  screen 
fare,  but  so  powerfully  enacted  by  the 
principal  characters  that  it  is  at  all  times 
convincing.  Edward  Arnold  as  the  father 
gives  an  excellent  account  of  himself, 
and  highly  commendable  is  the  work  of 
Lloyd  Nolan,  the  racketeer  who  leads 
Tyrone  astray. 

Charley  Grapewin,  as  the  lawyer, 
chalks  up  one  of  the  finest  characteriza- 
tions of  his  career.  Lionel  Atwill,  Selmar 
Jackson  and  Charles  Trowbridge  give 
creditable  performances  in  minor  roles. 
As  the  romantic  interest,  Dorothy  Lamour 
is  satisfactory.  She  has  a  chance  for  a 
song  or  two  which  will,  no  doubt,  keep 
the  Lamour  fans  happy,  and  manages 
to  be  decorative  without  a  sarong  in 
sight.  Directed  by  Henry  Hathaway. — 
Twentieth  Century-Fox. 

***Til  We  Meet  Again 

"  'Til  We  Meet  Again"  is  the  familiar 
story  of  two  doomed  people  meeting 
briefly,  falling  in  love  and  passing  on  to 
their  tragically  separate  dooms.  The  peo- 
ple are  Merle  Oberon,  with  incurable 
heart  disease,  and  George  Brent  with  a 
death  rap  hanging  over  him  back  at 
San  Quentin. 

In  the  movies,  police  departments  do 
not  merely  function  municipally:  they 
dispatch  their  men  to  all  corners  of  the 
habitable  globe  on  the  best  ships  to  cap- 
ture and  bring  back  to  justice  charming 
rogues  like  Mr.  Brent.  Pat  O'Brien  is 
the  policeman,  and  San  Francisco's  is  the 
department  whose  badges  are  promptly 
honored  in  public  arrests  even  by  the 
constabulary  of  picturesque  Hong  Kong. 

Bulldog  O'Brien  is  waiting  to  clap  the 
cuffs  on  George  as  he  leaves  the  bar 
where  he  and  Merle  have  just  picked 
each  other  up,  shared  a  "Paradise"  cock- 
tail (recipe  on  request) ,  looked  deep  into 
each  other's  eyes,  smashed  the  glasses 
and  crossed  the  stems  dramatically  on 
the  bar.  Of  course,  they  meet  again  on 
the  boat,  but  don't  forget  that  little -cere- 
mony at  the  bar  in  Hong  Kong,  because 
it  is  destined  to  be  repeated  under  rather 
spooky  circumstances  as  a  tearful  finale 
to  the  picture. 

For  all  of  his  underworld  connections, 
George,  it  seems,  is  really  too  noble  for 
his  own  good.  Twice  he  could  have  made 
good  his  escape:  Once  in  the  harbor, 
when  he  swam  back  to  rescue  the  drown- 
ing Pat,  and  again  in  Honolulu,  when  he 
could  not  bear  to  escape  on  that  char- 
tered freighter  and  disappoint  Merle, 
who  was  counting  on  a  drive  into  the 


mountains.  Mr.  Brent  and  Miss  Oberon 
perform  bravely,  considering  what  they 
face.  Mr.  O'Brien,  Geraldine  Fitzgerald 
and  Binnie  Barnes  shine  in  lesser  roles. 
But  Frank  McHugh,  as  a  drunken  card- 
sharp  and  thief,  is  the  one  really  amusing 
passenger.  Directed  by  Edmund  Gould- 
ing. — Warner  Brothers. 

***  Irene 

"Irene"  serves  to  introduce  a  new  Anna 
Neagle  to  the  motion  picture  audience — 
with  a  combination  of  Ginger  Rogers' 
dancing  ability  and  a  personality  as 
distinct  as  the  famous  Alice  blue  gown 
worn  in  the  film.  For  good  measure, 
Miss  Neagle  sings  with  the  aptitude  of  a 
modern  crooner. 

Though  the  story  is  not  too  rich  in  plot, 
it  is  cleverly  and  amusingly  written. 
Irene  (Miss  Neagle)  is  a  wisp  of  an  Irish 
lassie,  with  the  fiery  temper  England 
has  been  aware  of  for  years.  At  the  start 
of  the  film,  she  is  a  poor  working  girl, 
eating  ham  sandwiches  for  lunch  and 
Irish  stew  for  dinner;  at  the  end,  she  is 
the  most  famous  mannequin  in  all  New 
York,  and  about  to  wed  a  wealthy  play- 
boy. 

Such  a  story,  of  course,  is  impossible 
any  place  but  on  the  silver  screen.  But 
it's  an  acceptable  story,  and  one  that 
will  keep  you  entertained  throughout. 
Miss  Neagle  is  adorable  as  the  Cinderella 
model,  while  Ray  Milland  gives  the  exact 
impression  you  would  expect  of  a  mil- 
lionaire socialite.  Roland  Young,  Billie 
Burke,  May  Robson  and  Arthur  Treacher 
are  responsible  for  innumerable  laughs. 
Alan  Marshal,  as  the  rival  of  Milland, 
is  excellent,  too. 

The  Alice  blue  gown  sequence  in  Tech- 
nicolor is  truly  beautiful,  and  the  bur- 
lesque of  that  number  will  shake  your 
sides  with  laughter.  Directed  by  Herbert 
Wilcox.— RKO-Radio. 

**'/2*  Saturday's  Children 

Maxwell  Anderson's  Pulitzer  Prize  play 
has  been  brought  to  the  screen  with  con- 
siderable success.  The  homely  little  story 
of  two  young  people  (Anne  Shirley  and 
John  Garfield)  who  marry  with  little 
else  except  high  hopes,  is  presented  with 
a  sincerity  and  adeptness  of  performance 
and  direction  that  makes  it  a  worthwhile 
picture. 

Anne  Shirley,  as  the  young  wife,  in- 
vests the  role  with  understanding  and 
charm;  Garfield,  as  the  idealistic  hus- 
band whose  dreams  of  great  success  are 
blasted  by  cruel  misfortune,  is  always 
convincing;  Lee  Patrick,  the  elder  sister 
who  aids  and  abets  Anne  Shirley  in  her 
matrimonial  snaring,  is  especially  enter- 
taining. 

Claude  Rains,  again  the  sweet-natured 
father  whose  daughters  cause  him  no  end 
of  worry,  is  his  usual  likable  self,  while 
Roscoe  Karns,  a  son-in-law,  adds  con- 
siderably to  the  entertainment  value  of 
the  picture.  Dennie  Moore  and  George 
Tobias  contribute  a  good  share  of  the 
comedy  and  Elizabeth  Risdon  is  admir- 
able as  the  mother.  Directed  by  Vincent 
Sherman. — Warner  Brothers. 


MODERN  SCREEN 


**"/2*  It  All  Came  True 

Except  for  two  or  three  amusing  cracks 
from  Humphrey  Bogart,  this  one  may  be 
dismissed  as  a  rather  conspicuously  un- 
successful attempt  at  gangster-comedy, 
in  the  style  of  "A  Slight  Case  of  Murder." 
Humphrey  also  affords  a  charmingly 
sentimental  variation  on  his  usual  under- 
world characterization  by  letting  a  group 
of  hard-up  vaudevillians,  including  one 
who  mothers  him  in  spite  of  his  radical 
attitude,  get  under  his  skin  to  such  an 
extent  that  he  starts  a  night  club  to 
provide  an  outlet  for  their  quaint,  old- 
world  talents.  But  the  sentimental  crack- 
up  seems  forced,  and  it  is  difficult  to 
believe  that  whatever  passes  with  Humph 
for  a  heart — granite,  flint,  or  carborun- 
dum— was  really  in  it. 

There  are  other,  less  original,  novelties. 
There  is  Jeffrey  Lynn,  who  smuggles  Mr. 
Bogart  into  his  mama's  old-fashioned 
boarding  house  because  Mr.  B.  "has 
something  on  him."  Then  there  is  Ann 
Sheridan,  revealing  the  fact  that  she  has 
a  short-range  but  not  unpleasing  con- 
tralto voice,  as  well  as  the  other  usual 
things  appertaining  to  "oomph."  Zasu 
Pitts,  Una  O'Connor,  Jessie  Bailey,  John 
Litel,  Grant  Mitchell,  Felix  Bressart  and 
the  others  do  their  best  for  a  generally 
losing  cause.  It  all  turns  out  happily, 
except  for  Mr.  Bogart,  who  magnani- 
mously takes  his  own  "rap"  instead  of 
foisting  it  on  Jeffrey.  Directed  by  Lewis 
Seiler. — Warner  Brothers. 

**l/2*  Safari 

Organized  for  no  particular  reason, 
except  possibly  to  prove  that  a  baron 
with  a  yacht,  a  taste  for  big-game  hunt- 
ing and  an  accent  like  Tullio  Carminati's 
is  more  than  apt  to  be  a  heel,  this  ill- 
timed  expedition  follows  too  closely  on 
the  heels  of  Universal's  "Green  Hell" 
(also  with  Douglas  Fairbanks,  Jr.,  in  a 
pith  helmet)  not  to  come  as  a  rather 
unpleasant  reminder.  With  an  unusually 
active  process  screen,  a  flock  of  black 
bearers,  a  little  river  steamer,  and  Made- 
leine Carroll  without  one  bead  of  perspi- 
ration, the  picture — without  a  semblance 
of  plot — moves  cumbersomely  into  the 
Los  Angeles  veldt  and  cumbersomely  out 
again.  Tullio  loses  Madeleine  to  Douglas, 
the  white  or,  at  any  rate,  untanned 
hunter,  while  Lynne  Overman,  undis- 
guised with  a  beard  and  a  synthetic 
Scotch  dialect,  soddenly  applauds.  That's 
positively  all  there  is  to  it. 

Well,  perhaps  we  ought  to  mention  that 
Madeleine  and  Douglas  take  an  airplane 
flight  and  have  to  spend  a  stormy  night 
in  a  hollow  tree,  that  Tullio  deliberately 
wounds  a  lion  just  to  prove  to  himself 
that  Madeleine  loves  Douglas,  and  that 
Douglas  is  clawed  by  the  enraged  beast 
when  he  dutifully  enters  the  jungle  to 
put  the  poor  thing  out  of  its  misery.  All 
this  causes  Madeleine  to  decide  not  to 
go  back  on  Tullio's  yacht  and  that  means, 
of  course,  that  Mr.  Fairbanks  must  do 
the  devoir  at  the  fadeout.  Madeleine, 
who  is  in  excellent  face,  if  slightly  more 
figure  than  heretofore,  looks  as  if  butter 
would  not  melt  in  her  mouth,  though  it 
is  obvious  that  she  has  been  traveling 
around  on  a  yacht  with  a  low-principled 
baron.  Directed  by  Edward  H.  Griffith. 
— Paramount. 

**'/2*  Two  Girls  on  Broadway 

Though  a  remake  of  the  first  "Broad- 
way Melody,"  "Two  Girls  on  Broadway" 
retains  the  same  refreshing  tang,  mainly 
through  the  talents  of  the  capable  cast. 
(Continued  on  page  12) 


Just  a  Pretty  Stranger 
in  her  own  Home  Town 


No  girl  need  risk  popularity!  MUM  every  day 
prevents  underarm  odor— guards  charm! 


PEG  couldn't  help  being  envious— 
they  were  having  such  fun,  and  she 
was  so  lonely.  So  many  girls  who  weren't 
as  pretty  as  Peg,  had  dates.  "I'll  leave  this 
old  town,  then  I'll  be  popular,"  thought 
Peg.  But  Peg,  others  will  neglect  you 
wherever  you  go— if  you  neglect  under- 
arm odor. 

Like  Peg,  we  seldom  know  when  we 
are  guilty  of  underarm  odor.  How  much 
wiser  to  play  safe— each  day— with  Mum! 
Don't  rely  on  a  bath  alone  to  guard  your 
charm.  A  bath  removes  past  perspiration, 
but  Mum  prevents  future  odor. 

Wherever  there  is  social  life,  you  will 
find  popular  girls  use  Mum.  And  more 


use  Mum  than  any  other  deodorant. 

MUM  SAVES  TIME!  Just  30  seconds, 
and  underarms  are  fresh  all  day. 

MUM  SAVES  CLOTHES!  The  American 
Laundry  Institute  Seal  tells  you  Mum 
won't  harm  any  fabric.  Safe  for  skin,  too 
—even  after  underarm  shaving! 

MUM  SAVES  CHARM!  Mum  makes 
odor  impossible— not  by  attempting  to 
prevent  perspiration— but  by  neutralizing 
the  odor  before  it  starts.  Get  Mum  at  your 
druggist's  today.  More  women  (and  more 
men)  make  a  habit  of  Mum  because 
Mum  keeps  you  "in  right"  everywhere— 
with  everyone! 


POPULAR  GIRLS  MAKE  A  DAILY  HABIT  OF  MUM 


TO  HERSELF: 
MUM  WAS  THE  ANSWER 
FOR  ME,  ALL  RIGHT 
I'M  A  HIT... 
TONIGHT! 


For  Sanitary  Napkins,  Too — 

No  need  to  worry  about  Sani- 
tary Napkins  if  you  remem- 
ber Mum  will  keep  you  fresh. 
Mum  is  so  safe  ...so  gentle . . . 
thousands  use  it  this  way! 


TAKES  THE  ODOR  OUT  OF  PERSPIRATION 


JULY,  1940 


9 


"IF  I  HAD  MY  WAY,"  SAYS  GLORIA  JEAN,  "I'D  HAVE  IT  FOR  BREAKFAST,  LUNCH  AND  DINNER" 


ill  \ 


list 


Gloria  Jean's  mother  always  scores  a  hit  when  she  tops 
off  a  meal  with  the  favorite  All-American  dessert. 


Not  a  race — just  the  'Schoonover  kids,  Lois,  Gloria 
and  Baby  Bonnie  let  loose  with  a  "special"  treat. 


IT  WILL  not  surprise  you  one  bit,  I 
imagine,  to  learn  that  Bing  Crosby's  new 
little  leading  lady,  twelve-year-old 
Gloria  Jean,  is  "simply  crazy"  about  ice 
cream.  In  fact,  she  holds  the  title,  "Ice 
Cream  Enthusiast  Extraordinary"  as  a 
result  of  the  number  of  ice  cream  cones 
she  can  consume  in  a  single  day.  Why, 
when  Gloria's  teacher  asked  her  to  de- 
fine the  word  "tragedy,"  Gloria  replied, 
"being  allergic  to  ice  cream!" 

At  home,  too,  they  tease  Gloria  about 
this  fondness  for  frozen  desserts.  Her 
father  solemnly  declares  that  he  is 
thinking  of  having  her  inoculated 
against  it.  Her  sister,  Lois,  who  is  her 
stand-in;  Sally,  who  is  a  publicity- 
hating  high-school  student;  and  Baby 
Bonnie,  all  share  Gloria's  enthusiasm, 
knowing  their  dad  too  well  to  put  any 
stock  in  his  dire  threat.  And  besides 
they  know  their  mother  considers  ice 
cream  one  of  the  most  healthful  and 
nutritious  of  desserts,  as  well  as  one  of 
the  easiest  to  serve.  So  ice  cream  makes 
frequent  appearances  as  the  featured 
dessert  on  the  Schoonover  family  table. 
(That's  Gloria's  real  name,  you  know.) 

Gloria's  mother  admits  that,  these  days, 
she  doesn't  often  find  time  to  prepare 
home-made  treats.  She  really  loves  to 
cook  and  still  does  a  major  part  of  it, 
but  spends  most  of  her  time  at  the 
studio  with  her  daughter.  Nor  does  the 
one  maid  they  employ  for  their  nine- 
room  house  have  much  time  for  fancy 
desserts.  As  a  result,  their  ice  cream  is 
more  frequently  bought  than  made  at 
home.  With  modern  refrigerators  to  keep 
it  "just  right  for  serving"  there  no  longer 
is  the  problem  of  having  to  run  out  for 
it  the  last  minute.  To  add  to  its  festive 
appearance,  sometimes  it's  topped  with 
a  fresh  fruit  sauce  such  as  strawberries, 
raspberries  or  sliced  peaches,  which  Mrs. 
Schoonover  often  sweetens  with  honey. 
These  same  fruits  also  come  in  "quick- 
frozen"  style  and,  in  season  or  out,  pro- 
vide a  fine  substitute  that  needs  no  sweet- 
ening or  other  preparation. 

Once  in  a  while  a  chocolate  or  caramel 
sauce  is  served  at  Gloria's  house.  Not 
frequently  though,  because  Mrs.  Schoon- 
over sets  a  simple  table  with  mostly 
fruit,  vegetable  and  milk  dishes  and  does 
not  approve  of  really  rich  desserts.  On 
special  occasions  such  as  holidays,  birth- 
days and  party  days,  she  sees  to  it  that 
they  have  a  special  home-made  frozen 
dessert,  or  else  store  ice  cream  fixed 
up  in  particularly  fine  style.  She  de- 
scribed some  of  these  "specialties"  as  we 
sat  out  in  the  lovely  patio  overlooking 
the  San  Fernando  Valley,  and  the  gay 
children's  voices  interrupted  us  with  in- 
sistent demands  for  samples  of  the  topic 


10 


MODERN  SCREEN 


of  conversation.  In  the  end,  they  got 
i  their  ice  cream  and  I  came  away  with 
I     many  fine  ideas  and  recipes. 

Remember,  these  ideas  can  be  carried 
j  out  with  extra-special  pride  when  you 
make  your  own  ice  cream.  There  are  any 
number  of  fine  ice  cream  "mixes"  on  the 
market  for  use  in  automatic  refrigera- 
tors and  loads  of  recipes  available-for- 
the-asking  from  gelatin  and  marshmal- 
low  manufacturers.  These  two  products 
serve  as  "stabilizers,"  and  add  to  your 
cream's  smoothness  by  preventing  the 
formation  of  large  ice  crystals. 

But  whether  you  make  or  buy  your  ice 
cream,  you'll  find  that  the  children  in 
your  family  will  be  as  thrilled  with  these 
serving  suggestions  as  are  Gloria  Jean 
and  her  three  sisters. 

GIANT  FIRECRACKERS 

Every  year,  when  the  Glorious  Fourth 
comes  around,  these  appear  at  Gloria's 
special  request.  Why  don't  you  feature 
them  this  year,  too?  Be  sure  to  save 
these  directions — Independence  Day  will 
soon  be  here!  To  make  the  "crackers" 
cut  red  blotting  paper  or  heavy  red  deco- 

I  rating  paper  into  pieces  approximately 
10  inches  long  and  as  wide  as  the  height 
of  your  thin  parfait  glasses — or  for  that 
matter  any  other  tall  thin  glasses  you 
may  plan  to  use.  Roll  the  red  paper 
lengthwise  into  cylinders — each  large 
enough  to  slip  over  the  glass  and  to  mask 
it  completely.  Fasten  cylinders  together 
down  the  side  with  paste  or  Scotch  tape. 
At  serving  time,  place  each  firecracker  - 

I  covered  glass  on  a  small  plate,  then  fill 
glasses  carefully— so  as  not  to  stain 
paper — with  any  desired  ice  cream  or 
mousse.  Top  each  serving  with  a  fresh 
or  maraschino  cherry  which  still  has  a 
stem  on  it.  Have  stem  extending  up- 
wards to  resemble  a  firecracker's  fuse. 

HONEY  BALLS 

Your  own  particular  Bonnie  Baby  will 
welcome  this  one  with  squeals  of  de- 
lighted recognition.  Heat  rice  krispies  in 
oven  with  the  door  left  open.  While  they 
are  still  hot  add  just  enough  honey  to 
coat  them  slightly,  mixing  them  lightly 
with  a  fork.  Spread  this  mixture  on  a 
sheet  of  waxed  paper.  Roll  balls  of  ice 
cream*  in  this  mixture  until  well  coated. 
Serve  one  of  these  coated  balls  to  each 
person  with  a  side  serving  of  sliced 
bananas  or  fresh  berries.  A  perfect — 
and  a  healthful— supper  suggestion  for 
the  "small  fry,"  as  Bing  would  say! 

CIRCUS  CLOWNS 

Cut  home  made  or  store  sponge  cake 
into  V4  inch  thick  slices,  then  cut  these 
slices  into  circles  with  a  doughnut  cutter. 
Place  one  of  these  cake  circles  on  each 
serving  plate.  Top  each  with  a  round 
I  ball  of  ice  cream*.  (The  hole  in  the  cen- 
ter of  the  circle  will  help  keep  ice  cream 
in  place.)  The  round  ball  of  ice  cream 
represents  the  clown's  head.  His  features 
should  be  made  with  raisins.  Now  top 
each  ball  with  an  inverted  ice  cream 
cone — to  look  like  a  clown's  hat. 

*//  you  are  having  your  ice  cream  de- 
livered ask  to  have  it  shaped  into  balls 
instead  of  in  bricks  or  cartons.  How- 
ever, if  you  are  making  your  own  ice 
cream,  you  can  shape  it  pretty  well  with 
large  round-bowled  serving  spoons;  or 
better  still  get  one  of  those  chrome- 
finished  ice  cream  scoops.  They  come  in 
various  sizes,  cost  under  two  dollars  and 
are  also  fine  for  serving  cottage  cheese, 
rice,  mashed  potatoes  and  other  mashed 
vegetables.        (Continued  on  page  82) 

JULY,  1940 


HEDY  LAMARR,  M-G-M  FILM  STAR,  NOW  APPEARING  IN  "BOOM  TOWN" 


The  American  Pace  taught 

HEDY  LAMARR 

the  need  for  a 

Woodbury 
Beauty  Nightcap 


How  Hollywood's  Number 
One  Glamour  Girl  of  the 
Screen  took  to  famous 
Woodbury  Cold  Cream  in  a 
crisis,  as  told  to 

Louella  Parsons 

Popular  Movie  Columnist 


I.  Hedy  told  me  about  the  time  she  was  late 
for  the  shooting  of  a  big  love  scene.  When  she 
rushed  on  the  set,  the  director  shouted, 
"You're  forty  minutes  late  for  that  kiss,  and 
it's  costing  us  plenty  of  dough!" 


3.  Soon  Hedy  learned  that  Woodbury 
cleanses  with  germ-free  purity,  softens  skin, 
and  brings  a  special  Vitamin  to  help  invigorate 
tired  skin  while  you  sleep.  Now  the  director 
never  has  to  scold  Hedy  for  being  late. 


CLEANSES  safely 
Smooths  as  it  LUBRICATES 
INVIGORATES 


2.  In  Hollywood  they  expect  stars  to  be 
beautiful,  but  spare  them  little  time  for  their 
complexions.  A  friend  advised  Hedy,  "Take 
a  Woodbury  Beauty  Nightcap.  Woodbury 
Cold  Cream  is  like  three  creams  in  one." 


Refresh  Your  Skin  At  Night 
This  Way 

A  single  fine  beauty  cream,  Woodbury 
Cold  Cream  . . .  performs  three  services 
for  beauty.  1.  It  cleanses  safely  .  .  .  it's 
germ-free.  2.  It  lubricates  profusely  .  .  . 
smooths  dry  skin.  3.  It  invigorates.. . con- 
tains a  skin-invigorating  Vitamin.  Every 
night,  cleanse  first  with  Woodbury. 
Then  leave  on  a  greaseless  film  all  night 
while  you  sleep.  Get  a  jar  today.  21.00, 
50/',  25t,  Wi. 


MAIL  NOW  FOR  GENEROUS  TUBE  .  .  .  FREE! 

(Paste  on  Penny  Postcard) 
John  H.Woodbury, Inc. ,66l5Alfred  St., Cincinnati, Ohio 
(In  Canada)  John  H.  Woodbury,  Ltd.,  Perth,  Ontario 
Please  send  me,  free  and  postpaid,  a  generous-si/.e 
tube  of  3-Way  Woodbury  Cold  Cream.  Also  8  smart 
shades  of  exquisite  Woodbury  Powder. 

Name  

Address .  


11 


WOODBURY  COLD  CREAM 

THE  3-WAY  BEAUTY  CREAM 


Though  the  story  is  not  too  strong,  it 
does  have  an  authentic  backstage  flavor. 
Lana  Turner  and  Joan  Blondell,  playing 
the  parts  of  the  two  Mahoney  sisters, 
"bus"  their  way  to  New  York  to  crash 
the  not-so-easy  doors  of  the  stage.  There, 
they  meet  George  Murphy,  Joan's  fiance 
and  dancing  partner,  who  has  begged  an 
audition  for  them  with  a  crack  musical 
comedy  producer.  To  add  impetus  to  the 
triangle,  Lana  and  George  bag  parts  in 
the  revue,  while  Joan  has  to  be  content 
strolling  through  a  night  club  as  a  cig- 
arette girl.  Then,  to  complicate  matters, 
George  and  Lana  fall  in  love,  and  Joan, 
being  the  good-hearted  gal  in  the  film, 
gives  them  her  blessing. 

All  three  principals  turn  in  top-notch 
performances.  You'll  appreciate  Lana 
Turner,  who  adds  a  winsome  freshness 
to  her  role.  Joan  Blondell  gives  a  highly 
sympathetic  portrayal,  while  George 
Murphy  scintillates  personality  plus  ex- 
cellent Terpsichorean  technique.  Wallace 
Ford  and  Kent  Taylor  play  their  parts 
with  understanding,  and  the  direction,  by 
S.  Sylvan  Simon,  is  paced  at  top  speed, 
which  zips  the  picture  up  considerably. 
— Metro-Goldwyn-Mayer. 


(Continued  from  page  9) 

**'/2*  Dark  Command 

Ever  since  "Stagecoach"  was  a  surprise 
hit  a  year  ago,  the  film  industry  has 
been  trying  to  produce  a  movie  with  the 
same  punch  and  suspense.  In  "Dark 
Command,"  Republic  borrows  Claire 
Trevor  and  Walter  Pidgeon,  adds  John 
Wayne,  and  turns  out  another  smashing 
wild  western. 

Though  the  plot  is  the  usual  triangle 
affair,  the  setting  and  situations  make 
the  picture  as  good  as  it  is.  Based  on 
historical  incidents,  it  presents  Walter 
Pidgeon  as  Cantrell,  the  evil  plunderer 
and  guerrilla  warrior  in  Kansas  during 
the  Civil  War;  Claire  Trevor  as  Mary  Mc- 
Cloud,  the  beauteous  frontier  woman 
who  loved  two  men;  and  John  Wayne  as 
Bob  Seton,  the  ignorant  but  trustworthy 
marshal. 

Both  Miss  Trevor  and  Wayne  turn  in 
excellent  performances;  Pidgeon,  as  the 
meek  school  teacher  by  day  and  ruthless 
bandit  by  night,  is  fairly  well  cast;  Roy 
Rogers,  who  plays  the  young  brother  of 
Mary  McCloud,  is  exceptionally  good, 
and  you'll  fall  in  love  with  ole  Doc 
Grunch,  portrayed  by  George  Hayes. 


The  cops  and  robbers  scenes  (in  this 
case  two  plunderers  and  one  militia)  are 
thrilling,  and  they'll  make  you  wonder 
if  you  weren't  born  too  soon.  The  story 
and  direction  help,  too,  to  make  the  pic- 
ture one  of  the  best  westerns  produced 
this  year.  If  all  doses  of  history  were  as 
easy  to  take  as  this,  there  would  be  fewer 
children  playing  hooky  from  school — and 
more  adults  reading  history  books.  Di- 
rected by  Raoul  Walsh. — Republic. 

**'/2*  Forty  Little  Mothers 

Eddie  Cantor  has  seen  to  it  that  all 
the  good  old  hokum  is  included  in  his 
newest  screen  offering.  There  are  girls 
galore — forty  of  them,  to  be  exact — plenty 
of  good  gags  and  lots  of  heart-warming 
interest  resulting  from  a  deserted  baby 
which  he  adopts.  Eddie,  himself,  is  in  top 
form,  so  your  entertainment  is  cinched 
if  the  aforementioned  ingredients  for  film 
fare  suit  your  fancy. 

The  story  concerns  a  college  prof 
(Eddie  Cantor)  in  an  exclusive  girls' 
school  who  suddenly  finds  himself  the 
secret  custodian  of  a  baby.  The  infant 
presents  an  embarrassing  problem,  par- 


ticularly  since  the  head  schoolmarms, 
Judith  Anderson  and  Nydia  Westman, 
are  suspicious  of  all  the  poor  prof's  ac- 
tions. It's  pretty  tough  sledding  for  Eddie 
at  first,  since  the  beauteous  bevy  of 
school-girls  try  everything  they  can 
think  of  to  get  the  mild-mannered  new 
teacher  discharged.  However,  when  they 
learn  why  he  is  harboring  the  baby,  all 
is  changed.  Then,  of  course,  the  mother 
shows  up,  and  romance  comes  into  the 
picture.  Rita  Johnson,  as  the  mother, 
gives  a  creditable  performance;  Bonita 
Granville,  as  the  leader  of  the  girls,  is 
adequate,  and  Judith  Anderson,  the  prin- 
cipal, is  good  in  her  role.  Most  amusing 
member  of  the  cast  is  Nydia  Westman 
who  always  complicates  things  consider- 
ably. But  the  real  out-and-out  star  is 
Baby  Quintanilla,  the  most  intelligent 
and  entrancing  youngster  to  reach  the 
screen  in  many  a  day.  Directed  by  Busby 
Berkeley. — Metro-Goldwyn-Mayer. 

**'/2*Dr.  Kildare's  Strange 
Case 

The  Blair  General  Hospital,  teeming 
with  human  drama,  is  brought  to  the 


screen  again  in  "Dr.  Kildare's  Strange 
Case."  With  Lew  Ayres  and  Lionel 
Barrymore  still  heading  the  staff,  the 
film  compares  more  than  favorably  with 
its  predecessors  in  both  story  interest  and 
acting. 

This  time  young  Interne  Kildare,  with 
the  aid  of  Laraine  Day,  his  nurse  and 
heart  interest,  risks  his  reputation  and 
career  on  a  gamble  to  save  a  man  from 
certain  insanity  and  a  fellow-doctor  from 
disgrace.  The  gamble  involves  the  wis- 
dom of  administering  insulin  shock  to 
the  mentally  deranged,  and  furnishes  the 
excuse  for  several  of  the  most  stirring 
medical  scenes  ever  brought  to  the 
screen.  The  delicate  brain  operations, 
though  overflowing  with  technical  lan- 
guage, will  leave  you  gasping  in  your 
seat  like  an  oxygen  machine! 

If  you  aren't  already  an  ardent  Dr. 
Kildare  rooter,  you  will  be  after  seeing 
his  latest  picture!  Directed  by  Harold  S. 
Bucquet. — Metro-Goldwyn-Mayer. 

**'/2*  And  One  Was  Beautiful 

"And  One  Was  Beautiful",  as  you've 
probably  guessed,  is  the  ancient  story  of 
two  sisters — one  pretty,  the  other  an  ugly 


duckling.  Polished  up,  the  tale  emerges 
a  gay  and  amusing  picture,  and  puts 
another  acting  feather  in  the  cap  of 
Laraine  Day. 

As  the  younger  sister,  who  is  more 
interested  in  tinkering  with  motor  cars 
than  in  charming  men,  Miss  Day  is  in 
direct  contrast  to  Jean  Muir,  who  is 
cast  as  the  comely,  but  scheming,  older 
sister.  Miss  Muir,  besides  winning  your 
antagonism  with  her  unsympathetic  role, 
earns  your  greater  dislike  with  her  fail- 
ure to  act  well.  Robert  Cummings,  por- 
traying the  handsome  hero,  makes  his 
role  hold  water,  despite  the  fact  that  his 
part  calls  for  a  complete  reversal  of 
character  in  the  middle  of  the  film. 
Billie  Burke,  the  mother  of  the  two  girls, 
has  only  a  small  part,  but  is  a  standout 
in  all  her  scenes.  Bit  roles  performed 
by  Rand  Brooks,  Ann  Morriss,  Esther 
Dale,  Paul  Stanton  and  little  Ruth  Tobey 
are  handled  capably. 

Based  on  the  original  story  by  Alice 
Duer  Miller,  the  screen  play  would  have 
benefited  by  the  removal  of  several  stilted 
speeches,  but  the  clever  direction  of 
Robert  B.  Sinclair,  under  producer  Fred- 
erick Stephani,  helped  to  overcome  this 
defect. — Metro-Goldwyn-Mayer. 


Charles 


All  this. 

AND 

Heaven 
too 

From  the  World-Applauded  Novel  By 


A 


JEFFREY 
BARBARA 


IN  ALL  ITS  GLORY,  with  the  full 

fire  of  its  deep-stirring  story, 
this  beloved  best-seller  sweeps 
to  the  summit  of  screen 
achievement!  And  never  have 
its  stars  come  to  you  so 
immeasurably  magnificent, 
or  brought  you  a  drama  that 
touches  so  close  to  your  heart. 
You  will,  of  course,  see  it! 


Especially  distinguished  in  the  supporting  cast 
of  this  new  WARNER  BROS.  Success,  are 


LYNN 
O'NEIL 


Virginia  Weidler  •  Henry  Daniell 
Walter  Hampden  •  George  Coulouris 
AN  ANATOLE  LITVAK 
PRODUCTION 


ey  Robinson  •  Music  by  Max.  Steiner 
Bros.-First  National  Picture 


OUR    PUZZLE  PAGE 


Yes,  you  can  dive  in . . .  and  come  up  smil- 
ing, with  lips  and  cheeks  still  colorfully 
fresh  —  perfectly  made-up. 

For-Tangee  Natural  Lipstick  andTangee 
Natural  Creme  Rouge  are  waterproof  and 
swimproof.  They  really  stay  on!  And 
they're  not  affected  by  hot-weather  per- 
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Why  not  testTangee's  exclusive  scientific 
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coupon  below,  with  104,  for  a  smart  little 
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and  guestroom  as  it  is  for  beach  use. 

And,  we'll  also  include  a  sensational 
new  40-page  booklet,  entitled,  "Make  Up 
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Please  rush  "Miracle  Make-up  Kit"  of  sample 
Tangee  Lipsticks  and  Rouge  in  both  Natural  and 
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(stamps  or  coin).  (15<(  in  Canada.) 

Check  Shade  of  Powder  Desired: 

□  Peach  □  Light  Rachel       □  Flesh 

□  Rachel         □  Dark  Rachel       □  Tan 


/of- 


Puzzle  Solution  on  Page  87 


ACROSS 


60 


DOWN 


Name- 


(Please  Print) 


City- 


1  & 

8.  Child  actress 

14. 

Sensation  of  "My 

Son,  My  Son" 

15. 

Hepzibah  in 

"House  of  Seven 

Gables" 

16.  Joyous  f,ppear- 

ance 

18. 

Male  lead  of 

"French  Without 

Tears" 

20. 

Proficient  in  one's 

work 

23. 

Eldest  son  in 

"Swiss  Family 

Robinson" 

24. 

Pinch 

26. 

Wife  in  "An- 

other Thin  Man" 

27. 

 ly  Eilers 

29. 

Kind  of  bean 

30. 

"J  -  -  t  Around 

the  Corner" 

31. 

Fondle 

32. 

 Mander 

34. 

Mischievous 

child 

36.  Jane  Wyman  s 

hubby  :  init. 

37. 

Measure  of  area 

39.  Written  plots  of 

films 

42. 

Lowest  female 

voice 

44. 

Gable's  most  fa- 

mous role 

46 

Robert  Donat's 

homeland  :  abbr. 

47 

To  catch  a 

glimpse  of 

48 

Boy  singing  star 

49 

Pointed 

51 

Obliteration 

53 

Impudent 

54 

Master 

55 

A  movie  trailer 

56.  "-  -.  Cyclops" 

57 

.  Ice  skating  star 

74 


Opposite  Warner 
Baxter  in 
"Earthbound" 
Bombastic 
With  legs  apart 
Ringlets 
Boy's  name 
"Private  Lives 

of  zabeth 

and  Essex" 
Pertaining  to 
tone 

75.  On  the  sheltered 
side 

76.  With  our  star  in 
"Little  Colonel" 

79.  Monster 

80.  She's  in  "Su- 
sannah of  the 
Mounties"  :  init. 

Janet  Gay  

Pens 

Juice  of  plants 

86.  Clark  Gable's 
box  office  rank : 
Rom.  num. 

87.  Chubby  animal 
featured  by 
Disney 
Spoil 

"-  -  -  Little  Girl" 
Summer  :  Fr. 
Single 

Flies  upward 
Restrain 
Rule 

Disturbers 
What   is  Dean- 
na's  "Tippy  ?" 
"Connecticut 

 at  King 

Arthur's  Court" 
What  Cantor's 
eyes  are  said  to 
resemble 


81. 
83. 
84. 


89. 

91. 

92. 

93. 

94.. 

96. 

99. 
101. 
103. 

105. 


106. 


1.  Comic  in  "Cap- 
tain January" 

2.  Producer  of  "Of 
Mice  and  Men" 

3.  Anna  Neagle's 
latest  film 

4.  Sun  god 

5.  Lame  person's 
walk 

6.  Glenda  Farrell's 
birthplace  ': 
---d,  Okla. 

7.  Shouting 

8.  A  metalli 
element 

9.  Terminates 

10.  Colbert's  husband 
is  one  :  abbr. 

11.  Hymn 

12.  A  boy 

13.  "Bright  " 

Tiers 

She's  in  "It  Could 
Happen  to  You" 
Funster  in  "San- 
dy Is  a  Lady" 
Heroine  of 
"Zanzibar" 

 Hall 

Star  of  "Johnny 
Apollo" 

'•--'-  A  Date" 
28.  "Blondie's"  dog  : 
D---y 

31.  Stool-pigeon  in 
"Strange  Cargo" 

32.  Adolphe  jou 

33.  A  mere  taste 
35.  Analyze  a  word 
38.  A  textile  fabric 

40.  Surrender 

41.  Hear  ye! 

43.  Roumanian  coin 
45.  Shirkers 
48.  Deb  in  "Road  to 
Singapore" 


15. 
16. 

17. 

19. 

21. 

22. 

25. 


50.  Tylo  in  "Blue 

Bird" 
52.  "Buck  Benny 

 Again" 

57.  Employ 

58.  Drew 

59.  Girl's  name 

60.  Den 

61.  Sag 

62.  Chant 

63.  Rogues 

64.  The  Baron  in 
"Safari" 

66.  Brave 

67.  How  old  is  our 
star  ? 

A  portion  of  a 
curved  line 
An  army 
Woman  ruler 

"  t  Horizon" 

"Rebecca  of 

Sunny  ok 

Farm" 

"On  Toes" 

"The  Little-- 
Rebel" 

RKO's  new  star- 
director 
85.  Eagle's  nest 
88.  He's  in  "The 

Westerner" 
90.  Dorothy  

92.  The  eldest  son 
of  Isaac 

93.  Lubricates 

95.  B  n  Aherne 

97.  A  preposition 

meaning  rather 

than 

Health  spring 
"Stand  Up  and 
Ch  -  -  -" 

"Tom  Sawyer": 
init. 

"The  Little 
Pri  -  -  ess" 


70. 

71. 
72. 
73. 
76. 


77. 
78. 


82. 


98. 
100. 

102. 

104. 


14 


MODERN  SCREEN 


INFORMATION  DESK 

(Continued  from  page  6) 


of  movie  under  the  sun — from  westerns 
to  gangster  ones.  He  is  divorced  from 
Steffi  Duna  and  is  currently  quite  a  man- 
about-town. 

Mildred  Ellis,  Philadelphia,  Pa.  Ward 
Bond  is  thirty-five  years  old  and  was 
born  on  April  9.  He  is  six  feet  two,  and 
weighs  200  pounds.  Ward's  a  veteran 
actor,  having  started  his  career  between 
semesters  while  he  was  a  student  at  the 
University  of  Southern  California.  His 
first  big  part  was  that  of  Sid  Bascom  in 
"The  Big  Trail."  He  would  very  prob- 
ably read  any  letter  you  wrote  him  if  it 
was  interesting  enough  to  be  singled  out 
by  his  secretary.  Yes,  Ward's  married — 
has  been  for  four  years,  to  Doris  Sellers. 
Paul  Kelly's  wife  recently  died.  She  was 
Dorothy  Mackaye. 

Sandra  Gewel,  New  York,  N.  Y.  The  rea- 
son Orson  Welles  was  omitted  from  our 
last  chart  was  that  he  hasn't  made  any 
pictures  yet,  and  we  confined  the  list  to 
active  stars.  You  can  write  to  him  at 
RKO-Radio  Studios,  780  Gower  Street, 
Hollywood,  California. 

Jeanette  Rosewater,  Portland,  Conn.  You'll 
be  delighted  to  hear  that  Glenn  Ford  is 
still  unmarried.  He  was  born  in  Mon- 
treal on  May  1,  1916,  is  six  feet  one  and 
a  half,  weighs  155  pounds  and  has 
straight  brown  hair  and  grey-green  eyes. 
He  has  lived  in  Santa  Monica  for  over 
ten  years  and,  before  going  into  the 
movies,  he  did  some  radio  announcing 
and  was  very  active  in  little  theatre 
work.  His  first  movie  role  came  in  1937, 
when  he  played  the  part  of  a  night  club 
master  of  ceremonies  in  "Night  in  Man- 
hattan," a  Paramount  short.  He  scored 
his  first  real  hit  two  years  later  in 
"Heaven  with  a  Barbed  Wire  Fence." 
Besides  acting,  which  is  his  consuming 
passion,  he  is  interested  in  photography 
and  stamp  collecting.  He  plays  the  violin 
— but  not  without  a  whole  lot  of  coaxing, 
reads  every  autobiography  he  can  get 
his  hands  on,  and  claims  he  could  exist 
on  steak  and  cheese  cake  for  the  rest 
of  his  days.  Watch  for  him  in  "Babies 
For  Sale." 

Margie  Bradshaw,  El  Paso,  Texas.  To 
settle  that  argument  once  and  for  all  .  .  . 
Spencer  Tracy  and  Lee  Tracy  aren't 
brothers.  Spencer's  parents  are  John  and 
Carrie  Tracy  of  Milwaukee,  Wisconsin. 
Lee's  are  William  and  Ray  Tracy  of 
Atlanta,  Georgia.  That's  Spence's  real 
name,  but  Lee's  real  one  is  William.  Lee 
is  his  real  middle  name. 

Tina  Cestari,  Cedarhurst,  N.  Y.  Robert 
Cummings'  birthdate  is  June  9,  1910.  He 
is  from  Joplin,  Missouri,  is  just  a  frac- 
tion under  six  feet — which  makes  him 
furious,  incidentally — weighs  165  pounds 
and  has  black  hair  and  blue  eyes.  He  is 
married  to  Vivian  Janis.  You  can  write 
to  Bob  at  Universal  Studios,  Universal 
City,  California.  He's  not  scheduled  for 
anything  right  now. 

Mildred  Case,  Baltimore,  Md.  Those  wild 
rumors  about  how  long  it  took  for  the 
filming  of  "Gone  With  the  Wind"  are  not 
true.  As  you  say,  the  book  itself  wasn't 
published  until  1936,  so  it  couldn't  have 
been  in  the  making  anything  like  four 
years.  As  a  matter  of  fact,  shooting  offi- 
cially started  on  January  26,  1939  and 
ended  on  November  11,  1939. 


ltd  ctfwic  cX  t&fX\ 
Ita  yc^cit  swnimftv  sW&Jud 


Pond's 
Powder 
comes  in 
10?!,  20* 
and  a  big 
economy 
box,  too. 


 I 


says  Miss  Harriet  Williams,  vivid 
young  New  York  debutante 


Look  at  it,  girls. 
DUSK  ROSE! 

Flat  papersond  printer's  ink  give  yew 
but  a  poor  suggestion  of  this  glorious 
new  shade — its  velvety  softness — its 
texture!  Send  for  a  h%e  sample  today. 
You'll  foil  in  love  with  it  the  minute 
you  see  it!  Try  it  on.  Your  mirror  will 


"Like  me,  have  you  been  searching  for  a 
powder  that  would  add  glamour  to  your 
face,  even  under  the  cruel  harsh  light  of 
summer  sunshine? 

"Well,  Tve  found  it,  girls!  It's  a  shade 
that's  not  as  dark  or  tan  as  most  summer 
shades  are.  The  new  Dusk  Rose  gives  my 
face  such  a  lovely  smooth  finish  that  my 
friends  heap  compliments  on  me!"  says 
Miss  Williams. 

DUSK  ROSE  is  simply  wonderful  at 
keeping  your  face  from  looking  shiny 
under  harsh  lights  and  in  brilliant  sun- 
shine. It  is  "anti-shine."  It  absorbs  harsh 
lights  and  reflects  softer,  more  nattering 
ones  from  your  face. 

Dusk  Rose  comes  in  10£  and  2(¥  sizes 
as  well  as  the  big,  economical  box  that 
so  many  women  prefer.  Go  out  and  buy 
one  now! 

c^^f?^  —  write  in  for  a  free  sample  of  Dusk 
Rose.  With  it  will  come  3  other  lovely  summer 
shades:  Rose  Dawn,  Rose  Brunette,  Sunlight. 
Pond's,  Dept.  9MS-PG,  Clinton,  Conn. 

Copyright,  1940,  Pond's  Extract  Company 


JULY,  1940 


IS 


DON'T  WAIT 
ANOTHER  MONTH 

before  using  Tampax 


NO  BELTS 
NO  PINS 
NO  PADS 
NO  ODOR 


DO  YOU  REMEMBER  how  free  and  un- 
hindered you  were  as  a  girl  of  twelve? 
What  would  you  give  to  feel  that  way 
again?  Would  you  give  a  month's  trial  to 
Tampax?  It  would  mean  the  end  of  all 
your  pin-and-belt  troubles,  for  sure! 

Tampax  was  invented  by  a  doctor,  to  be 
worn  internally.  Made  of  pure  surgical  cot- 
ton, it  works  on  the  principle  of  gentle 
absorption,  allowing  no  odor  to  form ;  there- 
fore deodorants  are  unnecessary.  No  bulg- 
ing, chafing  or  visible  edge-lines .  The  wearer 
does  not  feel  Tampax  at  all.  It  is  so  com- 
pact there  are  no  disposal  problems. 

The  big  news  now  is  that  Tampax  comes 
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A  DOLLAR  FOR  YOUR 

WRITE  A  FRANK  LETTER  AND  WIN  ONE  OF  THE  TEN 


Emotional  Indigestion 

I  know  there  are  many  moviegoers, 
women,  especially,  who,  bless  their  ten- 
der hearts,  do  not  enjoy  a  picture  unless 
it  provokes  a  good  cry.  If  that  is  their 
idea  of  enjoyment,  I'd  be  the  last  person 
in  the  world  to  deny  them.  It  has  often 
been  said  that  it  takes  all  kinds  of  people 
to  make  a  world,  and  it  certainly  takes 
all  kinds  of  fans  to  make  a  movie  audi- 
ence. The  producers  know  this  and  that 
is  why  they  make  all  kinds  of  pictures. 

My  taste,  however,  is  for  pictures  that 
rest  and  relax  me,  and  give  me  a  good 
laugh  or  two.  When  I  go  to  the  movies, 
I  go  primarily  to  be  entertained  and 
amused.  I  want  my  picture  fare  to  be 
light  and  easy  for  me  to  mentally  digest. 
I  don't  like  heavy  fare — tragedies  and 
problem  pictures.  Such  movie  food  al- 
ways depresses  me  and  gives  me  emo- 
tional indigestion. — E.  J.  Bennett,  Grove 
City,  Ohio. 

To  Bat  for  Kay 

I  think  it  is  about  time  someone  came 
to  the  front  for  Kay  Francis.  I  don't 
mean  by  that  that  Kay  needs  a  lifeline 
to  save  her  from  the  so-called  "slipping." 
But  in  days  such  as  these,  with  the  in- 
vasion of  foreign  stars  and  oomph  girls, 
we  are  too  apt  to  forget  one  who  is  not 
a  sensational  headline-maker.  Such  a 
person  is  Kay  Francis,  for  eleven  years 
the  screen's  first  lady  of  beauty,  feminine 
grace  and  infinite  talent. 

She  has  worked  very  hard,  and  has 
never  failed  to  be  sincere  and  convincing 
in  even  the  most  unsuitable  part.  Now 
Hollywood  wants  to  take  her  for  granted, 


put  her  in  small  parts.  And  we,  the 
public,  seem  satisfied  to  pass  her  by  for 
fancies  of  the  moment  and  performers 
with  accents. 

There's  no  harm  in  Kay's  supporting 
Carole  Lombard  or  playing  Deanna  Dur- 
bin's  mother.  She's  seen  less  flattering 
assignments.  And  she's  sport  enough  not 
to  stay  in  a  heat  with  her  studios  be- 
cause of  them.  But  just  because  Kay 
doesn't  demand  or  draw  four-star  pic- 
tures doesn't  mean  that  she  isn't  worthy 
or  capable  of  them.  Her  acting  in  scores 
of  brilliant  successes  in  the  past  has 
proved  her  talent,  in  my  opinion,  as  un- 
equalled. 

Perhaps  this  letter  will  help  to  recall  to 
Hollywood  minds  that  a  very  versatile 
actress  awaits  bigger  and  better  things. 
— Robert  Thompson,  Englewood,  Colo. 

Another  Party  Heard  From 

Say,  listen!  In  all  my  life,  I've  never 
read  anything  quite  so  ridiculous  as  the 
letter  in  the  May  'A  Dollar  For  Your 
Thoughts"  column,  which  complains,  if 
you  please,  because  Bette  Davis  gets  good 
parts! 

After  all,  the  Hollywood  producers  are 
only  trying  to  make  good  pictures.  Should 
they  put  Bette  into  a  supporting  role  or 
a  "B"  picture  just  because  she  is  the 
finest  screen  actress  of  all  time?  As  for 
giving  someone  else  a  chance,  can't  you 
just  see  one  of  those  empty-headed 
oomph  girls  sighing  her  way  through  a 
Davis  role?  Ugh! 

Never  has  Bette  played  two  parts  alike, 
never  has  she  allowed  her  own  person- 
ality to  dominate  that  of  the  character 
she   was  playing,   and   never   has  she 


16 


MODERN  SCREEN 


THOUGHTS 


PRIZES  GIVEN  EACH  MONTH! 

failed  to  give  a  magnificent  performance. 
Please  don't  even  talk  about  "equally 
talented  girls."  There  aren't  any  to  be 
found.  There  is  no  one  in  Hollywood 
who  can  even  be  compared  with  her. 
The  rest  of  the  country  seems  to  agree 
with  me,  too,  because  Bette  is  Queen  of 
the  Movies,  or  hadn't  you  noticed? 

Of  course,  she  gets  fine  parts,  and 
she'll  go  on  getting  them  because  she's 
tops.  Long  live  the  Queen! — Claris  Ann 
Ross,  Chicago,  111. 

New  Faces? 

Hollywood  producers  are  forever  clam- 
oring for  new  faces.  What  a  laugh!  What 
do  they  do  when  they  get  these  new 
faces?  They  shove  them  into  two  or 
three  small  parts,  give  them  no  chance 
to  show  the  talent  that  a  lot  of  them 
possess,  and  then  drop  them  from  con- 
tract, and  once  more  start  shouting  for 
new  faces  to  push  around. 

I'm  getting  sick  and  tired  of  this  wild 
merry-go-round.  I'd  like  to  give  an  ex- 
ample of  this  dizzy  whirl,  using  my  fa- 
vorite actress  as  the  example — Beverly 
Roberts. 

When  Beverly  was  signed  by  Warner 
Brothers,  she  was  singing  in  a  night  club. 
Immediately  she  was  put  into  "The  Sing- 
ing Kid."  Ironically  enough,  everybody 
in  the  picture  sang  except  Beverly.  After 
a  few  "B"  pictures,  she  was  given  the 
feminine  lead  opposite  George  Brent  in 
"God's  Country  and  the  Woman." 

She  was  grand  in  that  part.  So  grand 
that  from  then  on  she  was  cast  as  a  cold, 
unromantic,  business  woman  such  as  she 
had  portrayed  in  that  picture.  In  other 
words,  she  was  typed.  (Cont'd  on  page  65) 


Ten  Baby  Fingers... 
and  Ten  Million  Germs! 


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in  Universal  Pictures' 
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Baby  sandy,  favorite  of  movie  fans,  is 
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You  can  give  your  own  baby  the  same 
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a  liberal  use  of  "Lysol"  in  your  cleaning. 

Ask  your  druggist  now  for  your  copy 
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Copyright  1940  by  Lehn  &  Fink  Products  Corporation 


YOUR  DRUGGIST  IS  NOW  SPONSORING  BABY  SANDY'S  HEALTH  CRUSADE 


JULY,  1940 


17 


RODUCTION  OF 


ALICE 

FAYE 


DON 

AMECHE 


HENRY 

FONDA 


Edward  -Warren  Leo 

ARNOLD  •  WILLIAM  •  CARRILLO 

Helen  Westley  •  Dorothy  Peterson 
Ernest  Truex  •  Nigel  Bruce  •  Claude 
Allister  •  Lynn  Bari  •  Weber  &  Fields 
Eddie  Foy,  Jr.    •    Una  O'Connor 
Joseph  Cawthorn 
Directed  by  Irving  Cummings 
Associate  Producer  Gene  Markey 
Screen  Play  by  William  Anthony  McGuire 

A  20th  Century- Fox  Picture 


The  woman  whose 
beauty  and  glamor  had 
the  world  at  her  feet! 
Diamond  Jim  Brady 
showered  her  with  jewels ! 
Bankers,  industrialists, 
the  smart  and  the  famous 
lost  their  hearts  to  her! 
Out  of  the  fascinating 
story  of  her  life  and  her 
loves,  Darryl  F.  Zanuck 
has  created  one  of  the  real- 
ly great  motion  pictures! 


18 


MODERN  SCREEN 


Marlene  Dietrich 

Next  appearing  In  Universal'*  "Seven  Sinners" 


Richard  Greene 

Now  appearing  in  20th  Century-Fox's  "i  Was  An  Adventuress" 


Next  appearing  in  Warner  Brother*'  "The  Sentence" 


26 


1  <te2&.  # 


,  nheimie"' 


TULLIO  CARMINATI  •  MURIEL  ANGELUS 
LYNNE  OVERMAN  •  BILLY  GILBERT 

DIRECTED  BY  EDWARD  H.  GRIFFITH 
Screen  Play  by  Delmer  Daves  •  Based  on  a  Story  by  Paul  Hervey  Fox 


LYNNE  OVERMAN  as  the  canny  Scot 
who  doesn't  give  a  "hoot"  about  women  ! 


JULY,  1940 


27 


REGGIE  GARDINER,  ONE-MAN  ESCORT  BUREAU, 
GIVES  STARTLING  DATE-RATINGS  ON  THE 
CREAM  OF  MOVIETOWN'S  BACHELOR  GIRLS 


GIRLS 


THERE  COMES  a  time  in  the  affairs  of  men— the  love 
affairs,  that  is— when  thoughts  stray  to  Hollywood.  If  the 
men  aren't  satisfied  with  what  they  have,  they  wish  they 
could  meet  some  Glamour  Girls.  And  if  they  are  satis- 
fied, they  wonder  if  Glamour  Girls  actually  have  anything, 
aside  from  bankrolls,  that  the  girls  in  their  own  fives 
haven't.  In  either  case,  they  wouldn't  mind  living  in  Holly- 
wood for  a  while  and  knowing  a  few  unlisted  telephone 
numbers. 

Fickle  or  faithful,  men  can't  see  charming  armfuls  every 
time  they  go  to  the  movies  or  pick  up  a  newspaper,  with- 
out getting  the  idea  that  a  bachelor's  life  in  Hollywood 
must  be  really  something. 

Most  of  them,  worse  luck,  will  never  see  Northwest 
Los  Angeles,  much  less  abide  there.  The  only  way  they 
will  ever  find  out  what  the  life  of  a  Hollywood  bachelor 
is  like  and  what  Glamour  Girls  are  like  in  person  is  to 
take  the  word  of  someone  qualified  to  tell.  Someone  like, 
say,  Reginald  Gardiner. 

Up  to  now,  the  tendency  has  been  to  think  of  Reggie 
only  as  a  comedian,  a  droll  fellow  with  a  terrific  gift  for 
pantomime.  But  the  truth  will  out.  He  is  also  the  prime 
example  of  a  man-about-Hollywood.  The  genuine  article. 
Self-made,  not  publicity-made. 

When  you  read  of  Reggie's  being  seen  with  some  famous 
female,  you  don't  have  to  wonder  if  his  studio  arranged 
the  date — for  publicity.  You  can  be  sure  that  he  arranged 
it  himself — for  pleasure.  Since  he  is  a  free-lance  player, 
no  studio  hand-picks  his  companions.   He  does  his  own 


picking.  And  with  endless  variety.  You  are  as  likely  as 
not  to  see  him  one  night  with  Marlene  Dietrich,  the  next 
with  Bette  Davis — or  any  other  two  complete  opposites. 
Reggie  knows  them  all. 

He  is  never  seen  at  night  except  with  some  beauty  on 
his  arm,  some  beauty  who  can  afford  to  be  choosey  about 
the  men  in  her  fife.  And  he  is  seen  practically  every 
night  at  some  premiere,  night  club  or  party.  He  puts  a 
tuxedo  on  more  often  than  any  other  man  in  Hollywood. 
He  gets  more  party  invitations,  more  invitations  to  "make 
a  foursome"  than  any  other  bachelor. 

It  isn't  because  he  is  a  big  name.  He  isn't — yet.  "The 
Doctor  Takes  a  Wife"  and  the  new  Charlie  Chaplin  pic- 
ture, "The  Great  Dictator,"  may  alter  this  state  of  affairs. 
But  meanwhile  the  willingness  of  Glamour  Girls  to  share 
their  evenings  with  Reggie  can't  be  traced  to  his  being 
a  box-office  sensation.  He  has  made  good  as  a  one-man 
Hollywood  escort  bureau  strictly  on  his  own  merits. 

Briefly,  for  the  instruction  of  his  envious  brethren,  the 
more  visible  of  his  merits  are:  He  is  tall,  well-built,  with 
regular  features — in  a  word,  presentable.  He  handles  him- 
self well.  He  is,  in  addition,  good  company.  Men,  as  well 
as  women,  will  tell  you  that.  He  has  wit,  which  is  never 
a  social  debit.  He  has  that  acquired  asset  of  the  cosmopo- 
lite: easy  adaptability  to  any  company.  He  has  been 
around  London  and  New  York,  as  well  as  Hollywood. 
Beautiful  women  are  no  novelty  to  him.  He  has  seen  so 
many  that  he  can  be  at  ease  with  any.  Which  little  fact 
helps  them  to  feel  always  very  much  at  ease  with  him. 


28 


MODERN  SCREEN 


By    James    R  e  I'd 


He  arrived  in  Hollywood  because  a  girl  appreciated  him. 
Eleanor  Powell  had  just  done  a  show  with  him  in  New 
York  and  persuaded  her  bosses  to  use  his  talents  in  "Born 
to  Dance."  He  made  his  movie  debut  as  a  zany  cop  leading 
an  imaginary  orchestra  in  a  frantic  burlesque  of  Stokowski. 
That  was  in  1936.  Hollywood  girls  have  been  appreciating 
him  ever  since. 

He  lives  alone,  in  modest  comfort,  in  the  most  cluttered 
apartment  in  Beverly  Hills.  He  is  looked  after  by  a  colored 
boy  named  Tommy,  who  knows  to  whom  to  say  Reggie  is 
in  and  to  whom  to  say  he  isn't,  and  when.  Reggie  is  never 
in  to  anyone  except  his  agent  or  a  studio  before  1  P.  M. 
That  phrase,  "the  morning  after,"  is  little  more  than  a 
phrase  to  Reggie.  His  chief  experience  is  with  the  after- 
noon after.  Even  in  Hollywood,  a  man  can't  stay  awake 
half  the  night  unless  he  can  stay  abed  half  the  day. 

The  walls  of  his  small  living-room  are  completely  cov- 
ered with  autographed  photos  of  his  friends,  both  male 
and  female.  They're  a  pictorial  Who's  Who  of  Hollywood. 
Scattered  about  are  also  paintings  of  some  of  them,  signed 


"R.  Gardiner."  Over  in  one  corner  he  has  something  else 
to  remember  them  by — a  recording  phonograph  and  a 
large  collection  of  records  that  will  never  be  heard  outside 
those  walls.  They're  that  intimate. 

He  had  just  had  breakfast  the  other  afternoon  and  was 
still  in  his  blue  silk  dressing-gown,  beneath  which  no 
pajama  trousers  were  apparent,  when  an  interviewer  rang 
his  bell.  "I  knew  it  was  no  friend,"  he  said,  by  way  of 
greeting.  "My  friends  all  crawl  in  the  back  way,  leaving 
their  cars  in  the  rear  alley,  where  there's  no  parking  limit." 

He  unloaded  a  stack  of  magazines  from  one  corner  of 
the  divan  and  urged  his  visitor  to  sit  down.  He  unloaded 
a  stack  of  phonograph  records  from  an  easy  chair  a  few 
feet  away,  sat  down  himself,  lighted  a  cigarette  and 
asked  his  visitor's  pleasure.  What  were  they  going  to  talk 
about?  "You  and  Hollywood  women,"  said  the  visitor. 
Reggie  recoiled  with  an  aghast  expression.  Then  he  bel- 
lowed toward  the  kitchen,  "Tommy!"  In  popped  Tommy 
with  a  "Yes,  sir."  Reggie  shuddered  and  said,  "Tommy, 
we  need  something  to  drink.   (Continued  on  page  77) 


JvtY,  1940 


20 


IMETS  THI  BOYS 


CINDERELLA  was  a  sissy.    Her  life  was  tame  and  dull. 
Oh,  sure,  there  was  the  fairy  Godmother,  the  pumpkin 
coach  and  that  Prince  of  a  fellow,  Mr.  Charming — but 
really  all  quite  drab  and  ordinary  stuff. 
You  see,  we've  met  Ann  Sheridan. 

And  what  happened  to  her,  so  suddenly,  so  excitingly, 
makes  every  fairy  tale  conjured  up  by  the  Brothers  Grimm, 
and  every  wildly  romantic  daydream  concocted  in  femi- 
nine minds,  seem  like  workaday  stuff. 

One  year,  Ann  Sheridan,  with  her  oomph  still  undis- 
covered and  her  leg  art  confined  to  snapshots  in  the  family 
album,  was  just  another  cute  girl  out  on  average  dates  with 
different  fellows  named  Joe. 

The  next  year,  well,  the  magic  took  place  and  the  thing 


occurred,  the  most  delicious  transformation  life  has  ever 
offered  a  mortal  girl. 

"It's  like  being  born  again,"  she  admitted.  "One  minute 
a  nobody.  Social  life  limited  to  drugstores,  barn  dances, 
sundaes,  simple  clothes  and  the  neighborhood  boys.  The 
next  minute  a  somebody — or  so  they  say.  Social  life  changed 
to  exotic  night  clubs,  fancy  evening  gowns  and  dates  with 
the  famous  actors  I  used  to  read  about.  Who  says  fact 
isn't  more  amazing  than  fiction?" 

Our  only  comment  was  that  if  such  a  phenomena  could 
take  place;  if  a  very  average  girl  with  a  drawl,  freckles  and 
the  usual  headaches  about  getting  plump,  could  suddenly 
become  Hollywood's  most  ravishing  and  sought-after  female, 
then  anything  was  possible — then  Du  Barry  was  a  lady, 
Aunt  Minnie's  son  could  become  President,  and  the  Cin- 
derella story  might  be  barred  from  public  libraries. 

When  we  found  Ann  Sheridan,  she  was  sitting  at  a  small 
square  table  in  a  corner  of  Warner  Brothers'  publicized 
Green  Room,  where  the  top-crust  of  that  film  factory  de- 
posit food  into  their  respective  anatomies.    We  gaped  at 


"Oomph,"  says  Annie  —  and 
who  is  better  qualified  to  define 
it? — "is  what  a  fat  man  says 
when  he  leans  over  to  tie  his 
shoe-lace  in  a  telephone  booth." 


M 

ft* 


AND  HERE  ANN  SHERIDAN  TURNS  THE  TABLES  AND  GIVES  AN  OOMPH  GIRL'S-EYE  VIEW 
OF  GEORGE  BRENT,  CESAR  ROMERO  AND  THE  WHOLE  GLAMOROUS  STAGLINE 


her  copper- colored  hair,  gulped  at  her  ivory-like  cameo 
profile,  listened  to  her  exciting  voice — and  upon  hearing 
the  story  she  had  to  tell,  immediately  lost  our  cynicism 
and  shed  our  disbelief. 

"Sure,  I  used  to  dream  just  like  all  the  other  girls  about 
going  out  with  famous  men,"  Ann  Sheridan  confessed.  "I 
always  wondered  what  those  movie  fellows  were  really  like. 
Today  I  know.  I've  met  the  boys.  And  so,  if  you  don't  mind, 
instead  of  talking  about  Oomph  or  Texas  or  how  I  broke 
in  or  what  I  think  of  my  future,  I'm  going  to  tell  you 
how  it  feels  to  go  out  with  the  glamour  boys." 

Ann  Sheridan  straightened  her  white  jacket  with  a  tight 
tug,  ignored  a  tall  glass  of  iced  tea,  brushed  away  a  napkin 
and  two  pieces  of  silverware,  planted  her  elbows  on  the 
table  and  verbally  let  down  her  hair. 

"When  George  Brent  asks  to  take  me  out,  he  comes  over 
to  the  house  at  8: 30  in  the  evening.  I'm  usually  dressed 
and  ready  to  go.  I  hate  to  keep  a  fellow  waiting — though 
I've  been  guilty  of  that.  Why,  the  first  time  Cesar  Romero 
called  on  me,  I  was  forced  to  keep  him  sitting  downstairs  for 


three-quarters  of  an  hour,  while  I  took  off  my  studio  make- 
up. I  don't  like  to  do  that  because  I  know  it  exasperates 
a  fellow. 

"Having  called  for  me,  George  Brent  then  takes  me  to 
dinner.  Usually  to  one  of  the  plain,  intimate  places  like 
Harry's  Steak  House.  Then  we  make  the  rounds,  go  to 
several  spots  to  dance  and  talk.  I  think  George  is  so 
charmingly  nonchalant.  More  serious  than  my  usual  date. 
However,  he  can  get  off  the  cleverest  gags  with  an  abso- 
lutely dead  pan. 

"I'm  not  a  very  expensive  date.  I  don't  know  how  much 
my  escort  spends  on  me,  but  when  we  go  to  a  small  place 
like  the  Zarape,  a  favorite  of  mine,  and  two  other  couples 
join  us,  well,  I  know  the  bill  is  never  more  than  $15  for  the 
six  of  us.   And  that's  not  bad. 

"If  I  have  to  get  up  early  for  the  studio  the  following 
morning,  I  don't  stay  out  late.  My  looks  are  part  of  my  meal 
ticket,  and  the  camera  is  very  frank  about  how  you  appear 
the  morning  after.  So,  on  work  nights,  I  turn  in  before 
midnight.   But  on  week-ends,  I'll  (Continued  on  page  85) 


NOPE,  NO  retirement  plans,"  Clark  Gable  told  me  after 
emerging  with  Claudette  Colbert  from  a  rickety  dance 
hall  on  the  set  of  "Boom  Town." 

"You're  going  back  on  your  given  words,"  I  reminded 
him,  after  we  were  comfortably  settled  in  his  pine-paneled 
portable  dressing-room  at  one  end  of  the  muddy  "Boom 
Town"  street.  "Three  years  ago,  you  told  me  that  you 
would  retire  at  the  expiration  of  your  contract,  which  then 
had  three  years  to  go.  You  were  decisive  about  it  and 
documented  your  decision  with  facts  and  figures,  whys 
and  wherefores." 

"I  know,"  said  Clark.  He  removed  his  ten  gallon  hat, 
kicked  off  his  rawhide  boots,  ran  a  hand  over  his  some- 
what unshaven  face  and  grinned. 

"You  said,"  I  continued,  "that  by  the  end  of  the  three 
years,  you  expected  to  have  a  life  income  of  $10,000  a 
year  and  that  if  that  wasn't  enough  for  any  man  and  his 
wife  to  five  on,  it  was  too  bad  about  them.  You  said  you 
would  'go  back  to  the  land'  and  become  in  practise  the 
farmer  that  you  are  at  heart. 

"You  said  that  you  and  Carole  (you  weren't  married 
then,  of  course,  but  you  were  planning  to  be)  would  travel 
and  see  the  world.  You  said,  in  short,  that  you  would  do 
all  the  things  you've  always  wanted  to  do,  among  which 


32 


Carole  and  Clark  hang  their  hats  in  a  9-room 
house  on  a  20-acre  San  Fernando  Valley  ranch. 


MODERN  SCREEN 


By    Gladys  Hall 


CLARK  PLANNED  A  1940  RETIREMENT — 


BUT,  THANKS  TO  MANY  SURPRISES,  HE'S 


CINCHED  FOR  ANOTHER  LONG  TERM 


'/in 


being  a  movie  actor  was  not  included.  You  were  very 
positive  about  all  this  and,  I  thought,  very  honest.  I  be- 
lieved you  not  because  I  wanted  to,  for  a  Gable-less  Holly- 
wood is  no  Elysiait  field  for  anyone  to  contemplate.  I  be- 
lieved you  simply  because  you  never  had  said  anything 
you  didn't  mean." 

"I  believed  myself,"  said  Clark.  His  eyes  and  voice  were 
serious.  I  was  surprised,  because  Clark  is  only  serious 
about  really  important  things.  Otherwise,  he  sort  of  likes 
to  kick  the  conversation  around,  get  some  laughs  and  give 
the  matter  the  brush-off. 

"It  was  my  full  intention  at  the  time,"  he  was  saying, 
"to  retire  at  the  expiration  of  my  contract.  But  I  haven't. 
I  not  only  haven't  retired  but  I  have  signed  a  new  contract. 

"I  didn't,  however,  sign  the  agreement  until  a  few 
days  before  time.  A  year  ago,  as  a  matter  of  fact,  the 
studio  had  a  contract  drawn  up  for  me.  It  stipulated  that, 
any  time  I  wanted  to  quit  for  good,  I  could — provided  that 
I  didn't  work  for  any  other  company.  That  was  okay  by 
me.  I  was  willing  to  sign  that  document.  But  when  it 
came  right  down  to  it,  the  studio  wouldn't  sign.  They 
said — and  reasonably  enough — that  they  couldn't  subscribe 
to  a  contract  like  that,  because  they  have  to  lay  out  a 
schedule  for  a  star  a  year  in  advance.   What  if  the  gypsy 


5-gaited  "Sonny,"  Gable's  favorite  mount,  goes 
coy  as  his  owner  chucks  him  under  the  chin. 


in  me  should  suddenly  get  the  whip  hand?  Then  where 
would  their  advance  schedule  be? 

"They  wanted  me  to  sign  another  straight,  seven-year 
contract.  I  wouldn't  do  that.  We  temporized.  'Well,'  I 
said,  'what  kind  of  a  contract  can  we  make?  I  don't  want 
to  work  as  I  have  been  working,  making  four  and  five 
pictures  a  year.' 

"We  finally  got  together.  The  contract  I  signed  states 
that  for  the  first  three  years  I  am  to  make  three  pictures 
a  year;  I  am  to  have  two  free  weeks  between  pictures  and 
twelve  consecutive  weeks'  vacation  each  year.  For  the 
two  years  after  that,  I  am  to  make  two  pictures  a  year, 
have  four  weeks  off  between  pictures  and  the  twelve  con- 
secutive weeks'  vacation.  Then,  for  the  next  and  final  two 
years,  I  have  an  option  which  the  studio  doesn't  have: 
the  option  stipulates  that  I  can  work  for  M-G-M  or  I 
can  retire.  In  other  words  if,  at  the  end  of  the  next  five 
years,  I  decide  that  I  don't  want  to  work,  I  can  quit  and 
no  one  can  sue  me.  If,  on  the  other  hand,  I  do  continue 
to  work,  I  work  for  M-G-M  and  no  one  else. 

"That's  how  it  is  and  everyone  is  happy.  But  a  lot  of 
argument  went  over  the  dam  before  the  foolscap  was 
signed,  sealed  and  put  in  the  vault. 

"The  studio's  first  argument  (Continued  on  page  75) 


The  Gables  celebrate  "Paw's"  7-year  contract  and 
"substantial  raise"  over  his  $4000  a  week. 


TTTT  V      1  QA.(\ 


33 


A  tranquil  moment 
in  the  brief  and 
stormy  romance  of 
Freya  and  Hans,  the 
tragic  young  lovers 
around  whom  this 
tale  of  modern  Ger- 
many revolves. 


Waiting  for  the  cameras 
to  be  set  up,  Jimmy  en- 
tertains the  cast  with  a 
selection  on  the  wine- 
glasses. They  don't  seem 
to  recognize  the  tune! 

Frank  Borzage  and 
Jimmy  Stewart  see  the 
accomplished  veteran, 
Maria  Ouspenskaya,  to 
the  car  that  takes  her 
to  the  commissary. 


M-G-M  PULLS  HO  PUNCHES  IN  "THE  MORTAL  STORM"  —  A  HEARTBREAKING 


WE  SAW  it  ourselves.  The  swastika  flag  of  Nazidom 
flying  over  Hollywood!  Mobs  of  Storm  Troopers  scrunch- 
ing their  heavy  boots  into  the  yielding  California  soil. 
Hundreds  of  students  shouting  the  glory  of  Adolf  Hitler. 
It  looked  like  a  world  gone  mad.  It  wasn't.  It  was 
just  M-G-M  brewing  "The  Mortal  Storm." 

Almost  a  year  in  the  preparation,  "The  Mortal  Storm" 
is  the  picturization  of  Phyllis  Bottome's  novel  of  the  same 
name.  With  Margaret  Sullavan,  James  Stewart  and  Robert 
Young  in  the  leading  roles,  it  relates  the  incredible  story 


of  a  family  wrenched  from  a  life  of  serenity  by  the  bar- 
barism of  the  Hitler  regime.  To  date,  the  screen's  boldest 
indictment  of  a  contemporary  government,  "The  Mortal 
Storm"  is  expected  to  earn  the  scathing  damnations  of  the 
German  press — and  the  precious  coins  of  moviegoers  who, 
for  months,  have  been  anticipating  a  story  as  fantastic  as 
the  burning  of  Rome. 

Though  laid  in  a  present-day  setting,  the  picture  was 
devilish  to  produce.  It  actually  presented  a  greater  head- 
ache to  the  Research  Department  than  a  13th  Century 


LOVE  STORY  WITH  HITLER'S  NEW  GERMANY  AS  ITS  RESTLESS  BACKGROUND 


drama!  Libraries  are  chock-full  of  information  about  the 
13th  Century  but  even  a  single  truth  about  the  set-up  of 
the  Third  Reich  is  as  guarded  as  one  of  Uncle  Sam's  gold 
bricks.  No  one  said  to  the  researchers,  "Come,  we  want 
you  to  see  our  splendid,  up-to-date  concentration  camps!" 
or  "Sit  down  and  let  us  tell  you  all  about  our  gigantic 
book-burnings!"  Der  Fuehrer's  Ministry  of  Propaganda 
doesn't  do  things  that  way.  For  months  after  they  decided 
to  make  the  picture,  M-G-M,  fact-hungry  and  desperate, 
tore  its  hair  and  pathetically  culled  scraps  of  information 


from  newspaper  clippings,  underground  German  periodi- 
cals and  a  collection  of  eighteen  censored  photographs. 
These  sources,  unfortunately,  didn't  yield  sufficient  in- 
formation to  supply  the  background  for  a  Pete  Smith 
short — and  the  studio  wanted  an  epic. 

Luckily,  they  had  Dick  Rosson.  Rosson,  an  assistant 
director  on  the  lot,  was  sent  to  Germany  last  year  to 
photograph  some  atmospheric  scenes  for  "Florian."  One 
day  the  authorities  decided  he  and  his  camera  were  too 
snoopy  and,  appropriating  his  (Continued  on  page  88) 


CflMH 


THERE'S  NOT  A  SINGLE  FAIR- 


WEATHER  FRIEND  AMONG  JOAN 


CRAWFORD'S  FANS,  FOR  SHE'S  ONE 


IDOL  WHO  DOESN'T  HAVE  CLAY  FEET 


By 
Radie 
Harris 


36 


FRONT  of  a  Fifth  Avenue  confection  shop  noted  for  the  best  ice 
cream  sodas  in  the  world,  surged  a  huge,  milling  mob. 

"What's  the  matter,  has  there  been  an  accident?"  was  the  ques- 
tion on  everyone's  tongue,  as  they  tried  to  break  through  the 
lines. 

Suddenly  the  door  opened  and  a  slim  feminine  figure,  glamor- 
ously  cloaked  in  a  scarlet  military  cape,  emerged.  Before  she  had 
taken  a  few  steps,  she  was  completely  engulfed  by  the  clamouring 
throng.  Finally,  two  stalwart  policemen  came  to  her  rescue  and 
literally  carried  her  to  her  waiting  car.  Disheveled  and  breath- 
less, she  wilted  in  the  back  seat,  but  as  she  sped  up  the  avenue 
she  turned  a  backward  glance  at  the  crowd  still  lingering  on  the 
same  sidewalk  where  "her"  feet  had  touched. 

"I  know  I'm  in  a  zoo  .but,  oh,  how  I  love  it!"  sighed  Joan 
Crawford. 

It  is  this  attitude  that  has  made  Joan  Hollywood's  gift  to  the 
autograph  fans.  Bette  Davis  may  be  the  best  actress — Ann  Sheri- 
dan have  the  most  "oomph" — Claudette  Colbert  be  the  best 
dressed — Vivien  Leigh,  the  most  beautiful — but  when  the  vote  is 
cast  for  the  popularity  sweepstakes,  it  is  Joan  Crawford  who  is 
the  unanimous  choice. 

Her  fan  club  is  the  largest  and  most  efficiently  organized  in  the 
world.  When  it  was  started,  back  in  19-31,  there  were  only  eight 
charter  members.  Sixteen-year-old  Marion  Domner  of  New  York 
City  was  elected  president.  She  still  holds  that  position  and  it  is 
through  her  guidance,  plus  the  personal  cooperation  of  Joan,  that 
the  club  now  embraces  members  from  all  over  the  world.  The 
majority  of  them  are  between  the  ages  of  seventeen  and  eighteen, 
and  females  predominate.  The  masculine,  contingent  comprises 
about  thirty  per  cent. 

Official  headquarters  are  in  New  York  City,  with  no  subsidiary 
branches.  This  is  at  Joan's  own  request  as  she  prefers  to  give  her 
undivided  attention  to  one  large  group  rather  than  scatter  it  over 
several  smaller  ones.  And  make  no  mistake  about  it,  it  is  "her 
undivided  attention"  that  she  gives  to  the  club  named  in  her  honor 
for,  more  than  any  other  star  in  Hollywood,  she  believes  implicitly 
in  the  importance  of  fan  mail. 

It  is  no  press  agent's  yarn  that  she  personally  attends  to  the 
thousands  of  letters  she  receives  each  week.  Every  club  member 
has  her  West  Los  Angeles  address,  so  that  none  of  the  mail  is  lost 
in  the  avalanche  of  studio  delivery.  With  her  secretary,  she  has 
worked  out  a  highly  systematized  index  file.  Not  only  is  the  name, 
address  and  birthdate  of  each  member  catalogued,  but  also  such 
pertinent  items  as  marriage,  babies,  anniversaries,  when  last  heard 
from,  what  the  letter  was  about  and  how  it  was  answered.  When 
there  is  a  request  for  a  picture,  that  too  is  duly  recorded  by  num- 
ber so  that  a  duplicate  of  the  same  pose  is  never  sent  again. 

As  a  consequence  of  this  comprehensive  digest,  Joan  enjoys  the 
same  intimate  knowledge  of  her  "public"  as  they  do  of  her.  She 
wires  them  on  their  birthdays;  plays  godmother  to  their  children 
(there  are  some  400  "Joan  Crawfords"  now  populating  the 
country) ;  is  the  "Dorothy  Dix"  to  all  their  personal  problems  and 
the  fairy  princess  of  all  their  dreams. 

Joan  writes  to  President  Domner  every  two  weeks — friendly, 
chatty  letters  with  all  the  news  of  her  various  studio  and  social 
activities.  Miss  Domner  shares  these  personal  treasures  with  the 
club  members  by  printing  them  in  "The  Crawford  News,"  a  twenty- 
four  page  magazine  which  is  published  six  times  a  year.  Through 
these  pages  each  fan  vicariously  fives  Joan's  life.  Her  friends — 
the  Norman  Fosters,  George  Murphys,  Ray  Millands,  Cesar 
Romero,  to  name  a  few,  are  their  friends.  When  she  played  an 
unsympathetic  role  in  "The  Women,"  they  rooted  for  her  success 
because  they  knew  she  had  fought    (Continued  on  page  73) 

MODERN  SCREEN 


HE-OIED  OH 
HORSEBACK 

ACTORS  AND  PRODUCERS  VIE  FOR  POLO 
HONORS.    SCORE  2-1,  PRODUCERS'  FAVOR 

IN  THE  year  710,  a  scribe  to  the  court  of  the  Fifth  Chinese 
Emperor  of  the.  T'ang  Dynasty — by  name,  Shin  Ch'uan- 
Chi — curled  his  yellow  fingernails  around  a  quilled  pen 
and  wrote  as  follows:  — 

"Today,  in  the  pear  garden,  his  Imperial  Majesty  ordered 
all  government  officials  to  take  part  in  a  new  sport  called 
polo.  Certain  statesmen,  being  worn  out  and  aged,  were 
tumbled  to  the  ground  and  remained  there,  to  the  amuse- 
ment of  the  Emperor,  Empress  and  Court  ladies." 

That  was  the  beginning,  and  8000  miles  and  2000  years 
away  a  team  of  Actors,  sponsored  by  Ginger  Rogers,  and  a 
team  of  Producers,  sponsored  by  Joan  Bennett,  met  on  the 
300-yard  field  of  the  Midwick  Country  Club.  Here,  in- 
stead of  chortling  royalty  for  an  audience  and  hapless  old 
men  for  players,  were  5000  paid-up  onlookers  who  came 
to  watch  Actors  Tim  Holt,  Charles  Farrell,  "Big  Boy" 
Williams  and  Paul  Kelly,  and  Producers  Walter  Wanger, 
Frank  Borzage,  Aiden  Roark  and  Steen  Fletcher,  come 
hurtling  down  the  clipped,  green  turf  in  futile  pursuit  of 
a  little,  willow  root  ball. 

The  game,  arranged  by  Jean  Hersholt,  president  of  the 
Motion  Picture  Relief  Fund,  for  the  benefit  of  that  or- 
ganization, presented  the  screwiest  and  possibly  the  worst 
polo  ever  seen  in  these  parts.  Umpired  by  old-timer 
Jack  Holt,  the  players  blundered  along  for  chukker  after 
chukker,  roaring  up  and  down  the  field  to  no  avail  and 
unintentionally  crossing  up  members  of  their  own  team. 

In  the  fifth  period  of  play,  when  the  score  was  still  tied 
at  0-0,  Boris  Karloff  jumped  to  his  feet.  Rushing  to  the 
announcer's  stand,  he  grabbed  the  loud  speaker  by  its 
throat  and  into  it  snouted  the  words  that  were  in  everyone's 
mind.  "The  reason  neither  team  has  scored,"  bawled  he, 
"is  that  the  Producers  can't,  and  the  Actors  don't  dare!" 

That  did  it.  Picture  people  have  pride  and,  as  the  last 
echo  of  Karloff 's  jibe  floated  over  the  bonnets  of  the 
snickering  spectators,  Producer  Wanger  galloped  forth. 
Walloping  his  mallet  against  the  side  of  the  ball,  he  sent  it 
sailing  between  the  goal  posts  to  score  the  first  point  of  the 
day!  The  crowd  applauded,  Miss  Bennett  beamed,  and  Mr. 
Wanger  pinched  himself  to  see  if  it  was  true! 

Eureka,  it  was!  The  ice  was  broken!  The  Actors  scored 
the  next  point,  the  Producers  topped  that — and  the  fair 
ladies  cheered!  There  was  more  rumbling,  no  more  scor- 
ing, and  the  game  ended  with  the  Producers  triumphant! 


Reggie  Gardiner,  with  a  wicked  glint  in  his 
eye,  looks  as  if  a  dime  were  a  pretty  stiff 
price  to  pay  for  Frances  Robinson's  hot  dog. 


Six  cheers  for  the  Actors!  Front  row:  Walter 
Connolly,  Jean  Hersholt,  Ralph  Morgan.  Back 
row:  Otto  Kruger,  Boris  Karloff,  Ray  Walburn. 


38 


Dug  Fairbanks  making  his  first  pub- 
:  appearance  as  a  daddy,  snags 
me  shots  to  show  Mom  and  Daphne. 


Looks  as  if  Mary  Astor,  who  doesn't 
understand  the  game  at  all,  has  asked 
hubby  just  one  question  too  many. 


Paul  Kelly  revives  "Big  Boy"  Williams 
who  played  so  hard  he  knocked  him- 
self out.  GR  stands  for  Ginger  Rogers. 


rrest  Tucker's  lady  for  a  day  was 
nn  Rutherford.  He  flew  East  the 
ext  morning  to  join  Helen  Parrish. 


Jackie  Cooper  escorted  a  non-profes- 
sional friend,  Ursula  McGowan.  He 
doesn't  miss  a  single  sports  event. 


Jean  Hersholt  presents  the  trophy  to 
sponsor  Joan  Bennett,  while  Producers 
Wanger,  Borzage  and  Roark  look  on. 


MICH  OUT  FOR  FIREUIOKKS ! 

THAT  RED  HAIR  SHOULD  GIVE  YOU  FAIR  WARNING!  MAUREEN  O'HARA'S  113  POUNDS 
OF  TNT,  SO  DON'T  MENTION  BROGUES  OR  DIETS  TO  HER,  UNLESS  YOU'RE  DYNAMITE-PROOF 


By  Kirtley 


IT'S  A  little  early  for  war  babies — but  Hollywood  already 
has  one.  Her  name  is  Maureen  O'Hara,  who  has  hair  as 
red  as  a  cannon  flash,  spirit  like  a  battle  flag  and  a  mind 
as  direct  as  a  rifle  bullet. 

The  wake  of  the  first  World  War  ushered  Maureen  into 
this  vale  of  tears  in  Dublin,  Ireland,  and  the  second  war 
made  her  a  star  in  Hollywood,  California,  where  the  impact 
of  her  powdery  personality  has  burst  with  the  detonation 
of  a  bomb.  Little  fragments  of  the  O'Hara  bombshell  are 
still  whizzing  around  the  place,  I  might  add — little  inde- 
pendent, fiery  fragments.  And  if  you  would  get  in  the  way 
of  any  such  devastating  missiles,  all  you  have  to  do  is 
call  Maureen  Charles  Laughton's  "protege,"  mention  a 
Hollywood  reducing  diet,  talk  in  a  theatrical  Irish  brogue 
or  tell  her  she's  pretty. 

In  any  of  the  above  cases,  "Little  Mary,"  which  is  what 
"Maureen"  means,  will  bend  her  amber  eyes  on  you  and 
you  will  think  you  are  being  poked  by  twin  bayonets.  Her 
five  foot,  seven  and  a  half  inch  frame  will  rise  and  rattle 
menacingly,  and  you  will  have  to  retire  to  your  own  per- 
sonal Maginot  Line. 

That's  no  way,  I  know,  to  introduce  a  new  foreign  glamour 
girl  whom  RKO  has  starred  in  her  second  picture  and 
hopes  now  to  build  into  box-office  bait.  But,  as  Maureen 
set  me  straight  once,  "I'm  no  glamour  girl;  I'm  a  backyard 
girl!"  I'm  afraid  it's  the  sad  truth.  In  fact,  if  RKO  had 
done  a  little  undercover  investigating  into  Maureen's  past, 
they  would  have  discovered  just  what  a  spunky  package 
they  had  on  their  hands. 

They'd  have  found,  for  instance,  that  Maureen  never 
wanted  to  be  a  girl  in  the  first  place,  and  kept  snipping  off 
her  long  coppery  hair  all  through  childhood  hoping  it 
would  work  the  sex-transformation  magic.  That  her  con- 
fessed earliest  ambition  was  "to  rob  an  orchard."  That 
when  she  was  only  three  years  old  she  sassed  a  squad  of 
tough  British  soldiers  hunting  down  Sinn  Feins  in  Dublin, 
and  got  her  family's  house  thoroughly  ransacked  for  her 
cockiness.  That  all  through  adolescence  she  banged  and 
bruised  herself  around  with  the  neighboring  bucks  in  the 
Irish  games  of  sporting  mayhem  called  "camogue"  and 
"hurley."  That  she  can  still  rattle  off  the  goal  percentages 
of  her  favorite  big  league  soccer  team  in  Erin,  the  Sham- 
rock Rovers. 

All  of  that  tomboy  stuff  is  no  sign,  of  course,  that  Little 
Mary  has  short-changed  herself  in  feminine  charm.  Any- 
one who  has  seen  O'Hara  in  "Jamaica  Inn,"  "The  Hunch- 
back of  Notre  Dame"  or  "Bill  of  Divorcement"  knows  she 
packs  a  punch  in  pulchritude  that's  a  heavenly  haymaker. 
I  will  swear  willingly,  further,  that  in  person,  Maureen  has 
even  more  than  the  camera  reveals,  including  a  flawless 
peach  blossom  skin,  tumbling  titian  tresses  and  a  figure 
that  even  a  Hollywood  diet  hasn't  completely  wrecked. 
Although,  as  Maureen  complained,  "If  they  want  me  any 
thinner,  there's  nothing  left  to  do  but  get  a  saw  and  go 
to  work  on  my  bones!" 

The  diet  is  just  one  way,  incidentally,  in  which  Holly- 
wood has  complicated  fife  for  Little  Mary  O'Hara.  She 
likes  food,  "any  kind  of  food,"  she  sighed  wistfully.  On 
the  boat  coming  over  she  tripped  up  the  gangplank  wear- 
ing a  size  twelve  dress;  when  she  ambled  down  she  took 
a  fourteen.    RKO  executives  took  one  look,  a  couple  of 


Baskette 


screen  tests,  gasped,  frowned  and  laid  down  the  law.  As 
a  result  Maureen  has  lost  thirteen  pounds  and  some  of  her 
good  disposition.  Maybe  that's  why  she  is  quick  these  days 
with  snappy  comebacks  on  pet  peeve  subjects. 

One  of  those  is  the  mushy  Irish  aura  which  theatrical 
Hollywood  insists  on  casting,  around  her  red  head.  The 
old  "Sure,  and  Begorra,"  "Irish  Eyes  Are  Smiling"  stuff 
gives  her  an  acute  case  of  the  pip.  Call  her  a  "colleen"  and 
you're  taking  your  life  in  your  hands.  I  know.  I  men- 
tioned innocently  enough  that  it  was  odd  she  didn't  speak 
with  a  brogue. 

"What  do  you  expect  me  to  do,"  retorted  O'Hara,  "go 
around  with  a  potato  in  my  hand?" 

The  O'Hara  potatoless  bones  were  draped  with  shaggy 
Irish  tweeds  the  day  I  saw  her,  in  the  small  cottage  up  the 
hill  from  the  Trocadero,  where  Maureen  is  camping  with 
her  young  and  beautiful  "Mommy."  It  wasn't  a  particu- 
larly auspicious  occasion.  Maureen  had  just  come  in  from 
a  walk,  swinging  her  square-set,  athletic  body,  with  a 
scrappy  little  Irish  terrier,  one  "Sionn  McCuail"  frisking 
about  her  low  heels.  Maureen's  yellow  eyes  were  flashing. 

IT  SEEMS  she'd  been  hiking  through  the  Hollywood 
hills  on  an  afternoon  constitutional  when  a  car-load  of 
cops  rolled  up  and  stopped  her.  Who  was  she,  they 
wanted  to  know.  And  why  was  she  walking  alone?  She'd 
hardly  got  through  explaining  when  another  police  car 
came  up.  They  gave  her  the  third  degree  too.  And  a 
little  farther  On  a  third  radio  patrol  honked  her  to  a  halt. 
This  time  Maureen  let  loose  on  them,  inferring  she  had 
thought  this  was  a  free  country. 

"This  is  a  favorite  lovers'  parking  spot,  lady,"  explained 
the  cops.  "And  there  are  lots  of  mashers.  We're  only 
trying  to  protect  you." 

"Protect  me!"  exploded  Maureen.  "And  after  I  studied 
jiu-jitsu  for  two  years!" 

This  non-protective,  self-reliant  complex  is  the  major 
reason  why  Maureen  O'Hara  will  bristle  when  you  call 
her  Charles  Laughton's  protege.  Laughton  has,  unques- 
tionably, helped  in  handing  her  some  breaks,  in  England 
and  in  Hollywood  too.  All  the  connection  amounts  to, 
though,  is  that  he  thinks  O'Hara  has  talent.  He's  no 
Svengali  to  her  Trilby,  as  the  world  believes.  And  the 
word  "protege"  infers  Maureen  is  under  his  wing.  Being 
under  anyone's  wing,  to  an  O'Hara,  is  a  fate  worse  than 
death.  Maureen's  life  has  been  one  twenty-year-long 
declaration  of  independence.  I  certainly  wouldn't  advise 
that  attitude  for  everyone — but  in  Maureen's  case  I've  a 
hunch  it  had  a  Jot  to  do  with  getting  her  where  she  is 
today. 

It  started  literally  when  she  was  born.  The  doctors 
prophesied  Maureen  would  arrive  on  April  eighteenth, 
back  in  1920.  At  ten  minutes  to  midnight,  April  seven- 
teenth, Maureen  made  her  grand  entrance.  Her  Irish 
nurse  glanced  at  the  clock  and  sighed,  "I  guess  she  just 
couldn't  wait  and  be  obliging  about  it!" 

Since  then,  Little  Mary  has  gazed  at  life  with  a  level, 
independent  eye.  She  has  faced  her  breaks  with  steady 
blood  pressure.  She  has  had  temper  instead  of  tempera- 
ment.  And  she  has  done  very  well,  thank  you. 

Of  course,  the  luck  of  the  Irish  is  traditional.    But  the 


40 


C&  io  fa?1?'  must  A 

/*  v  "  nexf-  k   chr  turi  -  eer> 


luck  of  the  O'Haras  (who  aren't  O'Haras  at  all,  but  Fitz- 
simonses)  is  due  in  large  part  to  a  beautiful  and  extremely 
capable  mater  farnilias  already  known  all  over  Hollywood 
as  "Mommy."  Maureen  not  only  gets  her  fair  face  from 
Mommy  but,  I  also  suspect,  a  good  part  of  her  drive,  her 
talent,  her  ambition — much  of  what  the  world  acclaims 
today,  in  fact — except  her  rusty  topknot.  That  Maureen 
and  Mommy  both  attribute  to  unknown  Irish  gods. 

The  fact,  however,  that  there  are  four  other  acting  Fitz- 
simonses  of  Mommy's  brood,  all  currently  making  names 
for  themselves  in  Dublin,  is  proof  enough  for  me  that  Mom- 
my, who  was  an  opera  singer,  and  actress  herself,  is  a  solid 
part  of  Maureen's  success  secret. 

Maureen  was  just  a  tiny  tot  of  four  when  she  lisped,  "1 
want  to  be  an  actress."   It  didn't  surprise  Mommy  Fitz- 


simons  one  bit  because,  for  one  thing,  everybody  in  Ire- 
land wants  to  act.  It's  a  sort  of  national  weakness.  For 
another  thing,  Mommy,  as  I  said,  had  done  her  bit  on  the 
boards  before  marrying  Charles  Fitzsimons,  a  Dublin 
representative  for  a  London  hat  firm.  She  was  known  as 
"Rita"  then,  instead  of  "Mommy,"  and  when  she  settled 
down  to  having  six  children,  she  had  to  have  something 
to  keep  her  busy,  so  she  started  designing  hats  and  gowns 
and  training  mannequins.  By  the  time  Maureen,  her 
second  child,  came  along,  Rita  was  a  sort  of  Hattie  Car- 
negie of  Dublin.  To  this  day  she  designs  and  makes  all  of 
Maureen's  creations  for  important  occasions,  like  premieres 
and  such. 

It  was  a  cinch  for  Mommy,  who  knew  all  about  how  a 
girl  should  back  in  and  out  of  (Continued  on  page  62) 


41 


iifiuitiu 


.  miLLflno ! 


Ray's  been  happily 
married  for  nine  of 
the  fen  years  he's 
lived  in  America.  A 
Welshman  by  birth 
and  an  ex-member  of 
the  King's  Guard,  he's 
now  a  U.  S.  citizen. 


DANIEL.  DAVID,  Ray  Milland's  son,  upset  a  few 
plans  by  storming  into  life  two  months  ahead  of  time. 
Ray  had  just  finished  "French  Without  Tears"  and 
Mai,  his  wife,  urged  him  to  take  a  vacation.    "In  a 
little  while  I'll  be  very  hard  to  get  along  with," 
she  insisted,  "and  you'll  need  all  your  strength 
to  cope  with  my  whims.    You'd  better  take 
one  now." 

He  left  without  misgivings.    Had  he  known 
that  his  child  was  to  inherit  his  own  impetu- 
osity, he  wouldn't  have  stirred  five  steps  from 
his  wife's  side.    He  bore  all  the  earmarks  of 
that  infernal  but  pleasant  nuisance — the  ho- 
vering husband. 

He  reached  Sun  Valley  in  the  morning  and 
skied  all  day.  At  nine  that  evening  he 
was  summoned  to  the  phone  by  his  wife's 
doctor. 

"What  on  earth  has  happened?" 
"Nothing  to  worry  about.    Your  wife's 
here  at  the  hospital,  and  the  baby's  due 
soon.  Everything's  all  right.  But  you'd 
better  get  home." 

"Yes,  but  what's  " 

"I  can't  explain  now.    I've  got  to 
get  back  to  her.  Just  take  my  word 
that    there's    nothing    to  worry 
about." 

He  ordered  a  car  and  raced  up 
to  his  room  to  throw  his  belong- 
ings together.   His  nerves  were 
rigid,  and  his  mind  a  whirling 


42 


confusion,  through  which  one  thought  ham- 
mered like  a  devil's  gong.  There  must  have 
been  an  accident.  Yesterday  she  was  all 
right.  What  had  happened?  Why  wouldn't 
the  doctor  tell  him?  Nothing  to  worry  about. 
That's  what  they  all  said.  Didn't  mean  a 
thing.  Must  have  been  an  accident.  How 
could  he  find  out?  Images  flashed  through 
his  mind  that  he  closed  his  eyes  against. 
Accident,  accident,  accident.  How  could  he 
find  out?  Mai's  mother.  He'd  call  her.  No, 
she  was  probably  at  the  hospital.  He'd  call 
the  house,  anyway.  Somebody'd  be  there, 
somebody'd  tell  him. 

i  His  mother-in-law's  calm  voice  answered 
the  phone.   "How's  Mai?   What  happened?" 

"Mai?  Why,  she's  all  right.  She's  having 
dinner  with  Joan  Crawford  this  evening." 

Milland  groaned.  "No,  she's  not.  She's  at 
the  hospital.  The  doctor  just  phoned  me. 
Get  down  there  quick.  I'm  leaving  right  now." 

As  he  told  it  later,  with  a  kind  of  savage 
tenderness,  "she'll  go  to  such  idiotic  lengths 
to  save  people  pain.  She  was  in  the  car, 
going  home  from  the  beauty  shop,  when  she 
realized  something  was  wrong.  She  phoned 
the  doctor,  who  ordered  her  straight  to  the 
hospital,  so  she  had  the  chauffeur  drive  her 
down.  She  didn't  let  her  mother  or  sister 
know.  If  she'd  had  her  way,  nobody  would 
have  known  till  the  whole  thing  was  over." 

Meantime,  Milland  was  speeding  toward 


n  "Untamed"  with 
Pat  Morison,  Ray 
plays  a  doctor,  one 
of  the  few  professions 
in  which  this  former 
soldier,  sailor,  rancher 
and  pistol  expert 
hasn't  dabbled. 


Boise.    Too  jittery  to  drive  himself,  he 
managed  to  communicate  his  mood  to 
the  chauffeur,  with  the  result  that  they 
made  two  hundred  miles  through  a  blind- 
ing snowstorm  in  three  hours,  and  un- 
scathed.  He  caught  the  air  express  to  Salt 
Lake.    There,  with  a  half  hour  to  wait  for 
the  mail  plane,  he  sprinted  for  the  nearest 
telephone. 

He  got  the  hospital.    He  got  the  delivery 
room.    He  got  the  nurse.    The  pulse  in  his 
throat  threatened  to  strangle  him. 

"How's  Mrs.  Milland?" 

"She's  fine.    She's  doing  swell." 

The  blood  began  draining  back  into  his  veins. 
"What— what  have  I  got?" 

She  laughed.    "You  haven't  got  anything  yet. 
Wait."   There  was  a  new  note  in  her  voice.  "Wait 
just  a  minute,  Mr.  Milland."   He  heard  the  sound  of 
the  instrument  as  she  laid  it  down.   He  waited  three 
minutes  by  his  watch,  but  his  watch  lied.    He  waited 
an  eternity.   Then  he  heard  another  sound — thin,  high 
and  dumbfounding.    "That  was  your  son's  first  cry," 
said  the  nurse. 

"Th-thanks,"  murmured  the  flabbergasted  father  and 
walked  out  in  a  daze.   His  son's  first  cry  and  he'd  heard 
it  in  Salt  Lake  City.    It  was  his  son  who'd  made  that 
funny  noise.    His  son — great  Scott,  he  had  a  son! 

That  fact  was  confirmed  by  his  butler  who  opened  the 
door  to  him  at  7  A.  M.,  by  which  time  he  was  lightheaded  and 
ready  for  a  little  solid  confirmation.    "Suh,"  said  the  butler, 
"I'd  give  a  million  dollars  to  be  in  (Continued  on  page  80) 


BABY  MILLAND  HAS  SOME 


BIG  SHOES  TO  FILL,  IF  HE 


HOPES  TO  MEASURE  UP 


TO  THAT  DAD   OF  HIS 


By    Ida  Zeitlin 


43 


BATHE  FOR  BEAUTY 

-AND  FOLLOW  THIS  DAILY  DESIGN  FOR  DAINTINESS  IF  YOU'D  BE  A  SUMMER  SUCCESS 


A  FAMOUS  European  beauty  specialist  recently  said  that 
there  are  only  two  kinds  of  women  in  this  world — well 
groomed  women  and  neglected  ones.  This  man,  being  wise 
as  well  as  witty,  added  succinctly  that  a  woman's  psychologi- 
cal attitudes  are  so  important  to  her  beauty  that  by  changing 
her  point  of  view  she  can  actually  change  the  texture  of  her 
skin — to  say  nothing  of  the  health  of  her  nervous  system, 
the  state  of  her  digestion  and  similarly  mysterious  inside 
workings. 

We  agree  with  the  learned  medico,  for  we've  seen  lots  of 
evidence  to  bear  him  out.  We  agree,  too,  that  a  well  groomed 
body  is  a  total  loss  if  the  mind  which  governs  it  is  not  well 
groomed,  clear  visioned  and  intelligently  perceptive.  Charity 
toward  others,  optimism  and  a  zest  for  living  are  about  as 
important  as  any  qualities  we  know  of  when  it  comes  to  the 
business  of  mental  grooming. 

But  let's  take  our  minds  for  granted  momentarily  and  con- 
centrate on  a  design  for  summer  daintiness. 

There's  a  "be-kind-to-animals"  week,  cotton  week, 
woolen  week,  safety  week,  flower  week,  apple  week,  old- 
home  week,  and  even  cranberry  week;  it  seems  high  time 
somebody  did  something  about  a  summer-beauty  week! 
Goodness  knows  we  all  could  use  one  along  about  now!  Not 
that  every  week  shouldn't  be  beauty  week — it  should.  In 
fact,  that's  exactly  why  we  have  made  a  one  week's  summer 
beauty  schedule  that  will  be  simple,  flexible  and  workable 
enough  that  practically  any  girl  anywhere  can  take  it  and 
adapt  it  to  her  own  individual  needs.  Then,  once  she's  tried 
it,  she'll  be  able  to  stick  to  it  summer  in  and  summer  out — 
or,  for  that  matter,  all  year  'round. 

The  very  best  plan,  we  believe,  is  to  distribute  your 
grooming  routine  equally  over  six  days  of  the  week,  leaving 
Sunday  in  which  to  either  relax  completely  or  to  catch  up 
loose  ends  unavoidably  left  over.  We  said  unavoidably — no 
common  garden  variety  of  excuses  will  do.  You've  got  to 
make  up  your  mind  in  the  beginning  that  you  are  going  to 
stick  to  your  beauty  schedule  come  rain  or  shine,  famine, 


strikes,  high  water  or  summer  visitors.  Otherwise  you  might 
just  as  well  save  your  eyes  and  skip  these  pages.  Resolution 
must  be  a  part  of  your  equipment,  if  you  really  want  any 
benefits  from  what  we're  about  to  set  forth. 

Let's  start  with  Monday.  Monday  is  an  excellent  day  to, 
first,  check  up  on  your  daily  diet  and,  second,  to  get  down 
to  business  regarding  that  little  matter  of  regular  exercising. 
Oh  yes,  whether  you're  thin  or  fat  or  beautifully  streamlined, 
your  daily  diet  is  exceedingly  important  to  your  beauty. 
Conscientiously,  now,  if  you're  too  thin,  are  you  eating 
enough  proteins — meats,  fish,  eggs,  cheese,  milk,  and  perhaps 
nuts,  dried  beans,  peas  and  lentils?  If  you  are  too  fat,  are  you 
counting  your  calories?  Twelve  hundred  a  day  should  be 
your  total.  Have  you  cut  down  enough  on  sugars,  starches, 
rich  sauces,  gravies,  pastries  and  heavy  desserts  and  substi- 
tuted raw  vegetables,  citrus  and  other  fruits,  skimmed  milk 
and  lean  meats?  Three  hundred  calories  at  breakfast,  four 
hundred  at  luncheon  and  five  hundred  at  dinner  would  be 
a  sensible  distribution — and  no  cheating  between  meals! 

IF  YOU  ARE  just  right  in  both  weight  and  proportions, 
are  you  maintaining  a  diet  that  will  keep  you  that  way? 
Don't  take  unfair  advantage  of  your  present  good  fortune. 
The  old  ounce  of  prevention  is  better  than  any  cure.  And 
whatever  your  figure  status,  are  you  drinking  at  least  six 
glasses  of  water  every  day,  one  of  these  the  first  thing  upon 
rising  each  morning?  It  may  be  prosaic,  but  food  and 
drink  are  what  little  girls  are  made  of — big  ones,  too — and 
there's  no  use  closing  your  eyes  and  applying  beauty  com- 
presses if  you're  neglecting  the  fundamentals  upon  which 
beauty  is  built. 

Are  you  absorbing  enough  sunshine  to  keep  your  body 
the  smooth-running  machine  that  it  should  and  can  be? 
There  would  soon  be  no  beautiful  or  healthy  people  in  the 
world  if  it  weren't  for  our  sensible  use  of  the  free  sun- 
shine. Are  you  getting  enough  sleep  to  keep  your  skin 
clear,  your  nerves  relaxed  and    (Continued  on  page  70) 


Rich  creams  are  summer 
necessities  to  counteract 
both  wind  and  sunburn. 


A  cream  depilatory 
keeps  arms  and  legs  al- 
ways looking  their  best. 


After  her  bath,  Jean  Par- 
ker dusts  on  powder  that 
has  a  dainty  fragrance. 


The  lovely  Jean 
Parker  knows 
that,  after  a  hard 
day  at  the  studio, 
nothing  is  quite 
so  relaxing  as  a 
warm,  luxurious 
bath  with  plenty 
of  soap  and  aro- 
matic bath  salts. 


BY  CAROL 
CARTER 


By    Gracie  Allen 

WHEN  THE  Surprise  Party  surprised  me  by  nominating  me 
for  President  I  was  so  stunned  I  couldn't  talk.  George  took 
one  look  at  me  and  ran  to  the  telephone  and  I  said,  "Are  you 
going  to  call  the  doctor?"  and  he  said,  "No,  believe  it  or  not, 
I  am  going  to  call  Ripley." 

At  first  I  thought  the  campaign  would  be  easy  and  nothing 
but  fun  and  play,  but  there  is  a  lot  of  work  to  be  done  in 
connection  with  a  campaign.  First,  there  was  my  platform 
that  had  to  be  put  together  and  then  fell  apart  before  we 
could  get  a  picture  of  it. 

And  then  people  started  asking  questions  like,  "What  are 
you  going  to  do  when  you  get  to  the  White  House?"  and 
"How  are  you  going  to  run  the  cabinet  and  the  Senate  and 
things?"  All  of  this  requires  a  great  deal  of  thought,  which 
I  have  been  doing  so  much  that  George  has  the  earache. 

Just  to  give  you  an  idea,  the  cameraman  followed  me  on  a 
typical  busy  day  at  the  house  in  Beverly  Hills,  which  I  am 
using  until  the  White  House  is  vacated  and  I  can  make 
arrangements  with  a  furniture  moving  company. 


PRESS  CONFERENCE:    Lots  of  big  office-holders 
get  into  trouble  saying  the  wrong  thing  at  press 
conferences.    I  don't  believe  in  talking  while  press- 
ing 'cause  you  get  excited  and  burn  things. 


NINE  GOOD  REASONS  WHY  THIS  LIT- 
TLE LADY  BELONGS  IN  THE  WHITE  HOUSE 


FOR  PRESIDEM ! 


FISHING:    It's  my  favorite  sport,  especially  during 
the  campaign,  -but  I  usually  fish  in  the  backyard 
because  the  ocean  is  so  far  from  the  shore.  And 
you  don't  have  to  dig  bait,  either.  . 


CABINET  MEETING:   My  cabinet  will  be  a  typical 
woman's  cabinet,  because  if  you  let  a  man  in  your 
cabinet,  he's  always  spilling  the  sugar  or  misplac- 
ing the  nutmeg,  filibustering  at  midnight. 


46 


MODERN  SCREEN 


FARM  PROBLEM:  That  seems  to  bother  all  of  the 
candidates  but  me.    I  will  just  cross  onions  with 
gardenias  and  people  will  not  offend  each  other 
while  talking  about  other  problems. 


FIRESIDE  CHATS:  Yes,  I  believe  I'll  keep  on  giving 
those  chummy  fireside  chats.    It's  sort  of  hot  for  a 
fire  in  Washington  during  the  summer,  but  an 
electric  fan  will  help  cool  the  fireplace. 


STATE  DINNERS:    I  will  give  state  dinners,  but  I  NEWSPAPER  COLUMN:    Maybe  I'll  let  George 

will  not  invite  anyone  because  if  I  left  someone  out  conduct  my  column,  "Your  Daily  Dope."    Some  of 

he  would  feel  hurt.    This  way,  the  dinners  won't  the  things  he  writes  don't  make  sense  to  me,  but 
last  long  and  I  can  listen  to  me  on  the  radio.  my  typewriter  spells  awful  when  I  work  it. 


OFFICIAL  CORRESPONDENCE:  Sometimes  I  am 
so  busy  I  have  to  dictate  in  the  car.    It  seems  kind 
of  silly  to  dictate  into  a  hose  but  by  doing  this  I 
don't  have  to  apologize  for  things  I  say. 


ECONOMY  PROGRAM:   The  Secretary  of  Labor 
has  a  lot  of  spare  time  on  Saturdays  and  Sundays 
and  he  might  as  well  be  serving  his  country.  After 
all,  I  can't  take  care  of  everything ! 


JULY,  1940 


47 


THE  JOKES  On  HOPE 

WHERE  THERE'S  HOPE  THERE'S  INEVITABLY  LIFE,  AND,  EVEN  IN  THESE  GLUM 
TIMES,  EVERY  DAY  IS  PARTY  DAY  WITH  THIS  SELF-MADE  FUNNYMAN  AROUND 


BOB  HOPE  certainly  wasn't  born  a  funnyman.  And,  un- 
like most  great  humorists,  he  wasn't  dropped  on  his  dan- 
druff as  a  child,  didn't  win  prizes  for  bright  sayings  as  a 
brat,  and  never  in  his  youth  was  the  life  of  the  party. 
Moreover,  he  was  born  in  London,  of  a  people  that  have 
never  seen  the  joke. 

Yet,  he  must  have  been  destined  for  great  comedy,  for 
fame,  and  for  becoming  an  antidote  to  man's  ills.  Because, 
centuries  earlier,  another  Englishman,  that  old  grouch, 
Dr.  Samuel  Johnson,  remarked: 

"Hope  is  the  chief  blessing  of  man;" 

And  he  is. 

Today,  in  a  glum  world  filled  with  pangs  of  war  and 
depression,  Bob  Hope  is  the  medicine  man  who  is  selling 
that  greatest  of  quick-action  pills — laughter.  Today,  easy 
and  natural,  he  walks  into  a  room,  up  to  a  microphone, 
onto  the  screen,  and  homo  sapiens  guffaw.  He  opens  his 
mouth  and  stolid,  respectable  citizens  fling  themselves  into 
the  aisles,  convulsed  with  high  hilarity. 

Who  is  this  fellow,  this  dressy  hangover  of  the  medieval 
court  jesters?  Who  is  he?  And  why  is  he?  And  what 
about  him? 

Well,  you  can't  be  very  dignified  when  you  interview 
Bob  Hope.  It's  like  sitting,  asking  questions,  and  for  an- 
swers having  someone  brush  your  feet  with  a  feather. 
You  just  keep  giggling  helplessly.  That's  because,  every 
time  Bob  Hope  breathes,  he  exhales,  not  oxygen,  but  gags. 
His  weekly  radio  show  and  his  recent  Paramount  pictures, 
during  the  productions  of  which  he  ad  libbed  without 
mercy,  all  prove  that  Bob  Hope  knows  his  humor.  Per- 
haps he  wasn't  originally  cut  out  to  be  a  funnyman.  Per- 
haps he  doesn't  know  how  he  ever  became  one.  But  this 
is  certain — Hope  knows  Humor  as  Einstein  knows  Rela- 
tivity. 

"The  secret  of  being  funny  or  not  being  funny,  the  trick 
of  telling  a  good  joke,  depends  entirely  on  timing,"  says 
Hope.  "Of  course,  to  begin  with,  you've  got  to  have  a  joke 
that  is  shorn  of  whiskers.  I'll  tell  you,  the  big  trouble  with 
the  average  life-of-the-party,  the  amateur  wisecracker,  is 


that  he  usually  forgets  certain  important  details  of  his  joke, 
or  sin  of  sins,  hasn't  the  ending  clear  in  his  mind.  But 
mostly,  he  doesn't  know  timing.   And  his  joke  falls  flat. 

"I've  been  in  this  game  long  enough  to  realize  there's  no 
such  thing  as  a  new  quip.  There  are  certain  basic  gags 
like — 'Who  was  that  lady  I  saw  you  with  last  night?'  and 
the  answer,  'That  was  no  lady,  that  was  my  wife,'  from 
which  a  thousand  jokes  spring.  It  just  takes  a  twist.  To 
give  you  a  classic  idea — 'Who  was  that  lady  I  saw  you  with 
last  night?'  and  the  answer,  'That  was  no  lady,  that  was 
your  wife!' 

"The  object  is  to  make  a  quip  sound  fresh  by  giving  it  a 
new  turn,  or  tying  it  up  with  modern  slang  or  situations  in 
the  news. 

"For  example,  take  the  recent  gag  about  the  King  of 
England  putting  on  a  diving  suit  to  review  his  fleet.  Now 
that  was  nothing  but  an  old  saw  made  new  by  the  head- 
lines. 

"The  main  thing  to  watch  out  for,  on  radio  or  in  the 
parlor,  is  going  stale." 

Bob  Hope  grimaced  at  the  very  thought  of  going  stale. 

"What  happens  is  this:  My  script  writers  and  I  will  line 
up  a  series  of  gags  in  which  I'm  constantly  insulted.  Luck- 
ily, it  goes  over  big.  The  audience  is  hysterical:  The  re- 
ception puts  us  in  a  rut.  Since  it  got  such  easy  laughs  this 
week,  we  try  the  same  thing  in  different  verbal  clothing 
next  week  and  the  week  after,  until  it  sounds  like  a  needle 
stuck  on  a  victrola  record,  and  our  employers  howl,  and 
we  think  moodily  of  applying  for  the  WPA  where  humor 
is  appreciated." 

Incidentally,  Hope  didn't  think  you  could  feed  the  public 
corny  and  obvious  humor.  He  was  positive  radio,  in  every 
hamlet  and  village,  had  matured  listeners  and  made  them 
aware  of  good  and  bad  jokes. 

In  his  study  of  rib -ticklers,  Hope  had  collected  a  good 
variety  of  novelty  giggle-provokers.  (Cont'd  on  page  88) 


48 


MODERN  SCREEN 


OUTSIRRRTIRG 
HER  RIVALS 


By  George  Benjamin 


WHEN  Gary  Cooper  signed  to  do  "North  West 
Mounted  Police,"  Producer-Director  Cecil  B.  De 
Mille  told  him,  "There  are  three  equally  good  male 
roles  in  the  picture.  You  can  have  your  choice." 
So  Gary  took  the  script  home,  read  it,  mulled  things 
over  for  a  couple  of  days  and  came  back  with  his 
answer.  He  guessed  he  would  play  the  ranger  from 
Texas,  but  he  didn't  want  anybody  to  tell  him  it 
was  the  best  role  in  the  picture.  Gary  drawled  dryly, 
"I'd  like  to  be  able  to  play  the  wolf  girl,  Louvette." 

De  Mille,  himself,  thought  enough  of  the  role  to 
consider  Vivien  Leigh  for  it.  Louvette  was  a  half- 
breed  Scarlett  O'Hara,  and  he  wanted  an  actress 
who  could  be  dangerously  feminine — dynamite  in 
skirts;  and  she  had  to  talk  with  a  French-Indian 
accent.  He  didn't  think  of  Paulette  Goddard  as  a 
possibility. 

But  Paulette  is  the  girl  who  is  playing  the  role. 

And  how  did  she  get  it?  She  used  her  head.  She 
outsmarted  everyone  else. 

The  picture  was  all  set  to  go  into  production. 
Every  role  had  been  cast  except  Louvette.  De  Mille 
still  hadn't  made  up  his  mind  about  the  girl  to  play 
the  part.  But  he  had  decided  which  actresses  to 


test,  and  he  was  testing  them  at  the  rate  of  two 
a  day — one  in  the  morning,  another  in  the  afternoon. 

This  particular  noon,  as  usual,  he  stopped  in  his 
office  on  the  way  from  the  test-stage  to  the  com- 
missary. Only  this  noon,  Bill  Pine,  his  production 
assistant,  seemed  to  be  finding  a  confounded  lot  of 
things  to  ask  him,  keeping  him  from  lunch. 

Impatiently,  he  was  answering  Bill's  questions 
when  his  secretary  appeared  in  the  doorway. 
"There's  a  young  lady  outside  to  see  you,"  she  said. 

"Who  is  it?"  barked  C.  B.,  studying  a  paper  Bill 
had  just  handed  him. 

"She  wouldn't  give  any  name.  She  said  she  wanted 
to  .surprise  you." 

"Tell  her  I  can't  be  surprised  now.  I'm  going  to 
lunch." 

He  looked  up  to  glare  toward  the  doorway  to 
make  the  point  emphatic — and  gaped,  instead. 

Peering  around  the  edge  of  the  open  door  was 
a  brown-skinned  vixen  with  unruly  hair,  an  Indian 
feather  dangling  from  the  right  side  of  her  head. 
And,  unless  his  eyes  were  tricking  him,  she  was 
wearing  the  same  dress  he  had  seen,  only  fifteen 
minutes  before,  on  the  girl  (Continued  on  page  83) 


JULY,  1940 


51 


Here  are  the  Doug  Fairbankses  on 
practically  their  last  appearance  at 
Ciro's  before  Daphne  was  born. 
Doug's    thrilled    that    it's    a  girl. 


George  Murphy  holds  Rog  Pryor,  Mrs. 
Murphy  and  Ann  Sothern  spell- 
bound with  one  of  his  tall  tales  a 
few  days  before  he  left  for  New  York. 


Her  tip-tilted  bonnet  shields  Diana 
Lewis  from  the  disillusioning  knowl- 
edge that  BUI  Powell's  catching  forty 
winks  in  the  midst  of  a  swell  story. 


Fay  Bainter  forsakes  her  hubby  for 
a  turn  about  the  floor  with  Greg 
Bautzer,  who  is  doing  no  brooding 
over   his    lost   love,    Lana  Turner. 


Marie  Wilson  is  back  to  the  Grinde 
(Nick)  and  loving  it.  She  looks  very 
cute  after  a  hard  day  of  testing  for 
the  coveted  part  of  "Tillie  the  Toiler." 


Herbert  Marshall,  looking  tan  and 
terrific,  cigarettes  his  bride,  Lee 
Russell.  Herb,  Edna  Best's  ex,  is 
working  in  "Foreign  Correspondent." 


Those  perennial  lovebirds,  the  Stu 
Erwins,  have  been  married  8  years! 
We  caught  them  one  night  when 
they'd  "smik"  out  on  their  2  kiddies. 


Liwie  de  Havilland  consoles  herself 
with  Valleajo  Gantner,  the  bathing 
suit  scion,  while  her  heart,  Jimmy 
Stewart,  works  on  "The  Mortal  Storm." 


It's  the  end  of  a  perfect  evening  for 
George  Raft  and  Norma  Shearer  as 
they  leave  Victor  Hugo's  in  Norma's 
car — -a    big    16-cylinder  limousine. 


Mischa  Auer  works  all  day  and 
plays  all  night.  He  and  his  big-as- 
a-minute  wife  haven't  missed  a 
night    at    Ciro's    since    it  opened. 


52 


MODERN  SCREEN 


Al  Hall  has  that  if-you-weren't-a-lady  Humph  Bogart  looks  heckled  while 

look,  as  Lucille  Ball  goes  io  work  wifey,  Mayo  Methot,  beams.  She's 

on  his  shrimp  cocktail.   She  must  be  just  brow-beaten  him  into  angel-ing 

pretty   darn   sure   of   her   ground!  her  brand  new  infants'  wear  shop. 


Vivien  Leigh  and  Laurence  Olivier  Agent  Nat  Wolf  signals  his  bride,  Bobby  Stack  is  playing  the  field  these 

were  wined  and  dined  before  the  Edna  Best,  that  he'll  be  right  back  days.   Here  he's  cutting  off  a  yard 

opening  of  "Romeo  and  Juliet"  and  (that  old  gag)  as  he  borrows  lovely  or  two  of  the  old  line  for  Laurie 

were  jittery  as  a  pair  of  amateurs.  loan  Bennett  for  a  quick  rhumba.  Lane,  lovely  ex-Mardi  Gras  queen. 


ft  looks  like  love  for  Irv  Cummings  The  Allan  Joneses  were  stunned  to  Dick    and    Joan    Powell    sing  the 

and  Nancy  Kelly  seen  here  on  their  learn  their  extra-special  car  has  an  praises  of  marital  bliss  all  day  on 

near-elopement  night,  but  'tis  said  identical  twin.    They  drove  it  away  the  "I  Want  A  Divorce"  set,  and  look 

her  heart  belongs  to  Ed  O'Brien.  from  Ciro's  one  night,  by  mistake.  as  though  they  really  meant  it,  too. 


Mary  Martin  and  playboy  beau  Bob  Fred  Perry,  the  tennis  star,  looking  Eleanor  Powell  and  Merrill  Pye, 
Oliver  wind  up  even  their  elegant  anything  but  sad  over  wife  Helen  M-G-M  art  director,  will  middle-aisle 
evenings  with  a  fudge  sundae.  Mary  Vinson's  divorce  action,  makes  merry  it  this  summer.  It  will  be  his  sec- 
gets    a   yen   for    one   mid-nightly.  with    Rosalind    Russell    at    Ciro's.  ond   marriage  and  Eleanor's  first. 


JULY,  1940 


53 


By    Lois  Svensrud 


LOOK  TO  YOUR  LAURELS,  CLARK! 

On  the  set  of  "Boom  Town"  Mickey  Rooney 
dropped  by  for  a  visit  with  his  idol,  Clark 
Gable.  Gable  was  doing  a  scene  with  Hedy 
Lamarr,  in  which  the  weeping  actress  threw 
herself  down  on  a  couch.  Gable  was  sup- 
posed to  come  up  to  Hedy,  pat  her  on  the 
shoulder  and  tell  her  how  much  he  loved 
her.  The  scene  was  just  getting  under  way 
when  Mickey  arrived  on  the  set,  and  Gable 
motioned  to  him  to  take  his  place.  Imagine 
Hedy's  surprise  when  she  heard  Mickey's 
voice,  quavering  from  sheer  nerves,  saying 
"I  love  you."  She  turned  quickly  and  burst 
into  laughter,  while  Mickey  blushed  to  the 
roots  of  his  blonde  hair.  "That's  all  right, 
Mickey,"  said  Hedy.  "You  sound  a  lot 
more  convincing  than  Clark." 

LADY  BOUNTIFUL 

Looks  like  wedding  bells  for  Nick  Grinde 
and  Marie  Wilson,  who've  been  consulting 
architects  ever  since  Marie's  return  to  Holly- 
wood. According  to  Nick,  he's  a  little  hesi- 
tant about  giving  Marie  a  house,  for  fear 
he  might  return  from  work  some  evening  and 
find  that  she  had  given  it  away.  Marie  has 
the  habit  of  bestowing  her  possessions — - 
whether  cocker  spaniel  puppies  or  star  sap- 
phire rings — on  anyone  who  happens  to 
admire  them.  But  Grinde's  decided  that  a 
good  hefty  mortgage  on  the  place  might 
nail  down  his  home  sweet  home! 

LUCK  OF  THE  IRISH! 

Nancy  Kelly's  almost-elopement  didn't  cause 
much  excitement  around  town,  for  those  in 
the  know  claim  that  her  real  heart  interest 
is,  and  always  will  be,  Edmond  O'Brien. 
Looks  as  if  they're  right,  for  she  no  longer 
sees  her  would-be  fiance,  Irving  Cummings, 
Jr.,  and  the  long-distance  calls  with  Edmond, 


who's  on  tour  with  Laurence  Olivier  and 
Vivien  Leigh,  are  something  for  the  telephone 
company  to  rejoice  over. 

BARN  WITH  A  VIEW 

Bette  Davis  is  planning  a  short  visit  to  Hono- 
lulu on  completion  of  "All  This,  and  Heaven 
Too."  But  the  dreamy  look  in  her  eyes  is 
not  due  to  contemplation  of  Waikiki  Beach 
but  of  Sugar  Hill,  the  place  she's  recently 
purchased  in  New  Hampshire.  As  soon  as 
the  elderly  barn  on  the  place  is  rejuvenated, 
Bette  will  hie  herself  east  for  a  real  vaca- 
tion. She's  chosen  the  barn  in  preference 
to  the  house,  because  its  view  is  beautiful 
enough  to  compensate  for  its  other  draw- 
backs. "Then  I'm  just  going  to  sit  and 
look  for  a  few  months,"  claims  Bette. 

HOP  SCOTCH 

Claudette  Colbert  received  a  royal  welcome 
when  she  reported  for  work  at  Metro.  The 
red  carpet  was  unrolled  at  the  door,  and 
Norma  Shearer  gave  over  her  dressing-room 
ior  the  visiting  star's  use.  Miss  Colbert  was 
duly  appreciative  of  Norma's  thoughtfulness, 
but  admitted  that  she  was  pretty  uncomfort- 
able for  the  first  few  days.  It  seems  that 
she  felt  she  should  remove  her  shoes  at 
the  door  before  stepping  on  the  white 
carpets.  Finally  Claudette  solved  this  diffi- 
culty by  bringing  some  scatter-rugs  from 
home  and  playing.  Eliza-on-the-ice-cakes 
whenever  she  walked  around  the  apartment. 

GINGER'S  AFFAIRS 

Looks  like  the  real  thing  between  Ginger 
Rogers  and  Howard  Hughes,  for  the  star 
wears  a  magnificent  square-cut  diamond 
whenever  she  appears  with  him  in  night- 
spots. Furthermore,  her  divorce  from  Lew 
Ayres  was  all  Ginger's  idea;  according  to 


his  intimates,  Lew  was  trying  to  effect  a 
reconciliation  right  up  to  the  last  minute. 

DARK  VICTORY 

It  would  seem  that  Ginger's  permanently 
discarding  her  blonde  locks  along  with  her 
dancing  shoes.  In  her  next  picture,  "Lucky 
Partners,"  she'll,  have  raven  tresses.  In  fact 
she  has  announced  that,  from  now  on,  she'll 
shun  the  peroxide,  bottle  both  on  and  off  the 
screen.  The  on-lylactress  in  town  who's  tak- 
ing up  the  blonde  /cause  is  Frances  Longford. 
After  two  years  without  making  a  picture, 
Frances  decided  that  something  drastic 
should  be  done  to  alter  her  looks.  She  em- 
erged from  the  beauty  parlor  the  next  day 
with  a  reddish  gold  coiffure  and  one  hun- 
dred per  cent  more  confidence.  A  week  later, 
just  to  prove  that  blondes  aren't  through, 
Frances  landed  a  picture  contract  at  RKO. 

RECONCILIATION? 

Friends  of  Martha  Raye  and  Dave  Rose  are 
busy  these  days  trying  to  effect  a  reconcilia- 
tion between  the  two.  Martha  admits  that 
there's  no  one  else  she's  interested  in,  and 
Dave  has  convinced  everyone  but  Martha 
that  he's  still  in  love.  Just  another  case  of 
two  careers  in  a  family  being  one  too  many. 
But  bets  are  going  strong  that  before  the 
divorce  becomes  final,  Martha  will  decide 
to  become  just  plain  Mrs.  Dave  Rose  and 
forget  that  "Moutha"  Raye  ever  existed. 

NO  MORE  ACTORS 

No  hopes  are  held  out,  however,  for  the 
Tony  Martins  settling  for  domesticity.  Though 
Alice  Faye  and  Tony  had  several  meetings 
on  his  recent  trip  to  the  Coast,  the  only  thing 
they  settled  was  a  property  arrangement. 
Neither  is  looking  forward  to  another  mar- 
riage, though  Alice  says  that,  should  love 


34 


MODERN  SCREEN 


AH  EAR  TO  THE  GROUND  AND  AN  EYE  ON  THE 
STARS  —  IMPOSSIBLE  FEAT?  NOT  FOR  OUR 
SNOOPING,  SCOOPING  HOLLYWOOD  REPORTER! 


come  into  her  life  again,  she  hopes  it  won't 
be  accompanied  by  an  actor. 

TURNABOUT 


After  years  of  being  a  golf-widow,  Dixie  Lee 
Crosby  suddenly  turned  the  tables  on  Bing.l  t' 
She  took  to  the  fairways  with  a  vengeance!-"' 
and  has  shown  such  remarkable  progress! 
in  the  game  that  she's  now  tournamentinc 
all  around  the  country-side.    While  Dixie-  't 
having  the  time  of  her  life  at  Palm  Spring 
and  Del  Monte,  Bing.  is  mamma,  papa  ar 
crooner  to  the  four  young  Crosbys.  j 

FANS'  DELIGHT 


Maureen  O'Hara  is  the  fans'  delight.  ) 
crowd  of  autograph-seekers  is  too  large 
her  to  accommodate  with  her  signature  c 
after  scribbling  away  for  a  half-hour  or 
she  will  look  up  and  say  disappointedly, 
more  autographs  wanted?"    The  reason 
feels  this  way,  says  Maureen,  is  tha 
some  time  when  she  attended  previe 
Hollywood,  she  was  never  asked  'tor  t 
autograph.    "I'd  go"  up  to  the  theatr  e  sa. 
ing  graciously,"  Maureen  laughs,  "and  hoj 
ing  against  hope  that  someone — anyone 
would  think  I  looked  like  an  actress  an^ 
want  my  autograph.    If  I  live  to  Le  ninety 
I'll  never  get  over  the  thrill  of  finally  having 
an  autograph  book  held  out  to  me!" 

JANE  DWELLS  IN  MARBLE  HALLS 

How  would  you  like  to  have  a  pink  marble 
apartment  presented  to  you  on  your  birth- 
day? And  a  soda  fountain?  Jane  Withers 
was  the  recipient  of  just  these  things  when 
she  recently  checked  off  her  fourteenth  birth- 
day. The  apartment  is  built  on  the  second 
floor  of  her  parents'  home  and  the  soda 
fountain  holds  the  place  of  honor  in  the 
rumpus-room.    When  George  Ernest,  Jane's 


romantic  interest  No.  1,  called  to  inspect  the 
place,  his  eyes  poppe-"  —•'  -H jpH^the  splen- 
dor. "Oh,  it's  rec  '  said  his 
hostess,  tfyjn(y~~  t  bit 
moTS 
ad- 


glamour,  in  her  opinion,  is  nothing  more  nor 
less  than  pep.  There's  an  easy-to-take 
recipe,  girls! 


BAROMETER 


is  George  Brent-Ann  Sheridan  romance  is 
«  the  shelf  and  really  going  strong  again. 
jV  Annie  is  definitely  on  top  now,  and 
ere  are  those  around  town  who  say  that 
4?  voltage  of  Mr.  Brent's  ardor  can  always 
j  gauged  by  the  career  status  of  the  object 
j  his  affections. 

llAN  IN  A  MILLION 

t 

torn  a  saleslady  in  the  millinery  department 
jf  I.  Magnin's,  we  learned  that  Clark  Gable 
^companies   his   wife   on   shopping  tours. 
But  he  isn't  much  help  in  selecting,  hats  for 
Miss  Lombard,"  she  explained.    "Mr.  Gable 
/doesn't  even  look  at  the  hats  I  put  on  her 
'  head.    He  just  looks  at  his  wife  and  says, 


Laurence  Olivier  has  never  bothered  to  find 
out  the  language  of  the  flowers,  for  Vivien 
Leigh,  the  girl  of  his  dreams,  would  far  rather 
have  a  gift  of  caramels  or,  chocolate-dipped 
cherries  when  he  comes  a-courting.  On  the 
set,  she  always  has  a  box  of  candy  at  her 
elbow,  and  generally  there's  one  tucked 
under  her  arm  when  she  shows  up  for  a 
preview.  A  nibble  on  a  chocolate  now  and 
then  is  an  excellent  pepper-upper  according 
to  Vivien,  who  never  gains  an  ounce,  and 


'Beautiful,  just  beautiful.'  " 

THE  ACID  TEST 

Whether  it's  "luff"  on  Miss  Garbo's  part,  we 
don't  know.  But  there's  no  doubt  about  how 
Dr.  Gaylord  Hauser  feels  toward  Greta — not 
after  watching,  them  lunch  the  other  day  at 
the  Villa  Nova,  famous  Italian  restaurant  on 
Sunset  Boulevard.  The  fresh  vegetable  fad- 
dist stuck  to  his  guns  and  ate  barely  a  bite 
of  the  Villa's  renowned  spaghetti.  Instead, 
with  a  beatific  expression  on  his  face,  he 
watched  Greta,  whom  he's  been  dieting  for 
months  and  months,  consume  literally  yards 
of  pure,  unadulterated  starch. 

ROONEY  HOLDS  HIS  OWN 

Mickey  Rooney  was  being  ribbed  by  his  pals 
on  the  lot  the  other  day.  "You  sure  get  the 
girls  in  a  marrying  mood,  Mickey,"  said  one 


JULY,  1940 


55 


of  them.  "Only  they  marry  someone  else!"  "If  }ou  have  reference 
to  the  fact  that  I  used  to  date  both  Diane  Lewis  and  Lois  Andrews," 
said  Mickey  with  dignity,  "kindly  bear  in  mind  that  it  took  men  with 
forty  years  more  experience  with  women  to  outsmart  me." 

UNDERSTATEMENT 

Jimmy  Stewart  may  appear  very  smitten  with  the  charms  of  Olivia 
de  Havilland,  but  he  hasn't  forgotten  Marlene  Dietrich.  When  he 
was  called  to  the  studio  the  other  day  to  discuss  a  forthcoming,  picture, 
the  producer  confided  to  him,  "We  may  be  able  to  get  la  Dietrich 
for  this,  too."  "Not  la  Dietrich,"  corrected  Jimmy,  "but  Ooolala 
Dietrich! " 

TRULY  A  WONDER-BOY 

Jack  Benny  and  Orson  Welles  are  seen  together  at  the  Brown  Derby 
so  often  that  the  rumor  got  around  the  two  were  discussing  making 
a  picture  together.  Benny  nipped  this  idea  in  the  bud,  however, 
when  a  friend  broached  the  subject  to  him.  "Orson  and  I  discussing 
business?"  he  laughed.  "Why,  all  we  get  together  for  is  to  eat.  We 
have  a  mutual  admiration  for  each  other's  appetite.  Orson  just  fas- 
cinates me.  Last  time  we  met,  for  instance,  he  got  away  with  a  quart 
of  milk,  three  extra-size  steaks,  four  baked  potatoes  and  four  pieces  of 
apple  pie  at  one  sitting.  When  we  got  up  to  leave  the  Derby  I  said, 
'Where  to,  Orsie?'  And  he  said,  'To  get  something  to  eat,  of  course.' 
So  we  went  over  to  Sardi's  and  had  cake  a  la  mode  and  several  cups 
of  coffee.  You  can  see  for  yourself,"  said  Jack,  "that  we  haven't  a 
minute  to  discuss  business." 

BUT  IS  IT  WORTH  IT? 


and  stamping  them  with  the  name  of  the  Markey  estate — now  known 
as  "Hedgegrow" — before  sending  them  off  to  market.  It's  a  fact, 
Mr.  Ripley! 

SAFETY  IN  NUMBERS 

The  title  of  Young-man-about-town  is  the  undisputed  right  of  Freddie 
Bartholomew  these  days.  Though  he's  been  dating  several  of  the 
girls  in  the  younger  set,  Freddie  hasn't  forgotten  his  former  flame, 
Judy  Garland,  and  always  buys  flowers  for  his  dates  at  Judy's  shop. 
The  other  day  Judy  happened  to  drop  in  just  as  Freddie  was  winding 
up  a  purchase  of  two. corsages  of  gardenias.  "Hmmm,"  hmmmed 
Judy,  unashamedly  taking  a  good  look  at  the  attached  names,  "Gloria 
and  Peggy — who  might  they  be?"  Freddie  was  pretty  flustered  and 
muttered  something  about  a  "couple  of  girls  I'm  taking  to  a  premiere," 
but  Judy  refused  to  be  put  off  and  proceeded  to  pin  him  down.  "Well, 
if  you  must  know,"  said  Freddie,  "their  last  name  is  Lloyd."  Then  he 
added  with  an  attempt  at  nonchalance,  "Just  Harold  Lloyd's  kids, 
you  know." 

STREAMLINED  WARDROBE 

Remember  the  days  when  a  certain  radio  star  was  known  as  Bob 
Brummell  Burns?  Well,  those  days  are  gone  forever.  Bob  Burns  has 
become  so  interested  in  his  back-to-the-soil  movement  at  his  Canoga 
ranch  that  he  hasn't  bought  so  much  as  a  new  tie  for  months.  Bing 
Crosby  asked  him  if  he  didn't  intend  getting  a  new  summer  suit. 
"Heck,  no,"  drawled  Bob.  "I'm  not  buying  any  summer  suit.  All  a 
smart  guy  needs  is  one  suit  and  brains  enough  to  take  off  the  vest 
when  the  weather  gets  warm,  and  to  shed  the  coat  when  the  weather 
starts  sizzling." 


There's  a  concoction  which  Orson  imbibes  before  every  broadcast 
which  might  interest  would-be  radio  stars.  According  to  Mr.  W.  it 
keeps  his  vocal  chords  in  trim  and  he  wouldn't  dream  of  going  on 
the  air  without  it.  Recipe  for  this  potion  is  as  follows:  Take  a  half 
cup  of  cold  coffee,  add  tomato  juice  and  grape  juice,  season  with  salt, 
pepper  and  Worcestershire  sauce.  You  might  try  it,  just  ' 
whether  or  not  you're  a  genius. 

CHORE-GIRL  f 

Hedy  Lamarr  was  late  for  work  the  other  moj 
the  director  for  an  explanation  of  her  tarcJj 
her  morning  chores  held  her  up.  The  "chc! 
Hedy's  morning  duty  of  collecting  the  eggs 


GOOD  GUY 

Miriam  Hopkins  is  now  a  member  of  the  "Good  Guy"  club  at  Columbia 
broadcasting  studio.    The  membership  list  is  limited  to  those  stars, 
who  have  filled  in  at  the  last  moment  ori  a  radio  broadcast.  Miriam 
won  her  spurs  when  Paulette  Goddard  took  that  tumble  off  her 
"♦or  scooter  and  was  unable  to  appear  for  a  scheduled  air-show, 
^prlay  broadcast,  and  the  blonde  star  was  finally  located, 
-iturday  night  dining  and  dancing  at  Ciro's.  When 
Paulette's  place,  Miriam  accepted  the  job  on  the 
'  went  home  to  study  her  role.    After  the  per- 
'hanked  Miss  Hopkins  and  said,  "And  here 
eing  temperamental!"    "Well,"  said  the  star 
xrdly  time  for  temperament!" 


SHIRLEY  TEMPLE 


JAMES  CAGNEY 


56 


MODERN  SCREEN 


BING  MUST  BE  COLOR-BLIND 

The  first  party  given  by  Andrea  Leeds  and  Bob  Howard  in  their  new- 
home  was  a  gala  affair.  The  guests  of  honor  were  Bob's  brother  Lin 
and  his  bride,  Judith  Barrett,  but  Bing  Crosby  stole  the  spotlight.  Even 
competing  with  the  fanciest  furbelows  worn  by  the  who's  who  of 
town,  his  costume  was  in  a  class  by  itself.  The  Crosby  outfit  con- 
sisted of  a  pale  blue  slack  suit  with  light  violet  shirt  and  matching 
hanky.  He  was  completely  unconscious  of  his  sartorial  splendor  and 
had  the  time  of  his  life. 

A  RABID  LEWIS  FAN 

Those  newlyweds,  William  Powell  and  Diana  Lewis,  are  having  a 
time  for  themselves  with  week-end  jaunts  to  fashionable  Arrowhead 
Springs  and  other  resorts  around  the  countryside.  Diana's  a  great — 
and  accomplished — badminton  fan  and  to  date  has  taken  the  honors 
from  all  her  competitors  wherever  the  Powells  have  stopped  long 
enough  for  a  game.  Mr.  P.  doesn't  play,  just  beams  from  the  side- 
lines and  cheers  the  little  woman  on.  In  fact,  he's  cheering  Diana  on 
in  every  way,  her  career  included.  After  the  preview  of  her  latest 
picture,  when  the  fans  descended  on  her,  Bill  stood  by  looking  as 
though  he'd  swallowed  a  canary. 

FORCE  OF  HABIT 

Greer  Garson  says  that  "Pride  and  Prejudice,"  her  current  picture, 
has  meant  a  lot  to  her.  It  has  given  her  a  chance  at  a  role  which 
she  really  liked  and  enabled  her  to  become  acquainted  with  lots  of 
interesting  people.  But  the  picture  is  also  responsible  for  one  of  her 
most  embarrassing  moments.  She  attended  a  party  one  evening  after 
the  picture  had  been  in  production  for  several  weeks.  The  guests 
were  all  assembled  and  primed  for  Greer's  grand  entrance.  They 
were  naturally  electrified  to  watch  her  ease  into  the  room  sideways! 
Greer  had  been  unconsciously  turning  sideways  for  so  many  weeks 
to  get  her  voluminous  "Pride  and  Prejudice"  costumes  through  door- 
ways that  it  had  become  second  nature! 

THE  GOOD  EARTH?  ^ 

Guy  Kibbee  and  his  family  have  moved  back  into  town  after  that 
valiant  effort  to  "go  back  to  the  land"  via  a  San^Fernando  Valley 
Ranch.  "The  idea  was  swell,  but  the  upkeep  was  terrific,"  Guy 
told  his  pals'  at  the  studio.  "One  night  I  sat  ^down  and  figured  out 
that  every  tomato  cost  us  $1.79;  each  ear  of  corn,  approximately  $2.00 
and  string  beans,  exactly  27c  a  bean.    I  figured  right  then  and  there 

) 


that  I  would  invest  exactly  two  more  dollars  in  the  ranch — and  that 
for  a  'For  Sale'  sign!" 

BOUDOIR  SCENE 

Clark  Gable  and  Spencer  Tracy  had  a  strange  summons  from  the 
wardrobe  department  the  other  day.  They  were  asked  to  appear 
for  a  fitting  at  ten  o'clock  one  morning — but  a  fitting  for  long  under- 
wear! Yep,  in  "Boom  Town"  you'll  see  both  stars  romping  around 
in  this  intimate  apparel. 

WHAT-NEXT  DEPARTMENT 

After  brooding  for  a  long  time  over  her  shorn  finger-nails,  necessitated 
by  her  role  in  "North  West  Mounted  Police,"  Paulette  Goddard  evolved 
the  scheme  of  having  four  sets  of  artificial  nails  made  up.  Along  with 
her  evening  clothes,  Paulette's  maid  now  lays  out  her  mistress'  choice 
of  finger-tips  for  the  evening — agate,  red  spangle,  sequin  or  telecast 
red. 

BUSMAN'S  HOLIDAY 

Laraine  Day  is  so  in  earnest  about  her  career  that  her  leisure  time 
is  spent  making  movies  on  her  own.  With  a  gang  of  her  Long  Beach 
friends,  she's  just  finished  producing,  a  picture  that  is  soon  to  be  pre- 
viewed— strictly  for  the  gang — at  their  "Community  Playhouse."  The 
"theatre"  was  formerly  a  Long  Beach  garage.  "Strictly  an  Icky"  will 
have  a  gala  premiere,  however,  with  a  sand-box  out  in  front  for  foot- 
prints and  a  cameraman  ready  with  a  Brownie. 

HAIR-RAISING  SPECTACLE 

The  other  day  on  the  set  of  "North  West  Mounted  Police,"  the  cast  and 
crew  watched  with  baited  breath  the  strange  spectacle  of  Cecil  B. 
De  Mille's  having  the  few  hairs  on  his  bald  head  tweaked  by  a 
woman  visitor.  Mr.  De  Mille  looked  as  if  he  felt  a  little  silly,  but 
didn't^ghow  any  signs  of  blowing  up.  The  tweaker,  it  developed,  was 
*#!One  other  than  Elsie  Janis,  who  is  a  very  old  friend  of  his. 

BLUE  TIMES  FOR^SONJA 

Sonja  Henie  slipped  out  of  Hollywood  the  day  following  her  arrival 
from  Honolulu.  She  spent  several  weeks  at  a  quiet  cabin  on  the 
shores  of  Lake  Arrowhead  before  reporting  for  work  at  the  studio. 
One  reason  for  her  seclusion  was  her  recent  illness;  the  other,  her 
concern  for  her  beloved  Norway.     (Continued   on  page  67) 


ROBERT  VOONS 


JUDY  GARLAND 


JULY,  1940 


57 


She  was  without  a  particle 
of  make-up  and  was  wearing 
a  tailored  beige  dress,  a  dusty 
pink  "hide-away"  hat  and  her 
customary   low-heeled  shoes. 


Sitting  beside  Mrs.  Williams,  one  of 
the  world's  ten  best-dressed  women, 
Greta  tried  to  hide,  exposing  Hauser's 
diamond  ring  on  her  fourth  finger. 


They  drive  off  discussing  their  sky's- 
the-limit  evening.  Dinner  lasted  four 
hours,  involved  two  bottles  of  cham- 
pagne and  ran  up  a  bill  of  $75. 


58 


MODERN  SCREEN 


Miss  Beatrice  Straight  is  a 

granddaughter  of  the  late 
William  C.  Whitney,  famous 
financier  and  diplomat.  At  the 
family's  14th-century  castle, 
Dartington  Hall,  in  Devon- 
shire, England,  was  originated 
the  drama  group  which  is 
her  consuming  interest. 


Miss  Betty  Allen  recently  got  a 
job  teaching  in  an  experimen- 
tal school  at  New  City,  N.  Y. 
Her  work  with  her  9  tiny  pupils 
includes  outdoor  play,  paint- 
ing, modeling,  dancing  and  a 
smattering  of  the  "3  R's."  In 
some  of  her  free  time,  Miss 
Allen  writes  children's  stories. 


This  season.  Society  is  wel- 
coming Miss  Straight  to  her 
native  America,  where  she 
is  currently  appearing  in 
theatrical  productions. 


-  but 

f  EACH  GUARDS  HER 
LOVELY  COMPLEXION 
THE  VERY  SAME  WAY 


"Perfect  for  my  skin" 

QUESTION  TO  MISS  STRAIGHT: 

Miss  Straight,  is  the  English 
complexion  really  as  radiant  and 
lovely  as  we  hear  that  it  is? 

ANSWER:  "Yes— a  good  English 
complexion  is  lovely  .  .  .  just  as 
lovely  as  a  good  American 
complexion!  I  think  the  charm 
of  a  girl's  skin  depends  more  on 
the  care  she  gives  it  than  where 
she  lives.  So  whether  I'm  in 
England,  America  or  in  a  far 
corner  of  the  world — I  always 
use  Pond's  2  Creams.  They're 
perfect  for  my  skin." 

QUESTION:  Your  complexion  shows 
that,  Miss  Straight — but  just  how 
do  you  use  your  Pond's  Creams? 

ANSW!  R:  "Every  night,  every 
mornir  g  and  always  before  make- 
up, I  c  eanse  my  face  with  Pond's 
-earn.  These  regular  cleans- 
p  keep  my  skin  soft  and 
too.  To  smooth  my  skin  for 
layering  make-up,  I  use 
*s  Vanishing  Cream.  I  adore 
's  Vanis 


Cold  C 
ings  he 
supple 
subtle. 
Pond 
Pond 

a  bit  grleasy 
and  fluffy!" 


ishing  Cream — it's  not 
.  and  so  fragrant 


POND'S 


"Smooths  in  a  minute" 

QUESTION  TO  MISS  ALLEN: 

Doesn't  managing  a  lively  group  of 
youngsters  keep  a  young  teacher 
right  up  on  her  toes,  Miss  Allen? 

ANSWER:  "It  surely  does — and  in 
more  ways  than  one  I  My  classroom 
'public'  is  very  observing  and 
brutally  frank.  That's  one  reason 
why  I'm  so  particular  about  my 
complexion.  I  use  both  Pond's 
Creams  every  day.  No  matter  how 
busy  I  am — or  how  tired — I 
always  cleanse  and  soften  my  skin 
with  Pond's  Cold  Cream  before 
going  to  bed  at  night,  first  thing 
in  the  morning,  and  often  at  noon, 
too.  This  care  seems  to  give  my  skin 
just  the  fresh,  soft  look  I  want." 

QUESTION:  What  do  you  do  when 
sun  and  wind  roughen  and  chap 
your  skin? 

ANSWER:  "That's  easy!  Little 
roughnesses  are  smoothed  away  in 
a  minute  with  Pond's  Vanishing 
Cream.  Just  a  light  film  of  it  and 
presto  I  My  skin  feels  marvelous 
and  has  the  ideal  base  for  soft, 
faithful  make-up." 


Pretty,  red-haired  Miss  Allen 
has  many  interests  outside 
of  school.  She  adores  dancing, 
swimming  and  fishing — and 
seems  to  have  the  "advan- 
tage" at  tennis! 


SEND  FOR 
TRIAL 


POND'S,  Dept.  9MS-CVG, 


Clinton,  Conn. 
,d's   Cold  Cream, 


Rush   special   tube   of  Po 
_  enough  for  9   treatments,  with  generous 
gEAllTT*  KIT  samples  of  Pond's  Vanishing  Cream,  Pond's 
Liquefying  Cream  (quicker-melting  cleansing 
cream),  and   5  different   shades  of  Pond's 
Face  Powder.  I  enclose  10^  to  cover  postage  and  packing. 


Name- 
Street- 
City  


.State- 


Copyright,  1940,  Pond's  Extract  Company 


millions  more  kisses 
for  maids  of  America 


MOVIE  SCOREBOARD 


A  new  lipstick 


Such  heavenly  beauty,  such  glamour  and 
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For  here  is  Chiffon  Lipstick,  a  new  lipstick 
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Ask  for  Chiffon  Lipstick,  10^,  today  at 
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netic red,  excellent  for 
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shade  for  all. 


Chiffon  Red— light,  vi- 
brant, the  shade  favored 
by  many  famous  models. 

Medium — a  clear,  burn- 
ing red.  Makes  almost 
every  complexion  more 
compelling. 


Powder  10* 

The  finest -textured  shine-proof  powder; 
clings  for  hours,  never  cakes  or  clogs 
the  pores;  in  seven  of  fashion's  smart- 
est shades: 

Rrunette  Natural 
Dark  Tan        Rose  Petal        Rose  Reige 
Reige  Rachel 

(Uu^m  All-Purpose  Cream  10* 

A  new,  entirely  different  cream,  the 
only  cream  you  need  apply  for  cleaning, 
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it  lends  to  your  face. 


(200  pictures  rated  this  month) 


the  loveliest  thing  in  make-up 


Turn  to  our  valuable  Scoreboaid  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.    4-^-  means  very  good;  good:  2-^-,  fair;  l^-,  poor. 

C  denotes  that  the  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Picture  General 

Rating 

Abe  Lincoln  in  Illinois  (RKO)   4* 

Adventure  in  Diamonds  (Paramount)   2-*k 

Amazing  Mr.  Williams,  The  (Columbia)   3  t*t 

And  One  Was  Beautiful  (M-G-M)  2V2* 

Another  Thin  Man  (M-G-M)   3* 

Balalaika  (M-G-M)   3* 

Barricade  (20th  Century-Fox)   3* 

Big  Guy,  The  (Universal)  2V2-k 

Black  Friday  (Universal)  2V2-k 

*Bill  of  Divorcement,  A  (RKO)   3* 

Blondie  on  a  Budget  (Columbia)   2  -k 

Blue  Bird,  The  (20th  Century-Fox)  C  3* 

Broadway  Melody  of  1940  (M-G-M)   3* 

Brother  Rat  and  a  Baby  (Warners)   2 Ik- 
Buck  Benny  Rides  Again  (Paramount)  3V2~k 

Calling  Philo  Vance  (Warners)  2V2-k 

Castle  on  the  Hudson  (Warners)  2V2  It- 
Cat  and  the  Canary,  The  (Paramount)  3V2k 

Charlie  Chan  in  Panama  (20th  Century-Fox)....    2  Ik 

Charlie  McCarthy,  Detective  (Universal)   3  + 

Chasing  Trouble  (Monogram)   2* 

Child  Is  Born,  A  (Warners)   3* 

Chump  at  Oxford,  A  (United  Artists)  2y2* 

Cisco  Kid  and  the  Lady.  The  (20th  Century-Fox)  2* 

Congo  Maisie  (M-G-M)   'Sir 

Courageous  Dr.  Christian,  The  (RKO)   2* 

Cowboy  From  Texas  (Republic)   2  + 

Curtain  Call  (RKO)  2V2* 

*Dark  Command  (Republic)  2V2* 

Daytime  Wife  (20th  Century-Fox)   3* 

Destry  Rides  Again  (Universal)   3k 

Disputed  Passage  (Paramount)   3* 

Double  Alibi  (Universal)  2V2-* 

Dr.  Cyclops  (Paramount)   3  k 

Dr.  Ehrlich's  Magic  Bullet  (Warners)  3V2* 

Dr.  Kildare's  Strange  Case  (M-G-M)  iV2-k 

Drums  Along  the  Mohawk  (20th  Century-Fox)..  3^r 

Earl  of  Chicago,  The  (M-G-M)   4* 

Elizabeth  and  Essex  (Warners)   4-*- 

Emergency  Squad  (Paramount)  2Vi* 

Eternally  Yours  (United  Artists)  2V2* 

Everything  Happens  at  Night  (20th  Century-Fox). .  3  Ik- 
Farmer's  Daughter,  The  (Paramount)  2V2 Ik- 
Fighting  69th,  The  (Warners)   3  Ik- 
First  Love  (Universal)   3k 

Five  Little  Peppers  at  Home  (Columbia)  C  1V2k 

*Florian  (M-G-M)   2* 

Flying  Deuces  (RKO)   2* 

Forty  Little  Mothers  (M-G-M)  2V2* 

Four  Wives  (Warners)   3* 

Free,  Blonde  and  21  (20th  Century-Fox)   2  ★ 

French  Without  Tears  (Paramount)  2V2~k 

Geronimo  (Paramount)   3  Ik- 
Gone  With  the  Wind  (M-G-M)   4* 

Grapes  of  Wrath,  The  (20th  Century-Fox)   4* 

Great  Victor  Herbert,  The  (Paramount)   3-k 

Green  Hell  (Universal)   Si- 
Gulliver's  Travels  (Paramount)  C  3* 

He  Married  His  Wife,  (20th  Century-Fox)   2* 

High  School  (20th  Century-Fox)  C  3* 

His  Girl  Friday  (Columbia)   3  Ik- 
Honeymoon  Deferred  (Universal)  21/2lk 

House  Across  the  Bay,  The  (United  Artists)   2-* 

Housekeeper's  Daughter,  The  (United  Artists). ...  2  + 
House  of  Seven  Gables  (Universal)  2V2 Ik- 
Hunchback  of  Notre  Dame.  The  (RKO)   3* 

Intermezzo,  A  Love  Story  (United  Artists)   3-k 

Invisible  Man  Returns,  The  (Universal)   2  Ik 

Invisible  Stripes  (Warners)   2  -k 

"Irene  (RKO)   3* 

Isle  of  Destiny  (RKO)   2* 

I  Take  This  Woman  (M-G-M)   2* 

It  All  Came  True  (Warners)  2V2* 

It's  a  Date  (Universal)  3V2* 

Joe  and  Ethel  Turp  Call  on  the  President  (M-G-M)    2  * 

Johnny  Apollo  (20th  Century-Fox)   3* 

Judge  Hardy  and  Son  (M-G-M)  C  3* 

Kid  Nightingale  (Warners)   2* 

Light  That  Failed,  The  (Paramount)   3-k 

Little  Accident  (Universal)  2V2* 

Little  Old  New  York  (20th  Century-Fox)   2* 

Lone  Wolf  Strikes,  The  (Columbia)   2* 

Llano  Kid,  The  (Paramount)  2V2* 

Mai  He's  Making  Eyes  At  Me  (Universal)  2V2* 

Man  From  Dakota,  The  (M-G-M)   2* 

Man  From  Montreal  (Universal)  2V2-k 

Man  Who  Wouldn't  Talk,  The  (20th  Century-Fox). 2'  2  ★ 

Man  With  Nine  Lives,  The  (Columbia)   2* 

Marines  Fly  High,  The  (RKO)   2* 

Mexican  Spitfire  (RKO)  2V2* 


Picture  General 

Rating 

Midnight  (Paramount)   3-^ 

Mikado,  The  (Universal)  C  3-k 

Millionaire  Playboy  (RKO)   2  Ik- 
Miracles  For  Sale  (M-G-M)  2V2  Ik- 
Missing  Evidence  (Universal)  

Mr.  Smith  Goes  to  Washington  (Columbia)   4-Jk 

Music  in  My  Heart  (Columbia)   2lk 

My  Little  Chickadee  (Universal)....'  2'/2-Jk 

Nick  Carter,  Master  Detective  (M-G-M)   3  Ik 

Night  of  Nights.  The  (Paramount)  2V-.+ 

Ninotchka  (M-G-M)   4  J 

No  Place  To  Go  (Warners)   2* 

Northwest  Passage  (M-G-M)   4+ 

Nurse  Edith  Cavell  (RKO)   4* 

Of  Mice  and  Men  (United  Artists)   4-fr 

Oklahoma  Frontier  (Universal)   2  + 

Oklahoma  Kid,  The  (Warners)   3* 

Old  Maid,  The  (Warners)   4* 

On  Dress  Parade  (Warners)  C  2k 

One  Hour  to  Live  (Universal)   2* 

One  Million  B.C.  (United  Artists)   3* 

$1,000  a  Touchdown  (Paramount)   2* 

On  Your  Toes  (Warners)  2V2* 

Our  Leading  Citizen  (Paramount)  21/2* 

Our  Neighbors — The  Carters  (Paramount)  2'/21k- 

Outside  3-Mile  Limit  (Columbia)  2V2 Ik- 
Pack  Up  Your  Troubles  (20th  Century-Fox)  2l/2k 

Parole  Fixer  (Paramount)  2V2-k 

Pinocchio    (RKO)  C  4* 

Pioneers  of  the  Frontier  (Columbia)   2 Ik- 
Pride  of  the  Blue  Grass  (Warners)  2V2-A- 

Primrose  Path,  The  (RKO)  3V2  Ik- 
Quick  Millions  (20th  Century-Fox)  C  2* 

Raffles  (United  Artists)   2* 

Rains  Came,  The  (20th  Century-Fox)   3* 

Range  War  (Paramount)   2* 

Real  Glory,  The  (United  Artists)   3* 

Rebecca  (United  Artists)   4* 

Remember?  (M-G-M)  2V2k 

Remember  the  Night  (Paramount)   3-jk- 

Rio  (Universal)  2V2* 

Road  to  Singapore,  The  (Paramount)   2l/2-k 

Roaring  Twenties,  The  (Warners)   3-* 

Rulers  of  the  Sea  (Paramount)  3V2ir 

Sabotage  (Republic)  2l/2i 

*Safari  (Paramount)  2V2k 

Saint's  Double  Trouble,  The  (RKO)  2V2* 

Santa  Fe  Marshal  (Paramount)  tV2-k 

'Saturday's  Children  (Warners)  2V2-»r 

Secret  of  Dr.  Kildare,  The  (M-G-M)   3* 

Seventeen  (Paramount)  C  3  Ik- 
Shooting  High  (20th  Century-Fox)  C  2V2* 

Shop  Around  the  Corner,  The  (M-G-M)   3  Ik- 
Sidewalks  of  London  (Paramount  Release)   3  ★ 

Slightly  Honorable  (United  Artists)   3* 

Smashing  the  Money  Ring  (Warners)  2V2k 

Spirit  of  Culver,  The  (Universal)  C  2Vi  Ik- 
Stanley  and  Livingstone  (20th  Century-Fox)  3V2* 

Star  Maker,  The  (Paramount)  C  2V2* 

Strange  Cargo  (M-G-M)   3 

Stronger  Than  Desire  (M-G-M)  2V2-k 

Swanee  River  (20th  Century-Fox)   3  + 

Swiss  Family  Robinson  (RKO)  C  3* 

Television  Spy  (Paramount)  2V2-k 

That's  Right,  You're  Wrong  (RKO)  C  3* 

These  Glamour  Girls  (M-G-M)  2V2* 

They  Shall  Have  Music  (United  Artists)  C  3V2* 

Three  Cheers  for  the  Irish  (Warners)   3  + 

Three  Smart  Girls  Grow  Up  (Universal)  C     3 -*- 

Three  Sons  (RKO)   3* 

■Til  We  Meet  Again  (Warners)   3* 

Too  Busy  to  Work  (20th  Century-Fox)  C  2V2* 

Too  Many  Husbands  (Columbia)   3* 

Torchy  Plays  With  Dynamite  (Warners)  2V2* 

Tower  of  London  (Universal)   2  k 

Tropic  Fury  (Universal)   2ik 

20,000  Men  a  Year  (20th  Century-Fox)   3  Ik- 
Two  Bright  Boys  (Universal)   2  + 

Two  Girls  on  Broadway  (M-G-M)  2V2* 

U-Boat  29  (Columbia)   3  ★ 

Underpup,  The  (Universal)  C     3  + 

Vigil  in  the  Night  (RKO)   3* 

Virginia  City  (Warners)   3  + 

Viva  Cisco  Kid  (20th  Century-Fox)   2* 

We  Are  Not  Alone  (Warners)  3y2-* 

What  a  Life!  (Paramount)  C  3* 

When  Tomorrow  Comes  (Universal)  2V2-k 

Wolf  of  New  York  (Republic)   2* 

Young  As  You  Feel  (20th  Century-Fox)   2  Ik- 
Young  Tom  Edison  (M-G-M)  C  4* 


60 


MODERN  SCREEN 


CDTEX  SALON  POLISH 

Northern  Warren,  New  York,  Montreal,  London,  Paris 


JULY,  1940 


61 


meH0'i<"' 

SAW 


The  new 
champion 
waved  me  aside. 
"A  speech?  Nothing 
doing!  I'm  just  a  tennis 
player.".  .  ."Wait!"  I  ask. 
"You've  won  the  tennis  cup,  now 
you've  got  to  tell  them  how  you  did 
it.  Here  —  settle  yourself  with  a  stick 
of  Beeman's.  The  flavor's  great  and 
that  tang—" 

"You  win!"  says  the  champ.  "Gotta 
hand  it  to  Beeman's — it's  got  what  it 
takes.  A  fresh  taste  that's  doubly  re- 
freshing. A  dash  and  tang.  A  flavor 
that's  too  good  to  last — yet  does."  He 
laughed.  "Sure  I'll  make  a  speech! 
It'll  be  good,  too  — if  you'll  just  keep 
that  package  of  Beeman's  on  tap!" 


WATCH  OUT  FOR  FIREWORKS! 

(Continued  from  page  41) 


either  a  stage  or  salon,  to  set  little  Mary 
straight  on  the  art  of  walking  and  talk- 
ing like  an  actress.  When  Maureen 
wasn't  laid  up  with  a  black  eye,  a 
cracked  collar  bone  or  a  kick  in  the  shins 
from  soccer,  she  was  out  in  the  back- 
yard in  a  two-room  playhmise  her  papa 
built  for  her,  reciting,  acting  and  putting 
on  plays.  As  little  brothers  and  sisters 
came  along  they  joined  the  cast. 

By  the  time  she  was  twelve,  Maureen 
had  worked  up  quite  a  dramatic  repu- 
tation in  church  entertainments  and 
amateur  plays  around  Dublin  and  was 
ready  for  bigger  time.  She  got  a  profes- 
sional radio  job  then,  enrolled  in  Burke's 
Elocution  School  on  the  side  and,  at 
fourteen,  was  ready  for  the  Abbey  Thea- 
tre School. 

THE  Abbey  Players,  as  everyone 
knows,  are  about  as  solid  a  collection 
of  acting  talent  as  there  is  anywhere 
around.  The  Abbey  School  is  the  na- 
tional dramatic  school  of  Eire  where,  as 
I  say,  acting  is  a  racial  mania.  Maureen 
not  only  passed  her  school  tests,  but  won 
about  all  the  medals  and  awards  they 
had  lying  around  at  the  many  play  festi- 
vals and  dramatic  shillies  in  Ireland. 
If  you  stick  in  the  Abbey  group  you 
know  your  dramatics,  or  else.  So  when 
Fame  decided  to  grab  her  by  the  skirt, 
Little  Mary  Fitzsimons  was  prepared,  if 
not  particularly  impressed. 

She  was  seventeen.  It  was  her  first 
ball.  It  was  the  first  time,  in  fact,  she'd 
ever  stepped  out.  The  social  side  of 
Maureen  had  been  more  or  less  neglected. 
It  wasn't,  though,  the  minute  the  master 
of  ceremonies  started  to  pick  the  queen 
of  the  ball.  He  was,  of  all  people,  Harry 
Richman,  the  Manhattan  crooner,  and 
just  what  he  was  doing  picking  queens 
of  Irish  fetes  is  a  little  vague.  Even 
Maureen  doesn't  remember.  Anyway, 
Harry,  who  knows  his  tootsies,  took  one 
look  and  crowned  Maureen  the  queen 
without  a  moment's  hesitation.  It  all 
seemed  sort  of  silly  to  Maureen  at  the 
time.  Mommy  was  with  her,  and  when 
Maureen  was  about  to  be  crowned  she 
whispered,  "For  goodness  sake,  Maureen 
— smile!    You  look  as  if  you  were  bored 


stiff!" 

"I  am,"  said  Maureen. 

But  if  Maureen  wasn't  thrilled,  Harry 
Richman  was.  He  went  to  London  and 
raved  about  the  Irish  beauty  he'd  dis- 
covered, and  pretty  soon  an  offer  came 
from  London  for  Maureen  to  make  a 
screen  test.  Well,  even  a  blase,  inde- 
pendent Irish  colleen — I  mean,  girl — can 
feel  the  nippers  of  the  movie  bug,  if  only 
lightly.  She  had  to  give  up  a  long 
cherished  lead  in  the  Abbey  Theatre,  to 
go  over  to  London  and  make  it,  for  the 
Vogue  Film  Company.  She  was  sorry 
right  away.  The  test  was  awful.  They 
put  her  in  a  bonnet  and  made  her  up 
like  an  old  biddy.  The  result  was  pretty 
sad.  So  Maureen  turned  down  the  half- 
baked  offers  she  got  and  packed  her  bag 
for  Dublin,  when  her  agent  came  run- 
ning up  panting  a  magic  name,  "Charles 
Laughton."  He  wanted  to  see  her,  the 
man  explained.  That  stopped  Maureen, 
because  all  the  British  Isles  are  Laugh- 
ton-conscious  by  now,  and  Maureen  was 
a  fan,  even  as  you  and  I. 

So  little  Mary  stalked  right  over  and 
right  into  the  Mayflower  Productions 
office,  wearing  a  Jaeger  travel  coat  and  a 
round  hat  with  a  little  feather  in  it.  She 
looked  like  any  one  of  a  million  Irish 
misses.  But  she  wasn't.  Most  of  those 
ordinary  misses  would  have  been  ga-ga 
and  thrilled  to  their  open  toes  about  the 
interview.  Independent  Maureen  sat 
down  before  Laughton  and  Erich  Pom- 
mer,  his  famous  producer,  and  frowned 
disapprovingly. 

Because  Pommer  had  popped  a  script 
right  at  her  and  said,  "Here,  read  this." 
And  Maureen  didn't  think  that  was  ex- 
actly the  way  to  treat  a  girl.  She  shook 
her  red  head  and  calmly  replied,  "No! 
It's  not  fair  to  ask  me  to  read  this.  I've 
never  seen  it  before." 

Instead  of  ushering  her  out  of  the 
place  then  and  there,  Messrs.  Laughton 
and  Pommer  bolted  up  in  their  seats  and 
took  interest.  Here  was  a  girl  who  knew 
what  was  what.  Spunk!  Spirit!  Fire! 
They  arranged  for  a  personally  directed 
screen  test.  Before  she  knew  it,  Mau- 
reen was  making  "Jamaica  Inn"  with  the 
(Continued  on  page  64) 


Though  Brenda 
Joyce  is  now  a 
tried  and  true 
member  of  Film- 
land, she  is  sfill 
loyal  to  her  col- 
lege-days' boy 
friend,  Owen 
Ward.  And,  mind 
you,  in  spite  of  the 
fact  that  his  job 
keeps  him  away 
from  Hollywood  a 
great  part  of  the 
time!  When  he's 
around,  their  fa- 
vorite recreation  is 
hiking  through  the 
hills. 


62 


MODERN  SCREEN 


WHEN  YOUR  FEET  HURT  YOU  HURT  ALL  OVER 

Foot  troubles  can  tire  you  in  mind  and  body;  slow  you  up  in  your 
work;  affect  your  general  health;  make  you  hurt  all  over  and  put 
lines  of  pain  in  your  face.  It  is  needless  to  suffer  from  your  feet. 
Dr.  Wm.  M.  Scholl,  internationally  known  foot  authority,  has 
formulated  a  Remedy,  Appliance  or  Arch  Support  for  the  relief  of 
most  every  foot  trouble.  NOW  is  the  time  to  get  relief — during 
DR.  SCHOLL'S  FOOT  COMFORT  WEEK.  Dr.  Scholl's  Aids 
for  the  Feet  are  sold  at  Drug,  Shoe,  Department  and  5p  and  10^ 
Stores  everywhere. 

Go  to  your  dealer  now  and  let  him  show  you  how 
easy  Dr.  Scholl  has  made  it  for  you  to  be  foot  happy. 

RELIEF  CAN  BE  YOURS  AT  VERY  SMALL  COST 


FOOT  RELIEF 

Dr.  Scholl's  Kurotex, 

velvety-soft  foot  plaster 
relieves  shoe  pressure  on 
corns,  callouses,  bunions, 
tenderspots,  preventsblis- 
ters.  Cut  it  to  any  size. 


CORNS,  CALLOUSES 

Dr.  Scholl's  Liquid  Corn 
and  Callous  Remedy. 

2  drops  relieve  pain 
quickly;  soon  loosen  and 
remove  hard  or  soft  corns 
and  callouses. 

REMOVES  CORNS 

Dr.  Scholl's  Corn  Salve 

quickly  relieves  pain  and 
soon  loosens  old,  hard 
corns  for  easy  removal. 
Dependable,  economical. 
Easy  to  apply. 

REMOVE  CORNS 

Dr.  Scholl's  Fixo  Corn 
Plasters  quickly  relieve 
pain  and  remove  corns. 
Stop  nagging  shoe  pres- 
sure. Easy  to  apply,  stay 
in  place.  Waterproof. 


EASES  FEET 

Dr.  Scholl's  Moleskin, 

foot  plaster  for  relieving 
shoe  pressure  on  corns, 
callouses,  bunions,  tender 
spots.  Prevents  blisters. 
Cut  it  to  any  size  or  shape 


SORE,  TENDER  HEELS 

Dr.  Scholl's  Heel  Cush- 
ions give  sore,  tender 
heels  a  soft  bed  to  rest 
upon.  Made  of  sponge 
.rubber,  covered  with 
leather.  Easily  applied. 

CORNS,  BUNIONS 

Dr.  Scholl's  Felt  Pads 

in  sizes  for  corns  and  bun- 
ions, instantly  relieve  pain 
of  these  foot  troubles  by 
stopping  shoe  pressure  on 
sore  spot.  Easy  to  apply. 


Quick  Relief  from  Corns, 
Callouses,  Bunions,  Sore  Toes 


,   New  Super-Soft 
Dr.  Scholl's  Zinc-pads 

Put  these  thin, soothing, 
cushioning  pads  of  fleecy 
softness  on  your  corns,  cal- 
louses, bunions  or  sore  toes 
and  you'll  have  quick  relief. 
They  stop  shoe  friction  and 
pressure;  ease  new  or  tight 
shoes;  keep  you  free  of 
corns,  sore  toes,  blisters, 
tender  spots. 

CORNS  or  CALLOUSES 
Quickly  Removed 

Separate  Medications  are  included 
in  every  box  of  the  New  Super- 
Soft  Dr.  Scholl's  Zino-pads  for 
quickly  removing  corns  or 
callouses. 

Special  sizes  and  shapes  for 
Corns,  Callouses,  Bunions  and 
Soft  Corns  between  toes.  Get  a 
box  today.  Don't  accept  a  substi- 
tute. Insist  on  Dr.  Scholl's. 


SOFT  CORNS 


PERSPIRING  FEET 


Dr.  Scholl's  Foot  Pow- 
der relieves  tender,  hot, 
tired,  chafed  or  perspiring 
feet.  Soothing,  comfort- 
ing to  irritated  skin.  Eases 
new  or  tight  shoes. 

TIRED,  TENDER  FEET 

Dr.  Scholl's  Foot  Balm 

quickly  relieves  feverish, 
tender,  sensitive,  tired 
feet  caused  by  exertion 
and  fatigue.  Refreshing. 
■Liquid  (Vanishing)  or 
Ointment. 

CLEANSES  FEET 

Dr.  Scholl's  Foot  Soap 

(granular),  loosens  secre- 
tions of  the  skin;  cleanses 
skin  pores;  stimulates  nor- 
mal circulation;  aids  in 
promoting  foot  health. 

PROTECTS  STOCKING 

Stocking  Heel  Protector 

firmly  but  comfortably 
grips  the  heel,  saves  wear 
of  stocking  at  the  heel, 
prevents  blisters  and  slip- 
ping at  heel.  Washable. 


FOOT  LOTION 

Dr.  Scholl's  Foot  Lotion 

— a  refreshing  application 
for  relieving  tired,  burn- 
ing, tender  feet.  Excellent 
for  daily  use  as  hand  lo- 
tion. Dries  quickly. 


RELIEVE  SORE  FEET 

Dr.  Scholl's  Bath  Salts 

relieve  tired,  aching  feet. 
Excellent  for  softening 
the  water  for  shaving, 
shampooing  and  all  toilet 
purposes. 


CROOKED  HEELS 

Dr.  Scholl's  Walk-Strates 

prevent  crooked  heels, 
keep  shoes  shapely.  Cush- 
ion heel;  save  on  repairs. 
Easily  attached  in  shoe. 
For  men  and  women. 


copy  of  Dr.  Scholl's  booklet  »Thh,pafi°'  "J-  for  a 
Care"  and  samnk  „f  1  £  '  The  Feec  a"d  Their 
Zino-pads.  □"Cots  °r'  Sch°"* 

Corns  between Trees  (pfeJs^T'L  °Bu"io™-  □  Soft 
s'  '  ^ lease  check  stze  wanted. ) 


Name 
Address 


Dr.SCHOLLS  24th  annual 
FOOT  COMFORT  WEEK 


JULY,  1940 


63 


great  Laughton.    It  was  just  like  that. 

It  was  quite  a  jump  from  Dublin, 
where  audiences  take  their  Abbey  dra- 
matics pleasantly  but  relaxedly,  to  Lon- 
don, where  movie  stars  are  mobbed  more 
than  anywhere  else  in  the  world.  But 
Maureen  faced  the  crowd  at  the  "Ja- 
maica Inn"  London  premiere  just  as  if 
she'd  been  doing  that  sort  of  thing  every 
night  of  her  young  life.  If  there  were 
any  proud  flutters  beneath  her  evening 
gown  (which  I  seriously  doubt)  they 
vanished  forever  after  the  premiere. 

As  Maureen  got  in  the  Laughton's  car 
to  be  whisked  away  for  a  late  supper,  a 
man  chased  the  automobile  down  the 
street,  waving  and  shouting.  The  driver 
stopped,  and  the  man  thrust  an  autograph 
pad  inside.  "  'Ere,"  he  panted,  "will  you 
sign  this?" 

"Why,  certainly,"  said  Maureen.  It 
was  the  first  time  this  had  ever  hap- 
pened to  her.    The  man  snatched  his  pad. 

"Not  you,"  he  said,  scornfully,  extend- 
ing it  to  Laughton.    "  7m.'" 

AS  a  matter  of  fact,  Hollywood  didn't 
■exactly  roll  out  the  barrel  when 
Maureen  arrived.  One  lone  RKO  hired 
hand  met  her  at  the  station.  And  the 
first  day  she  went  down  to  the  studio  the 
gateman  wouldn't  let  her  in — until  she 
told  him  her  name  was  O'Hara.  That 
didn't  mean  a  thing  to  the  gateman 
either.  His  name  happened  to  be  O'Toole, 
though,  and  he  couldn't  give  the  back 
of  his  hand  to  an  O'Hara. 

Maureen  is  only  mildly  thrilled  about 
being  a  Hollywood  screen  star  at  this 
point.  The  trouble  is,  that  heretofore 
things  were  so  pleasant  and  simple,  now 
her  life  is  mixed  up  like  a  chef's  salad. 

For  one  thing,  she  has  a  seven-year 
lease  on  a  house  in  Hyde  Park,  Lon- 
don, which  is  just  sitting  there  to  worry 
her.  For  another  thing,  she  up  and  mar- 
ried a  London  film  production  manager, 
George  Brown,  a  couple  of  hours  before 
her  boat  sailed  for  Hollywood,  and  that's 
on  her  mind  too.  For  a  third,  she  had  an 
Irish  holiday  after  "Jamaica  Inn"  during 
which  she  rambled  all  over  Ireland,  kiss- 
ing the  Blarney  Stone,  ringing  the  bells 
of  Shannon  and  dunking  in  every  rock- 
rilled  brook  on  the  island,  the  memory 
of  which  is  making  Maureen  so  home- 
sick now  she  could  die.  Then  along 
came  the  war  to  make  everything  more 
topsy-turvy. 

It's  this  same  war,  of  course,  which  has 
been  the  backhanded  stroke  of  luck  that 
made  Maureen  O'Hara  RKO's  golden- 
haired  girl  today.  When  Laughton  haled 
her  to  Hollywood  in  a  hurry  for  "The 
Hunchback  of  Notre  Dame,"  she  had  no 
idea  in  the  world  of  staying.  Her  mar- 
riage right  before  sailing  is  proof  enough 
of  that. 

But  when  she'd  finished  "The  Hunch- 
back," packed  her  bags  and  booked  her 
return  reservations  on  the  boat  which 
was  to  take  her  back  to  home  and  hub- 
by— boom! — Hitler  got  going,  and  war 
was  declared.  Every  Hollywood  actor 
from  the  British  Isles  ran  around  for 
days  like  a  decapitated  chicken.  Finally 
the  word  came  to  stay  put.  So  Maureen 
did — lucky  for  her  in  one  way;  unlucky 
in  another. 

London  film  production  promptly  went 
to  pot.  In  Hollywood,  however,  RKO, 
with  O'Hara  hanging  around  biting 
her  nails,  decided  to  put  her  to  good  use 
as  the  long-sought  star  in  "Bill  of  Di- 
vorcement." That's  the  sunny  side  of 
O'Hara's  plight.  And  bright  it  is,  too. 
Two  more  starring  pictures  are  already 
lined  up  for  her — "Have  It  Your  Own 
Way"  and  "The  Water  Gypsies."  At 
RKO,  where  they  can  use  a  new  young 
star,  the  sky's  the  limit  for  Little  Mary. 


On  the  other  hand,  away  from  the 
career  Hollywood  isn't  much  fun  for 
Maureen.  She  knows  hardly  anyone. 
She  hasn't  had  time  to  go  places,  see  and 
do  things.  She  has  been  in  a  rush,  ever 
since  she  landed  in  New  York  harbor. 

Reporters  caught  her  there  in  Quaran- 
tine for  a  few  pearls  of  Irish  wisdom  and 
found  Maureen  busily  packing  her  bags. 
In  between  trying  to  make  things  fit  and 
talk  sense  too,  Maureen  heard  someone 
say,  "What  do.  you  think  of  the  New  York 
skyline?"  It  occurred  to  her  then  that 
she  hadn't  even  seen  it.  So  she  rushed 
to  the  window,  gave  a  quick  peek,  said, 
"It's  gorgeous,"  and  then  found  herself 
hemmed  in  again.  That's  the  only  look 
she  got.  Even  in  Manhattan,  where  she 
stayed  only  a  day,  talking  business,  all 
Maureen  saw  was,  as  she  says,  "bald 
heads  and  billboards."  The  next  thing 
she  knew  she  was  on  a  train,  and  as  she 
hates  trains,  Maureen  stayed  in  her  berth 
as  much  as  possible,  emerging  only  at 
Albuquerque  to  buy  a  Mexican  sombrero. 

The  hat  came  in  handy  in  Hollywood, 
on  the  "Hunchback"  location  in  hot  San 
Fernando  Valley  during  the  hottest  wave 
California  had  had  in  sixty  years.  Mau- 
reen spent  her  first  weeks  dancing  in  the 
sun  and  dragging  herself  into  the  hay 
nightly  at  eight.  After  "The  Hunch- 
back," the  studio  shot  Maureen  around 
the  country  on  a  personal  appearance 
tour.  But  in  Little  Rock  she  threw  her 
thigh  out  of  joint,  in  Portland  she 
swelled  up  like  a  balloon  with  sea-food 
poisoning,  in  Seattle  she  landed  in  the 
hospital  with  appendix  pains  and  in 
Chicago  she  got  lumbago!  There  wasn't 
much  playgirl  percentage  there. 

Being  a  married  lady,  naturally  Mau- 
reen can't  step  around  with  Hollywood's 
host  of  beaux  eager  enough  to  oblige. 
She  doesn't  go  for  the  gay  life  in  a  big 
way,  anyway.  When  she  does  dine  out, 
always  with  Mommy,  Maureen  will  trade 
you  froth  for  fodder  any  day.  A  couple 
of  nights  she  showed  up  at  Ciro's  and 
the  Victor  Hugo,  on  the  arm  of  RKO 
publicity  men,  but  that  was  just  for — 
well  what  do  you  think  publicity  men 
do  for  a  living?  When  the  photographers 
aren't  around,  Maureen  breaks  training 
and  reverts  to  a  ravenous  appetite  at  the 
House  of  Murphy  or  Lowry's  Prime  Rib, 
or  better  yet,  whips  up  an  Irish  stew 
at  home. 

HER  spare  time  in  the  day,  if  and  when 
she  has  it,  Maureen  spends  swim- 
ming, trotting  a  horse,  batting  a  tennis 
ball  around  or  striding  through  the  hills 
— when  the  cops  let  her.  To  keep  out  of 
mischief  she's  also  taking  ballet  lessons 
and  voice  for  the  ultimate  career  ambi- 
tion— which  is  to  be  a  prima  donna  in  the 
opry.   That  keeps  her  fairly  happy. 

But,  as  Maureen  confessed  to  the 
Hollywood  Hibernian  society  on  St.  Pat- 
rick's Day,  "Hollywood  is  very  nice — and 
I  like  everybody — but — I  want  to  go  back 
to  Ireland."  That's  where  her  heart  is. 
She  wants  to  see  her  sisters  and  brothers 
— Florence  Catherine  and  Charles  Ber- 
nard and  James  Bartholomew  and  Margo 
and  Bridget  Marguerite,  who'll  take  her 
final  vows  as  a  Dominican  nun  this 
August  (which  means  she'll  never  see 
Maureen  in  a  picture) .  And  she'd  like 
to  get  acquainted  with  her  husband,  Mr. 
Brown,  too.  So  this  summer  Maureen  is 
taking  the  Atlantic  Clipper  home,  war 
or  no  war. 

"And  I'd  like  to  see  anyone  stop  me," 
she  said  with  her  chin  in  the  air. 

I  told  her  not  to  look  at  me.  It's  a  job 
I  wouldn't  take  for  all  the  gold  in 
Glamourland — stopping  independent  Lit- 
tle Mary  O'Hara  from  doing  anything 
that  she  has  made  up  her  mind  to  do. 


64 


MODERN  SCREEN 


A  DOLLAR  FOR 
YOUR  THOUGHTS 

(Continued  from  page  17) 


I  have  seen  Beverly  on  the  stage  dur- 
ing her  present  personal  appearance  tour, 
and  a  lovelier,  more  feminine  woman 
there  never  was.  Yet  she  was  dropped 
from  her  contract  because  it  was  hard 
to  find  roles  for  her.  Why  was  it  hard? 
Why  wasn't  she  given  a  chance  to  show 
how  truly  lovely  she  is? 

Why  didn't  the  brothers  Warner  give 
her  a  chance  to  sing?  Beverly  would  be 
superb  in  the  type  of  role  Alice  Faye 
does — a  chance  to  use  that  lovely  voice 
of  hers  and  a  chance  to  get  her  teeth 
into  a  good  dramatic  part.  When  is  some 
producer  going  to  wake  up  and  realize 
that  she  has  what  it  takes? — Evelyn 
Lacques,  Revere,  Mass. 

A  Way  of  His  Own 

That  cowboy  has  me.  I'd  rather  see 
that  sincere,  refreshing  man,  Gene  Autry, 
in  a  movie  than  all  the  Academy  Award 
winners  put  together.  There  are  no  fake 
build-ups  and  glamour  stuff  for  Gene. 
The  songs  he  writes  are  as  American  as 
Stephen  Foster's,  his  voice  is  as  clear 
as  a  rain-washed  sky  and  his  grin  is 
as  catching  as  the  mumps. 

He's  setting  a  wonderful  example  both 
on  the  screen  and  in  real  life  for  the  kids 
who  worship  him.  For  clean,  wholesome, 
unsophisticated,  satisfying  entertainment 
there's  no  one  like  him!  It's  easy  to  see 
why  his  fans  are  world-wide. 

Whenever  anyone  starts  a  popularity 
poll,  Gene  is  right  at  the  top,  in  spite  of 
the  fact  that  his  pictures  are  not  as 
widely  heralded  or  distributed  as  those 
of  other  actors.  The  amount  of  his  fan 
mail  is  second  to  none.  While  other  stars 
have  their  ups  and  downs,  their  ins  and 
outs,  that  amazing  fellow  Autry,  with  his 
guitar  and  spurs,  keeps  right  on  grinning 
and  climbing  the  heights  of  success. — Jean 
D.  Shepard,  Oakland,  Cal. 

Tch,  Tch,  Marlene! 

After  seeing  Marlene  Dietrich  in  "Des- 
try  Rides  Again,"  I  can't  help  thinking 
how  wrong  she  was  to  use  this  type  of 
picture  for  a  comeback.  Marlene  has 
always  been  the  screen's  most  glamorous 
star.  We  fans  admired  her  for  her  cold 
beauty,  perfect  grooming  and  flair  for 
beautiful  clothes.  She  is  one  star  who 
can  get  away  with  glamour  alone,  and 
we  would  like  her  to  stay  that  way. 

In  "Destry"  she  lost  her  glamour  as 
well  as  her  dignity.  There  ought  to  be 
many  roles  requiring  a  "lady"  for  the 
part.  Marlene  should  apply  for  these 
roles  and  leave  barroom  maidens  alone. 
— Jane  Brennan,  Beverly,  N.  J. 

The  Price 

Whenever  I  turn  my  thoughts  upon 
What  movie  queens  are  nurtured  on, 
I  wonder  if  the  sacrifice 
To  gain  the  crown  is  worth  the  price. 
For  a  little  middle,  a  languid  eye, 
They  ever  must  pass  the  pastry  by, 
Confine  their  cramming  to  lemon  and 
toast 

Till  they're  as  wan  as  Marley's  Ghost. 
To  evade  the  deplorable  double  chin, 
A  pillowless  bed  they  slumber  in. 
Though    Lombard,  Lamarr    or  blonde 

Queen  Beth 
Can  charm  any  attractive  man  to  death; 
Let  those  who  have  the  will  to  do  it 
Gain  the  crown.  They're  welcome  to  it! 
— Rebecca  Wood,  Tulsa,  Okla. 


It 


The  biggest  mistake  I  ever  made 
with  my  boy" 


1.  One  day  when  I  came  home  from  work, 
I  found  my  wife  mad  as  a  hornet . . .  and 
Bobby  standing  in  a  corner,  sullen  and 
defiant.  I  asked  what  was  wrong.  And  when 
my  wife  said,  "The  same  old  business,"  I 
knew  what  she  meant. 


2.  For  Bobby  was  a  laxative-hater  of  the 
worst  kind.  And  this  time  I  decided  to  take 
a  hand.  I  grabbed  his  shoulders— and  poured 
the  stuff  down  his  throat .  .  .  I'll  never  for- 
get the  resentful  look  in  his  eyes.  I  felt  a 
gap  had  come  between  us. 


3.  The  incident  stayed  on  my  conscience 
all  next  day.  I  couldn't  seem  to  get  rid  of 
it.  And  so  I  decided  the  best  thing  to  do  was 
to  talk  to  our  doctor  and  get  his  advice.  I 
saw  him  early  next  evening,  and  told  him 
the  whole  story. 


4.  When  I  finished  he  said:  "John,  you've 
made  an  awful  mistake.  We  grownups  are 
inclined  to  forget  that  children  can't  see  the 
reason  why  it  is  necessary  to  take  a  bad- 
tasting  medicine,  and  forcing  them  to  take 
it  can  shock  their  delicate  nervous  systems." 


5.  He  said  that  a  child  should  get  a  nice- 
tasting  laxative,  BUT  not  one  made  for 
adults,  and  recommended  Fletcher's  Cas- 
toria.  It's  the  laxative  made  especially  for 
children.  It  has  no  harsh  "adult"  drugs. 
So  it's  always  mild,  and  SAFE. 


6.  I  bought  a  bottle  of  Fletcher's  Castoria, 
and  we  gave  some  to  Bobby.  He  took  a  sip, 
sort  of  scared-looking.  Then  his  eyes  wi- 
dened, and  he  downed  the  spoonful!  He 
grinned  from  ear  to  ear.  And  right  then,  I 
knew  we'd  had  our  last  "laxative  battle." 


C%*A/tf&z%Zi  CASTORIA 

The  modern — SAFE — laxative  made  especially  for  children 


JULY,  1940 


A  New  Deal  in  Productions 


The  Fate  of  Actor  Raft 


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Address  

Hawaiian  a    Suntana   Brunette  □    Rachellea    Peach  □ 


It  is  about  time  the  era  of  "boy-gang- 
ster" films  ended.  Perhaps  they  do  carry 
a  moral  and  "food  for  thought"  value,  but 
I  maintain  that  they  provide  a  nucleus 
or  seed  in  the  mind  of  youth  which  in 
time  may  bear  criminal  fruit.  You  may 
offer  the  "crime  does  not  pay"  education, 
but  these  films  do  show  the  offender's  life 
a  merry  even  though  a  short  one. 

Three  cheers  for  such  screen  vehicles 
as  "Babes  in  Arms,"  "Judge  Hardy  and 
Son,"  "Seventeen"  and  "Young  Tom 
Edison."  These  motion  pictures  place  be- 
fore us  a  youth  of  which  we  can  be 
proud.  They  show  the  life  and  ambitions 
of  boys  who  reach  their  goals  the  hard 
but  honest  way.  They  encourage  the 
young  folks  to  succeed  over  obstacles  and 
odds  which  seem  destined  to  produce 
failure.  They  bring  about  a  realization 
of  the  satisfaction  reaped  in  the  end 
from  hard-earned  success. — Ruth  May 
Knell,  Bellerose,  N.  Y. 

Overlooked 

What  is  the  matter  with  the  Hollywood 
producers?  Don't  they  know  a  star  when 
they  see  one?  We  hear  talk  of  child 
prodigies — Shirley  Temple  and  Jane 
Withers,  for  instance.  Well,  they  have 
another  one  just  as  good  or  better  in 
the  person  of  little  Sybil  Jason  and  they 
don't  even  seem  to  know  it. 

Seems  to  me — and  I  speak  for  all  of 
my  friends — that  Sybil  is  one  of  the  best 
little  actresses  that  has  appeared  on  the 
screen.  They  ought  to  give  her  the  lead 
in  a  picture  and  let  her  prove  her  talent. 
She  gave  such  a  brilliant  performance  as 
a  little  servant  girl  in  "The  Little  Prin- 
cess" that  I  thought  surely  her  talent 
would  be  recognized. 

As  a  member  of  the  supporting  cast, 
she  is  grand.  In  the  lead,  isn't  it  just 
possible  that  she  would  be  a  big  hit? 
I  say  orchids  to  Miss  Jason.  After  all, 
aren't  we,  the  audience,  the  real  judge? 
— Carol  Frost,  Ardmore,  Okla. 


I  am  an  ardent  George  Raft  fan  and 
think  he  is  one  of  the  most  attractive  1 
stars  on  the  screen.  He  is  grand  in  prison 
roles  but,  occasionally,  I  would  like  to 
see  him  as  something  besides  a  convict. 
Just  because  he  plays  that  role  so  well, 
I  don't  think  he  should  be  typed  and  | 
his  talents  limited  to  that  kind  of  picture 
alone. 

I  also  think  some  of  his  pictures  should 
end  without  his  being  killed.  And  why 
can't  there  ever  be  any  love  life  for  him? 
I  think  it  would  improve  his  pictures 
immensely  if,  once  in  a  while,  he  could 
succeed  in  getting  the  girl  he  loves.  Why 
not  give  him  a  romantic  part  opposite 
Maureen  O'Hara,  Lana  Turner  or  Paul- 
ette  Goddard  and,  please,  let  him  do  a 
little  love-making  for  a  change?  His 
fans  will  love  it,  I'm  sure. — Winnie  Brun- 
ner,  Farmington,  Wash. 


WRITE  A  LETTER- 
WIN  A  PRIZE 

You're  in  love  again — this  time  with 
that  brand  new  leading  man  you  saw 
last  night — and  you  can't  find  a  soul 
who'll  bear  with  you  while  you  rave. 
Or  maybe  you're  feeling  smug  and 
self-satisfied  'cause  some  nonentity  you 
admired  months  ago  is  coming  to  the 
top.  Perhaps  you're  harboring  a  secret 
grudge  against  "America's  Sweet- 
heart," but  have  kept  it  dark,  feeling 
yourself  a  minority  of  one.  Are  you 
a  conscientious  objector  to  war  pic- 
tures, but  in  your  element  whooping 
at  a  Western?  Whatever  your  views 
are,  we're  interested  in  them,  so  drop 
us  a  line,  and  who  knows — you  may 
win  a  prize!  Just  one  thing — please 
don't  copy  or  adapt  letters  already 
published.  That's  plagiarism  and  will 
be  prosecuted  as  such.  Send  your 
letter  to:  A  Dollar  For  Your  Thoughts, 
Modern  Screen,  149  Madison  Ave., 
New  York,  N.  Y. 


What's  wrong  with 
this  picture?  You 
can't  blame  Hugh 
Herbert  if  he  seems 
a  bit  confused.  In 
"La  Conga  Nights" 
he  plays  five  femi- 
nine roles  and  here, 
bedecked  in 
beaded  evening 
gown  and  silver- 
haired  wig,  he  hits 
the  drums  for  a 
sixth  one. 


66 


MODERN  SCREEN 


GOOD  NEWS 

(Continued  from  page  57) 

Though  Sonja  and  her  family  are  all  in  this 
country  and  call  Hollywood  home,  the  star 
says  that  in  her  heart,  home  will  always 
be  that  island  in  Oslo  fjord  where  the  Henies 
lived  for  twenty  years. 

A  COUPLE  OF  GOOD  SCOUTS 

Extra-curricular  activities  of  two  of  Holly- 
wood's leading  stars  ought  to  prove  that 
movie  actors  and  actresses  don't  spend  all 
their  leisure  time  in  frivolity.  Clark  Gable, 
for  instance,  devotes  two  evenings  a  week 
to  Boy  Scout  Troop  59  in  Westwood,  while 
Shirley  Temple  gives  every  Saturday  eve- 
ning to  the  Campfire  Girls  of  Santa  Monica. 
Shirley's  just  been  given  a  new  name,  which 
she  likes  lots  better  than  her  own.  It's  the 
Indian  name  Keri-Woh-Sune-Anang  and 
means  "The  Bright  Shining  Star." 

CINDERELLA  STORY 

It's  been  really  "rags  to  jiches"  for  Joan 
Crawford,  cinematically  speaking.  For 
"Strange  Cargo"  her  wardrobe  set  Metro 
back  exactly  $37.45.  But  for  "Susan  and 
God"  Joan  has  had  Adrian's  exclusive  at- 
tention— and  Adrian's  attention  costs  about 
$37.45  an  hour.  In  addition  to  this  colossal 
dent  in  the  budget,  the  star's  gowns  had  to 
be  turned  out  in  threes — identical  in  every 
detail.  Ordinarily,  you  see,  a  star's  gown 
is  dry-cleaned  after  working  hours  and  pre- 
sented, ready  for  wearing,  the  following 
morning.  But  these  outfits  were  too  elab- 
orate for  such  speedy  methods. 

NOT  A  PONY-PLAYER 

Alice  Faye  was  considerably  flattered  when 
reminded  how  much  she  resembled  the  beau- 
tiful and  romantic  Lillian  Russell.  However, 
when  one  old-timer  told  Alice  he  heard  she 
even  gambled  as  recklessly  on  the  horses 
as  Miss  Russell  did,  the  star  said,  "I'm  afraid 
not.  Gee,  I  haven't  the  nerve."  She  added, 
"I'm  in  the'  two  dollar  class  at  the  tracks, 
and  even  then  I  feel  as  if  I'm  plunging." 

CLOSE  SHAVE 

Gary  Cooper  discovered  that  there's  no  more 
privacy  in  a  barber-shop  than  in  a  goldfish 
bowl.  The  other  morning  he  dropped  in  for 
a  shave  and  a  hair-cut  at  the  shop  across 
from  Paramount  studio  and  settled  down  in 
the  chair  with  a  nonchalance  that  was  short- 
lived. On  glancing  out  the  window,  he  saw 
two  girls,  noses  pressed  against  the  pane, 
watching  his  every  move.  He  retired  fast 
behind  a  hot  towel,  hoping  that  the  girls 
would  be  on  their  way.  But,  when  he 
finally  emerged  for  a  breath  of  air,  they  had 
been  joined  by  several  others.  "Look,"  sput- 
tered the  embarrassed  actor,  "can't  you  do 
something?"  The  barber  shook  his  head 
and  pointed  out  that  his  shop  was  right  on 
the  way  to  a  neighboring  high  school. 
Cooper  thrust  a  bill  into  the  astonished  man's 
hand,  hurriedly  wiped  his  face  with  a  towel 
and  made  his  getaway  via  a  back-door. 

SHORT  SHOTS 

Joan  Crawford  has  had  her  house  redecorated 
in  orchid — every  room.  It's  her  favorite 
color  .  .  .  Margaret  Sullavan  is  Hollywood's 
most  enthusiastic  reader  and  totalled  17 
books  during  the  shooting  of  "The  Mortal 
Storm"  .  .  .  Roger  Pryor,  Ann  Sothern's  hus- 


Baby:  "Don't  dodge  the  issue,  my  fine-feathered  friend.  You  oughta  be  ashamed  to 
show  your  beak!  Leaving  a  baby  in  a  place  without  Johnson's  Baby  Powder!  What's 
a  fellow  to  do  about  chafes  and  prickly  heat?" 


Stork:  "Now,  Baby,  don't  give  me  a  dirty  look!  I  knew  you  When.  And  today  when 
I  heard  you  were  in  trouble,  I  dropped  everything  and  flew  right  over!  What's 
wrong?  Room  too  small?  Parents  unsatisfactory?" 


Stork:  "Dear,  dear— a  ticklish  question  . . .  How  can  I  smooth  things  over?" 

Baby:  "You  can  tell  my  mother  to  get  me  silky-soft  Johnson's  Baby  Powder  quick! 
.  .-.Hi,  Mom— come  here! . . .  Now,  big  bird,  do  your  stuff!" 


"Believe  me,  there's  nothing  like  a 
sprinkle  of  satiny- smooth  John- 
son's to  please  a  baby!  That  nice 
powder  is  such  fine  help  for  prickly 
heat  and  chafes. ..inexpensive,  too!" 


Baby  I 

+ 


JOHNSON'S 
BABY  POWDER 

Johnson  &  Johnson,  New  Brunswick,  N.  J. 


JULY,  1940 


61 


Dana,  lias  oeen  signea  \o  a  piciuie  uuimuti      I'iWlfliiVjm    nin u    jiuoiju  uLri. 


DIR/l-GLOSS 

The  search  for  beauty  is  a  never-ending 
quest,  and  rightly  so!  Now  comes  a  «w 
«<«'/  polish— Dura-Gloss— that  brings  new 
beauty  to  your  fingernails.  Thousands 
have  adopted  it  already.  Have  you?  For 
those  who  admire  you,  and  for  yourself, 
acquire  this  gleaming  new  beauty.  See 
how  smoothly  and  easily  Dura-Gloss  goes 
on,  and  how  much  longer  it  wears!  In  the 
loveliest  shades.  The  best  nail  polish  you 
can  buy.  10  cents  at  all  cosmetic  counters. 

Send  for  "Proper  Care  of  Fingernails."  Only 
complete  guide  to  nail  beauty,  fashion,  health 
and  manicure.  Enclose  34  stamp,  Dept.  33 


Choose  your  color  by  the 
FINGERMI 
CUP 


Only  Dura-Gloss  has 
it!  New  "fingernail 
cap"— coated  with  the 
polish  that's  in  the  bot- 
tle. Shows  exact  shade. 
Banishes  guesswork, 
disappointment. 


10c 


Lorr  Laboratories, 
Paterson,  New  Jersey 


at  Columbia,  but  will  keep  on  with  his 
radio  assignments,  too  .  .  .  Lew  Ayres  is 
off  for  South  America,  planning  to  take  a 
1600  mile  jaunt  through  the  Inca  country  .  .  . 
Mr.  and  Mrs.  Edward  G.  Robinson  are  plan- 
ning to  accompany  Leopold  Stokowski  on 
his  next  concert  tour  .  .  .  Mrs.  Basil  Rath- 
bone  will  donate  her  script  on  "The  Life  of 
Franz  Liszt"  gratis  to  any  studio  that  will 
star  her  husband  Basil  in  it.  She's  tired  of 
his  being  a  meanie  ...  It  wasn't  the  Hays 
office  that  nixed  Alice  Faye's  appearing 
in  tights  for  "Lillian  Russell."  Twas  Lillian 
Russell's  daughter  .  .  .  Bette  Davis'  protege, 
Pamela  Caveness,  has  been  signed  to  a 
long-term  contract  at  RKO.  They're  going 
to  make  an  "oomphier"  girl  out  of  her  .  .  . 
Robert  Montgomery's  first  trip  to  Hollywood 
was  made  on  an  oil-tanker.  It  was  during 
his  college  vacation  days  .  .  .  The  Don 
Ameches  are  calling  Al  and  Ruby  Jolson's 
former  house  their  home,  sweet  home  .  .  . 
Anne  Shirley  has  a  weakness  for  chocolate 
sundaes  and  goes  on  a  sundae  spree  every 
once  in  a  while  .  .  .  Irene  Rich  is  proud  as 
Punch  of  her  famous  sculptress  daughter  and 
is  trying  to  persuade  her  to  remain  in  Holly- 
wood. 

UNDERCOVER  WORK 

Since  Olivia  de  Havilland  and  limmy 
Stewart  are  mum  on  their  romantic  status, 
we've  taken  to  doing  a  little  quiet  sleuthing 
on  our  own  hook  and  have  one  clue  to  re- 
port. Olivia  is  patronizing  a  well-known 
Boulevard  tailor,  and  has  ordered  two  dash- 
ing aviatrix  outfits.  Though  Jimmy  has  been 
"grounded"  by  studio  orders  until  his  cur- 
rent picture  is  completed,  he's  planning  on 
taking  off  for  Mexico  City  the  moment  the 
ban  is  lifted.  We  haven't  caught  Olivia 
boning  up  on  Spanish — but  quien  sabe? 

PLAY  WITHIN  A  PLAY 

The  most  entertaining  set  in  town  these 
days  is  "Strike  Up  the  Band"  over  at  Metro. 
For  one  thing,  Mickey  Rooney's  in  the  cast. 
Then  there's  Judy  Garland  to  keep  things 
moving  at  a  fast  pace  whenever  Mickey 
pauses  for  breath.  Between  their  acting 
and  their  acting  up,  Mickey  and  Judy  still 
find  time  to  work  on  their  own  musical 
comedy.  Mickey,  with  the  help  of  his  pal, 
Sydney  Miller,  is  writing  the  script,  the 
music  and  the  lyrics,  while  Judy  is  going 
to  be  the  star. 

ORCHIDS  TO  GINGER 

The  Screen  Guild  Theatre  program,  as  you 
may  know,  relies  upon  the  picture  people 
giving  their  services  gratis.  The  proceeds 
from  the  broadcasts  go  into  a  fund  to  help 
needy  people  in  the  film  colony.  And  the 
Hollywood  stars  have  rallied  to  the  cause 
with  alacrity.  When  Ginger  Rogers  made 
her  recent  appearance  on  the  show,  it 
marked  the  third  time  she  had  donated  her 
services.  Bette  Davis  and  James  Cagney 
are  the  only  ones  who  have  equalled  Gin- 
ger's score. 

CARRILLO  FOR  GOVERNOR 

Everyone  knows  movie  stars  have  gone 
berserk  on  the  subject  of  higher  education. 
But  nevertheless,  it  was  something  of  a 
shock  to  learn  that  Leo  Carrillo  is  now  en- 
rolled in  a  political  science  course  at  the 
University  of  Southern  California.  He's 
cramming  for  California's  next  election  when 
he'll  run  for  governor  of  the  state. 


Come  summer,  Eleanor  Powell  will  be  danc- 
ing altarwards  with  Merrill  Pye,  art  director 
at  Metro  .  .  .  Director  Gregory  Ratoff  and 
Eugenie  Leontovich,  after  eighteen  years  oi 
marriage,  are  on  their  second  honeymoon 
to  celebrate  her  decision  to  stay  in  Holly- 
wood and  accept  a  movie  contract  .  .  .  "Big 
Boy"  Guinn  Williams  is  going  for  romance 
in  a  big  way — it's  Steffi  Duna  .  .  .  Gilbert 
Roland  and  Connie  Bennett  have  said  good- 
bye, but  Roland's  looking  mighty  happy 
around  the  night  spots  with  Mrs.  Dick  Foran, 
who's  getting  a  divorce  any  day  now  .  .  . 
It's  Junior  Laemmle  and  Mary  Carlisle  again 
.  .  .  Anatole  Litvak  is  dividing  dates  evenly  ' 
between  Bette  Davis  and  Barbara  O'Neil 
.  .  .  Brenda  Joyce  didn't  accept  so  much  as 
a  tea-date  with  another  man  while  her  boy 
friend  Owen  Ward  was  away  for  two 
months  on  a  business  trip  .  .  .  Greg  Bautzer 
looks  mighty  cheerful  for  a  jilted  lover — 
especially  when  he's  around  Elaine  Shepard 
...  Liz  Whitney  and  Bruce  Cabot  look  that- 
away  .  .  .  Robert  Preston  and  Dottie  LamouT 
have  pfft!  .  .  .  Andy  McLaglen,  Victor's  six- 
foot-son,  will  soon  marry  Anne  Ralston  Page 
of  Pasadena  .  .  .  Anita  Louise  is  trousseau 
shopping  and  meaning  it  .  .  . 

FAMILY  AFFAIR 

Joan  Blondell  and  Dick  Powell  are  purring 
all  over  the  place  since  they  landed  that 
co-starring  picture  deal  at  Paramount.  For 
a  long  time  they've  been  trying  to  get  some 
studio  to  see  things  their  way,  since  they 
feel  that  the  Powells  are  a  team  that  can't 
be  beat.  They've  nixed  all  current  picture 
offers  for  son  Normie,  however,  and  contend 
that  they'll  wait  until  some  studio  dreams 
up  a  picture  that  will  have  a  place  for 
Normie  right  along  with  Ma  and  Pa. 

ANOTHER  HORSE-FANCIER 

The  stables  of  Robert  Young  and  Allan 
Jones  are  well-known,  but  few  people  know 
that  Don  Ameche  is  a  horse-flesh  enthusiast. 
He  and  Chet  Lauck,  of  Lum  'n'  Abner  fame, 
have  plenty  of  their  do-re-mi  tied  up  in  the 
L.  and  A.  Stables  in  the  San  Fernando 
Valley. 

ALONG  SUNSET  STRIP 

Fanny  Brice  coming  out  of  an  antique  shop, 
triumphantly  bearing  a  Victorian  table  and 
being  followed  by  the  shop-keeper  stagger- 
ing under  a  heavy  mahogany  rocker  .  .  . 
Ronald  Reagan  and  Jane  Wyman  driving 
into  the  Sunset  nutburger  stand  and  ordering 
two  sandwiches  without  onions — but  defi- 
nitely .  .  .  Mr.  and  Mrs.  Edward  G.  Robin- 
son walking  arm-in-arm  down  the  boule- 
vard and  pausing  to  look  at  windows  show- 
ing art  collections  .  .  .  Loretta  Young,  with 
an  armful  of  brown  paper  sacks  from  which 
celery  and  carrot  tops  wave  in  the  breeze, 
coming  out  of  a  vegetable  market  and  get- 
ting into  her  fancy  gun-metal  limousine 
at  the  curb  .  .  .  Joan  Blondell  and  Dick 
Powell,  engrossed  in  an  argument,  speed- 
ing along  in  their  open  roadster  .  .  .  Shirley 
Temple  perching  at  a  drug-store  counter 
with  her  mother  and  sipping  a  strawberry 
soda  while  the  admiring  soda-jerker  is  the 
only  one  in  the  store  who  pays  any  atten- 
tion to  her. 

TEAR  JERKER 

Latest  glamour  gal  to  take  the  town  by 
storm  is  Baby  Ouintanilla,  whom  you  saw  in 


68 


MODERN  SCREEN 


"Forty  Little  Mothers."  Yes,  the  truth  is  that 
Eddie's  baby  "son"  is  really  a  girl.  But 
there's  nothing  phony  about  the  affection 
displayed  on  the  screen  between  the  actor 
and  scene-stealer  Quintanilla.  The  youngster 
was  so  smitten  with  the  Cantor  charms  that 
loud  gurgles  and  wide  grins  were  the  only 
responses  the  director  could  get  from,  her 
whenever  the  two  were  in  a  scene  together. 
Finally,  to  get  some  loud  wails  demanded  by 
the  script,  he  hit  upon  an  idea.  He  mo- 
tioned Eddie  to  put  on  his  hat  and  start  to 
leave  the  set.  The  ruse  never  failed  to  bring 
the  required  amount  of  tears. 

TRUE  WORDS,  MARIE! 

Whenever  you  see  Marie  Wilson  in  a 
tearing  hurry,  you  can  be  sure  she's  just 
heard  of  a  new  numerologist,  crystal-gazer 
or  palm-reader.  At  Warners  the  other  day 
she  was  being  teased  by  her  co-workers 
about  throwing  her  money  away.  "Throw- 
ing it  away,  nothing!"  said  Marie,  indig- 
nantly. "Why  imagine  getting  someone'  to 
talk  about  you  exclusively,  for  an  hour.  Why, 
it's  cheap  at  any  price!" 

D1DJA  KNOW 

That  Madeleine  Carroll  plans  to  return  to 
France  to  see  that  romantic  army  officer  if 
she  can  book  passage  on  any  boat — de  luxe, 
freighter,  or  what-have-you  .  .  .  That  Baby 
Sandy  is  going  to  be  a  ballet  dancer  when 
she  grows  up  if  her  parents  have  anything 
to  do  with  it — she's  taking  lessons  daily. 
.  .  .  That  Hedy  Lamarr  is  swooning  with  joy 
over  being  in  a  picture  with  Clark  Gable — 
she  used  to  keep  a  scrap-book  of  his  pic- 
tures clipped  from  her  magazines  .  .  .  That 
when  Mrs.  Ray  Milland  returned  home  with 
her  new  baby  son,  she  found  a  brand 
new  swimming  pool  which  was  Ray's  gift  to 
her  .  .  .  That  Gloria  Jean  has  grown  ex- 
actly two  inches  in  the  past  year  and  now 
measures  exactly  five  feet  .  .  .  That  Margaret 
Lindsay  got  a  real  ovation  when  she  visited 
her  home-town  of  Dubuque,  Iowa,  and  had 
such  a  wonderful  time  that  she  wondered 
why  she  had  ever  left  the  place  .  .  .  That 
Bette  Davis  is  taking  French  lessons  twice 
a  week  and  studying  on  the  set  between 
"takes?" 

GYPSIES  AT  HEART 

Tyrone  Power  and  Annabella  have  had  to 
give  up  that  idea  of  Rio  de  Janeiro  due  to 
Tyrone's  studio  assignments.  They  have 
been  planning  this  trip  for  months  and  for 
sentimental  reasons.  It  was  in  Rio,  if 
you'll  remember,  that  their  romance  first 
flourished.  But  don't  think  that  the  studio's 
plans  mean  the  Powers  will  stay  home  and 
stagnate.  They're  planning  week-end  jaunts 
while  the  pictures  are  in  progress,  and 
cross-country  jaunts  for  any  breathing  spells 
between  pictures.  According  to  both  An- 
nabella and  Tyrone,  travelling  is  their  avo- 
cation and  they  would  rather  be  away  from 
home  any  day  wishing  they  were  back, 
than  at  home  yearning  to  get  away. 


INFORMATION  DESK 
MODERN  SCREEN 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  your  newly  revised 
chart  listing  the  heights,  ages,  birth- 
days and  marriages  of  all  the  impor- 
tant stars.  I  enclose  5c  (stamps  or 
coin)  to  cover  cost  of  mailing. 

Name  _ 

Street  

City  State  


DOESN'T  MAKE  YOU  RICH 


A  sure  way  to  fatten  your 
pocketbook  is  to  wad  money  up  in 
bunches.  But  folded  bills  buy  just 
as  much . . .  and  are  lots  less  bulky ! 

Elementary?  Certainly!  And  for 
just  that  same  reason  Kotex  sani- 
tary napkins  are  made  with  a  soft 
folded  center !  This  naturally  makes 
Kotex  less  bulky  than  napkins  made 
with  loose,  wadded  fillers! 


Snap  your  fingers  at  worry!  For 

safety's  sake,  an  improved  new  type  of 
moisture-resistant  material  is  now  placed 
between  the  soft  folds  of  every  Kotex 
pad  . .  . 

And  that's  not  all!  Kotex  has  flat,  form- 
fitting  ends  that  never  show. ..never  make 
ugly  bulges . . .  the  way  napkins  with  thick, 
stubby  ends  so  often  do! 


Kotex*  comes  in  three  sizes,  too ! 

Unlike  most  napkins,  Kotex  comes  in  three 
different  sizes  —  Super  —  Regular  —  Junior. 
(So  you  may  vary  the  size  pad  to  suit 
different  days'  needs.) 

All  3  sizes  of  Kotex  have  soft,  folded 
centers. ..flat,  tapered  ends. ..and  moisture- 
resistant  "safety  panels".  And  all  3  sizes 
sell  for  the  same  low  price! 


FEEL  its  new  softness 
PROVE  its  new  safety 
COMPARE  its  new,  flatter  ends 


•Trade  Mark  Reg.  U.  S.  Pat.  Off. 


JULY,  1940 


69 


KEEP  UNDERARMS  SWEET 

BATH-FRESH 


NONSPI  CREAM 
FOR  WOMEN  WHO 
PERSPIRE  FREELY 


SAFE  TO  APPLY  as  often  as  de- 
sired. Nonspi  Cream  is  harmless 
to  skin  or  clothing. 
CHECKS  BOTH  perspiration  and 
odor  safely. . .  effectively. 
SOOTHING  and  cool  when  ap- 
plied. Doesn't  sting  or  irritate — 
even  after  shaving. 
DRIES  ALMOST  INSTANTLY. 
Not  sticky... a  greaseless,  stainless 
cream. 

SEND  lOc1  for  trial  size  of  Nonspi 
Cream.  The  Nonspi  Co.,  113 
West  18th  Street,  New  York  City. 


NONSM 


There  is  also  a  LIQUID  NONSPI  —  at 

drug  and  department  stores. 


BATHE  FOR  BEAUTY 

(Continued  jrom  page  44) 


your  mind  alert?  Check  these  points  on 
Monday,  and  no  evasions  or  excuses  al- 
lowed. Don't  try  to  fool  yourself. 

What  about  regular  exercising,  too? 
We're  still  doing  the  Monday  check-up 
— remember?  A  daily  dozen  of  stretching 
and  limbering  exercises  for  ten  or  fifteen 
minutes  the  first  thing  every  morning 
is  a  week-day  "must,"  if  you  want  to 
keep  a  trim,  graceful  and  comfortable  as 
well  as  beautiful  figure.  But  what  of  out- 
door or  active  indoor  exercises  just  "pour 
le  sport?"  Swimming,  tennis,  golf,  riding, 
playing  ball,  roller-skating,  bicycling, 
bowling,  rowing,  dancing,  hiking  or  just 
brisk,  peppy  outdoor  walking?  Set  aside 
every  Monday  as  a  day  on  which  to  treat 
yourself  to  one  or  the  other  of  these  active 
exercises.  (Walking  is  one  of  the  most 
beneficial  in  the  whole  category — so  don't 
feel  a  bit  sorry  for  yourself  if  that  is  the 
only  one  in  which  you  can  conveniently 
indulge.)  Or  maybe  you'd  rather  go  to  a 
gymnasium  for  your  weekly  work-out. 
Set  every  Monday  aside  for  concentration 
on  the  diet  and  exercises  that  will  give 
you  a  face  and  figure  that  will  reward 
your  efforts  for  every  minute  you  devote 
to  their  grooming. 

TUESDAY  is  a  good  day  for  that  lei- 
surely weekly  manicure — and  appro- 
priate, too,  Wednesday  usually  being  beau 
night,  bridge  night  or  some  other  social 
celebration  in  which  hands  are  likely  to 
play  a  leading  role.  Try  giving  yourself 
a  luxurious  oil  manicure.  Use  plenty  of 
rich,  softening  cream  or  lotion  while  mas- 
saging and  exercising  your  hands  before 
you  start.  Then,  at  the  end  of  the  mani- 
cure, treat  yourself  to  a  bright,  gay  nail 
polish  that  gives  your  hands  sophistica- 
tion and  eye  appeal.  Give  your  polish 
plenty  of  time  to  dry  and  apply  a  coat 
of  nail  protector  before  and  after  each 
coat  of  polish.  It  will  make  the  polish 
last  longer. 

Wednesday,  give  yourself  a  home  facial. 
-""Relax  for  half  an  hour,  then  scrub  your 
face,  neck  and  arms  with  a  soft  com- 
plexion brush  dipped  in  warm,  soapy 
water.  Follow  this  with  a  thick  slather- 
ing of  cleansing  cream  which  you  allow 
to  remain  on  for  at  least  five  to  ten 
minutes  before  removing  with  a  cool 
skin  freshener.    Next,  pat  on  your  fa- 


vorite lubricating  cream,  massage  it'  in 
well,  then  close  the  pores  with  a  cube 
of  ice  wound  in  a  facial  tissue  or  a  clean 
hankie. 

Now,  luxuriate  with  one  of  those  new 
skin-matching  foundation  make-ups  in 
either  stick,  cream  or  liquid  form  and 
put  on  cheek  rouge.  Top  it  all  with  a 
film  of  fluffy  powder,  first  applied  with 
a  clean  puff,  then  lightly  brushed  off 
with  a  soft  bristled  powder  brush.  Now, 
add  your  lipstick  and  eye  make-up  and 
go  out  and  dazzle  the  world. 

Thursday  is  a  perfect  day  for  that 
regular  hair  shampoo — just  before  the 
week-end  parties  or  the  restful  relaxa- 
tion that  follows  a  hectic  week  of  work- 
ing. Comb  and  brush  that  hair  of  yours, 
up  and  out,  then  massage  your  scalp  deep- 
ly to  loosen  tight  nerves  and  stimulate  the 
brisk  circulation  necessary  for  lively, 
lustrous  locks.  Now,  give  yourself  a  hot 
oil  shampoo.  Afterwards,  set  your  hair 
with  some  of  these  wonderful  new  curling 
gadgets  that  so  intrigued  you  the  last  time 
you  were  browsing  through  your  favorite 
store. 

Friday  is  the  day  for  all  those  little 
grooming  luxuries  that  make  the  differ- 
ence between  a  smart  and  careless  appear- 
ance. Apply  one  of  those  lovely,  safe 
new  depilatories  to  upper  lip,  forearms 
and  legs.  Pluck  your  brows — but  spar- 
ingly, just  around  the  wild  edges — with 
a  shiny  new  pair  of  tweezers  or  one  of 
those  handy  little  scissors-shaped  gad- 
gets. Change  your  nail  polish  for  the 
week-end  and  give  yourself  a  pedicure. 
(Be  sure  to  match  your  toe  and  finger 
nail  polish.)  Flounce  yourself  down  in 
front  of  your  dressing  table  and  take  a 
critical  inventory.  How  do  you  like  your 
reflection? 

Saturday — two  guesses!  Yes,  a  bath! 
But  not  the  ordinary  every  day  tub  or 
sponge  or  shower — goodness  me,  no!  The 
kind  of  bath  that  we're  talking  about 
now  is  the  kind  that  is  so  important  that 
we  put  it  right  into  the  title  of  this 
article.  It's  one  of  those  super-salu- 
brious, extra  special  baths  that  not  only 
gets  you  clean  (we  trust  we  don't  even 
need  to  mention  here  the  primary  im- 
portance to  both  health  and  beauty  of 
every-day  baths  which  you  take  as  reg- 
ularly as  you  get  up  every  morning  or 


George  Raff,  right,  treats  his  friend,  Mack  Grey  and  Norma  Shearer's  cute 
freckled-faced  son,  Irving,  to  a  baseball  game. 


70 


MODERN  SCREEN 


go  to  bed  every  night — we  hope)  but, 
as  a  leisurely,  luxurious,  ceremonial  kind 
of  bath,  washes  away  fatigue,  "nerves," 
petty  worries  and  drooping  spirits.  It's 
the  kind  of  bath  that  leaves  you  literally 
purring  with  comfort,  relaxation  and 
pleasure. 

You  can  take  this  in  the  form  of  one 
of  those  jolly,  caressing  new  bubble 
baths  that  are  sweeping  the  country  like 
a  tidal  wave  (we  might  say  "washing 
the  country,"  if  we  wanted  to  be  pun- 
nish.)  Or,  if  you're  an  apostle  of  plain 
old-fashioned  simplicity,  you  can  take  a 
tub  bath  with  just  good,  pure  soap  and 
water  and  a  dash  of  fragrant  bath  salts 
or  a  fresh-scented  water-softener  to- 
gether with  your  bath  brush,  sponge, 
wash-cloth  or  bath-mitt.  But,  whichever 
kind  you  take,  lie  back,  relax  and  lux- 
uriate. Don't  have  the  water  too  hot- 
that  would  be  enervating  and  weakening 
— just  Jiave  it  warm  and  fragrant  with 
your  favorite  scent.  We  don't  know  what 
it  is,  but  there's  something  awfully  sooth- 
ing about  a  scent  that  you  particularly 
enjoy.  Spend  at  least  half  an  hour  in 
such  a  bath,  and  behold,  the  cares  of 
the  world  will  fall  as  a  cloak  from  off 
your  shoulders.  Try  it  and  see. 

How  often  do  you  change  your  kind 
of'  toilet  soap?  You  don't  need  to  keep 
using  the  same  soap  year  in  and  year 
out,  you  know.  You're  missing  a  lot  of 
pleasure  if  you  do  that.  There  are  so 
many  delightful,  heavenly  scented,  deli- 
cately colored  good  soaps  that  are  such 
a  thrill  to  use  that  you  feel  just  as 
though  you're  splurging  every  time  you 
take  a  bath  with  them.  Any  number  of 
them  are  amazingly  inexpensive.  Try 
changing  your  soap  from  day  to  day  and 
see  what  fun  it  can  put  into  even  the 
routine  business  of  keeping  clean. 

TF  showers  are  your  special  joy,  get 
A  yourself  a  jaunty,  pretty  shower  cap, 
a  long-handled  bath-brush  or  a  sturdy 
friction  mitt.  Put  some  bath  salts  in  your 
friction  mitt  or  on  your  brush  or  sponge 
and  rub  yourself  with  fragrance.  Sing 
or  whistle  or  splash  with  more  abandon 
than  you  dare  put  into  any  other  opera- 
tion throughout  your  routine  day.  Step 
out  onto  a  clean,  dry  mat,  take  a  clean, 
heavy  towel  and  give  yourself  a  vig- 
orous, stimulating  rub-down. 

Dash  on  a  lot  of  your  favorite  cologne 
or  toilet  water — or  spray  a  thick  mist  of 
it  in  front  of  you  and  then  walk  through 
it  if  you  want  a  feeling  of  utterly  ex- 
quisite luxury.  Finish  up  with  a  fresh, 
clean-scented  dusting  powder  and  last, 
but  not  least,  use  a  good  deodorant. 
You're  clean  now,  but  be  sure  you  stay 
clean. 

Deodorants  come  in  many  forms, 
creams,  liquids,  powders,  sticks  and  so 
forth.  Some  check  perspiration  for  sev- 
eral days,  some  for  hours,  and  others 
only  partially.  Choose  the  type  you  like 
best  and  use  it  regularly,  as  often  as 
you  need  it.  Nothing  is  more  disillusion- 
ing than  a  girl  who  looks  pretty  but  has 
neglected  to  be  personally  fastidious. 

And  why,  can  anybody  answer,  do  so 
many  of  us  neglect  our  feet?  Is  it  be- 
cause we  don't  see  so  much  of  them? 
Goodness  knows  we  can  feel  them  often 
enough!  Not  only  will  their  comfort  more 
than  repay  any  coddling  you  may  give 
them  but,  in  taking  care  of  your  feet,  you 
are  also  giving  a  beauty  treatment  to  your 
face.  Never  forget  that  many  a  drawn 
mouth  and  furrowed  brow  are  directly 
traceable  to  abused,  neglected  tootsies. 

First,  bathe  your  feet  thoroughly  and, 
if  possible,  soak  them  for  five  or  ten  min- 
utes. A  special  foot  soap  massaged  well 
into  wet  feet  will  not  only  cleanse  them 
thoroughly  but  will  also  stimulate  circu- 


t       \    I      7  Mi 

7  . 

HERE'S  something  about  a  Jantzen  that  makes  the 
men  sit  up  and  take  notice  . . .  there's  a  lilt  in  every  line 
...  a  lift  in  every  color . . .  and  magic  in  three  wonderful 
miracle-making,  figure-molding  fabrics. 
Water-Velva,  "velvet-ly"  lush  in  or  out  of  water. 
Sea-Ripple,  sleek,  sophisticated  all-way  stretch  at  its  best, 
wonderful  even  for  problem  figures. 
Velva-Lure,  suave  figure -control  with  a  gardenia  finish. 

There's  glamour . . .  there's  gaiety  in  every  Jantzen  and 
enough  excitement  for  a  lifetime.  For  illustrated  style 
folder,  men's  or  women's,  address  Dept.  342. 


IVA  STEWART,  Twentieth -Century  Fox 
player  appearing  in  ''Lillian  Russell"  wearing 
the  "Petal  Panelle".  In  an  attractive  new  knit- 
in  print.  $4.95  in  U.S.A. 

JANTZEN  KNITTING  MILLS,  Portland,  Ore. 
Vancouver,  Canada 


JULY,  1940 


re  iOG^ 


ft** 


gLanv°0R 

m  9  ms  Voo  WW  ^er  kn°   ,.ck  ..;„  specif 


\»"s  our  tre0'.-   i  os»;cWs,  each 


(stomp*  o^0""   


Lips' 
close 


.  Dep'-' 

and 
d  100 


1<K  and  25^ 

AT  LEADING'S  &  10< 
STORES  ONLY 


•  Also  ask  for  FLAME-CLO  ROUGE  in  harmonizing  colors! 


Men  and  women,  successful  in  ro- 
mance, in  business,  on  the  screen . . . 
know  the  secret  of  clean,  healthy, 
glossy,  perfectly-groomed  hair... free 
from  ugly  dandruff  flakes,  itchy 
scalp,  falling  hair,  neglect-caused 
BALDNESS!  They  use  L  B....Have  you 
tried  it?  At  all  Barber  &  Beauty 
Shops,  Drug,  Dept.  &  Chain  stores. 
FREE:  A  reg.  size  bottle.  Not  a 
sample.  Send  10c  postage. ms-t 


f  <Q     HAIR  OIL 

Mmi  »mmm  &  Scalp  Conditioner 
HOLLYWOOD,  CALIFORNIA 


lation  and  help  relieve  fatigue.  Next,  rinse 
your  feet  in  alternating  warm  and  cold 
water,  then  rub  them  dry  with  a  clean 
Turkish  towel.  Massage  a  soothing  cream 
or  liquid  foot  balm  well  in,  then  finish  off 
with  a  generous  dusting  of  a  good  foot 
powder.  If  you  have  corns  or  callouses, 
do  something  about  them.  Never  cut  a 
corn,  though.  Soften  it  with  a  mildly 
medicated  corn  plaster,  then  lift  it  out 
with  a  clean  blunt  instrument.  Protect 
callouses  from  pressure  and  friction. 
There  are  excellent  little  medicated  pads 
to  soften  and  remove  callouses,  too. 

A  few  points  in  parting  and  we'll  leave 
this  business  of  summer  daintiness  en- 
tirely in  your  hands.  Use  good  cosmet- 
ics, the  kind  that  agree  with  your 
special  skin  and  fulfill  your  individual 
requirements.  Nowadays,  beauty  aids 
don't  have  to  be  expensive  to  be  both 
pure  and  effective.  The  best  are  often 
the  least  expensive.  Keep  your  beauty  ac- 
cessories— powder  puffs,  combs,  brushes, 
towels,  etc.,  immaculately  clean  and  in 
good  working  condition.  Once  in  a  while 
treat  yourself  to  a  salon  hair-do,  facial, 
massage  or  the  like. 

"Go  out  window  or  store  shopping  once 
in  a  while  just  for  the  pleasure  of  look- 
ing and  for  the  fun  of  gathering  some 
sprightly  new  ideas.  You'll  be  surprised 
how  many  you  will  find.  Go  frivolous 
every  so  often,  curl  your  eye  lashes  with 
one  of  those  cute,  simple  little  inexpen- 
sive gadgets.  Match  your  make-up  from 
tip  to  toe  and  wear  your  prettiest  dresses 
when  you're  not  expecting  "company." 
You'll  get  a  lift  from  such  simple  doings. 

Keep  yourself  clean  and  crisp  and 
dainty  whether  any  one  is  around  to  see 
you  or  not  and,  if  you  make  these  things 
daily  habit,  we'll  venture  that  when 
romance  or  opportunity  do  their  unex- 
pected knocking  you'll  not  only  be  called 
on — you'll  be  chosen. 

The  popular  "stockingless"  fashion  with 
playsuits,  shorts  and  other  play  togs  is 
often  a  considerable  problem  to  us  girls, 
especially  at  the  beginning  of  the  summer 
season  when  our  legs  are  apt  to  be  the 
same  pale  color  as  hot-house  bean  sprouts 
— and  just  about  as  alluring.  But  one  of 
our  favorite  manufacturers  has  taken  this 
problem  to  heart  and  comes  to  our  rescue 
with  a  perfectly  grand  liquid  make-up 
which  gives  a  smooth,  velvety  finish  that 
will  stay  on  for  hours  and  hours.  Avail- 
able in  gorgeous,  deep,  rich  tones  that 
blend  beautifully  with  your  own  skin  col- 
oring, it  is  very  easy  to  apply.  Of  course, 
you  don't  need  to  confine  this  dandy  liquid 
make-up  to  your  lower  extremities — it  is 
just  as  attractive  and  effective  on  arms, 
face,  neck  and  all  other  areas  that  are  sub- 
ject to  improvement  by  a  first-rate  cos- 
metic of  this  kind.  We  recommend  it  for 
general  make-up  purposes,  too,  but  we're 
especially  keen  about  it  for  those  too  often 
neglected  legs.  Try  it  in  this  summer's 
newest,  richest  shade.  We're  sure  you'll 
like  it.  Shall  we  send  you  the  name? 


When  grandma  was  a  girl,  most  fastidi- 
ous young  ladies  cherished  little  pot- 
pourri jars  in  which  they  kept  skillfully 
blended  spices  and  flower  petals  to 
sweeten  their  clothing  and  their  persons. 
We  moderns  don't  always  have  our  own 
gardens,  and  pot-pourri  jars  in  stores  are 
often  quite  expensive,  but  we've  recently 
discovered  a  talcum  powder  that  is  such 
an  exquisite  blend  of  delightful  spice  and 
blossom  petal  scents  that  it  is  just  about 
the  next  thing  to  a  jar  of  pot-pourri.  Be- 
sides imparting  a  fresh  and  lovely  scent 
to  your  skin  and  clothing,  this  talc  will 
contribute  a  lot  to  your  cool  summer  com- 
fort, too.  Showered  over  your  entire  body 


every  morning,  the  film  that  this  talc 
forms  between  your  skin  and  clothing  will 
help  to  eliminate  the  excess  perspiration 
usually  caused  by  friction.  It  will  help 
keep  your  undies  dry  and  sweet,  too,  and 
that's  so  important!  Drop  us  a  card  and 
we'll  be  glad  to  send  you  the  name  of  this 
delightful  spicy,  blossom-scented  talc. 
*     *  * 

With  Fairs  at  both  ends  of  our  country, 
vacations  all  over  the  land,  and  hot 
weather  rampant  from  border  to  border, 
it's  practically  impossible  for  a  great  many 
of  us  to  avoid  tired,  aching  feet  at  one 
time  or  another.  One  of  the  most  im- 
portant contributions  to  foot  comfort 
we've  seen  in  a  long  time  is  the  convenient 
little  kit  of  three  necessities  boxed  to- 
gether by  a  firm  that  is  a  recognized 
leader  in  this  highly  specialized  field. 
There  is  a  can  of  fine,  granulated  foot  soap 
for  cleansing,  stimulating  and  resting  tired 
feet.  Then  a  jar  of  soothing  foot  balm 
to  soften,  cool  and  refresh  them.  And  last, 
but  not  least,  a  can  of  antiseptic  foot 
powder  to  sprinkle  over  the  feet  and  be- 
tween the  toes  to  help  absorb  perspiration 
and  relieve  chafing,  friction  and  that  tight, 
binding  feeling  that  so  often  accompanies 
warm  weather.  It's  worth  a  lot  to  be  able 
to  be  foot-happy  and  fancy-free,  come 
heat,  cold,  summer  visitors,  vacations  or 
what  not.  Write  us  today  for  the  name  of 
these  indispensable  foot  comforters. 


As.  pretty  as  any  sea-nymph  we've  ever 
seen  is  Marilyn  Merrick,  who  belongs  to 
the  "barefoot  school." 


72 


MODERN  SCREEN 


CAREER  GIRL 

(Continued  from,  page  36) 


Louis  B.  Mayer  tooth  and  nail  to  play  it. 
They  were  awfully  glad,  though,  to  see 
her  carry  the  love  interest  again  opposite 
Clark  Gable  in  "Strange  Cargo."  Ro- 
mance and  Gable  are  their  favorite 
formula  for  a  Crawford  picture.  As  for 
her  romance  in  real  life,  they  approve 
of  anyone  who  can  make  her  happy — 
even  if  only  temporarily. 

Of  course,  their  heroine  worship  con- 
tinues unabated  365  days  of  the  year,  but 
it  is  on  March  23rd  that  it  reaches  its 
apex.  This  is  Joan's  natal  day,  and  from 
all  over  the  world  packages  of  every 
shape  and  size  pour  in  on  her  in  a  never- 
ending  stream.  These  are  no  ordinary 
gifts  either,  but  gifts  planned  with  the 
utmost  care  and  discrimination.  Pennies 
are  hoarded  day  by  day,  so  that  an  eve- 
ning bag,  a  feathered  fan,  a  paisley  scarf, 
chiffon  handkerchiefs  and  other  acces- 
sories from  the  smartest,  most  exclusive 
shops  are  selected  with  an  eye  to  her 
own  exquisite  taste.  Not  only  Joan,  but 
her  adored  six-year-old  niece,  Joan 
Crawford  LeSueur,  is  showered  with 
birthday  presents.  Joan  (big  Joan,  not 
little!)  made  an  attempt  to  return  some 
of  these  gifts,  as  she  felt  guilty  about  the 
involved  cost,  but  the  fans,  who  would 
rather  deprive  themselves  of  their  own 
personal  luxuries  if  it  means  pleasing 
Joan,  were  so  hurt  that  she  now  keeps 
them  all  and  is  deeply  touched  and 
grateful. 

It  was  last  year,  during  her  annual 
holiday  in  New  York,  that  Joan  attended 
her  first  meeting  of  The  Joan  Crawford 
Fan  Club.   It  was  held  at  Loew's  Lexing- 


ton Theatre,  and  no  four-star  picture 
ever  played  to  greater  capacity.  Joan, 
shaking  like  a  jitterbug,  was  so  over- 
whelmed at  the  ovation  given  her  that 
all  she  could  do  was  cry  unashamedly. 

Incidentally,  it  is  on  her  New  York 
visits  that  Joan  comes  most  closely  in 
contact  with  her  fans,  and  her  arrival  is 
a  signal  for  dancing  in  the  streets.  The 
autograph  hounds  know  that  during  her 
entire  stay  their  days  and  nights  will  be 
touched  with  glamour.  Joan,  being  a 
very  systematic  person,  plans  her  sched- 
ule ahead  of  time  so  that  she  knows 
exactly  where  she's  going  to  be  every 
minute  of  her  "vacation."  So  do  the  fans, 
for  the  simple  reason  that  from  the  time 
she  steps  off  the  20th  Century  at  Grand 
Central,  until  she  boards  it  again,  Joan 
gives  them  her  entire  schedule  in  chron- 
ological order. 

A GROUP  of  "regulars"  usually  pool 
their  resources,  pile  into  a  taxi  and 
tag  her  around,  like  a  game  of  Follow  the 
Leader.  From  the  Hampshire  House — to 
"21" — to  Hattie  Carnegie — to  Saks  Fifth 
Avenue — to  Beekman  Place  for  tea  with 
"Alfred  and  Lynn" — to  the  Colony  for 
dinner  with  "Ellen  and  Irving" — to  the 
theatre  to  see  "Gertie,"  "Kit"  or  "Helen" 
— to  the  Persian  Room,  Algonquin,  Stork 
Club  and  El  Morocco — and  back  to  the 
Hampshire  House,  they  maintain  their 
ceaseless  vigil.  Neither  weather  nor 
food  ever  interferes. 

It  was  during  a  recent  trip  that  Joan, 
visiting  El  Morocco  for  the  first  time, 
arrived  at  two  A.M.  to  find  a  bedraggled, 


tired  little  group,  impervious  to  the  cold 
December  winds  and  the  steady  down- 
pour of  rain.  She  pleaded  with  them  to 
go  home,  but  they  stubbornly  refused. 
To  anyone  else,  if  these  kids  were  foolish 
enough  to  want  to  risk  catching  pneu- 
monia, it  would  have  been  their  own 
affair.  But  Joan's  not  like  that.  Once 
inside,  she  fretted  about  them  so  much 
that  finally  nothing  would  do  but  that 
she  invite  them  into  the  ante-room  and 
treat  them  all  to  hot  coffee  and  sand- 
wiches. There  are  still  a  lot  of  estab- 
lished residents  in  New  York  who  have 
never  been  inside  El  Morocco  because 
they  can't  afford  the  sandwiches  and 
coffee — without  Joan  Crawford  thrown 
in! 

Another  event  that  still  has  the  fans 
walking  around  in  a  Charlie  Butterworth 
daze  is  the  memorable  day  that  Joan  in- 
vited a  few  of  the  chosen  ones  up  to  her 
suite  at  the  Waldorf  and  let  them  listen 
to  the  recordings  she  had  made  of  her 
mezzo-soprano  voice.  On  another  occa- 
sion, when  she  emerged  from  a  shopping 
spree  to  find  her  "gang"  patiently  waiting 
for  her,  she  extended  an  invitation  to  the 
whole  lot  for  an  ice  cream  soda  treat  at 
her  favorite  fountain.  If  they  had  been 
drinking  champagne,  it  would  have  had 
the  same  effect! 

Joan  hasn't  had  much  opportunity  to 
travel  through  the  United  States,  but  on 
her  brief  stopovers  in  Chicago,  Albuquer- 
que and  other  railroad  depots  along  the 
Santa  Fe  line,  she  is  greeted  with  the 
same  adulation.  In  Hollywood  where 
movie  stars  are  as  indigenous  to  the  soil 


ff  COLGATE'S  COMBATS  BAD  BREATH 
.MAKES  TEETH  SPARKLE/ 


"Colgate's  special/»e«- 
etrating  foam  gets  into 
hidden  crevices  be- 
tween your  teeth  .  .  . 
helps  your  toothbrush 
clean  out  decaying 
food  particlesand  stop 
the  stagnant  saliva  odors  that  cause 
much  bad  breath.  And  Colgate's 
safe  polishing  agent  makes  teeth 
naturally  bright  and  sparkling!  Al- 
ways use  Colgate  Dental  Cream — 
regularly  and  frequently.  No  other 
dentifrice  is  exactly  like  it." 


JULY,  1940 


73 


New  under-arm 

Cream  Deodorant 


safely 


Stops  Perspiration 


£  / 


1.  Does  not  harm  dresses  —  does  not 
irritate  skin. 

2.  No  waiting  to  dry.  Can  be  used 
right  after  shaving. 

3.  Instantly  checks  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  white,  greaseless,  stainless 
vanishing  cream. 

5.  Arrid  has  been  awarded  the 
Approval  Seal  of  the  American 
Institute  of  Laundering  for  being 
harmless  to  fabric. 


More  than  25  MILLION 
jars  of  Arrld  have  been 
sold... Try  a  jar  today. 


ARRID 


39^  a  jar 


AT  AIL  STORES  WHICH  SELL  TOILET  GOODS 
( Also  in  10  cent  and  59  cent  jart ) 


Sensational  Offer 
LOVELIGHT  and  LOVE  BOND 


as  orange  groves,  her  every  public  ap- 
pearance creates  interest. 

Amazingly  enough,  although  her  home 
address  has  been  so  widely  publicized, 
fans  seldom  try  to  crash  her  gate.  When 
members  of  her  club  come  to  Hollywood 
on  their  summer  vacations  they  write  to 
her  and  she  arranges  to  have  them  visit 
her  at  the  studio.  This,  needless  to  say, 
is  an  added  thrill,  because  besides  their 
own  adored  Joan,  they  may  be  lucky 
enough  to  spot  Spence  Tracy,  Bob  Taylor, 
Clark  Gable  and  Mickey  Rooney! 

Not  only  is  Joan  acclaimed  by  the  fans, 
but  for  two  consecutive  years  all  the 
lensmen  in  Hollywood  have  voted  her  the 
best  liked  and  most  cooperative  star.  This 
year  they  gave  her  a  gold  cup  inscribed, 
"To  Our  Darling."  And  last  year  their 
appreciation  took  the  form  of  a  silver 
cigarette  box  dedicated,  "To  Our  Be- 
loved." 

ZITHER  players,  knowing  of  Joan's 
slavish  devotion  to  Great  God  Pub- 
licity and  to  her  fans,  wonder  what  good 
it  does.  They  point  to  Garbo,  Margaret 
Sullavan,  Jean  Arthur,  Laurence  Olivier, 
Ginger  Rogers,  Paul  Muni  and  Katharine 
Hepburn,  who  haven't  her  sympathetic 
attitude  but  draw  the  fans  anyway. 

Joan  knows  all  about  them  but,  as  she 
explained  to  me  in  one  of  our  long  con- 
fidential chats,  "I'm  nice  to  my  fans  be- 
cause I  want  to  be.  I  don't  even  care  if 
they  want  to  swap  my  autograph  for  one 
of  Myrna  Loy's  or  Rosalind  Russell's — 
I'm  so  grateful  that  they  want  it  for  any- 
thing. When  I  first  started  on  the  M-G-M 
lot  and  was  just  a  nobody,  I  was  flattered 
to  death  when  a  few  people  shoved  an 
autograph  book  in  my  face.  Now,  after 
working  hard  to  build  that  handful  up 
to  crowds,  I'm  still  flattered.  Incidentally, 
I  suffer  from  claustrophobia,  so  you  know 
how  panicky  I  get  in  a  crowd,  but  I've 
learned  to  control  myself.  The  time 
when  I  really  will  be  panicky  is  when  the 
fans  stop  giving  me  claustrophobia!" 

Of  this  eventuality,  there  is  not  the 
remotest  possibility.  Through  good  pic- 
tures or  bad,  through  happiness  or  sor- 


row, the  fans  will  never  let  Joan  down. 
Because  Joan  will  never  let  them  down. 
She  is  too  fully  aware  of  the  illusion  they 
have  built  up  around  her,  and  she  tries  in 
every  way  to  live  up  to  it.  Unlike  a 
great  many  stars  who  relax  in  their  off- 
screen moments,  Joan,  whenever  she 
makes  a  public  appearance,  is  still  a 
creation  by  Adrian.  She  is  the  one  star 
who  in  real  life  epitomizes  the  glamour 
that  glorifies  her  in  every  magazine. 

Of  course,  the  underlying  reason  for 
her  understanding  of  fan  psychology  is 
her  own  rabid  enthusiasm  for  movie 
stars.  Her  idea  of  diversion  after  a  hard 
day's  work  at  the  studio  is  running  off 
a  picture  in  her  private  projection  room, 
and  to  watch  her  audience  reaction  is  an 
interesting  experience.  As  familiar  as 
she  is  with  story  outline,  as  acquainted 
as  she  is  with  most  of  the  cast  and  as 
movie -wise  as  she  is  to  all  the  tricks  of 
the  trade,  she  is  still  transported  into  a 
make-believe  world  as  magically  as  any 
moviegoer.  She  never  misses  a  Katharine 
Hepburn,  Margaret  Sullavan  or  Greta 
Garbo  picture.  And  since  "Intermezzo," 
Ingrid  Bergman  has  been  added  to  her 
list  of  favorites.  Among  the  men,  Clark 
Gable,  Spencer  Tracy,  Charles  Boyer, 
Jimmy  Cagney,  Paul  Muni  and  the 
French  actor,  Jean  Gabin,  are  tops  in  her 
esteem.  If  she  meets  anyone  for  the 
first  time  whom  she  admires,  she  is  as 
ga-ga  as  are  her  own  fans  meeting  her. 

In  trying  to  sum  up  Joan's  fan  appeal, 
I  can't  think  of  a  better  story  to  illustrate 
it  than  a  conversation  I  overheard  be- 
tween two  staunch  admirers.  The  scene 
was  a  ladies'  dressing-room  during  the 
period  preceding  her  divorce  from  Fran- 
chot  Tone. 

"Have  you  heard  about  Joan  and  Fran- 
chot?"  asked  the  first  young  girl. 

"No,  what?"  her  companion  gasped. 

"They're  splitting  up!"  came  the  re- 
sponse in  tragic  tones. 

"Oh  no!"  was  the  other's  horrified  re- 
tort. "That's  awful!  When  did  you  hear 
it?" 

"Oh,  I  heard  it  Friday,  but  I  didn't 
want  to  ruin  your  week-end!" 


Exciting  intrigue 
rides  the  good 
ship  ''New 
Moon,"  in  the 
film  of  the  same 
name,  with 
Jeanette  Mac- 
Donald,  a  French 
belle,  and  Nel- 
son Eddy,  a  duke 
m  a  squerading 
as  a  pirate,  pro- 
viding the  love 
element. 


74 


MODERN  SCREEN 


HOLLYWOOD'S  HOLD  ON  GABLE 

(Continued  from  page  33) 


was:  'You  haven't  enough  money  to  re- 
tire.' Well,  I  haven't  the  $10,000  a  year 
life  income  I  thought  I  would  have. 
Taxes  see  to  that.  I  have  enough  for 
my  own  needs.  My  tastes  haven't 
changed  any;  I  still  hold  with  the  old 
axiom  that  you  can  sleep  in  only  one  bed, 
wear  only  one  suit  of  clothes,  eat  only 
one  beefsteak  at  a  time.  I  still  want  to 
live  like  a  farmer.  I  do  now.  Our  place 
is  twenty  acres  with  a  small,  nine-room 
house.  It's  easy  to  live  in  and  easy  to 
rent,  if  we  want  to  get  away. 

"The  money  I've  got  now  would  be  all 
right  for  our  present  set-up,  but  not  for 
our  future  set-up  which,  we  both  hope, 
will  include  some  kids.  And  when  you've 
got  kids  you  can't  brush  the  matter  of 
income  off  like  that.  I  wouldn't  want  to 
think  that  kids  of  mine  might  say  some- 
day, 'The  old  man  was  okay,  but  he 
certainly  saw  to  it  he  did  what  he  wanted 
to  do.  Responsibility  didn't  bother  him 
any,  the  lazy  so-and-so.' 

"Then  the  studio  came  out  with  this: 
'You'd  put  a  lot  of  people  out  of  work, 
if  you  retired.  Don't  you  think  that's 
kind  of  a  selfish  way  to  look  at  things?' 

"I  called  that  one.  I  said  that,  if  I 
didn't  work,  someone  else  would.  They 
refuted  me,  saying  that  was  okay  in 
theory  but  might  not  work  out  in  prac- 
tise. If  they  brought  an  actor  in  to 
replace  me,  they  asked,  what  guarantee 
would  they  have  that  he'd  last?  They 
said  that  you  can't  replace  a  'going  con- 
cern' with  a  gamble  and  rest  easy  nights. 
They  said  that  for  me  to  retire  for  no 
sound  reason  (wanting  to  travel  around 


the  world  and  rake  alfalfa  aren't  'sound 
reasons'  to  business  men)  was  setting  an 
unhealthy  precedent.  If  everyone  felt 
like  that,  what  would  happen? 

"They  called  my  attention  to  the  fact 
that  an  established  star  is  a  'One  Man 
Industry.'  A  top  star  in  Hollywood  en- 
tails big  exploitation  which,  in  turn,  calls 
for  a  huge  personnel.  They  itemized  the 
scenarists  who  do  the  scripts,  the  typists, 
the  boys  in  the  mimeograph  department, 
the  boys  in  transportation  who  carry 
companies  to  and  from  locations,  the 
make-up  man,  the  wardrobe  man  or 
woman,  the  script  girl,  the  set  designer, 
the  publicity  department,  etc.,  all  the 
people  who  'eat  off'  the  success  of  a 
ranking  Hollywood  star.  They  painted  a 
grim  picture  of  the  unemployment  situa- 
tion that  would  result  if  many  of  us 
decided  to  retire. 

T  HADN'T  thought  about  it  like  that. 
1  But  when  I  did  think  about  it,  it  did 
seem  kind  of  selfish.  After  all,  I  wasn't 
planning  to  retire  because  of  ill  health, 
the  only  valid  reason,  I  suppose,  for  a 
man  to  quit  working.  I  was  planning  to 
retire  for  purely  selfish  reasons,  so  I 
could  do  the  things  I  wanted  to  do. 

"Besides,  and  not  to  sound  too  much 
like  the  gallant  fellow  who  lays  down  his 
cherished  desires  for  his  fellow-men, 
there  was  another  reason  for  not  getting 
out:  I  couldn't  do  what  I  wanted  to  do. 
Carole  and  I  had,  as  you  know,  a  scheme 
up  our  sleeves.  I  might  call  it  a  dream 
and  not  be  too  fancy  about  it.  We 
planned  to  take  at '  least  two  years  off 


and  do  nothing  but  travel.  We  planned 
to  go  in  our  own  little  car,  with 
no  chauffeur  and  as  little  luggage  as 
possible.  Time,  we  said,  was  not  to  be 
considered.  We  might  come  back  in  two 
years;  we  might  come  back  in  twenty 
years;  we  might  never  come  back.  We'd 
see  everything  in  the  world  while  we 
were  still  young  enough  to  be  up  and 
doing.  We'd  go  into  Egypt,  India,  South 
Africa!  We'd  follow  the  trails  the  tour- 
ists have  made  and  explore  out  of  the 
way,  lonely  places,  too. 

"Well,  that  scheme  was  knocked  in  the 
head  when  the  war  rambled  in.  We 
couldn't  go  to  Europe.  The  Orient  was 
closed  up.  We  could  have  gone  to  South 
America,  but  I've  been  there  before  and 
that's  not  what  we  wanted,  anyway.  We 
wanted  to  be  free  to  go  everywhere. 

"Carole  and  I  didn't  do  much  talking 
about  it.  What  was  there  to  say?  When 
we  thought  we  could  go,  she  was  all  for 
my  not  signing  another  contract,  of 
course.  Now  that  we  can't  go,  not  yet 
anyway,  we  don't  talk  much  about  con- 
tracts and  things.  We  never  have  talked 
shop  at  home,  you  know.  We  still  don't. 
The  most  we  ever  do  is  check  with  each 
other  on  how  long  we  expect  to  be  on 
our  current  pictures.  We  try  to  plan 
it  so  that  we'll  both  be  working  at  the 
same  time  and  both  be  free  at  the  same 
time.  A  few  weeks  ago  I  read  in  the 
paper  that  Carole  had  signed  a  contract 
with  RKO.  I  called  her  on  the  phone," 
grinned  Clark,  "and  asked  her  about  it. 
It  was  the  first  I  had  heard  of  it.  She 
said  she  hadn't  decided. 


BARBARA  KINDT,  FRESHMAN  AT  UNIVERSITY  OF  CALIFORNIA  AT  BERKELEY,  SAYS: 

a^Beou  Caleke/t . , . 
tttafwocWi  vtatu/tat  iooi{  \ 


AND  IT'S  YOURS  WITH  THIS  FACE  POWDER 
YOU  CHOOSE  BY  THE  COLOR  OF  YOUR  EYES! 


To  give  you  the  piquant  natural 
charm  of  gay,  young  "collegiennes" 
— the  modern  trend  in  makeup — 
Hudnut  has  created  Marvelous  Face 
Powder,  the  remarkable  new  powder 
you  choose  by  the  color  of  your  eyes! 

For  eye  color  is  definitely  related 
to  the  color  of  your  skin,  your  hair. 
It  is  the  simplest  guide  to  powder 
that  matches  and  glorifies  your  own 
coloring  .  .  .  gives  you  that  disarm- 
ing natural  look  men  like  so  well. 


So,  whether  your  eyes  are  blue,  gray, 
brown  or  hazel,  it's  easy  now  to  find 
the  shade  that's  right  for  you!  Just 
ask  for  Richard  Hudnut  Marvelous 
Face  Powder  .  .  .  the  pure,  fine-tex- 
tured powder  you  choose  by  the  color 
of  your  eyes! 

Marvelous  Face  Powder  goes  on 
so  smoothly,  clings  for  hours,  agrees 
with  even  sensitive  skin!  For  com- 
plete color  harmony,  use  matching 
Marvelous  Rouge  and  Lipstick,  too. 


Hudnut  Marvelous  Face  Powder  and  harmonizing  Rouge  and  Lipstick 
at  drug  and  department  stores — only  55i  each.  {65t  in  Canada.) 


HUDNUT 

ITIfiRVELOUS 

FACE  POWDER 

AND   MATCHED  MAKEUP 


MM-740 

RICHARD  HUDNUT,  Dept.  M,  693  Fifth  Ave.,  New  York  City 

Please  send  me  tryout  Makeup  Kit  containing  generous 
metal  containers  of  harmonizing  powder,  rouge  and  lipstick. 

/  enclasp  I0t  to  help  cover  mailing  costs. 
My  eyes  are:  Brown  □        Blue  □        Hazel  □        Gray  □ 

Name  


Street- 


.City- 


Be  sure  to  check  color  of  your  eyes! 


JULY,  1940 


75 


Who's  an 
old  Fogey? 


•  There  is  no  excuse  for  the  old- 
fashioned  notion  that  toilet  bowls 
must  be  scrubbed  and  scoured. 
This  picture  of  a  woman  using 
Sani-Flush  appeared  28  years  ago. 
From  that  time  to  this,  a  simple 
chemical  compound  has  kept  toilets 
sparkling  clean — without  mussing 
or  fussing. 


CLEANS  TOILET 
BOWLS  WITHOUT 
SCOURING 


•  Sani-Flush  removes  rust,  stain 
and  incrustations  from  the  toilet. 
■  You  don't  have  to  touch  it  with 
your  hands.  It  even  cleans  the 
hidden  trap.  Cannot  injure  plumb- 
ing connections.  (Also  effective  for 
cleaning  out  automobile  radiators.) 
See  directions  on  can.  Sold  by  gro- 
cery, drug,  hardware  and  5-and- 
10c  stores.  10c  and  25c  sizes.  The 
Hygienic  Products  Co.,  Canton,  O. 


ITCH 

and  ower  3gc         ^  druggists 

proves  it  or  money  back 


STOPPED 
QUICKLY 


f  Jlwei. 


7  WHA 


<  /  WHAT 
THE  DOCTOR 
ORDERED 


All  over  America  there  are 
baby  doctors  who  tell 
mothers  to  buy  Wee 
Walkers,  those  CORRECT  baby  shoes  which  cost 
so  little. 

Don't  let  baby  wear  outgrown  shoes. 
Baby  feet  grow  so  fast  you  must  change 
to  new  shoes  often. 

Infants'  Wear  Dept.  of  the  following 
low-profit  stores.  Birth  to  shoe  size  8. 

W.T.Grant  Co.  S.  S.  Kresge  Co.  J.  J.  Newberry  Co. 
H.  L.  Green  Co.,  Inc.  Sears,  Roebuck  and  Co. 

Metropolitan  Chain  Stores,  Inc.  Kinney  Shoe  Stores 

Schulte-United  Stores       F.  &  W.  Grand       I.  Silver  &  Bros. 

FREE:  Baby  foot  measuring  scale  in  pamphlet  on 
fitting.  Moran  Shoe  Co.,  Dept.  M,  Carlyle,  111. 


Wee  WALKERS  for  the  wee  walker 


"I  got  to  thinking,  too,  what  would  I 
do  with  myself  at  the  end  of  the  first 
year  of  retirement?  Read  books?  I'd 
read  a  couple  of  books,  then  I'd  be  ready 
to  relax.  I'm  just  not  of  the  Intelli- 
gentsia, you  know;  I've  got  to  be  active, 
got  to  have  things  to  do  with  my  hands. 
The  farm  wouldn't  take  up  all  of  my 
time,  and  pretty  soon  I'd  be  talking  to 
myself! 

"I  thought  of  the  bunch  I've  worked 
with  all  these  years,  pals  of  mine  like 
Vic  Fleming  and  Jack  Conway,  the  boys 
on  the  sets,  the  fellows  who  drive  the 
studio  cars,  the  boys  and  girls  of  the 
Press  who  have  been  so  swell  to  me. 
And  they  have;"  said  Clark,  "I  wouldn't 
be  where  I  am  if  it  weren't  for  them. 
There  have  been  a  couple  of  times  in 
my  career,  when  they  could  have  done 
me  in  with  a  few  neat  phrases.  They 
could  have  made  me  the  laughing  stock 
of  the  country.  They  didn't.  They  told 
the  truth  and  left  it  at  that.  One  or  two 
have  taken  a  sock  at  me,  but  that's  the 
law  of  averages,  and  you  can't  blame  the 
lot  for  the  few.  Yeah,  I  decided  I'd  be 
pretty  lonesome  without  the  gang  who 
'made  me  what  I  am  today.' 

"So,  when  you  add  all  these  things  up, 
the  answer  seems  to  be  that  there's  no 
reason  to  be  an  obstinate  lunkhead  and 
do  something  just  because  you  once  said 
you'd  do  it. 

"Last  but  not  least,  I  must  confess,  I 
had  another  reason  for  saying,  three 
years  ago,  that  I'd  retire  this  year.  I 
thought  I'd  be  washed  up  by  this  time. 
And  I'd  hate  like  hell  to  go  down  and 
down  and  down.  That  I'm  not  washed 
up  is  a  matter  of.  ..." 

"Don't  say  it's  'Luck' "  I  interrupted 
him.  "You  always  say  it's  Luck,  the 
'breaks.'  That's  too  modest  and  not 
true." 

"Sorry,  sister,"  Clark  said,  patiently, 
"but  I've  got  to  call  it  Luck  because 
that's  its  name.  I've  told  you  right  along, 
and  I'm  still  telling  you,  that  the  breaks 
I  got  might  have  come  to  anybody,  they 
just  happened  to  come  to  me. 

"Figure  it  out!  Look,  I  made  'San 
Francisco;'  that  was  swell.  Then  bang, 
along  came  'Parnell.'  No  one  went  to 
see  the  thing.  Know  something?  The 
fans  can  smell  out  bad  pictures  before 
we've  finished  shootin'  'em.  They  seem 
to  be   ahead   of   us.     All  right,  after 


'Parnell'  came  'Test  Pilot,'  a  honey,  but — 
it  might  have  been  another  stinkaroo. 
The  cards  were  shuffled  right  for  me, 
that's  all.  Then  'Idiot's  Delight'  .  .  . 
yeah  .  .  .  and  then  'Gone  With  The 
Wind.'  See  what  I'm  getting  at?  I've 
always  alternated,  one  good,  then  one 
not  so  good,  then  a  good  one  again.  I've 
never  had  two  baddies  in  a  row.  Two 
baddies  in  a  row  don't  do  anyone  any 
good." 

The  man's  modesty  is  chronic  and 
invincible.  Ten  years  have  tested  and 
proved  that.  Why,  in  his  first  two  years 
of  stardom  he  went  through  a  barrage 
of  fan  fever  and  feminine  swoons,  such 
as  no  man,  saving  perhaps  Valentino, 
ever  knew.  It  would  have  made  the 
head  of  a  less  earthy  man  spin  like  a 
whirling  dervish  on  a  bender.  Clark's 
head  didn't  spin  nor  did  it  swell.  He 
never  lost  the  'common  touch.' 

ALMOST  as  though  the  thoughts  run- 
ning  through  my  head  were  visible 
to  Clark  he  said,  "This  has  always  been  a 
business  to  me.  Nothing  personal  about  it. 
How  can  you  take  a  personal  bow  for 
making  a  picture  like,  well,  like  'Boom 
Town?'  A  forty  million  dollar  organiza- 
tion is  back  of  you.  The  best  writers,  best 
director,  cameraman,  the  best  cast  to  be 
got  is  given  you.  A  group  of  people  as  a 
whole  should  take  a  bow  when  a  picture 
is  a  success — not  an  individual." 

I  said,  "I  was  thinking  of  the  more 
personal  adulation  you  get — the  fan  let- 
ters, the  autographophiles,  the  tumult 
and  the  fury  given  you,  as  an  individual." 

Now  Clark  did  laugh.  He  said,  "Honey, 
when  I  get  one  of  those  hot  potato  things 
in  the  mail  I  think,  'So  what,  they  wrote 
that  to  Ronnie  Colman  day  before  yes- 
terday!' That  sort  of  thing  doesn't  hand 
the  palm  to  me;  it  hands  it  to  the  sales 
force  behind  me.  Nothing  to  get  con- 
ceited about,"  said  Clark,  "in  this  busi- 
ness." He  added,  with  a  grin,  "the  de- 
fense rests  its  case." 

"No  Retirement  Plans."  I'll  say  not. 
But  not  because  he  changed  his  mind, 
not  because  the  studio  argued  him  out 
of  it,  not  because  he  can't  go  on  his 
travels.  That's  just  what  Clark  honestly 
thinks.  The  real  reason  is  that  We,  the 
People,  wouldn't  let  him  retire.  You 
don't  let  a  friend  get  away  from  you,  do 
you? 


We  hear  that  Baby 
Sandy  is  even  hav- 
ing a  Health  Week 
named  after  her, 
these  days.  She's 
such  a  busy  little 
bee  around  the  set 
of  "Sandy  Is  a 
Lady"  that  it  isn't 
often  you  catch  her 
in  her  special  chair. 
Pencil  in  hand, she's 
just  been  making 
some  additions  to 
the  script! 


7f< 


MODERN  SCREEN 


THE  AWFUL  TRUTH  ABUUT  GLAMOUR  GIRLS 


(Continued  from  page  29) 


Be  sure  to  make  it  something  strong." 

Even  with  the  libation  in  hand  to  for- 
tify him,  he  was  loath  to  talk  about  him- 
self— that  is,  in  the  light  of  a  Hollywood 
social  success.  He  said,  "I'll  tell  you  one 
thing  that  can  happen  to  a  man  going 
out  with  a  Glamour  Girl.  I  took  a  cer- 
tain young  lady — never  mind  her  name — 
to  the  preview  of  her  first  Hollywood 
picture.  She  was  unknown  before  that 
night.  The  picture  made  her  a  sensa- 
tion, a  star.  The  theatre  rippled  with 
excitement  about  her.  You  could  feel  it. 
When  the  picture  was  over,  she  sat  in  her 
seat,  as  cold  as  ice,  scared  stiff  about 
facing  the  crowd  outside.  'Come  on,  dar- 
ling,' I  said,  'you've  got  to  take  it.  We'll 
make  a  dive  for  it.'  We  started  up  the 
aisle.  At  the  top  of  the  aisle,  fifteen  or 
twenty  kids  pounced  out  and  wanted  her 
autograph.  I  beamed  to  her  to  sign 
them.  I  stood  off  at  one  side,  letting  her 
have  her  first  taste  of  glory. 

"First  she  handed  me  her  gloves,  so 
that  she  could  write  better,  then  her  bag, 
then  her  furs.  A  few  feet  away  stood 
two  elderly  women  who  didn't  want 
autographs  but  who  were  interested 
spectators.  Queerly  enough,  they  seemed 
to  be  watching  not  her,  but  me.  Then 
they  whispered.  From  their  expressions 
I  gathered  that  they  were  saying  some- 
thing like,  "Who  the  devil  is  it?  He 
must  be  a  great  friend  of  hers.'  Sud- 
denly they  both  rushed  over  to  me.  'Oh, 
Mr.  Disney,'  they  chorused,  'won't  you 
please  sign  our  programs?'  I  was  put  in 
the  position  of  signing  Walt  Disney's 
name  from  memory.    As  I  remembered, 


he  had  a  circle  over  the  'i.'  All  the 
while  they  kept  up  a  babble  about  'how 
they  loved  those  little  chipmunks.'  I 
was  afraid  they  were  going  to  ask  me  to 
draw  Dopey." 

Any  Hollywood  bachelor  taking  out  a 
Glamour  Girl  is  very  apt  to  have  the 
experience  of  being  shunted  to  one  side, 
while  the  populace  mobs  his  companion. 
Men  outside  Hollywood  wonder  if  this 
one  thing  wouldn't  be  hard  to  take.  Ac- 
cording to  Reggie,  "At  the  most,  it's  in- 
convenient. If  you  like  a  woman,  what's 
painful  about  having  your  taste  con- 
firmed?" 

THIS  being-pushed-aside  is  one  ex- 
perience peculiar  to  the  Hollywood 
bachelor.  So  is  the  large  number  of 
compulsory  buffet  dinners.  "At  which," 
to  use  Reggie's  word-picture,  "you  have 
to  consume  half  a  dead  duck,  orange 
jelly,  celery,  a  cream  puff  and  a  diseased 
radish,  invariably  mixed  with  a  scotch 
you  didn't  need."  Otherwise,  the  life  of 
a  Movietown  bachelor  is  much  the  same 
as  the  life  of  a  bachelor  anywhere  else. 
Except  that  there  is  more  of  it. 

"There  are  more  beautiful  girls  here 
to  the  square  mile  than  in  any  other 
town  in  Christendom,"  he  said.  "And 
they  are  all  very  good  men's  girls.  They 
mix  well — even  the  children  of  sixteen, 
just  out  of  the  egg.  Though  I've  noticed 
that  the  ones  who  are  most  successful 
with  men  are  those  who  retain  a  certain 
elusive  quality.  Not  a  hard-to-get  qual- 
ity. Something  more  subtle.  It's  more 
an  element  of  mystery  combined  with 


naturalness.  They  don't  wear  emeralds 
the  size  of  baseballs,  if  you  know  what  I 
mean. 

"People  have  the  horrible  suspicion 
that  beauties  are  haughty  damsels.  I've 
seen  some  haughty  chorus  cuties  in  my 
time,  but  it  has  been  my  experience  that 
movie  queens  not  only  can  take  ribbing; 
they  can  dish  it  out.  Collectively,  they 
have  a  sense  of  humor.  For  your  infor- 
mation, they  don't  issue  decrees  about 
what  they  want  to  do  when  a  man  asks 
them  out.  They  like  the  man  to  plan  the 
evening,  though  it  helps  if  he  knows 
what  dance  orchestras  they  prefer  or 
what  their  favorite  foods  are  and  where 
they  can  be  found.  Most  of  them  dance, 
and  few  of  them  diet. 

"I've  never  yet  asked  a  Hollywood  girl 
for  a  date  that  she  didn't  say,  'What  shall 
I  put  on?'  They  all  like  to  be  told  to 
put  on  evening  clothes.  I  think  it's  be- 
cause they're  in  slacks  and  sport  things 
all  day  long  and  when  evening  comes 
they  want  to  dress  up." 

Reggie  was  gradually  warming  to  the 
subject  of  Glamour  Girls.  He  even  be- 
came willing,  for  the  fun  of  it,  to  give  a 
Hollywood  bachelor's  impressions  of  a 
number  of  the  Hollywood  bachelor  girls, 
providing  it  was  understood  in  advance 
that  it  was  all  in  fun.  He  didn't  want 
anyone  wondering  if  next  he  would  be 
kissing  and  telling. 

At  the  top  of  the  list  was  Loretta 
Young.  "Definitely  Bachelor  Girl  No. 
1,"  commented  Reggie.  "Loretta  has 
everything  except  the  habit  of  giving  a 
man  any  hope.   She  is  keeping  herself  to 


JULY,  1940 


77 


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herself,  until  further  notice.  Only  the 
other  day  someone  asked  her  how  much 
longer  she  planned  to  keep  on  with  her 
career.  'Until  the  right  man  comes 
along,'  said  Loretta.  'When  I  fall  in  love 
— which,  so  far,  I  haven't  done — I'll 
marry.  And  when  I  marry,  that  will  be 
the  end  of  the  career.'  Strangely  enough, 
I  wouldn't  be  surprised  if  she  meant  it." 

He  mused  for  a  moment,  studying  the 
end  of  his  cigarette.  Then,  still  studying 
the  end  of  his  cigarette  but  smiling  to 
himself,  he  continued,  "Loretta  is  a  dual 
personality.  She  has  a  very  provocative 
quality,  she  is  a  terrific  flirt,  she  likes 
to  be  thought  slightly  wicked  and,  at 
the  same  time,  she  is  devoutly  religious. 
She  is  a  madonna  masquerading  as  Scar- 
lett O'Hara.  I  strongly  suspect  her  of 
playing  Scarlett  all  day  and  then  going 
back  to  her  niche  at  night." 

Ginger  Rogers?  "Ginger  doesn't  like 
to  go  out  much.  And,"  Reggie  added, 
with  a  lifted  eyebrow,  "I've  heard  she 
doesn't  really  care  about  dancing.  She'd 
much  rather  see  a  picture  in  her  own 
home  or  discuss  her  latest  drawing  or 
the  latest  bust  she  has  sculptured.  She 
is  a  great  home-girl.  Then,  just  like  a 
woman,  every  so  often  she  whips  out  and 
becomes  the  belle  of  the  ball.  I  have  a 
lot  of  respect  for  Ginger,  the  little  Texas 
Charleston  dancer,  who  has  developed 
into  a  completely  un-phony  artistic  per- 
son. She  loves  things  artistic  and,  what's 
more,  she  does  them. 

"Few  people  really  know  Ginger.  I'm 
far  from  positive  that  I'm  one  of  them. 
The  girl  is  full  of  surprises.  For  ex- 
ample, at  her  house  I  came  upon  a  can- 
vas on  which  were  drawn  two  adult  golf 
balls,  with  four  or  five  little  golf  balls 
nearby.  All  of  them  had  faces.  Over  at 
the  right,  behind  a  hillock,  lurked  an- 
other golf  ball,  with  a  leering  expression. 
The  caption  was,  'She  said  she  found 
them  behind  that  bunker.'  The  serious 
artist  in  a  frivolous  mood,  as  it  were. 
She  has  a  grand  sense  of  humor.  And 
a  pert  reserve.   You  can  see  the  squelch- 


ing comebacks  in  her  eyes.  It  would  do 
you  as  much  good  to  get  fresh  with  Gin- 
ger as  it  would  to  try  to  push  over  the 
Empire  State  Building." 

Olivia  de  Havilland?  "Now,  there's  a 
complex  person,"  frowned  Reggie.  "A 
bright  little  governess  that  no  sensible 
married  woman  with  a  susceptible  hus- 
band would  have  around  the  house.  Not 
with  those  eyes.  You  have  to  stay  on 
the  intellectual  plane  with  Olivia,  which 
is  all  very  confusing,  because  those  eyes 
seem  to  be  daring  you  to  get  off  it.  But 
every  man  who  obeys  that  impulse,  even 
before  he  starts,  has  the  wretched  feeling 
that  somehow  he  won't  succeed." 

Bette  Davis?  "Probably  the  most 
forthright  woman  in  Hollywood.  Re- 
freshingly frank.  I  wouldn't  be  surprised 
if  she  had  a  terrific  yen  to  do  what  the 
Hays  Office  won't  let  you  see — the  untold 
story  of  Queen  Elizabeth.  Bette  is  a 
very  simple  person  who  really  has  a  tre- 
mendous capacity  for  fun — and  has  the 
fun,  at  times.  But  condemned  to  play 
fallen,  blind,  frustrated,  unhappy  women 
in  one  picture  after  another,  an  armor  has 
grown  up  around  her.  She  can't  go 
rushing  about,  doing  the  shag.  It  isn't 
'in  character.'  She  is  definitely  one  ac- 
tress whose  roles  have  had  an  effect  on 
the  sort  of  person  she  is.  I  should 
imagine  that  she's  a  damned  good  busi- 
ness woman.  She  isn't  an  obvious 
Glamour  Girl,  but  she  has  a  strange  sex 
appeal." 

TEAN  PARKER?  "She's  one  of  the 
»J  most  amusing  women  in  Hollywood 
and  the  one  with  the  best  figure.  An 
amazing  person,  really.  I  have  reached 
the  conclusion  that  she  is  related  to 
Puck.  She's  either  Puck's  sister  or 
daughter.  Serious  one  moment,  the  next 
she  jumps  up  and  runs  off,  heaven  knows 
where.  She  has  enormous  talent.  She 
paints  excellently,  has  great  taste  in 
clothes,  reads  right  up  to  the  moment,  is 
highly  musical,  can  talk  about  anything 
under  the  sun,  and  last,  but  not  least,  is 


Maris  Wrixon, 
Mary  Anderson, 
and  Nell  O'Day, 
three  Warner 
Brothers'  starlets, 
have  a  day  off  and 
turn  beach  comb- 
ers. The  sea  and 
sun  and  the  sky 
aren't  enough  for 
these  little  maids. 
They  want  theirs 
with  sweet  music. 


78 


MODERN  SCREEN 


an  intelligent  actress.  And  yet,  with  it 
all,  she's  a  pixie." 

Madeleine  Carroll?  "I've  known 
Madeleine  so  long,  I  don't  know  if  I  dare 
say  anything  about  her.  We  did  a  play 
together  in  London  twelve  years  ago. 
Even  after  all  that  time,  Madeleine  still 
is  something  of  a  mystery  woman  to  me. 
I've  never  been  able  to  escape  the  feeling 
that  she  is  one  actress  dying  to  be  some- 
thing else — but  what,  I  don't  know.  I'm 
reasonably  sure  of  only  two  things  about 
Madeleine.  She  is  very  beautiful  and, 
if  the  nunnery  were  on  the  hill,  she'd 
be  likely  to  take  the  road  to  the  beach." 

Rosalind  Russell?  Reggie  rubbed  his 
hands,  smiled  and  cleared  his  throat. 
"When  I  heard  that  RKO  was  planning 
a  certain  picture,"  he  intoned  sonorously, 
"I  was  positive  that  Roz  was  going  to  do 
the  title  role,  even  though  she  was  an 
M-G-M  player.  The  title  exactly  fitted 
her.  It  was  'The  Mad  Miss  Manton.' 
I  have  a  very  deep  spot  in  my  heart  re- 
served for  Roz,  although  she  probably 
doesn't  know  it,  because  I  consider  my- 
self a  serious  person  seized  with  an  un- 
controllable urge  to  clown,  and  I  suspect 
Roz  of  exactly  the  same  thing.  I  also 
suspect  her  of  pausing  in  the  hall,  just  as 
she  is  about  to  leave  the  house  in  one 
of  those  wonderful  creations  of  hers,  and 
snatching  a  bit  of  lampshade — just  a 
bit.  Then,  on  the  way  through  the  gar- 
den to  the  car,  snatching  a  clothespin 
from  the  line  and,  with  the  clothespin, 
clamping  the  bit  of  lampshade  to  the 
right  side  of  her  hair-do." 

Greer  Garson?  "Better  than  anything 
I  could  say  about  her,  I  urge  you  to  re- 
member Cathy's  first  meeting  with  Mr. 
Chips  in  the  fog  on  the  mountain.  That 
wasn't  Cathy.    That  was  Greer  Garson." 

Mary  Martin?  "I  sometimes  wonder 
idly  if  there  are  any  more  like  Mary 


down  Texas  way.  If  so,  I  must  see  Texas. 
She's  full  of  high  spirits  and  vivacity. 
But  one  thing  I'm  quite  convinced  of:  her 
heart  does  not  belong  to  Daddy." 

Frances  Robinson?  "She  is  the  girl 
who  is  queen  of  the  campus,  only  she  has 
left  college.  She  is  everything  that  a 
gay  girl  can  be:  young,  bright,  pert  and 
pretty.  She  is  grand  company  for  a 
man,  a  'good  scout.'  I  can  have  as  much 
fun  with  Frances  as  with  anyone  I  know. 
She  has  probably  the  loudest  laugh  in 
Hollywood.  It  starts  with  three  staccato 
notes  in  high  F  and  does  a  sudden  sepul- 
chral swoop  to  the  last  black  note  on  the 
piano.  It  can  be  heard  on  the  southwest 
point  of  Catalina  Island." 

ELEANOR  POWELL?  "She  has  two 
horrors.  One's  men  who  stammer, 
'I'm  embarrassed  dancing  with  someone 
as  expert  as  you,  Miss  Powell.'  The  other 
is  Reginald  Gardiner."  He  rolled  his  r's 
ominously.  "When  we  were  doing  'At 
Home  Abroad'  on  the  stage  together,  we 
had  adjoining  dressing-rooms,  and  I  was 
always  popping  next-door  to  see  Eleanor 
and  her  mother.  Somehow,  a  running 
gag  that  I  was  her  secret  husband 
started.  I  would  make  veiled,  barbed 
remarks  indicating  that  my  patience  as 
a  husband  was  wearing  thin;  I  wanted  to 
know  when  she  was  going  to  give  up  this 
career  and  come  home.  This  went  on 
and  on  and  Eleanor  was  amused — until 
some  South  American  millionaire  with  a 
flock  of  titles,  who  had  conceived  a 
violent  passion  for  her  and  had  sent  her 
$150,000  (more  or  less)  worth  of  flowers, 
was  scheduled  to  make  a  call  backstage. 

"Eleanor  pleaded  with  me.  'Please 
don't  come  into  my  dressing-room  to- 
night. Or,  if  you  do,  please  don't  say 
anything  to  embarrass  me.'  I  simply 
had  to  see  the  ardent  suitor.    So  I  went 


in,  as  usual.  There  he  was,  with  a  large 
bouquet  in  one  hand  and  his  top  hat, 
gloves  and  cane  in  the  other.  We  were 
introduced,  and  I  couldn't  have  been  bet- 
ter behaved.  I  turned  on  all  that  old 
British  charm.  Finally  I  shook  hands 
and  said,  'Well,  I  must  get  along.'  At 
the  door,  just  before  I  closed  it,  I  paused 
to  say  to  Eleanor,  'Goodbye  for  now, 
darling.  I'll  run  the  tub  for  you.'  The 
suitor  had  kittens  then  and  there." 

And  the  most  beautiful  girl  in  Holly- 
wood? 

"The  most  beautiful  brunette,"  an- 
swered Reggie,  "I  won't  argue  about — it's 
Hedy  Lamarr."  This  certainly  proved 
him  unbiased.  Remember  that  Hedy 
married  someone  else,  after  going  with 
Reggie,  her  first  Hollywood  discoverer, 
for  a  year  and  a  half!  "Though  let's  face 
the  fact,"  he  added,  "that  little  Viv  Leigh 
isn't  bad-looking. 

"The  most  beautiful  blonde  woman  is 
more  difficult.  I'm  tempted  to  say  Mar- 
lene  Dietrich.  Being  asked  What  do  you 
think  of  Hollywood  beauty?'  is  a  little 
like  living  among  3,000,000  sturgeon  for 
a  year,  and  then  being  asked,  'Don't  you 
love  caviar?'  After  a  year,  you're  sated 
with  seeing  the  most  perfect  sort  of 
caviar.  You're  looking  for  mauve  caviar, 
or  yellow  caviar,  or  red  caviar — any  kind 
that's  different.  And  Marlene  is  differ- 
ent. Her  face  doesn't  have  a  doll-like 
perfection.  It  has  character.  To  anyone 
who  paints,  it  takes  character  lines  to 
give  meaning   to  beauty." 

The  interviewer,  preparing  to  go,  had 
one  more  item  of  curiosity  to  satisfy. 
Spring  was  in  the  air;  Spring,  which  did 
things  to  a  young  man's  fancy.  Who  was 
his  choice  for  the  evening  ahead? 

"The  most  cosmopolitan  girl  of  them 
all — the  one  I  can't  resist,"  said  Reggie, 
"is  none  other  than  Elsa  Maxwell." 


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JULY,  1940 


79 


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(Continued  from  page  43) 


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your  shoes  right  now.  You've  got  a  son 
that's  six  pounds,  nine  ounces  heavy." 

They  didn't  know  that  the  baby  was  in 
an  incubator,  nor  that  his  hold  on  life 
was  precarious.  Mrs.  Milland  didn't 
know  either.  She  smiled  when  she  saw 
her  husband  in  the  doorway,  then  burst 
into  tears  because  she  was  weak  and  so 
glad  to  see  him.  Outside,  the  doctor 
broke  the  bad  news  to  Milland.  For  five 
days  it  was  touch  and  go.  The  baby  was 
given  two  blood  transfusions.  Through 
a  glass  window,  Milland  was  allowed  to 
peer  at  the  blackhaired  scrap  who,  even 
at  twenty-four  hours,  managed  to  look 
amazingly  like  his  father.  Then  he'd  go 
back  to  his  wife  to  take  up  again  the 
heavy  game  of  pretense. 

FOR  Mai,  of  course,  wanted  to  talk 
about  the  baby.  "Not  having  seen  him, 
I  don't  feel  like  a  mother  at  all.  So 
you'll  have  to  tell  me  every  little  single 
thing  to  convince  me  that  it  wasn't  just 
an  appendix." 

"His  fist  was  curled  up  today,"  he'd  re- 
port, and  Mai  would  be  enchanted. 
Sometimes  a  cloud  crossed  her  face,  and 
fear  would  clutch  at  him  lest  she  sus- 
pect something.  But,  "Are  you  sure  you 
don't  mind  its  being  a  boy?"  she'd  ask. 
In  his  heart,  he'd  wanted  a  boy,  and  had 
kept  insisting  on  a  girl  only  to  prevent 
Mai's  feeling  he'd  be  disappointed  if  it 
were  a  girl.  Now  he  had  the  whole  thing 
to  unravel  backward.  "But  how  do  I 
know  you're  telling  the  truth  this  time?" 
His  comment,  irrelevant  enough,  seemed 
to  content  her.  "Women!"  he  said.  "You 
never  can  figure  them." 

Then  there  was  the  engrossing  topic 
of  "what  shall  we  call  him?"  They  both 
like  Biblical  names.  A  baby  born  in 
Hollywood  promptly  suggested  to  Ray 
the  image  of  Daniel  in  the  lion's  den. 
David  is  the  patron  saint  of  his  native 
Wales.    So  they  arrived  at  Daniel  David. 

At  midnight  of  the  fifth  day,  the  doctor 
said  there  was  a  fifty-fifty  chance.  On 
the  afternoon  of  the  sixth  day,  he  went 
farther.  "I'm  going  to  make  a  prediction. 
I  may  be  wrong,  in  which  case  you'll 
hate  me  for  this  later.  But  I  think  your 
baby's  going  to  live,  and  I  think  he's 
going  to  be  a  hundred  per  cent."  He 
saw  the  shadows  clear  from  a  pair  of 
eyes  that  had  been  haunted  and  felt  his 
hand  being  crushed  to  just  short  of  a 
pulp",  as  the  world  was  washed  new  for 
Daniel's  father. 

They  told  Mai  she  could  see  the  baby 
at  eleven  next  morning.  When  Ray  ar- 
rived at  nine,  she  was  out  of  bed  and 
dressed  and  all  prettied  up  for  her  son. 
This  was  one  time  when  she  didn't  want 
to  talk  about  him.  She  spent  the  two 
hours  waiting  and  watching  the  clock. 
At  length,  her  husband's  arm  around  her, 
she  was  standing,  staring  through  the 
glass.  Her  hands  went  out  in  an  in- 
stinctive gesture,  but  the  pane  barred 
their  way.  She  tried  to  say,  "Bless  his 
heart,"  and  couldn't  get  the  words  past 
her  trembling  lips.  So  she  turned  to 
Ray  and  buried  her  head  in  his  coat. 
"It's  all  right,  honey,"  he  said.  "This  is 
just  a  preview.  We'll  have  our  own 
opening  when  we  get  him  home." 

Mai  went  home  first.  Daniel  was  three 
weeks  old  before  he  was  strong  enough 
to  leave  the  hospital. 

"Won't  you  want  me?"  the  chauffeur 
asked  that  day. 

"Look,"  said  Milland.  "When  it's  your 
baby,  you  can  drive  him  home."  His 
sister-in-law  went  along  to  take  charge 


of  the  infant.  He  annoyed  both  her  and 
traffic — the  latter  by  clipping  along  at 
a  pace  of  twenty  miles,  the  former  by 
frequent  admonitions  to  sit  up  on  non- 
existent bumps.  He  let  her  carry  the 
baby  into  the  house,  though.  He  was  no 
dope. 

Commitments  to  Paramount  compelled 
him  to  tear  himself  from  the  crib  side 
a  few  days  later  for  a  trip  to  New  York. 
Daniel  bore  the  parting  with  philosophy, 
his  parent  with  impatience.  Every  night 
he'd  phone,  and  Mai  would  report  the 
latest  world  wonder.  "Just  think!  He 
weighs  nearly  ten  pounds  and  he  isn't 
even  supposed  to  be  born  yet." 

Meantime,  Information  Please,  that 
radio  program  of  wit  and  wisdom,  had 
learned  that  the  actor  was  to  be  in  town. 
Many  actors  come  to  town,  but  few  are 
chosen.  Asked  what  you  had  to  have 
to  rate  as  a  potential  guest,  Dan  Golden- 
paul,  the  producer,  answered:  "A  well- 
stocked  mind,  an  absence  of  stuffing  in 
the  shirt,  an  ability  to  bandy  language 
and  to  take  your  blunders  in  strides." 
Many  a  guest,  possessing  these  qualifica- 
tions has  sat  up  there  with  the  seasoned 
experts,  only  to  find  his  well-stocked 
mind  dry  as  a  desert,  and  his  banter  trip- 
ping, indeed,  and  falling  on  its  face.  Alice 
Longworth,  as  nimble-witted  a  lady  as 
you'll  find  in  a  month's  search,  will  bear 
this  out.  Wendell  Wilkie  had  to  be 
coaxed  for  a  year  before  he'd  go  on. 

IT  was  on  this  formidable  program  that 
Milland  was  asked  to  appear,  the  in- 
vitation having  been  issued  through 
Paramount's  New  York  office.  At  first 
he  was  incredulous,  then  cagey. 

"Must  be  some  other  Milland  they 
mean,  not  me.  Well,  what  in  the  name 
of  common  sense  would  they  want  me 
for?" 

It  seemed  that  someone  had  heard  of 
his  academic  prowess  at  Cambridge. 

"Yah!  So  I  suppose  they'll  pop  me 
questions  on  medieval  Italian  history, 
just  to  let  me  show  off.  No  thanks,  it's 
too  big-time  for  me.  Anyway,  I  want 
to  get  home  to  my  baby." 

They  didn't  point  out  that  it  would  be 
excellent  publicity  for  him  and  for  Para- 
mount, and  his  new  Paramount  picture, 
"French  Without  Tears,"  which  Fadiman 
would  be  sure  to  plug.  They  wisely  soft- 
pedaled  that  aspect.  They  stressed  the 
fact  that  it  was  an  honor  to  be  asked. 
They  recited  an  impressive  roll  of  earlier 
guests.  They  said  it  was  less  important 
to  answer  correctly  than  to  contribute 
to  the  gaiety  of  the  hour.  He  began  to 
think  twice.  It  was  sheer  perversity, 
though,  that  cinched  it. 

He'd  told  Mai  about  it  over  the  phone 
one  night.  She  went  to  a  party  next  day, 
and  when  Ray  called  that  evening,  she 
was  all  of  a  dither.  "They  said  not  to 
do  it,  Ray — " 


UP-TO-DATE  ADDRESS  LIST! 

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York,  N.  Y. 


80 


MODERN  SCREEN 


"Who  said  that  I  shouldn't  do  it?'* 

"Oh — Jack  and  Joe — all  of  them  at  the 
party.  They  said  you'd  be  sticking  your 
neck  out.  They  said,  'Does  he  know  they 
don't  see  the  questions  beforehand?'  " 

"They  said  he's  going  to  make  a  prize 
jackass  of  himself,"  grinned  Milland. 
"That  settles  it,  honey.  I'm  going  on." 
By  the  time  he'd  subdued  her  protective 
terrors  for  him,  he  owed  the  telephone 
company  most  of  the  profits. 

Tuesday  night  came.  The  studio  audi- 
ence gathered.  Who  they  are  is  a  mys- 
tery, for  the  legend  goes  that  you  have 
to  know  the  rooster  himself  to  get  in, 
so  clamorous  is  the  cry  for  tickets.  Fadi- 
man  sat  at  his  table,  stage  right,  looking 
over  the  questions.  Facing  him  were  the 
tables  of  the  quizzees.  The  pianist  in  the 
rear  was  softly  playing  a  Gilbert  and 
Sullivan  tune  for  F.  P.  A.  Kiernan 
squatted  downstage,  talking  to  two  pretty 
girls.  "That's  his  daughter,"  somebody 
whispered.    "The  prettiest  one." 

Milland  opened  the  stage  door,  his  toes 
curled  in  panic.  "I  was  going  to  stroll 
in,  very  nonchalant,  with  my  hand  in  my 
pocket.  And  there  were  these  three  lit- 
tle steps,  leading  to  the  platform.  Think- 
ing how  nonchalant  I  was  going  to  be, 
I  fell  up  the  steps  and  entered  on  all 
fours." 

This  feat  was  hidden  from  the  audi- 
ence. To  them  he  appeared  upright — 
tall,  dark,  hatless,  the  collar  of  his  top- 
coat turned  up,  his  air  faintly  rakish  as 
you've  seen  it  in  the  movies,  nonchalant 
as  anything.  He  was  introduced  to  Fadi- 
man  and  the  others.  From  a  corner 
came  the  sound  of  Levant's  distinctive 
bray,  so  you  knew  that  all  the  experts 
were  present  and  accounted  for. 

There's  a  fifteen-minute  warm-up 
period  preceding  the  broadcast.  Fadi- 
man  is  presented  to  the  audience  and 


he  in  'turn  presents  his  quartet.  "The 
relatively  personable  gentleman,"  be 
said,  "seated  between  Mr.  Kiernan  and 
Mr.  Adams — "  A  round  of  applause  told 
him  he  need  go  no  further.  He  beamed 
at  the  relatively  personable  gentleman 
who  appeared  to  be  blushing. 

You'll  have  to  take  Milland's  word  for 
it  that  he  was  shaking  and  never  quit 
shaking  till  five  of  nine.  He  gave  no 
evidence  of  it.  He  seemed  wholly  re- 
laxed. He  was  neither  coy  nor  hasty  in 
volunteering.  He  proved  as  conversa- 
tional as  the  veterans  and  as  little  bowed 
down  by  lapses  of  memory.  Asked  for 
three  current  plays  based  on  books,  he 
supplied  "Life  With  Father,"  then  cheer- 
fully confessed  himself  stuck.  He  mis- 
took the  name  Plessy  for  Grecy,  and 
offered  Richard  Coeur  de  Lion  as  the 
person  associated  with  the  place.  His 
had  been  the  only  hand  up.  "You're 
way  ahead  of  the  others,"  Fadiman 
soothed  him.  "They  didn't  even  know  it 
wasn't  Richard  Coeur  de  Lion."  He  knew 
that  "March  on,  march  on"  was  part  of 
"La  Marseillaise,"  adding  pleasantly,  "I 
love  my  accent." 

AN  entente  was  promptly  formed  be- 
tween  him  and  Levant,  who  was  in 
fine  fettle,  egged  on,  it  seemed,  by  Mil- 
land's  appreciation.  The  actor  was  fas- 
cinated by  him,  howled  at  each  sally. 
"This  Levant  is  very  funny,"  he  excused 
himself  after  one  such  outburst.  They 
played  into  each  other's  hands,  passed 
the  buck  to  each  other.  "Who  went  from 
cavalry  to  cinema?"  Fadiman  asked. 
"This  fellow  Milland,"  yelled  Oscar.  Ray 
half  rose  and  made  him  as  courtly  a  bow 
of  acknowledgement  as  his  position, 
wedged  between  chair  and  table,  per- 
mitted. 

The  platform  fairly  radiated  good  will 


after  the  show,  indicating  that  the 
Pleasers  were  as  pleased  with  their  guest 
as  he  with  them.  They  wanted  to  hold 
him,  but  he  had  a  ten-thirty  plane  to 
make.  Between  the  excitement  of  the 
program  and  the  prospect  of  getting  back 
to  his  wife  and  child,  his  spirits  ran  high. 
All  the  way  out  to  the  airport,  he 
chuckled  over  the  antics  of  Levant,  mar- 
veled at  the  learning  of  Adams  and  Kier- 
nan and  at  Fadiman's  smoothness.  "Lord, 
how  he  lacerates  'em.  And  all  the  time 
soft  as  silk,  so  you  have  to  think  twice 
to  get  the  sting.  Looking  forward,  it 
was  torture.  Looking  back,  it  was  grand. 
Now  that  it's  finished,  I'd  like  to  do  it 
all  over  again." 

Fadiman  had  offered  to  send  him  a 
record  of  his  percentage.  "Do  that,  will 
you?"  Milland  had  urged.  "I  need  it 
for  my  kid  brother-in-law.  He'll  never 
believe  I  made  more  than  zero  minus, 
unless  it  comes  with  authority." 

Mai's  brother  is  thirteen,  and  a  skeptic 
on  principle.  Ray  approves  of  him.  "He's 
the  kind  of  kid  that  gets  shy  and  em- 
barrassed with  people.  These  kids  that 
say  howdyado,  I'm  so  glad  to  meet  you, 
then  sit  on  the  edge  of  a  chair,  all  smug 
and  polite — I  could  hit  'em  across  the 
teeth,  couldn't  you?  I've  warned  my 
wife  that  if  ours  ever  says  howdyado, 
she'll  answer  for  it." 

The  car  came  to  a  halt.  A  redcap 
reached  in  for  the  luggage.  "Go  easy 
with  that  one,"  warned  Milland.  "It's 
my  wife's  present." 

"How  'bout  the  big  one?" 

"I'll  take  that  myself.   It's  for  my  boy." 

The  porter  eyed  the  huge  package. 
"Must  be  a  powerful  big  boy,"  he 
grinned. 

Milland  was  striding  toward  the  plane. 
"That's  right,"  he  flung  back  over  his 
shoulder.   "Five  weeks  old  today." 


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81 


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ICE  CREAM— AND  HOW! 

(Continued  jrom  page  11) 


Baked  Alaskas  always  have  been  re- 
garded as  tops  in  party  desserts,  though 
said  to  be  too  difficult  for  amateur  cooks 
to  attempt.  This  one  suggested  by  Gloria 
Jean's  mother,  however,  is  not  one  bit 
hard  to  make. 

JUNIOR  ALASKAS 

4  tablespoons  cocoa 

Vs  cup  cold  water 

1  cup  sugar 

Vi  cup  butter 

Vz  cup  sour  cream 

Vz  teaspoon  vanilla 

1  egg,  beaten 

1  cup  sifted  cake  flour 

1  teaspoon  baking  powder 
Yi  teaspoon  baking  soda 

a  pinch  of  salt 

small  servings  of  vanilla  ice  cream 

16  campfire  marshmallows 
Place  cocoa  in  saucepan,  slowly  add  the 
cold  water.  Cook  and  stir  over  direct 
heat  until  smooth.  Add  butter  and  when 
butter  has  melted  add  sugar.  Mix  thor- 
oughly, cool.  Add  sour  cream  and  va- 
nilla. Beat  egg  thoroughly,  add  to  cocoa 
mixture.  Sift  flour,  measure.  Add  bak- 
ing powder,  soda  and  salt;  sift  again. 
Add  liquid  ingredients  to  dry  ingredients 
all  at  one  time.  Beat  together  thor- 
oughly. Bake  in  large  greased  and  floured 
muffin  tins  in  moderate  oven  (375°F.) 
approximately  25  minutes,  or  until  cake 
taster  comes  out  clean.  Cool  on  wire  cake 
rack.  Return  to  pans.  Hollow  out  cake 
centers,  using  a  grapefruit  knife.  Fill 
hollowed-out  cakes  with  ice  cream,  level 
with  tops  of  cakes.  Cover  ice  cream 
completely  with  halved  marshmallows, 
cut  side  down.  Place  under  hot  broiler 
flame  for  a  bare  half  minute  or  so  to 
brown  and  puff  the  marshmallows.  Re- 
move to  individual  serving  plates,  work- 
ing quickly.  Serve  at  once.  The  cake 
that  was  scooped  out  may  be  mixed  with 
whipped  cream,  cut  marshmallows, 
drained  crushed  pineapple  and  chopped 
nuts  for  dessert  the  following  day. 

FROZEN  FRUIT  SHORTCAKE 

2  cups  orange  juice 

Vz    cup  granulated  sugar 
grated  rind  of  Vz  orange 

1  tablespoon  cornstarch 

2  egg  yolks,  slightly  beaten 
1     tablespoon  gelatin 

1  tablespoon  cold  water 

2  egg  whites,  beaten 

3  tablespoons  powdered  sugar 
1  cup  whipping  cream 

sliced  sponge  cake 
Heat  orange  juice.  Mix  sugar,  rind  and 
cornstarch.  Beat  in  the  yolks.  Very  slowly 
add  hot  orange  juice.  Cook  over  low 
heat,  stirring  constantly,  until  smooth 
and  creamy — approximately  3  minutes. 
Sprinkle  gelatin  on  the  cold  water  and 
when  softened  add  to  hot  orange  mix- 
ture. Stir  until  gelatin  has  dissolved. 
Cool  until  slightly  thickened.  Line  re- 
frigerator tray(s)  with  waxed  paper. 
Cut  an  oblong  sponge  cake  to  fit  tray, 
in  a  slice  about  Va  inch  thick.  Fit  this 
tightly  into  bottom  of  tray.  Beat  egg 
whites  until  they  begin  to  hold  their 
shape.  Beat  in  the  powdered  sugar,  one 
tablespoon  at  a  time.  Whip  cream,  com- 
bine with  beaten  whites,  fold  into  cooled 
and  thickened  orange  custard.  Pour  or- 
ange mixture  into  prepared  tray(s). 
Freeze  quickly — with  regulator  set  at 
coldest  point — approximately  3  hours. 
When  frozen,  set  regulator  back  to  a  less 
cold  point,  to  store  until  serving  time. 


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82 


MODERN  SCREEN 


PAULETTE'S  OUTSMARTING  HER  RIVALS 


(Continued  on  page  51) 


he  had  been  testing  all  that  morning. 

He  was  not  only  surprised;  he  was 
startled.  Involuntarily,  he  said,  half  to 
her,  half  to  himself,  "Who — who  is  it?" 

The  vixen  smiled  at  the  effect  she  had 
produced,  stepped  into  the  room  and  said, 
"Hal-lo.  My  name,  she  is  Louvette.  What 
you  think,  eh?" 

De  Mille  smiled,  in  spite  of  himself. 
The  girl,  whoever  she  was,  had  contrived 
a  clever  ruse  to  get  his  attention.  He 
relished  her  showmanship. 

She  was  cleverly  made  up,  too.  He 
still  didn't  recognize  her.  He  admitted  it, 
asking,  "Louvette  who?" 

"Louvette  Goddard — no  one  else,"  she 
said. 

"What!"  he  exclaimed,  a  man  stunned 
with  amazement.  "Paulette?"  He  was 
both  incredulous  and  delighted. 

"Why,  you  little  dickens.  So  you  think 
you  could  play  the  wolf  girl?" 

"What  do  you  think?"  she  said. 

HE  didn't  answer  immediately.  He 
stood  up,  walked  around  her  slowly, 
looked  her  over  from  every  angle,  as 
critically  as  a  camera  would.  "Your  fin- 
gernails are  too  red  and  too  long,"  he  said 
finally,  "but  we  could  do  something  about 
those.  Otherwise,  you  look  the  part.  I'd 
like  to  hear  you  read  some  lines."  He 
reached  for  a  script,  ruffled  through  it  to 
a  certain  scene. 

"But  I  haven't  read  the  script  before," 
said  Paulette.  "To  help  me  get  the  feeling 
of  the  scene,  would  you  read  the  man's 
lines  as  I  read  the  girl's?" 

De  Mille  looked  helplessly  at  Pine,  who 
said,  "I'm  no  actor.  You'll  have  to  do  it." 

So  De  Mille — who  had  completely  for- 
gotten about  lunch — went  through  the 
scene,  himself,  with  Paulette.  But  reading 
the  man's  lines  kept  him  so  busy  and 
made  him  so  self-conscious  that  he 
couldn't  concentrate  on  her  interpretation 
of  the  girl's  lines.  Finally,  he  admitted, 
"This  isn't  fair  to  you.  Take  the  script 
home,  study  the  scene,  and  then  come 
back  tomorrow  at  noon  and  read  it  for 
me.  I'll  have  somebody  here  to  read  the 
man's  part." 

He  implied,  "You're  a  smart  girl.  You 
thought  of  a  way  to  make  me  wonder 
if  you  couldn't  be  Louvette.  Now,  the 
rest  is  up  to  you." 

That  was  all  that  Paulette  needed — 
the  chance  to  show  what  she  could  do. 
She  proved  that  the  next  noon.  In  her 
own  clothes  and  without  benefit  of  ap- 
propriate make-up,  she  gave  her  idea  of 
how  a  North  Woods  spitfire  would  talk 
and  behave.  De  Mille  was  convinced.  "I'm 
not  giving  you  a  screen  test,  Paulette. 
You  don't  need  one.  I  know  you  can  play 
the  part." 

This  story  has  been  carefully  sup- 
pressed. The  public  has  been  led  to  be- 
lieve that  Paulette  was  the  original  and 
only  actress  considered  for  the  role.  But 
having  had  a  tip-off  that  that  was  not 
the  case,  and  that  the  real  story  revealed 
unsuspected  things  about  the  girl  named 
Goddard,  I  went  to  her  to  do  a  little 
checking. 

I  found  her  on  the  set  of  "North  West 
Mounted  Police,"  stirring  up  trouble — for 
picture  purposes — among  some  Indians. 
The  Indians  were  genuine,  but  such  is 
the  magic  of  make-up,  she  looked  as 
Indian  as  they  did,  except  for  those  mis- 
chievous blue  eyes.  "The  blue  eyes  aren't 
out  of  character,"  she  said,  smiling,  her 
white  teeth  gleaming  against  the  back- 
ground of  dark  greasepaint.  "I  play  a 
half-breed,  you  know." 


She  led  the  way  to  her  portable  dress- 
ing-room, a  canvas  coop  rigged  up  on 
the  sidelines  of  the  set,  and  crowded  with 
three  chairs  and  a  dressing-table.  She  sat 
down  on  the  dressing-table  bench,  one 
bare — and  shapely — leg  curled  under  her, 
the  other  dangling,  and  waited  for  my 
first  question. 

I  told  her  the  story  I  had  heard  about 
how  she  had  gone  after  the  role,  and 
asked  her  if  it  were  true. 

"Yes,  it  is.  It  didn't  look  as  if  I  could 
get  myself  considered  for  the  role  any 
other  way,"  she  admitted  frankly.  "At 
least  fifty  actresses  wanted  it.  It's  that 
kind  of  role.  But  apparently  none  of  them 
wanted  it  quite  as  badly  as  I  did. 

"As  long  as  I've  been  movie-minded, 
I've  dreamed  of  doing  a  picture  for  Mr. 
De  Mille.  Everyone  he  makes  is  im- 
portant. He  has  never  produced  a  flop. 
And  no  one  in  Hollywood  is  his  equal  for 
bringing  out  players,  making  them  fa- 
mous"— a  statement  that  indicated,  all  by 
itself,  that  those  blue  eyes  were  observant 
and  the  brain  behind  them  shrewd. 

"I  met  him  for  the  first  time  at  the 
Academy  dinner  three  years  ago.  We  sat 
side  by  side.  He  teased  me  about  looking 
like  his  idea  of  Delilah.  I  asked  him 
jokingly  why  he  didn't  do  the  story  of 
Samson  and  Delilah,  and  let  me  play 
Delilah?  He  joked  back,  'Maybe  I  will! 
Shortly  after  that,  I  went  on  a  six  months' 
trip  to  the  Orient.  From  every  port,  I 
sent  him  post  cards.  From  Singapore  I 
wrote:  'When  are  you  going  to  have  a 
part  for  me? — because  I  want  to  work 
for  you.'  From  Hong  Kong  I  sent:  'Don't 
forget — Paulette.'  It  was  all  in  fun,  but 
mixed  in  with  the  fun  was  a  certain 
amount  of  wishful  thinking.  And  that, 
as  I  say,  was  three  years  ago." 

PAULETTE  drew  her  leg  up  under 
her.  "The  first  I  heard  of  Mr.  De 
Mille's  search  for  Louvette,"  she  con- 
tinued, "was  when  I  saw  a  drawing  of 
her  in  the  paper.  Everybody  saw  it.  The 
caption  underneath  the  drawing  was: 
'Have  you  seen  this  girl?'  The  implica- 
tion was  that  her  living  counterpart  would 
be  a  dramatic  sensation  in  'North  West 
Mounted  Police.'  I  studied  the  picture, 
and  I  asked  myself,  'Why  couldn't  I  look 
like  that — if  I  had  the  chance?'  Not  that 
I  felt  I'd  ever  get  it.  What  I  thought  was 
that  this  so-called  search  was  a  big  build- 
up to  an  announcement  that  So-and-So 
had  been  cast  in  the  part — with  So-and- 
So  having  been  decided  upon  months  in 
advance.  Maybe  that  was  what  people 
thought  when  I  was  announced  for  it! 

"I  was  away  from  the  Paramount  lot 
for  several  weeks.  When  I  got  back,  I 
had  a  lot  of  gossip  to  catch  up  on.  One 
morning  I  said  to  Dot  Ponedel,  my  studio 
hairdresser,  who  ought  to  know:  'Tell  me 
— who's  going  to  play  Louvette?'  To  my 
infinite  surprise,  she  answered,  'The  part 
hasn't  been  cast  yet.  Mr.  De  Mille's  lining 
up  people  for  tests.'  She  showed  me  the 
drawing  I  had  seen  reproduced  in  the 
newspaper — which  the  hairdressing  de- 
partment was  using  as  a  guide  in  fixing 
the  girls'  hair  for  their  tests.  I  said 
'Hmmmm!'  and  got  in  touch  with  my 
agent  as  soon  as  possible. 

"If  the  part  wasn't  cast  yet,  I  was  going 
to  try  for  it.  I  made  up  my  mind  on  that 
point  in  a  hurry.  Here  might  be  my 
chance  at  last  to  work  with  Mr.  De  Mille! 

"My  agent  tried  to  discourage  me.  I've 
already  got  three  other  clients  out  for  it, 
Paulette.  That  means  I'm  due  to  have  at 
least   two   disappointed   clients.  Maybe 


Whenl  etters  have  to  take 
your  place  why  chance  paper  that 
tells  nothing  of  your  personality 
—  letter-paper  with  a  vacant  stare? 
In  EATON'S  alluring  new  collec- 
tion of  PERSONALITY  PAPERS 

there  is  a  letter-paper  as  personal 
as  your  own  handwriting  — paper 
right  for  your  type  and  temperament! 

IS  ONE  OF  THESE  YOUR 
/  PERSONALITY  PAPER? 

W  •  7£\j_  .   


"np/w  "ree* 'G' „   .    """^V  /, 


H.  I.  — •"»!-. Sn,  —'ess.  cripend. 


-one 


'..  I.  and  rol  -.o^O.' 


(THESE  ARE  BUT  THREE  OF  EATON'S  PERSONALITY  LETTER 
PAPERS  NOW  BEING  SHOWN  AT  FINE  STORES,  EVERYWHERE) 

Would  you  like  DOROTHY  SARA  — famous  grapholo- 
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to  DOROTHY  SARA,  </o  EATON'S  FINE  LETTER  PAPERS, 
PITTSFIELD,  MASS. 


Makers  of  Highland  Linen  Since  1893 


JULY,  1940 


83 


What  if  If  is 

THAT  TIMS  OF  MONTH? 

KEEP  GOING  AND  KEEP  COMFORTABLE 

 WITH  THE   HELP   OF  MIDOL 

Why  let  "regular"  suffering — the  functional 
pain  of  menstruation — interfere  with  plans 
and  pleasure?  Many  women  find  comfort 
and  welcome  release  from  calendar  slavery 
in  Midol ! 

Midol  is  a  new  formula,  developed  for  its 
special  purpose.  It  contains  no  opiates.  One 
of  its  ingredients  is  frequently  prescribed  by 
thousands  of  doctors.  And  another — ex- 
clusively  in  Midol — reinforces  Midol's 
relief  by  helping  to  reduce  spasmodic  pain 
peculiar  to  the  menstrual  period. 

Unless  there  is  some  organic  disorder  call- 
ing for  medical  or  surgical  treatment,  Midol 
helps  most  women  who  try  it — giving  them 
comfort,  redeeming  lost  days  for  active 
living.  If  it  doesn't  help  you,  consult  your 
doctor.  Five  tablets,  more  than  enough  for 
a  convincing  trial,  only  20c;  12  tablets,  40c. 
All  drugstores. 


MiDOL 


RELIEVES    FUNCTIONAL    PERIODIC  PAIN 


'hps 


M1 


New  Lipstick 
Gives  This 
Alluring  Appeal 

EN  are  attracted  to 
lips  that  have  a 
moist,  warm  inviting 
look.  Clever  girls  use 
Twin  Sisters  Dewy- 
SHEENLipstick.  Due  to 
a  new  ingredient  found 
in  no   other  lipstick, 
lips  remain  looking  dewy  moist,  alive,  lus- 
trous ...  so  innocently  natural  they  tempt 
beyond  dreams.  Be  among  the  first 
to  bring  to  your  lips  this  glamor- 
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DULL  LIPS         DEWY  SHEEN 

TANGERINE"*"^  LIGHT  , 
MEDIUM      RASPBERRY  M 
CARDINAL  ORCHID  U 

Clark-Millner  Co.,  Dept.  15-G 

450  W.  Superior  St.,  Chicago,  III. 

In  Canada,  address  426  St.  Helen  St.,  Montreal 
Please  send  me  Twin  Sisters  Dewy- Sheen  Lip- 
stick in  the  following  shades  

I  enclose  10c  for  each.  (20c  in  Canada) 

Name  

/lddrfss  


three.  And  I'm  not  going  to  risk  having 
four.'  In  short,  he  wouldn't  even  mention 
my  name  to  Mr.  De  Mille. 

"That  setback  only  made  me  all  the 
more  determined  to  get  in  the  running. 
But  how  was  I  going  to  compete  with 
girls  who  had  agents  talking  up  for  them? 
I  had  to  do  something  unusual — some- 
thing to  make  Paulette  Goddard  stand  out 
as  an  unexpected  possibility  for  the  part. 

"I  couldn't  imagine  myself  walking  into 
Mr.  De  Mille's  office  in  my  own  clothes 
and  saying,  'Why  couldn't  I  play  Lou- 
vette?'  and  trying  to  persuade  him  that 
I  could.  For  one  thing,  I  wouldn't  look 
the  part. 

"That  gave  me  an  idea.  I'd  go  in  to 
see  him — and  I  would  look  the  part. 

"That  took  a  bit  of  conniving.  I  per- 
suaded Dot  Ponedel  to  fix  my  hair  like 
Louvette's,  got  one  of  the  Westmore  boys 
to  put  on  the  make-up  touches,  and  had 
a  wardrobe  woman  snatch  Louvette's 
dress  off  the  other  girl's  back,  as  soon 
as  her  test  was  over,  and  rush  it  to  my 
dressing-room.  Meanwhile,  I  had  begged 
Bill  Pine  to  hold  Mr.  De  Mille  in  his 
office  for  fifteen  minutes  that  noon,  be- 
cause I  had  a  surprise  for  him,  and  Bill 
promised  not  to  tell  I  was  coming. 

"It  took  a  lot  of  nerve,  but  I  wanted 
that  role  desperately." 

DEOPLE  have  underestimated  Paulette. 
*■  They  considered  her  the  girl  in 
Charlie  Chaplin's  life.  They  haven't  sus- 
pected her  of  a  long  and  determined 
campaign  to  make  a  name  for  herself  as 
an  actress.  They  have  suspected  her, 
instead,  of  only  toying  with  a  career. 

Paulette  planned  it  that  way.  She  wasn't 
taking  any  chances  of  being  knifed  by 
stars  afraid  of  her.  She  smiled  and  let 
them  think  she  wasn't  serious  about  a 
career.  She  kept  her  ambition  completely 
and  shrewdly  hidden  until  she  sensed 
the  psychological  moment  to  turn  it  loose. 

That  moment  arrived  when  the  role 
of  Louvette  loomed  on  the  horizon.  She 
had  just  finished  "The  Ghost  Breakers," 
written  especially  for  Bob  Hope  and  her- 
self, which  would  be  out  in  early  sum- 
mer. She  had  just  played  the  girl  in 
"The  Great  Dictator,"  Chaplin's  long- 
awaited  first  talkie,  another  part  espe- 
cially written  for  her.  Both  pictures  had 
hit  possibilities.  But  both  were  comedies. 
Now,  if  she  could  only  do  a  big  dramatic 
picture  like  "North  West  Mounted  Po- 
lice,"— well,  1940  might  be  her  year.  Any- 
way, it  was  worth  a  gamble. 

As  she  explained  it,  "My  career  is  my 
whole  life,  not  just  a  trinket  to  wear  on 
my  wrist.  And  it  has  been  that  ever  since 
I  first  arrived  in  Hollywood,  despite  ap- 
pearances sometimes  to  the  contrary. 

"I  wasn't  as  lucky  as  some  girls  with 
screen  ambitions.  I  had  no  acting  back- 
ground worth  mentioning.  I  had  done 
two  small  bits  in  two  New  York  shows; 
that  was  all.  I  had  to  acquire  an  acting 
background  by  starting  at  the  bottom. 

"I  arrived  in  Hollywood  originally  on 
a  week-end  party  with  some  friends  from 
Reno.  I  hadn't  been  here  twenty-four 
hours  when  I  received  a  movie  offer — to 
be  a  chorine  in  Hal  Roach  Comedies.  I 
took  the  offer,  but  I  didn't  have  any  il- 
lusions about  being  able  to  step  from 
the  chorine  ranks  to  stardom,  because 
I  knew  I  didn't  know  how  to  act.  On  the 
other  hand,  I  didn't  have  any  intention  of 
staying  a  chorine  forever. 

"What  I  did  was  to  look  around  for  the 
best  dramatic  coach  in  sight.  I  decided 
that  Samuel  Kayser  was  it.  I  think  How- 
ard Hughes  brought  him  out  from  New 
York  during  'Hell's  Angels,'  to  coach  Jean 
Harlow.  He  had  also  coached  Janet  Gay- 
nor  and  countless  other  people,  helped 
to  make  them  famous.  I  started  working 
with  him,  and  I  haven't  stopped  since, 


except  for  short  intervals — the  longest 
one  six  months.  I  have  always  come  back, 
started  again.  Every  day  at  nine,  when 
I'm  not  working,  I  have  an  hour's  lesson. 
I  don't  have  something  new  to  do  every 
day;  far  from  it.  Some  of  the  work  is 
so  repetitious,  and  I  become  so  bored, 
that  I  could  scream.  But  I  have  always 
been  able  to  make  myself  keep  on,  make 
myself  have  that  much  vitality  and  take 
that  discipline." 

In  other  words,  she  has  been  smart 
enough  not  to  relax,  not  to  underestimate 
for  one  moment  the  calibre  of  the  com- 
petition. She  hasn't  waited  for  the  breaks. 
She  has  worked  for  them. 

"The  long  hours,  months,  years  spent 
with  Kayser  were  the  only  thing  that 
gave  me  the  courage  to  sign  with  Selz- 
nick  two  years  ago,"  said  Paulette.  "I 
hoped  I  was  ready  to  strike  out  and  have 
a  career — at  last.  The  first  thing  I  did 
was  'The  Young  in  Heart,'  followed  al- 
most immediately  by  'Dramatic  School.' 
Meanwhile,  the  Scarlett  O'Hara  business 
was  going  on,  with  endless  tests  and  talk 
about  my  doing  it.  After  such  a  build-up, 
the  eventual  letdown  was  cataclysmic.  I 
lost  all  my  belief  in  myself  as  an  actress. 

"George  Cukor,  who  was  originally  to 
direct  'Gone  with  the  Wind,'  still  believed 
in  me.  He  talked  me  into  doing  the  role 
of  the  show  girl  in  'The  Women.'  He  said, 
'it's  a  minor  role,  but  it  will  do  a  lot  for 
you.  Especially  the  scrap  with  Rosalind 
Russell.'  He  was  right;  it  did  do  a  lot 
for  me.  The  scrap  was  what  impressed 
people. 

"You  hear  that  in  Hollywood  every- 
body tries  to  beat  you  down,  if  you're 
new.  But  everybody  I've  known  has  tried 
to  help  me.  I  don't  understand  it,  but 
that's  the  way  it  has  been." 

The  girl  is  too  modest.  It's  easy  enough 
to  understand.  She  hasn't  trampled  other 
people,  in  her  efforts  to  get  somewhere, 
herself.  She  has  been  smart  enough  to 
take  her  time,  to  make  friends  all  along 
the  road. 

T  ASKED  her  about  the  Chaplin  picture. 
*  Was  it  true  she  had  the  biggest  part 
any  girl  had  ever  had  in  a  Chaplin  pic- 
ture— and,  if  so,  did  she  talk  Chaplin  into 
making  the  part  so  prominent? 

She  answered,  "Yes"  to  the  first  ques- 
tion, "No"  to  the  second.  "The  part  looms 
up  so  well,"  she  said,  "because  the  story 
revolves  around  the  girl.  She  typifies  the 
Ghetto,  the  Common  People.  She  is  the 
only  one  willing  to  help  the  persecuted, 
and  lives  in  hope  of  beating  up  the  Storm 
Troopers.  Being  created  especially  for  me, 
she  is  very  much  like  me,  except  that  our 
voices  are  different.  In  the  picture  I  use 
what  I  call  'my  little  voice,'  and  I  jabber 
constantly — so  that  Charlie  never  gets  a 
chance  to  talk  as  the  little  tramp.  He 
plays  a  dual  role,  you  know,  a  dictator, 
and  a  little  tramp  who  is  a  double  for  the 
dictator.  I  love  the  story.  It  should  be  a 
tonic  to  everybody  who  sees  it.  Only  it's 
too  bad  that  the  dictator-ridden  countries 
can't  see  it. 

"What  ^kind  of  roles  do  I  want  to  do? 
Every  kind.  Amusing  ones,  tragic  ones, 
dramatic  ones,  romantic  ones.  That's 
the  fun  of  acting,  it  seems  to  me.  There's 
no  limit  to  the  things  you  can  try  to 
do,  the  interesting  people  you  can  try  to 
be.   You  can  never  reach  the  end." 

Paulette  Goddard  has  an  animated  face 
that  you  can't  confuse  with  any  other  on 
the  screen.  She  has  a  figure  that  was 
recently  voted  "the  world's  most  beauti- 
ful." She  has  talent  and  ambition  and  a 
terrific  willingness  to  work.  But,  most 
important  of  all,  she  has  a  smart  head 
on  her  shapely  shoulders. 

Her  rivals  will  have  to  think  fast  to 
keep  up  with  her — because  Paulette  is 
going  places  in  a  hurry.  Watch  and  see. 


84 


MODERN  SCREEN 


ANNIE  MEETS  THE  BOYS 

(Continued  from  page  31) 


stay  up  until  four  or  five  in  the  morning." 

Ann  Sheridan  smiled.  The  smile  was 
dazzling.  And  while  we  recovered  from 
it,  she  sipped  her  iced  tea,  left  some 
lipstick  on  the  straws  and  told  us  she 
usually  wears  evening  gowns  to  formal 
parties  and  big  affairs.  On  the  average 
date,  she  likes  to  be  comfortable  in 
slacks.  Her  shapely  legs  are  always 
bare  beneath  her  formal  attire,  but  she 
wears  stockings  with  slacks.  There  are 
two  dozen  gowns  in  her  closet  that  she 
hasn't  tried  on  yet.  They're  in  her  fa- 
vorite colors  of  black  and  white — -"And, 
of  course,  red.  I'm  daffy  about  red.  But 
while  I  speak  Spanish  fluently,  dance 
Spanish,  like  Spanish  food,  I  can't  wear 
that  type  of  clothes  because  it's  too 
colorful  for  my  hair." 

She  admits  that  most  of  the  beaux 
don't  much  care  what  she  drapes  on 
her  body.  They  are  satisfied  if  she  is 
comfortable  and  happy  in  her  clothes. 

WITH  a  bit  of  Machiavellian  urging, 
we  managed  to  keep  Ann  on  the 
subject  of  stepping  out  in  Cinemaland. 
With  candor  she  discussed  her  favorites — 
punctuating  her  conversation  with  the 
word  "honey,"  and  using  it  democrati- 
cally in  addressing  the  waitress,  a  scen- 
ario writer,  a  producer,  two  relatives  of 
a  director  and  us. 

She  mentioned  Jean  Negalescu,  the 
mysterious  author  and  painter,  a  fascinat- 
ing man-about-town,  witty  with  words 
and  fortified  with  a  French  accent. 

"Jean  is  great  company.  Entertaining. 
Never  a  flat  moment.  I  sometimes  go  to 
Earl  Carroll's  huge  restaurant  with  him 
.  .  .  Jeff  Lynn  is  a  little  different.  Very 
reserved  and  New  England,  and  delight- 
fully serious  about  his  work.  You'd  never 
believe  this  secret  about  him,  but  so  help 
me,  one  of  his  favorite  amusements  is — 
jitterbugging! 

"I've  been  out  with  Randy  Scott.  And 
I  always  look  forward  to  a  date  with 
Franchot  Tone  when  he's  in  town  and 
nice  enough  to  call  me.  Franchot  has 
a  brilliant  mind,  is  so  well-mannered 
and  intriguing.  I  like  to  rib  him.  When 
he  gets  too  serious  I  call  him  'The  Doc- 
tor.' I  used  to  see  David  Niven  a  good 
deal  before  he  returned  to  England  and 
the  war.  I  wonder  if  he's  married,  as 
they  rumor?  David  was  a  terrific  clown, 
gagging,  joking  and  possessing  the  most 
lovable  topsy-turvy  charm. 

"One  thing  I  like  about  the  men  I've 
gone  out  with:  None  of  them  talks  poli- 
tics, thank  God!  And  when  they  take 
me  out,  they're  rarely  serious,  which  I 
appreciate  because  it's  relaxing,  and  they 
never  talk  shop,  except  to  tell  a  story  or 
get  rid  of  a  little  gossip  about  themselves 
or  someone  else  in  the  studios." 

Ann  Sheridan  was  frank  enough  to 
admit  that  she's  had  plenty  of  embar- 
rassing moments  on  dates. 

"There  was  Ouida  Bergere  Rathbone's 
last  party:  You've  heard  of  Ouida, 
haven't  you?  She's  the  red-headed  wife 
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worked  me  toward  that  dip  in  the  floor, 
and  as  I  landed  on  it,  I  slipped,  my  high- 
heel  caught  inside  my  dress — and  rip! — 
whew! — a  yard  of  the  dress  gone,  right 
up  the  back.  I  was  half  nude,  and  all  of 
Hollywood  was  staring  at  me.  My  face 
became  redder  than  my  hair.  But  I  just 
stood  there,  learning  a  lesson  in  poise, 
while  the  Japanese  maid  came  over,  and 
ri^ht  on  the  floor,  sewed  me  decent. 

'Another  terrible  occasion,  which  I 
shan't  forget,  took  place  at  Orry-Kelly's 
party  in  honor  of  Judith  Anderson.  It 
was  held  at  Victor  Hugo's.  After  I  came 
in,  I  wanted  to  pay  my  respects  to  Miss 
Anderson,  whom  I  consider  a  top-notch 
actress.  I  walked  over  to  her  table  where 
she  was  seated  with  Sally  Eilers  and 
Mrs.  Warner.  I  reached  out  to  shake  her 
hand,  and  in  my  usual  enthusiasm, 
knocked  over  a  tall  tumbler  filled  with 
scotch.  It  spilled  right  on  Sally  Eilers' 
gorgeous  white  formal!  I  wanted  to  drop 
through  the  floor! 

"Back  in  Texas,  such  incidents  would 
not  have  been  so  bad.  But  dating  in 
fast  company,  among  celebrities,  it's 
awful." 

A  NN  tilted  her  chair  and  stretched,  re- 
vealing  curves  that  will  enrich  her 
forthcoming  picture,  "Torrid  Zone,"  and 
a  figure  that  has  already  prostrated  men 
from  Ethiopia  to  Japan. 

"But  sometimes  we  get  sick  of  night 
clubs,"  she  said  finally.  "When  that  hap- 
pens, I  throw  an  impromptu  party  at  my 
place,  invite  about  a  half  dozen  friends, 
hire  two  Mexican  guitar-strummers,  roll 
up  the  rugs  and  the  fun  starts.  After  a 
couple  of  hours,  I  wander  into  '  the 
kitchen  and  fry  some  chicken  and  eggs, 
and  despite  ensuing  indigestion,  it  always 
turns  out  to  be  swell  sport." 

About  this  stage  of  the  interview, 
under  the  influence  of  Ann's  confidences 
and  her  Parisian  perfume,  we  began  to 
get  a  trifle  chummy.  Not  forward  enough 
to  ask  for  a  date  ourselves,  we  men- 
tioned a  friend  who  wanted  to  meet  her. 

Ann  screwed  up  her  face. 

"No,  thank  you.  No  blind  dates  for 
little  Annie!  Listen,  honey,  I've  never 
been  on  a  blind  date  in  Hollywood,  and 
I  don't  intend  to  begin  now.  I  just  don't 
believe  in  them.  You  never  know  what 
you're  running  into.  Rather  than  accept 
a  blind  date,  I  prefer  to  go  out  alone 
and  often  do.  .  .  .  Sometimes  hosts  try 
to  put  something  over  on  me.  At  the  last 
minute  they'll  phone,  ask  me  to  drop 
around  for  a  party  and  tell  me  some 
friend  of  theirs  will  pick  me  up.  'Keep 
your  friends,'  I  always  reply.  'I  don't 
want  to  run  into  strangers  that  way.  I'll 
come  along  alone.'  " 

Refusing  to  set  herself  up  as  some 
divine  and  infallible  Juno  sitting  on  some 
high  Olympus,  Ann  didn't  want  to  offer 
advice  to  other  girls.  She  didn't  think 
that,  in  the  final  analysis,  she  knew 
enough  about  men  to  give  advice. 

"But  there's  one  obvious  mistake  I 
constantly  notice  in  other  women,"  stated 
Ann.  "Sometimes  they  are  just  too,  too 
feminine.  You  know,  after  one  drink 
they  start  talking  baby  talk,  becoming 
fluttery  and  coy.  That  gets  under  my 
skin.  They  begin  requiring  protection 
and  so  many  attentions.  You  know  how 
those  girls  get — they  want  the  table 
changed,  coat  removed,  clothes  checked, 
food  returned,  until  a  fellow  must  think 
he's  going  insane.  A  lot  of  ladies  ought 
to  get  wise  to  themselves.  Most  of  the 
actors  here  dislike  such  traits  in  women." 

Without  conversational  transition,  we 
whispered  one  word — Matrimony. 

Ann  Sheridan  emitted  a  sound  similar 
to  "Woof"  and  almost  fell  off  her  chair. 

"Not  for  Annie!"  she  exclaimed.  "I'm 
not  at  all  interested  in  getting  married! 


And  don't  forget  the  exclamation  marks!" 

We  wondered — though  said  nothing 
about  it — if  she  was  recalling  her  first 
and  only  marriage.  That  was  four  years 
ago.  She  was  living  in  an  apartment 
hotel.  One  morning  she  forgot  to  take 
with  her  a  letter  she  intended  to  mail. 
Returning  for  it,  she  bumped  into  a 
handsome  young  actor,  Eddie  Norris. 
That  was  the  start.  On  a  blazing  hot 
Sunday  afternoon,  August  26,  1936,  she 
went  to  Ensenada,  Mexico,  with  Eddie 
Norris.  She  was  in  a  white  slack  suit. 
He  was  in  a  sport  ensemble.  The  Mex- 
ican judge,  near-sighted,  mumbled  the 
ceremony  in  Spanish.  And  Ann  Sheridan 
was  married.  Two  years  and  ten  days 
later  she  was  divorced. 

"I'm  not  at  all  interested  in  getting 
married  again!"  she  repeated.  Was  it  a 
case  of  having  touched  fire  once,  and  of 
being  afraid  to  get  burned  again?  We 
didn't  press  the  point. 

But  Ann  did  say  that  if  she  ever  were 
wed  again,  it  would  be  in  the  same  quick, 
strange,  exciting  way. 

"I  hate  big  elaborate  ceremonies.  If  I 
marry  again,  it'll  be  on  the  spur  of  the 
moment,  an  elopement. 

"The  kind  of  fellow  I'd  like?  He 
doesn't  have  to  be  handsome,  but  not 
ugly,  either.  An  older  man,  preferably, 
maybe  around  thirty-five  or  forty,  am- 
bitious, interesting  and  with  a  sense  of 
humor.  Someone  who  would  be  a  gen- 
tleman at  all  times,  would  be  careful 
about  his  appearance  and  would  not 
take  me,  or  himself,  too  seriously!" 

Of  all  the  men  in  all  the  wide  world, 
she  said  there  were  four  she  would  go 
out  of  her  way  to  meet;  men  she  would 
like  to  spend  time  with,  chat  with,  know 
very  well.  They  are  Nijinsky,  the 
dancer;  Oscar  Levant,  the  wit;  Noel 
Coward,  the  "Scoundrel";  John  Stein- 
beck, the  author. 

According  to  Ann: 

"I've  always  been  fascinated  by  the 
man  Nijinsky  and  his  life.  I  know  he 
is  now  aged  and  mentally  unbalanced  in 
a  Swiss  sanatorium,  but  I  hear  he  is 
regaining  his  mind  and,  when  that  day 
comes,  I'd  love  to  meet  him.  As  for 
Oscar  Levant,  after  hearing  him  on  the 
air  and  reading  his  'Smattering  of  Ig- 
norance,' I'm  anxious  to  be  introduced 
to  him.  I  understand  he  is  very  biting, 
quick  on  the  verbal  trigger  and  profes- 
sionally insulting. 

"As  for  Noel  Coward.  Well,  what  girl 
wouldn't  want  the  pleasure  of  his  suav- 
ity, worldliness,  cleverness?  And  after 
reading  'The  Grapes  of  Wrath,'  I  just 
wonder  what  John  Steinbeck  looks  like 
and  what  kind  of  person  he  is." 

CONCERNING  the  red-headed  lady 
^  who  would  like  to  meet  these  men, 
there  isn't  much  more  to  tell.  Most  has 
already  been  told.  That  she  was  born 
and  reared  in  Denton,  Texas,  a  town 
which  can  be  found  in  any  handy  seed 
catalogue,  is  ancient  history.  That  she 
was  born  on  Washington's  birthday,  ttiat 
her  name  used  to  be  Clara  Lou,  that  she 
is  five  feet  five,  that  she  is  part  Indian, 
that  her  sister,  Kitty,  sent  her  photo  to 
Paramount  and  that's  how  she  broke  into 
Hollywood,  that  she  is  ticklish  under  the 
ribs — all  of  that  is  also  history. 

Actually,  Ann  Sheridan's  life  can  be 
dated  from  that  singular  afternoon,  over 
a  year  ago,  when  the  telephone  rang  at 
four  o'clock  and  bespectacled  Bop  Tap- 
linger,  head  of  Warners'  publicity,  told 
her  to  get  into  a  formal  and  show  up 
at  a  dinner  being  given  for  male  writers, 
actors,  business  men  and  socialites. 

Ann  showed  up  for  the  banquet,  on 
which  Taplinger  spent  $160  for  food.  Ann 
was  crowned  the  Queen  of  Oomph  and 
given  a  bracelet.   She  then  went  home 


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and  forgot  about  the  whole  thing.  But 
America  didn't  forget.  The  Oomph  tag 
caught  on,  and  overnight  Ann  rocketed 
to  stardom. 

George  Hurrell  and  other  still-photog- 
raphers took  over  seven  thousand  por- 
traits of  her  in  various  sexy  and  sultry 
poses.  A  gasoline,  a  cigarette  and  ten 
orchestras  were  named  after  her.  Her 
Oomph  became  a  million  dollar  asset, 
was  promptly  copyrighted  and  insured 
for  $100,000. 

A  Chicago  theatre  owner,  in  Hollywood 
on  a  vacation,  posed  for  a  picture  with 
her.  He  wanted  to  show  it  to  his  friends 
at  the  next  poker  session.  The  theatre 
owner's  wife  saw  the  photo,  sued  for 
divorce,  presented  the  picture  for  evi- 
dence— and  won.  Joan  Castle,  an  actress, 
claimed  she  was  the  original  Oomph-girl 
and  sued  for  $5,000.  A  six-year-old  child, 
in  a  crowded  theatre  lobby,  tugged  at  his 
mother,  pointed  at  Ann  Sheridan,  and 
screeched,  "Mom,  I  don't  see  any  Oomph! 
What  does  it  look  like?" 

A  hundred  wits  tried  to  explain  what 
it  looked  like. 

Gene  Towne,  zany  writer,  claimed, 
"Oomph  is  simply  It — with  a  super- 
charger!" Busby  Berkeley,  dance  direc- 
tor, thought,  "Oomph  is  the  quality  that 
drives  girls  to  stardom  and  men  to 
distraction." 

Ann  Sheridan  herself,  typically  frank, 
solved  the  enigma.  "Oomph,"  she  ex- 
claimed, "is  what  a  fat  man  says  when 
he  leans  over  to  tie  his  shoe  lace  in  a 
telephone  booth." 

She  told  us  she  was  very  surprised  at 
her  sudden  success.  And  to  prove  it, 
showed  us  a  bright  little  bracelet  which 
she  gave  to  herself.  On  it  were  the 
words — 

"From  Clara  Lou  to  Ann.  You  continue 
to  amaze  me,  kid." 

But  cockiness  hasn't  even  touched  her. 
Not  a  single  bit.  The  best  antidote  for 
an  inflated  ego,  thought  Ann,  was  to  see 
herself  on  the  screen. 

"It's  an  ordeal,  a  torture.  I  go  to  a 
preview,  and  when  I  see  myself  flashed 
on  the  screen,  I  almost  slide  under  my 
seat.  I  try  to  sit  there,  try  to  be  brave, 
and  proceed  to  pick  the  polish  off  my 
nails.  I  suffer  a  thousand  hells,  promise 
never  to  go  again — and  do.  I  see  the  bad 
angles,  I  see  myself  ham  and  mug.  I  see 
my  fat  face.  My  face  makes  me 
miserable." 

She  paused. 

"Gee,  I'd  give  anything  to  have  a  face 
like  Marlene  Dietrich!  Then  I'd  never 
have  a  worry  about  getting  dates  and 
holding  fellows!" 

Dates  and  fellows?  We  remembered. 
That's  exactly  where  we  came  in! 


Solution  to  Puzzle  on  Page  14 


Name  Town . 

Address  Stale  . 


Heffo 
STAR  EYES! 


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JULY,  1940 


87 


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ON  THE  SET 

(Continued  from  page  35) 


equipment,  dumped  him  into  a  concen- 
tration camp.  There  he  remained  for 
forty  days,  existing  on  barley  soup  and 
dry  bread — when  he  was  fed — and  grate- 
ful for  the  daily  quart  of  water  which 
he  could  use  for  either  drinking  or 
washing. 

In  September,  by  the  grace  of  God 
and  Louis  B.  Mayer,  Rosson  was  released 
and  is  now  Hollywood's  foremost  author- 
ity on  concentration  camps.  However, 
while  interred,  he  was  too  angry  to  think 
of  doing  research  for  the  future  edifica- 
tion of  the  boys  back  home,  so  there  were 
many  details  he  overlooked. 

As  a  last  resort  in  its  round-up  of  real- 
ism, M-G-M  turned  to  the  refugees.  Or 
rather,  the  refugees  turned  to  M-G-M. 
Scores  of  them,  learning  of  the  studio's 
mammoth  undertaking,  phoned  in  their 
personal  experiences  and  volunteered 
their  services  in  any  capacity  whatso- 
ever. 

Accepting  what  it  could,  Metro  set 
about  building  its  own  concentration 
camp.  At  the  end  of  six  weeks,  at  a  cost 
of  $15,000,  one  of  these  modern-day  tor- 
ture chambers  rose  in  Culver  City.  And 
into  it  goose-stepped  over  400  extras,  to 
shiver  in  synthetic  rain  and  cower  under 
Storm  Troopers'  lashings  for  $11  an  eve- 
ning. 

ALMOST  as  difficult  as  the  concentra- 
-  tion  camp  set  was  the  creation  of  the 
Storm  Troopers.  To  play  the  parts,  the 
studio  hired  200  ex-gridiron  stars  and 
then  proceeded  to  have  them  Hitlerized. 
As  the  first  step  in  their  Nazification,  the 
boys  were  trotted  over  to  a  neighborhood 
tonsorial  parlor  where  a  French  barber 
gave  them  German  haircuts.  A  lot  of 
moss  can  grow  on  200  scalps,  and  when 
the  mass  operation  was  over  the  floor  of 
the  shop  was  covered  with  enough  hair 
to  stuff  a  mattress! 

The  next  step  was  getting  them  dressed 
for  their  roles.  That  meant  putting  each 
one  into  a  $75  uniform  (figure  it  out 
yourself)  and  trimming  him  off  with 
swastika-ed  hats,  armbands  and  buttons. 
Interesting  is  the  fact  that  no  manufac- 
turer in  town  would  agree  to  make  these 
embellishments  and  the  studio,  unpre- 
pared for  a  moral  sit-down,  had  to  go 
to  the  great  expense  of  making  them  and 


the  Nazi  flags  needed  on  their  own  lot! 

Finally  came  the  actual  education  of 
the  "Troopers" — the  business  of  teaching 
them  the  Nazi  salute,  the  Nazi  song,  the 
Nazi  carriage.  "We  don't  know  how  we 
done  it,  but  we  did!"  about  sums  up  the 
attitude  of  the  coaches.  According  to 
them,  one  of  the  toughest  tasks  they  ever 
had  was  showing  these  easy-moving 
young  Americans  how  to  click  their 
heels,  stiffen  their  bodies  and  say  "Heil!" 
as  though  they  meant  it.  In  fact,  the  per- 
fection of  this  motion  alone  took  three 
weeks! 

Acquainting  the  boys  with  the  Horst 
Wessel  Song,  the  national  anthem  of 
Nazi  Germany,  was  another  painful 
process.  Besides  drilling  them  in  daily 
voice  classes,  it  was  necessary  to  provide 
every  "Trooper"  with  a  recording  of  the 
song,  which  could  be  studied  from  a 
home  victrola.  When,  at  last,  they  all 
had  it  down  pat,  some  one  suddenly  re-^ 
membered  that  the  "Horst  Wessel"  copy- 
right was  owned  by  a  German  firm  and 
that  any  unauthorized  usage  of  the  song 
would  constitute  an  infringement!  But 
Germany  had  to  have  a  national  anthem. 
The  inspired  music  department  at  Metro 
sat  down  promptly  and  wrote  one — a 
similar  melody  entitled  "The  Adolf  Hit- 
ler Song,"  which  it  is  to  be  earnestly 
hoped  will  never  reach  the  Hit  Parade. 

Undoubtedly  the  greatest  spectacle  in 
the  entire  picture  is  the  book-burning 
scene,  Hollywood's  first  presentation  of 
the  most  loathsome  incident  in  modern 
history.  In  this  scene,  several  hundred 
university  students  set  fire  to  a  mass  of 
books,  supposedly  those  banned  by  the 
German  government  and  ordered  de- 
stroyed by  Adolf  Hitler.  To  secure  the 
props  for  the  sequence,  a  corps  of  men 
scurried  from  one  second-hand  bookshop 
to  another,  picking  up  all  the  literary 
junk  they  could  find.  Their  search  netted 
them  2,000  volumes  which  they  purchased 
at  an  average  cost  of  25c  apiece.  Since 
they  were  mostly  turn-of-the-century 
novels  and  outrageous  dream  books,  their 
loss  is  hardly  to  be  regretted. 

Nor  is  it  regrettable  that  snug-in-its- 
corner  Hollywood  has  gone  to  such  great 
lengths  to  take  a  whack  at  a  dictatorship. 
The  picture  is  bound  to  have  a  tremen- 
dous influence  on  its  audiences. 


THE  JOKE'S  ON  HOPE 

(Continued  from  page  48) 


AT   ALL   5-AND-10*  STORES 


He  repeated  the  shortest  jokes  he  knew. 
One  was  a  poem  that  had  to  do  with 
the  genealogy  of  fleas.  It  went  like  this — 
"Adam 
Had  'em." 
Another  short  joke  (reading  time:  IV2 
seconds)  was — 

"Bill  Rose  sat  on  a  tack, 
Bill  rose." 
And  another — 

"Boy,  miss, 
Joy,  kiss, 
Popper  sees, 
Doctor,  please." 
Bob  Hope  insisted  that  the  lowest  form 
of  humor   was  not  the  pun.  "When 
people  groan  at  a  pun  like,  'She  wanted 
to  be  a  school  teacher  but  she  had  no 
class,'  they're  only  groaning  because  they 
didn't  think  of  it  first." 
I     Bob  has  been  married  five  years.  Her 
l  name  is  Dolores.  She  used  to  be  a  model 


and  a  hoofer.  They  have  a  four-month- 
old  adopted  daughter.  Every  summer 
Mr.  and  Mrs.  Hope  take  a  honeymoon — 
behind  the  footlights!  Last  summer  they 
returned  to  vaudeville  for  seven  weeks. 
This  summer,  they'll  do  it  again.  Very 
few  fans  know  Bob  Hope  is  married,  but 
if  you  want  to  see  his  wife,  watch  for  the 
gorgeous  brunette  who  goes  under  the 
name  of  Dolores  Reed  in  the  billing. 

Bob  Hope  admitted  that  the  one  per- 
son in  Hollywood  who  could  best  him  in 
a  practical  joke  was  Harry  Lillis  Crosby. 

"Bing  really  has  a  sense  of  humor. 
He's  funnier  than  his  horses.  Anything 
for  a  chuckle.  Have  you  seen  the  sign 
on  Bing's  front  lawn?  It  reads,  'Keep  off 
the  grass.  Remember  when  you,  too, 
were  struggling  for  recognition.'  And 
did  Bing  ever  tell  you  about  the  prac- 
tical joke  he  pulled  in  Boston?  It  was 
a  honey!    They  were  holding  a  contest. 


MODERN  SCREEN 


Blend-O's  never  cut 
or  break  my  hair . . . 

...make  better,  softer  curls 
and  are  practically  invisible" 


The  truth  about 
CORNS. 


WHAT  CAUSES  THEM— J 
HOW  TO  GET  Rl D  OF  TH  EM  ] 


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the  right  way. 

The  kidneys  are  Nature's  chief  way  of  taking  excess 
acids  and  poisonous  waste  out  of  the  blood.  They  help 
most  people  pass  about  3  pints  a  day. 

If  the  15  miles  of  kidney  tubes  and  filters  don't 
work  well,  poisonous  waste  matter  stays  in  the  blood. 
These  poisons  may  start  nagging  backaches,  rheu- 
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swelling,  puffiness  under  the  eyes,  headaches  and 
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A  singing  contest.  The  idea  was  to  find 
the  best  imitator  of  Bing  Crosby.  Well, 
Bing,  himself,  put  on  a  disguise,  entered 
the  contest — and  lost! 

"It's  almost  impossible  to  match  him 
on  a  stunt.  You've  seen  those  little 
stands  on  each  corner,  where  fellows 
print  any  headline  you  want  on  a  news- 
paper for  two  bits?  Well,  the  other  day 
Bing  had  one  of  the  boys  print  a  large 
black  headline  reading— HOPE  TO  BE- 
COME A  STAR  AT  LAST;  BUYS 
PARAMOUNT!  He  passed  that  damned 
headline  all  over  the  studio.  It  almost 
drove  me  nuts!" 

I  asked  Hope  if  he  enjoyed  working 
with  Bing  in  their  last  picture,  "The 
Road  to  Singapore."  Did  he  enjoy  it? 
Sa-ay!  Hope's  frame,  huskier  off-screen, 
shook  with  inward  glee. 

"What  a  riot!  I'd  rather  work  with 
Crosby  than  with  any  human  alive.  It's 
not  work.  It's  play.  Besides,  Bing  gives 
me  something.  Do  you  understand?  He's 
easy,  simple  of  style.  Together,  we're 
relaxed.  We  have  a  picnic,  forget  the 
script.  Why,  in  'The  Road  to  Singa- 
pore,' we  practically  threw  the  scenario 
in  the  wastebasket,  and  made  up  half 
the  dialogue,  just  horsing  around.  We 
didn't  play  a  single  scene  twice  the 
same  way,  or  with  the  same  words. 

"Someday  I'd  like  to  work  with  W.  C. 
Fields.  I'd  be  a  little  afraid,  though. 
He's  my  idea  of  the  best  comedian  in 
the  business.  He  leaves  me  limp.  Fields 
has  a  curious  manner.  You  know,  just 
an  old  rogue.  He  kids  everything.  It's 
unbeatable. 

"And  another  thing,  I  wouldn't  mind 
doing  more  love  scenes.  Professionally, 
that  is.  (Now,  now,  Dolores,  you  heard 
me  clearly,  I  said,  professionally!)  Of 
course,  I've  never  had  any  serious  pas- 
sionate moments  on  celluloid,  but  I  re- 
peat, I  wouldn't  mind.  Maybe  I  wouldn't 
be  good,  though.  Maybe  I'd  cavort  like 
an  untrained  chimpanzee.  Because,  up 
to  now,  with  girls  like  Shirley  Ross, 
Martha  Raye,  Dorothy  Lamour  and 
Paulette  Goddard,  I've  never  embraced 
or  kissed  them  for  keeps.  I've  just 
burlesqued  everything.  I'd  like  to  do 
sophisticated  love  scenes,  the  'Thanks 
For  the  Memory'  sort  of  stuff." 

WHETHER  or  not  he's  ever  con- 
verted into  a  Casanova,  one  thing 
sure,  he  will  always  sport  the  cap  and 
bells  because  he  has  ridden  to  fame 
with  laughing  gas.  And  the  entire  story 
of  Bob  Hope's  career,  to  date,  can  be 
summed  up  in  the  four  familiar  words: 
From  gags  to  riches. 

Born  in  the  shadows  of  Westminster 
Abbey,  Hope  was  transported,  as  a  child, 
to  Cleveland.  There  he  attended  high 
school,  and  his  education  consisted 
largely  of  learning  to  tap  dance.  There, 
also,  he  toiled  for  the  Chandler  Motor 
Car  Company,  and  was  befuddled  when 
all  the  salesmen  laughed  at  everything 
he  said  during  staff  meetings.  He  began 
to  fancy  himself  as  a  simon-pure  hu- 
morist, and  one  afternoon  tried  out  some 
of  his  pet  gags  (most  of  them  concern- 
ing his  superiors)  on  the  boss'  dicta- 
phone. This  was  fine  practice  and  most 
educational,  except  that  Hope  neglected 
to  remove  the  cylinder  from  the  dicta- 
phone— and  the  following  morning,  when 
the  boss  started  the  machine,  he  got  an 
earful.  As  Hope's  first  professional  audi- 
ence, the  boss  was  not  receptive.  His 
criticism  took  the  form  of  a  two  weeks' 
notice. 

For  a  brief  period  Hope  considered  be- 
coming a  prizefighter.  Which  proves  that 
even  in  those  days  he  had  a  sense  of 
humor.  He  had  been  boxing  previously, 
but  only  as  an  amateur.  One  of  his 
sparring  mates  was  a  blubbery  fellow 


Says  FRANCES  LANGFORD,  lovely  singing  star  of 
the  TEXACO  STAR  THEATER,  Wednesday  nights,  CBS 

Hollywood,  where  beauty  is  the  breath  of  life  itself, 
is  going  in  a  big  way  for  this  Modern  Plastic  hair 
curler  for  4  important  reasons  exclusive  to  BLEND-O. 
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1.  PROTECT  —  having  no  rough  edges  or  springs  can- 
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2.  BLEND — Practically  invisible  when  worn.  5  nat- 
ural colors,  black,  brown,  blonde,  auburn,  platinum. 

3.  IMPROVE  APPEARANCE  — Softer,  natural-looking 
curls  roll  off  easily,  smoothly,  need  not  be  combed  out. 

4.  FEEL  BETTER  —  Light,  plastic  construction  makes 
BLEND-O'S  infinitely  more  comfortable. 

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Name.  , 

City.  .  State  Age  . 


JULY,  1940 


89 


I 


named  Johnny  Risko,  who  eventually 
tangled  with  Max  Schmelling  and  Jack 
Sharkey.  Hope's  pugilistic  aspirations 
ended  on  that  day  when,  in  a  gym- 
nasium arena,  Mr.  Risko  threw  a  right 
uppercut  at  him;  Mr.  Hope  neglected  to 
remove  his  chin,  and  the  uppercut  almost 
obliged. 

About  that  time,  Fatty  Arbuckle  was 
making  a  personal  appearance.  He  need- 
ed supporting  acts,  and  Bob  Hope  and 
a  friend  rehearsed  a  blackface  tap  rou- 
tine and  landed  the  job.  Not  only  did 
Hope  dance,  but  he  was  the  voice  off- 
stage, he  sang  in  a  quartet,  played  the 
sax  in  the  pit  orchestra  and  helped 
move  the  scenery. 

That  was  the  beginning.  Some  weeks 
later,  scheduled  to  work  in  a  night  club, 
his  partner  fell  ill  with  fever.  Hope 
shuffled  out  to  announce  that  the  act 
was  postponed.  To  make  the  announce- 
ment graceful,  he  began  relating  a  few 
inoffensive  Scotch  jokes.  He  told  his 
favorite  about  the  Scotchman  who  sat 
up  all  night  in  order  to  watch  his  wife's 
vanishing  cream.  The  patrons  cackled 
with  glee.  Encouraged,  Hope  went  on  for 
an  hour.  The  audience  was  prostrated 
with  joy  and — 

A  new  funnyman  was  born. 

THEN  there  were  the  usual  things. 
Alone,  unarmed,  he  wandered  into 
stag  parties,  cocktail  lounges  and  out  on 
the  vaudeville  stage,  wise-cracking  for 
experience  and  for  the  root  of  all  evil. 
Sometimes  things  were  tough. 

"But  it  wasn't  too  bad,"  said  Hope. 
"Oh,  I  starved  a  couple  of  weeks  here 
and  there.  But  that's  not  very  original. 
It  was  the  only  real  discouragement  I 
ever  faced.  That  lack  of  food.  It's  hard 
as  hell  on  your  timing,  believe  me! 

"At  one  period  I  was  $4,000  in  debt, 
had  holes  in  my  shoes,  and  had  forgot- 
ten whether  you  cut  a  steak  with  a  knife 
or  drink  it  out  of  a  spoon.  Then  I 
cracked  Western  vaudeville." 

Eventually  he  reached  the  entertain- 
er's Babylon — a  dizzy,  dazzling,  blinking 
place  called  Broadway.  And  on  the  gay- 
way,  he  got  the  worst  press  notice  of 
his  entire  career. 
He  winced,  remembering  it. 
"I  opened  in  vaud  at  the  old  Palace. 
It  was  my  debut  in  big  time.  My  first 
show  was  great,  terrific.  But  the  critics 
didn't  come  until  the  second  show.  By 
that  time  a  reaction  had  set  in.  I  was 
tired,  nervous,  my  timing  was  way  off, 
and  I  misfired.  The  billboards  outside 
the  theatre  advertised  me  as,  'The  Mid- 
West  Sensation,'  but  after  that  second 
show,  Lew  Strauss,  a  critic,  wrote  in  the 
Graphic — 'So  this  is  the  Mid-West  sen- 
sation.    Why  did  he  ever  come  East?' 

"The  payoff  is  this:  Three  years  later, 
I  hired  a  Strauss  as  my  press  agent,  not 
knowing  he  was  the  same  fellow  who 
wrote  that  almost  suicidal  review!" 

During  that  period,  as  his  success  grew, 
he  took  his  first  screen  test  for  Pathe. 

"That  test  was  a  classic,"  groaned 
Hope.  "I  started  into  the  scene.  My 
chin  was  on  the  screen  for  five  minutes 
before  I  appeared! 

"They  sent  me  into  the  projection  room, 
by  myself,  to  see  the  test.  I  learned, 
later,  that  was  because  nobody  else 
could  stand  being  exposed  to  it! 

"Some  screen  test!  The  projectionists 
who  ran  it  off  wore  gas  masks,  and  the 
Pathe  rooster  never  crowed  again,  real- 
izing that  none  of  his  hens  could  ever 
lay  an  egg  like  that  one! 

"After  it  was  over,  Pathe  officials 
wouldn't  even  give  me  street  car  fare 
home!" 

Having  somehow  survived  his  first  ill- 
fated  bout  with  the  camera,  Hope  scored 


smash  hits  in  such  musicals  as  "Bally- 
hoo," "Roberta,"  "Ziegfeld  Follies"  and 
"Red,  Hot  and  Blue."  He  even  in- 
dulged in  a  feud,  now  a  legend,  with 
another  comic,  Milton  Berle.  It  seemed 
that  Bob  Hope  heard  Milton  Berle  was 
lifting  some  of  his  best  gags,  and  so 
Hope,  instead  of  sueing,  merely  said: 

"Rich  man,  poor  man,  beggar  man, 
Berle." 

That  ended  the  alleged  crimes. 

While  playing  in  the  stage  hit, 
"Roberta,"  Hope  loaned  a  musician 
named  Fred  MacMurray  his  hat  and  cane 
for  a  screen  test  at  Paramount's  Man- 
hattan studio. 

"That's  the  only  reason  I  ever  came 
to  Hollywood,"  said  Hope.  "I  followed 
MacMurray.  I  had  to  get  my  hat  and 
cane  back." 

In  Movietown,  Bob  made  his  first  ap- 
pearance in  "The  Big  Broadcast  of  1938." 
He  teamed  with  Shirley  Ross — and  soon 
had  streets  and  infants  named  after  him 
for  his  rapid-fire  gags  and  his  warbling 
of  "Thanks  For  the  Memory." 


Something    new   in    beach    outfits  is 
Zorina's   lovely  coat  with   its  puffed 
shoulders  and  bustle  bow. 


He  made  eight  shows  in  a  row.  "The 
Ghost  Breakers"  was  the  ninth. 

"Ten  years  ago,  I  never  dreamed  I'd 
be  sitting  on  a  Hollywood  set,  talking 
about  the  most  interesting  subject  in  the 
world  to  me — myself."  He  sighed. 

"I  was  surprised  the  first  day  I  ever 
got  to  this  town,  and  I've  been  in  a 
state  of  suspended  surprise  ever  since. 
The  wrong  things  always  happen  to  me. 
A  short  time  ago  I  had  a  dressing-room 
right  next  to  Carole  Lombard.  My  first 
day  in  that  dressing-room,  I  heard  a 
knocking  on  the  wall.  Thrilled,  I  jumped 
out  of  my  room  and  ran  next  door — but 
how  was  I  to  know  Clark  Gable  smokes  a 
pipe!" 

Hope  confessed  to  the  following  habits 
and  hobbies: 

He  sleeps  in  a  bed  six  by  nine  feet  in 
size,  a  bed  imported  from  New  York.  In 
it  he  does  all  of  his  reading.  His  prin- 
cipal diet  consists  of  what  he  smilingly 
considers  the  most  fascinating  literature 
in  America.  "You  know,  the  Daily 
Variety  and  the  Hollywood  Reporter!" 
He  enjoys  eating  pickled  herring,  caviar, 


garlic  and  gulps  down  a  quart  of  milk 
a  day.  He  swings  a  wicked  game  of  , 
golf,  but  Bing  Crosby  always  licks  him. 
He  plays  excellent  billiards.  He  owns 
Leica  and  Graflex  cameras,  and  also 
takes  terrible  outdoor  movies  with  the 
16  mm.  He  has  a  Great  Dane,  a  Scottie 
and  canaries  that  eat  out  of  his  hand. 
He  sleeps  six  hours  a  night. 

He  believes  in  taking  life  as  it  comes 
to  him.  He  is  always  willing  to  admit 
a  mistake.  He  considers  mother-in-law 
jokes  stale.  He  has  a  single  driving 
ambition,  "And  that  ambition  is  to  one  i 
day  be  able  to  stay  home  and  present 
my  weekly  broadcast  while  reclining  in 
bed!"  There  is  no  person  in  the  world 
he  would  rather  be  than  Bob  Hope.  "Ah, 
sir,  if  I  couldn't  be  myself,  I  wouldn't 
want  to  live!" 

Once,  during  the  interview,  when  he 
left  me  to  perform  in  a  scene,  I  asked  ( 
the  people  on  the  set  about  him.  I 
learned  one  major  thing.  That  Bob 
Hope,  like  most  funnymen,  was  a  rank 
sentimentalist.  If  there  was  a  worthy 
charity,  a  benefit  of  any  size,  Hope  was 
willing  to  contribute  his  talent  gratis.  He 
didn't  want  to  hoard  his  humor,  keep 
his  best  gags  in  hiding.  For  a  cause,  i 
he  was  willing  to  give  his  all. 

When  he  returned  from  his  session 
with  histrionics,  I  asked  him  about  bene- 
fit performances.  He  was  modestly  silent 
for  a  moment.    Then  he  confided: 

"There  was  one  benefit  appearance  I  i 
made  that  I'll  never  forget.  It  was  the 
most  embarrassing  experience  I've  ever 
had.  It  took  place  a  short  time  ago, 
at  the  Madison  Square  Garden,  before 
20,000  people.  I  was  on  the  stage,  trying 
to  entertain  the  audience.  I  began  a 
long  story,  building  to  a  single  climax, 
to  a  single  punch  line  that  would  put 
them  in  the  aisles.  Then,  just  a  split 
second  before  I  reached  that  punch  line, 
a  side  door  opened  and  Governor  Leh- 
man of  New  York  entered.  Immediately, 
the  20,000  forgot  about  me,  turned  to- 
ward  Lehman,  sent  up  a  giant  whisper, 
'There's  the  Governor!'  I  was  left  red- 
faced  on  the  stage,  with  a  funny  punch  i 
line  and  no  audience.  Embarrassing?  I 
God!  What  did  I  do?  Just  stood  there 
for  about  five  minutes,  and  finally,  when 
everyone  settled  down,  I  said  simply, 
'Remember  me,  folks?'  And  then  every- 
thing was  all  right." 

HOPE  told  me  he  used  about  125  jokes 
on  each  radio  broadcast.  He  told  me,  \ 
also,  that  he  had  on  file  at  home  about 
50,000   jokes,   almost  half   of  them  of 
Scotch  origin. 

This  joke  collection,  plus  Hope's  ability 
and  growing  reputation,  impressed  me 
not  half  as  much  as  a  few  comments  he 
later  made:  They  had  nothing  to  do 
with  the  interview.  I  had  accused  him, 
off-the-record,  of  being  soft-hearted,  and 
Bob  Hope  shrugged  and  replied: 

"Maybe.  Maybe  not.  But  the  one 
thing  that  gets  me  down  and  makes  me 
miserable  is  seeing  old  people  in  poverty. 
When  I'm  driving  down  the  street,  and  I 
see  a  very  old  lady,  you  know,  bent  and 
weary  and  hungry-looking,  waiting  for 
a  street  car,  well,  geez,  it  gets  under  my 
skin.  I  want  to  stop  my  car,  get  out 
and  give  her  a  fin.  People  like  that  need 
more  than  laughs." 

After  he  said  that,  he  paused  thought- 
fully; someone  nearby  cracked  a  joke, 
and  Hope  grinned  suddenly  and  topped  it 
with  a  gag  of  his  own.  And  soon  every- 
one was  guffawing.  But  I  didn't  pay 
attention.  I  had  learned,  from  those  last 
few  words,  all  I  wanted  to  know  about 
Bob  Hope,  about  what  kind  of  a  fellow 
he  really  was.  I  had  learned  that  he 
possessed  what  every  great  man  and 
every  great  comic  must  have — a  heart! 


90 


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Spring  Awakens 
a  Fever  of  LOVE 


Stir  His  Heart  with  This 
Springtime  Fragrance . . .  and 
He  Will  Madly  Adore  You! 

When  apple  blossoms  spill  their  fragrance 
on  the  soft,  warm  air  of  Spring  .  .  .  love 
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urge  —  and  yet  this  flower-fresh  fragrance 
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and  adore  forever.  Get  this  enchanting  talc ! 


MOERS 


STOP  WORRYING  ABOUT  UNDIES  ODOR! 
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TALCS 


LANDER'S  FAMOUS  BLENDED  FLOWER 
TALCS  surround  you  with  a  fragrance, 
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innocence  about  the  perfume  of  flowers! 

Keep  yourself  a  sweet,  lovely  person 
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Copyright  1940,  Liggett  &  Myers  Tobacco  Co. 


DEANNA 
DURBIN 


THE 


3  . 


AS  IF  I 
-YOU  WERE  BATHE* 

\N  FLOWERS 


Your  personality  teases  and  thrills  . . .  when 
*  you're  sweet  all  over  with  a  fragrant 
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talc  that  feels  so  cool  and  creamy-soft  on 
your  skin !  Lander's  —  the  talc  that's  famous 
for  its  flower  fragrance  blends ! 
There's  Lilacs  and  Roses  —  like  a  haunting  breath 
o£jf©mance  from  an  old-fashioned  garden. 
Or  try  Gardenia  and  Sweet  Pea  —  a  bit  naughty 
but  oh !  so  nice  —  for  it's  a  fragrance 
that's  both  voluptuous  and  refined.  And  now  —  ' 
NEW  —  comes  Spicy  Apple  Blossom  . . .  the  tender 
lure  of  Spring  blossoms,  spiced  —  to  invite 
adventure  —  the  spice  of  life ! 


9. 


4*s 


Spicy  Apple  Blossom  Cologne 
lifts  your  spirits  like  gay  champagne 
Be  luxurious  — dash  this  exquisite 
cologne  all  over  your  body 
before  you  use  the  talc. 
You'll  love  it! 


SOLD  ONLY  AT 
ALL  10(  STORES 


ACH 


It  hurts  to  find  another's  name 
where  you  hoped  to  see  your  own! 


Helen  could  win  happiness  —  if  she'd  learn  that  Mum  each  day  guards  charm  I 


ANOTHER  WEDDING  INVITATION! 

"So,"  thought  Helen,  "they  will  soon 
be  married."  Some  other  girl— no  more 
attractive,  no  prettier— had  won  the  man 
that  Helen  loved. 

Yes— it  happens!  And  it's  so  easy  to 
blame  circumstances  for  loneliness ...  so 
hard  to  admit  that  you  may  have  been  to 
blame.  But  a  fault  like  underarm  odor— 
a  simple  thing  like  forgetting  Mum  each 
day— can  spoil  even  a  pretty  girl's  charm! 

Don't  expect  even  a  daily  bath  to  keep 
you  fresh  all  day!  Bathing  removes  only 
past  perspiration.  Future  odor  must  be 
prevented  each  day,  if  you  want  to  be 
sure  underarms  are  fresh.  Mum  after 
your  bath  prevents  odor.  Mum  every 
day  makes  you  certain  you  won't  offend! 

More  women  use  Mum  than  any  other 
deodorant.  Mum  is  so  easy  to  use  ...  so 
dependable  ....  that  women  find  it  a 
"must"  for  day-to-day  charm! 


MUM  SAVES  TIME!  You're  through  in  30 
seconds  with  Mum. 

MUM  SAVES  CLOTHES!  Mum  won't  harm 
fabrics— the  American  Institute  of  Laun- 
dering Seal  tells  you  that.  Use  Mum  even 
after  you've  dressed.  And  after  underarm 
shaving  Mum  won't  irritate  your  skin. 

MUM  SAVES  POPULARITY!  Mum  makes 
underarm  odor  impossible— not  by  at- 


tempting to  prevent  the  perspiration— but 
by  neutralizing  the  odor.  Today— get  Mum 
at  your  druggist's.  The  daily  Mum  habit 
means  that  underarm  odor  can't  spoil  your 
charm! 

*         *  * 

SANITARY  NAPKINS  NEED  MUM— 
More  women  use  Mum  for  this  purpose  than  any 
other  deodorant.  Mum  is  safe— easy  to  use— makes 
you  sure  you  won't  offend. 


AUGUST,  1940 


3 


V0C1B    4  6  3010  7  y 


VtAUt  H.  ^ 

Editor 

Associate  Editor 

mini  uw»«*M 

ArtEd«»r 


MB*  W« 


5-"t.«— - -M,'*B,,e" 

Dynamite  vvi         WB0NBi  „ve 

Momentous  mv«  on  « 
,acUeCoope^  a  »oU         ^N  ARTmlB 

^  new  angle  on  the 

B^UTVUNOW^  uestion  . 

Pr„s  and  conso"^8 

And  Ty  Vovver  proves 

movie  .     -  • 

sss^  .  .  • 

Movie  X-word  • 

POUTHMTGAU^  e.  cUnHtS, 

For  your  album      _  sTfVRt,  CUI 

H^JJ0  ^  of,repeated  ,uer*  ■ 
Thf  startling  a--  BtM,nmtD 

ludging  from  her  sta. 
GOOO  NEWS  .  . 

Novel  crSpe  p.pe*  *»tt 


•26 
28 
30 
34 
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58 
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42 
44 


FUTURES 


10 
12 
14 
19 
52 
46 
50 
54 
60 
89 


Novel  crepe  paper  •  Jo„c8 
Cover  fl>"- 


0?Wa2i'^on\fe  Published  roonthly.    Printed  in  U.  S.  A.    Office  of  publicat.on 

scriplion  $2.20  a  year.    Entered  as  second-class  mat?e"  SepT  18   1930  aUh    pSofe   Dunel  N  V  u'nrf           <?  ^  £%n^™sah&'?tion           a  year'  «"b- 

Seattle,  Wash.,  San  Francisco,  Calif.,  Houston,  Texas,  Savannah    Go and  New  O  Sns  I  n tL  ™,kl'  t  Ct  °f  March  3',1,879V    Additional  second  class  entries  at 

Narr.es  of  characters  used  in  semi-fictiona.  matter  are  f^us.0"^  t^^l^.  J"""* 


MODERN  SCREEN 


C7 


One  of  the  most  famous  novels... 


One  of  the  most  famous  plays... 


You'll  fall  in  love 
over  again  with  the 
romantic  heroine  of 
'Goodbye  Mr.  Chips' 


The  dashing  star  of 
"Rebecca"  hand- 
somer than  ever  in  an 
exciting  new  role ! 


And  now,  it  will  be  one  of  the  most 
famous  pictures  ever  filmed ! 

PMetro-Goldwyn-Mayer  Presents 
ride  and 


& 


STARRING 


jiidice 


G ARSON  %tmnte  OLIVIER 


MARY  BOLAND  •  EDNA  MAY  OLIVER  •  MAUREEN 
O'SULLIVAN  -  ANN  RUTHERFORD  •  FRIEDA  INESCORT 

Screen  Play  by  Aldous  Huxley  and  Jane  Murfin  •  Directed 
by  Robert  Z.  Leonard  •  Produced  by  Hunt  Stromberg 


AUGUST,  1940 


5 


5  1  Lesser  arid  aW 

£v  HoUYweoo.  ^ew  Engiaii       piank  Crave".  .    a  arson 

te  cast, nan^  P««S  ^ 

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theatta  or  scree 


Sol  Lesser 

THoruton      WoOCL  51uu;"-re  to  PT0 

Vald  ;^Kts  Saw  w^nnOOO  w°re.  „  um- 
screen  r  9hts'  about  $500  OU  g    tt  «  a  U 

it)  and  sPeTlHer0tTle  Man        Ht  *  a  j 


;een.  un<— 


*** 


man 


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5^ife  or 


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He  Se  recordiW?;, '  a  tlrr.es;  »»»  JSmfc 


ho  c  Jtfe 

Spends 


of 


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that  can 


12  £ Tecar*nfl»i        times;  ^  -  lary. 

Fans  aau      ^e  ^rinKs 
pictures,  so 


s  a  box 
,000 

its 


9raPh land  V0an^  M-Gltttl^  9lJ^erent  item*With  «>S  {aitMully 
hfetirneZ_7  0n  s  9est,J?    llght—anr1   °n^nal  tioU    '  and  "unl  '  \ncludina 


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MODERN  SCREEN 


"Some  Girls  look  Older  in  Summer 


-&GRIT  in  Face  Powder  is  one  of  the  Reasons ! 


1.  Day  by  day  the  summer  sun  is 
changing  the  tones  of  your  skin! 
You  should  look  younger  in  sum- 
mer, yet  it  is  tragically  true,  says 
Lady  Esther,  that  many  girls  look 
older.  The  reason  may  be  a  shade 
of  powder  that  was  all  right  for 
March  but  all  wrong  for  July— or  it 
may  be  a  face  powder  that  is  wrong 
in  texture— a  face  powder  that  con- 
tains GRIT. 


2.  Yes,  grit  in  your  powder  can  give  your  grind  slowly.  Don't  be  surprised  if  4.  But  you'll  detect  no  grit  in  Lady  Esther 
skin  a  "grainy"  look,  a  "powdery"  look  . . .  often  your  teeth  find  grit— for  impartial  lab-  Face  Powder.  My  powder  is  so  smooth  it  clings  4 
mistaken  for  an  aged  look  and  much  more  notice-  oratory  tests  show  GRIT  even  in  many  long  hours.  Put  it  on  say  at  eight— and  at  mid- 
able  in  summer!  So  beware  of  gritty  powder—  expensive  face  powders. ..powders  that  night  it  will  still  flatter  you,  never  giving  you  a 
test  the  powder  you  are  using,  and  do  it  right  now!  cost  $1.00,  $2.00,  $3.00.  "powdery"  look  that  makes  you  seem  older. 


Are  you  using  the  WRONG  SHADE  for  Summer? 


Thousands  of  women  unknowingly 
wear  the  wrong  shade  of  face  powder  in 
the  summer— a  powder  shade  that  was 
all  right  for  March,  perhaps,  but  is  all 
wrong  for  July! 

For  in  summer,  thesunhaschangedyour 
skin  tones  — and  you  need  a  new  shade 
that  will  glorify  your  skin  as  it  is  today. 

So  Lady  Esther  says:  Mail  me  the  cou- 
pon and  I  will  send  you  ten  glorious 


shades  of  my  grit-free  powder.  Try  them 
all!— every  one.  That  is  the  way— and  the 
only  way  to  discover  which  is  most  glam- 
orous for  you  this  summer!  Perhaps  it 
will  be  Champagne  Rachel,  perhaps 
Peach  Rachel,  perhaps  Rose  Brunette. 

So  find  the  right  shade  of  my  grit-free 
powder— the  lucky  shade  for  you,  out  of 
this  glorious  collection  of  ten,  and  you 
will  look  younger,  lovelier— you  will  be 
really  in  tune  with  life. 


7110  West  65th'Street,  Chicago,  I„  W 
Vour  Four  Fu^jZ££° >* 


LADY   ESTHER   FACE  POWDER 


AUGUST,  1940 


7 


■  ■VIE  RfVlfUIS 


(Continued  from  page  6) 


Bob'Taylor  and  Vivien  Leigh  dis- 
cuss wedding  plans  with  Ginny 
Field    in    "Waterloo  Bridge." 


Ann  Sheridan,  Jimmie  Cagney 
and  Helen  Vinson  share  an  ex- 
citing moment  in  "Torrid  Zone." 


You'll  roar  at  the  antics  of  Car- 
ole Landis  and  John  Hubbard 
in  the  rollicking  "Turnabout." 


***'/2*  Waterloo  Bridge 

Against  a  background  of  London  dur- 
ing World  War  No.  1  and  a  present  day 
air-raid,  Vivien  Leigh  and  Robert  Taylor 
co-star  in  a  romance  with  enough  tensely 
thrilling  moments  to  please  any  audience. 
Vivien  Leigh's  performance  is  excellent, 
as  might  be  expected,  while  Taylor  turns 
in  some  acting  that  will  surprise  every- 
one. He  proves  himself  eminently  capa- 
ble and,  what's  more,  shows  unsuspected 
charms. 

The  story  concerns  a  ballet  dancer, 
Vivien  Leigh,  and  a  young  officer,  Robert 
Taylor,  who  fall  in  love  on  the  eve  of 
his  departure  for  France.  Because  of  her 
negligence  during  their  hectic  courtship, 
the  dancer  loses  her  job.  With  a  pal, 
Virginia  Field,  she  combs  the  town  look- 
ing for  work  and  gradually  becomes  re- 
duced to  desperate  straits.  In  the  mean- 
time, Taylor  believes  her  to  be  in  the 
safe-keeping  of  his  mother,  so  is  com- 
pletely unprepared  for  the  saddened  and 
tragic  girl  he  finds  on  his  return.  Fear- 
ing that  she  will  bring  disgrace  to  her 
fiance  and  his  proud  family,  the  girl  de- 
cides upon  drastic  measures  to  settle  the 
situation.  From  the  first,  both  Vivien 
Leigh  and  Taylor  will  hold  your  sympa- 
thies, and  their  tragic  story  will  keep 
you  engrossed  to  the  end. 

In  the  supporting  cast,  Virginia  Field, 
Madame  Marie  Ouspenskaya  and  Lucille 
Watson  give  admirable  performances. 
Directed  by  Mervyn  LeRoy. — Metro- 
Goldwyn-Mayer 

PREVIEW  POSTSCRIPTS:  For  the  first 
time  in  his  career,  Robert  Taylor  appears 
as  a  middle-aged  man  in  two  sequences 
and  also  wears  his  first  screen  mustache. 
So  well  does  he  photograph  that  way. 
that  he  will  also  wear  the  mustache  all 
through  "Escape".  .  .  .  This  is  the  second 
time  that  Vivien  Leigh  has  played  with 
Robert  Taylor.  They  met  while  working 
in  "A  Yank  At  Oxford,"  which  was  made 
in  England,  and  Bob  is  the  only  Ameri- 
can star  who  knew  her  "when".  .  .  .  This 
picture  is  the  first  to  reach  the  screen 
with  a  realistic  portrayal  of  a  London 
blackout.  Both  a  1917  and  a  1940  type 
are  shown.  .  .  .  Throughout  the  film, 
Vivien  Leigh  spent  every  free  minute 
knitting    one,    purling    two    to  make 


helmets  for  the  soldiers  on  the  Maginot 
Line.  Her  average,  since  the  war  has 
started,  has  been  one  woolen  helmet  a 
day.  .  .  .  Vivien  Leigh  lost  1,800  pounds 
for  her  role.  That  was  the  difference  in 
weight  between  the  heavy  costumes  she 
wore  in  "G.W.T.W."  and  the  light  ones 
in  "Waterloo  Bridge."  For  Scarlett,  she 
had  32  costumes,  each  one  weighing  from 
30  to  60  pounds.  She  has  only  four  cos- 
tumes in  "Waterloo  Bridge,"  including  a 
ballet  number  and  all  told  they  weigh 
less  than  20  pounds. 

*k^kir  Torrid  Zone 

By  simple  arithmetic,  this  banana  epic 
of  Central  America  deserves  nine  stars, 
being  made  up  of  "The  Front  Page," 
"What  Price  Glory"  and  the  "Good  Bad 
Man,"  neatly  combined  and  streamlined. 
Cagney  is  giving  up  raising  bananas  for- 
ever to  return  to  the  Midwest  and  run  a 
chain  store.  However,  O'Brien,  in  the 
style  of  the  Front  Page  editor,  is  trying 
to  keep  him  in  banana  land,  using  the 
lowest  forms  of  subterfuges  known  to 
man  and  author. 

Meanwhile,  Ann  Sheridan,  a  whiskey- 
drinking,  poker-playing  dancing  gal,  and 
Helen  Vinson,  her  rival,  are  slugging  it 
out  for  Jimmie's  favor.  Further  compli- 
cations are  added  by  the  "Good  Bad 
Man"  antics  of  George  Tobias  who,  as 
Rosario,  a  banana  bandit,  almost  steals 
the  show. 

Though  no  harder  to  follow  than  your 
nose,  the  picture  moves  at  marching 
speed  with  machine-gunned  punch  lines, 
gags  that  must  have  just  missed  Mr. 
Hays  by  a  whisker,  and  lots  of  tropical 
love  stuff  that,  truly,  is  temperature- 
raising. 

The  cast  is  both  easy  on  the  eye  and 
ear.  The  Oomphashioned  Ann  Sheridan 
improves  tremendously  as  an  actress,  and 
Helen  Vinson,  still  unsympathetic,  has 
the  stuff  men  go  for  in  carloads.  As  for 
Cagney,  he  knows  how  to  move  around 
in  front  of  a  camera,  and  Pat  O'Brien 
has  been  the  Front  Page  guy  so  often,  he 
can  make  up  the  role  as  he  goes  along. 
Andy  Devine,  as  ever,  is  very  amusing. 
There  is  a  nice  tendency  on  the  authors' 
parts  to  kid  the  script:  as  Cagney  bends 
over  the  card-sharping  Sheridan  in  the 


final  clinch,  he  leers:  "You  and  your  14- 
carat  oomph!"  24-carat,  Jimmie,  24-carat! 
Directed  by  William  Keighley. — Warner 
Brothers. 


PREVIEW  POSTSCRIPTS:  This  is  the 
eighth  film  in  which  Cagney  and  O'Brien 
have  played  together,  and  the  second  one 
they've  made  with  Sheridan.  Jimmie  was 
severely  injured  during  the  making  of 
the  picture  when  a  blank  cartridge  ex- 
ploded in  his  right  hand.  The  entire  pro- 
duction was  held  up  for  several  days 
while  his  hand  healed — costing  the  studio 
about  $25,000  cheerfully  refunded  by  in- 
surance companies.  ...  A  banana  grove, 
a  jungle  and  a  tropical  seaport  were 
erected  on  an  exterior  location  near  the 
studio.  More  than  950  genuine  banana 
trees  were  transplanted  in  the  plantation 
grove,  the  trees  being  recruited  from  all 
parts  of  California.  Unexpected  Cali- 
fornia windstorms  blew  down  all  the 
trees  directly  after  planting,  and  they 
had  to  be  replaced.  Then  a  phony  hur- 
ricane, filmed  at  some  expense,  wound 
up  on  the  cutting-room  floor  to  make  the 
picture  the  right  length.  The  studio  also 
bought  an  old  narrow  gauge  engine,  cars 
and  tracks  from  an  abandoned  lumber 
camp  in  Northern  California  and  built  a 
two-mile  railroad  through  a  studio  back- 
lot  swamp.  The  complete  sets  cost  about 
$200,000  but  were  cheaper  to  build  than 
to  ship  the  entire  company  and  equip- 
ment to  real  banana  country.  .  .  .  Before 
studio  moguls  would  pass  on  Jimmie 
Cagney's  mustache  (which  makes  its 
debut)  he  was  "kiss-tested"  by  Ann 
Sheridan  and  Helen  Vinson  in  romantic 
scenes.  Because  neither  of  them  voiced 
a  complaint,  bigwigs  decided  that  the 
lip-piece  did  not  take  any  of  his  glamour 
away.  Ribbers  sent  Cagney  mustache 
cups,  hair  restoratives,  hunks  of  false 
hair  and  glue.  .  .  Neither  Cagney  nor 
O'Brien  used  doubles  in  the  scene  where 
knives  are  whizzed  by  their  noggins. 
Each  had  faith  in  the  accuracy  of  Holly- 
wood's veteran  knife  thrower,  Steve 
Clemento — though  the  scene  was  retaken 
seventeen  times  to  get  it  right.  .  .  .  35,000 
lbs.  of  green  fruit  used  as  props,  ripened 
and  turned  black  and  had  to  be  replaced 
three  times  before  the  picture  was  finally 
completed.  (Continued  on  page  15) 


8 


MODERN  SCREEN 


New  Screen  Triumph  Wins 
Praise  from  Hollywood  Stars . . . 


*«°0  .s8cV>ooV^'^beofscVlooV. 
~  ^W*1**  f,U  stories  ot 

'"T  „!of*e^°f^toIoa0aT>octot 

^  ed,oo*—^Cv^WfUl 


m 


"Another  great  classic 
comes  to  the  screen.  I 
enjoyed  myself  tre- 
mendously and  I  know 
you  will,  too." 


GENE  TOWNE  PRESENTS 
The  greatest  schoolboy  thriller  of  all  time  . . 


It 


read  and  loved  by  over  50,000,000  people 


with 

Sir  Cedric  Hardwicke  •  Freddie  Bartholomew  •  Jimmy  Lydon 
Josephine  Hutchinson  •  Billy  Halop  -  Poify  Moran  •  Hughie  Green 

Ernest  Cossart  •  Alec  Craig  -  Gale  Storm 

Produced  by  GENE  TOWNE  and  GRAHAM  BAKER  •  Directed  by  ROBERT  STEVENSON 

Adaptation  and  Screen  Ploy  by  Walter  Form  &  Frank  Cavetf  ant)  Gene  Towne  &  Graham  Baker 
Additional  Dialogue  by  Robert  Stevenson  •  Distributed  by  RKO  Radio  Pictures 


"Exciting!  Thrilling!  This 
famous  classic  is  at  last 
brought  to  the  screen  in 
a  way  that  will  make  you 
catch  your  breath.  I  loved 
every  minute  of  it." 


AUGUST,  1940 


9 


By  Marjorie  Deen 
NEW  IDEAS  FOR  SUMMER  SUPPERS  THAT  WILL 
MAKE  YOU  EAT  YOUR  "GREENS"  AND  LOVE  'EM! 


AROUND  Hollywood,  Otto  Kruger  is  known  not  only  for 
his  sterling  portrayal  of  sympathetic  roles  (remember  him 
as  Willie  Baxter's  harassed  dad  in  "Seventeen?")  but  for 
his  parties  as  well.  So  famous  is  Otto  as  a  perfect  host  and 
a  superior  cook  that  the  Who's  Who  of  this  cinema  city 
angle  for  invitations  to  the  Krugers'  gay  and  informal 
gatherings.  In  warm  weather  guests  know  they  will 
gather  out  by  the  barbecue  pit  in  the  loveliest  of  flower- 
filled  gardens.  Here  long  wooden  tables  are  set  up,  spread 
with  bright  checked  linen  table  cloths,  and  wooden  bowls 
of  fruit  serve  as  colorful  decoration.  And  here,  in  the  long 
California  twilights,  friends  will  find  Mr.  and  Mrs.  Kruger 
presiding  happily  and  efficiently  over  their  justly  fa- 
mous specialties. 

But  before  discussing  them,  a  few  words  about  the 
Kruger  steaks  on  which  Otto's  high  reputation  as  an 
outstanding  amateur  chef  was  originally  founded.  These 
steaks  are  of  the  thick-cut  variety  that  men  favor  and 
are  barbecued  to  the  point  where  they  are  well  blackened 
on  the  outside  and  rosy  all  the  way  through.  They  are 
served  simply  swimming  in  Otto's  own  Sauce  Diable — as 
devilishly  fine  a  concoction  as  ever  originated  in  a  gour- 
met's brain.  A  sauce,  incidentally,  which  does  not  neces- 
sarily call  for  barbecued  steak  in  order  to  delight  the 


discriminating.  In  fact,  one  well-known  Hollywood  res- 
taurant now  serves  this  very  sauce  with  its  plain  broiled 
steaks,  thereby  adding  to  its  already  high  culinary  repu- 
tation! You,  too,  can  now  do  likewise,  thanks  to  "Chef" 
Kruger,  who  generously  shares  with  you  the  secret  of 
this  sauce's  success. 

STEAK  WITH  SAUCE  DIABLE 

Soak  thick  steaks  several  hours  in  salad  oil  to  which 
a  clove  of  garlic  (sliced  thin)  has  been  added.  At  serving 
time  put  the  oil  and  garlic  into  a  skillet,  add  a  dash  of 
A-l  Sauce  and  a  dash  of  Worcestershire.  Add  a  half 
pound  of  butter,  season  to  taste  with  salt,  black  pepper 
and  a  very  little  cayenne.  Heat  slowly  until  butter  melts, 
while  steaks  cook.  When  steaks  are  sufficiently  "done," 
salt  lightly  and  place  them  in  the  pan  with  the  sauce,  to 
which  you  add,  at  the  last  moment,  a  half  cup  of  cream. 
Allow  the  meat  to  simmer  in  the  sauce  for  a  moment 
or  two  before  serving. 

This  is  enough  sauce  for  a  sizable  gathering,  of  course. 
For  a  family  of  four,  divide  the  recipe  in  half.  For  a 
gang  of  people  increase  it  proportionately. 

And  now,  if  you're  looking  for  real,  honest-to-goodness 


10 


MODERN 


salad  satisfaction,  why  not  follow  Otto's 
suggestion  and  set  up  a  Salad  Bar?  For 
this  you  can  use  your  buffet,  the  center 
of  your  regular  dining  table  with  a  linen 
runner  forming  the  "bar"  down  the  cen- 
ter; or  for  porch,  patio  or  garden  simply 
a  covered  plank  placed  between  firm 
foundations.  The  main  idea  is  to  have 
plenty  of  room  for  lots  of  little  bowls 
and  for  one  big  salad  bowl  as  shown  in 
the  illustration. 

The  large  bowl  holds  a  mixed  green 
salad,  moistened  with  a  tasty  salad  dress- 
ing, while  the  small  bowls  hold  an  in- 
triguing choice  of  cold  foods.  At  the 
party,  the  host  serves  each  guest  from 
the  main  salad  bowl  into  individual 
wooden  bowls  or  onto  chilled  salad  plates. 
Then  each  guest  helps  himself  from  the 
bowls  lined  up  on  the  "bar."  These  are 
then  blended  with  the  greens,  while  addi- 
tional salad  dressing  is  provided  for  those 
who  wish  it. 

You  can  readily  imagine  that,  from  the 
hostess'  point  of  view,  this  would  be  the 
easiest  of  buffet  and  Sunday  supper  party 
ideas  imaginable.  It's  a  charming  form 
of  Self-service  which  is  perfect  for  the 
maidless  home  and  so  smart  and  effective 
that  you  are  sure  to  start  a  vogue  by 
trying  it  out  on  your  crowd.  One  can 
readily  believe  that  it  allows  for  extrava- 
gance in  ideas  and  expenditures;  but,  on 
the  other  hand,  let  me  point  out  that  it 
really  can  be  more  economical  than  the 
average  form  of  entertaining.  Why  you 
can  use  up  little  bits  of  this  and  that  of 
the  left-over  variety;  you  can  fall  back, 
conveniently,  on  an  unlimited  selection  of 
appropriate  canned  and  bottled  goods; 
and  best  of  all  you  can  make  your  Salad 
Bar  so  complete  that  it  becomes  a  sum- 
mer meal  in  itself,  when  accompanied  by 
bread  and  a  beverage  and  followed  by  a 
dessert. 

SETTING  UP  THE  SALAD  BAR 

In  the  big  salad  bowl  place  crisp,  thor- 
oughly chilled  salad  greens  selected  with 
an  eye  to  providing  a  contrast  between 
light  and  dark  shades  of  green. 

Selection  of  Salad  Greens:  Endive, 
escarole,  chicory,  lettuce  (either  Boston 
or  Iceberg)  watercress,  spinach,  romaine, 
chard,  and  dandelion,  in  season. 

Salad  Dressing:  At  the  last  moment, 
add  salad  dressing  made  right  on  the 
spot.  Use  only  half  the  salad  dressing 
supply  over  the  greens,  placing  the  re- 
maining dressing  in  a  bowl  on  the  bar. 

Selection  of  Foods  (with  an  eye  to 
pleasing  the  men,  and  in  amounts  suffi- 
cient for  a  group  of  8-10  people). 

One  pound  of  cooked  shrimp,  mari- 
nated in  French  dressing;  2  onions;  2 
green  peppers;  1  cucumber,  sliced  thin; 
2  cups  thinly  sliced  radishes;  %  pound 
cold  boiled  chicken  or  ham  or  both,  cut 
into  thin  "julienne"  strips;  skinless  frank- 
furters cut  into  inch-thick  slices;  salami 
cut  into  small  cubes;  cold  cooked  string 
beans  or  canned  green  asparagus  tips, 
marinated  in  dressing;  cauliflower  flow- 
erets served  either  cooked  or  raw;  toma- 
toes, peeled  and  cut  into  eighths;  chopped 
parsley;  chopped  chives;  chopped  fresh 
mint;  celery,  stuffed  with  cheese  and  cut 
into  half  inch  pieces;  hard  cooked  eggs, 
halved  and  stuffed  with  highly  seasoned 
deviled  egg  mixture;  stuffed  olives  and 
pickled  onions;  small  cubes  of  Swiss 
cheese;  crumbled  roquefort  cheese  and 
grated  American  cheese.  (These  last  two 
may  be  added  to  the  extra  dressing  by 
those  who  like  the  idea — and  that  means 
most  of  the  men!)  Steadily  increasing  in- 
terest in  herbs  and  spices  suggests  that 
you  also  include  celery,  onion  and  garlic 
salt,  cayenne  and  chili  powder  (some  like 
(Continued  on  page  69) 


"You  little  imp! 

HOW  DARE  YOU  MAKE  FUN  OF  ME!' 


AW,  AUNT  MOLLIS.  I  DIPN'T MEAN 
TO  MAKE  YOU  MAD.  EVERYBODY 
SAYS  YOUR  CLOTHES  PO  HAVE 


HE'S  A  SCAMR  MOLL/E,  BUT  DON'T  GET  SORE. 
MY  CLOTHES  LOOKEO  WORSE  THAN  YOURS  TILL 
I  STOPPED  USING  WEAK-KNEED  SOAPS  AND 
SWITCHED  TO  FELS-NAPTHA  ! 


TRY  THE  BIG  BAR  OR  THE  WONDERFUL  CRINKLY 
CHIPS!  EITHER  WAY,  FELS-NAPTHA  BRINGS  YOU 
RICHER,  GOLDEN  SOAP  TEAMED  WITH  GENTLE, 
ACTIVE  HAPTHA.  AND  THOSE  TWO  BUSY  CLEANERS 
GET  OUT  ALL  THE  DIRT  IN  JIG-TIME! 


FEW  WEEKS  LATER 


YES,  YOU  LITTLE  INDIAN!  MY  WASH 
LOOKS  SO  GORGEOUSLY  WHITE  THIS 
WEEK  I  BAKED  YOU  A  CAKE  FOR 
TIPPING  ME  OFF  TO  FELS-NAPTHA 
SOAP.  THAT  BIG,  GOLDEN  BAR 
SURE  IS  A  WONDER  IN  A  TUB 


AND  FELS-NAPTHA  SOAP  CHIPS  ARE  GRAND 
FOR  WASHING  MACHINES.  HUSKIER,  GOLDEN 
CHIPS  —  THEY'RE  NOT  PUFFED  UP  WITH 
AIR  LIKE  FLIMSY,  SNEEZY  POWDERS.  SO 
WONDERFULLY  SUDSY,  TOO,  THANKS  TO  THAT 
NEW,  ADDED  SUDS-BUILDER  ! 


Golden  bar  or  golden  chips— 
Fels-Naptha  banishes  "Tattle-Tale  Gray" 


Wherever  you  use  bar-soap, 
use  Fels-Naptha  Soap. 
Wherever  you  use  box-soap, 
use  Fels-Naptha  Soap  Chips. 


COPft.  1940,  PELS  a  CO. 


AUGUST,  1940 


11 


BE  YOURSELF 
BE  NATURAL ! 


In  make-up,  as  in  all  things,  it  is 
best  to  "Be  Yourself ...  Be  Natural".  Use 
Tangee  for  a  glorious  lip  color  which  is 
yours  and  yours  alone.  Tangee  changes 
magically  from  orange  in  the  stick  to  the 
one  shade  of  red  your  skin-coloring 
demands.  That's  the  Tangee  way  to  — 

Your  Tangee  lips  will  be  smoother 
...evenly  and  beautifully  made-up  because 
there,  is  no  grease-paint  in  Tangee ...  its 
pure  cream  base  ends  that  "painted 
look"  and  helps  you  — 

M  For  complete  make-up  harmony 
useTangee  Face  Powder  and  Tangee  Rouge, 
compact  or  creme,  as  well.  Then  you'll 


"WORLD'S  MOST  FAMOUS  LIPSTICK" 

SEND   FOR  COMPLETE 
MAKE-UP  KIT 


The  George  W.  Luft  Co..  417  Fifth 
Ave.,  New  York  City. ..  Please  rush 
"Miracle  Make-up  Kit"  of  sample  Tangee  Lipsticks  and 
Rouge  in  both  Natural  and  Theatrical  Red  Shades.  Also 
Pace  Powder.  I  enclose  lOtf  (stamps  or  coin).  (15£  in 
Canada.) 

Check  Shade  of  Powder  Desired: 
□  Peach  □  Light  Rachel  □  Flesh 

□  Rachel  □  Dark  Rachel      □  Tan 

Name  .  .  


I 
l 

I 


H  DOLLAR  FOR 
VOUR  THOUGHTS 


Attention,  Theatre  Managers 


I'm  not  a  squawking  person.  I  can  sit  through  hours  of  movies — good,  bad 
or  indifferent — and  you  won't  hear  a  peep  out  of  me.  But  the  time  has  finally 
come  when  I  must  make  myself  heard! 

We  took  our  young  'un  to  "The  Bluebird,"  as  did  a  hundred  other  parents. 
The  companion  picture  was  "Congo  Maisie."  During  "The  Bluebird"  everything 
was  quiet,  but  during  the  other  picture  my  child  and  ninety -nine  other  ones 
were  squirming  around,  tripping  up  and  down  the  aisle  getting  a  drink!  I 
chalked  it  up  to  experience! 

Then  we  took  same  young  'un  to  see  "Pinocchio,"  and  the  companion  picture 
was  "Beyond  Tomorrow,"  which  I  felt  was  even  a  little  beyond  me.  Again 
ninety-nine  off-spring  and  my  own  were  wriggling,  squirming  and  making 
trips  up  and  down  the  aisle. 

When  showing  children's  movies,  why  don't  theatres  have  suitable  companion 
pictures?  A  group  of  animated  cartoons  or  some  of  those  animated  songs 
would  solve  harried  parents'  problems  beautifully. — Mrs.  John  Ruppel,  Kohler, 
Wisconsin 

Immortalizing  Modern  Literature 

I  believe  I  but  echo  the  views  of  a  great  many  picture-goers  when  I  point 
out  that  I  often  see  a  great  picture  before  having  read  the  book  from  which 

YOU'LL  ENJOY  THESE  FRANK,  UNCENSORED  OPINIONS 


Citv- 


-MM80 1 


12 


MODERN  screen 


it  is  made,  thus  having  my  impres- 
sions of  the  characters  formed  by 
the  screen  version.  I  am  glad  to  be 
able  to  add  that,  almost  invariably, 
I  have  found  the  picture  to  be 
superior  to  the  book  and  certainly 
more  compact.  For  example,  take 
"Rebecca,"  a  lengthy,  rather  morbid 
tale  on  paper,  but  on  celluloid  a 
drama  filled  with  interest,  suspense 
and  a  certain  macabre  feeling — in 
a  word,  a  wow. 

Having  viewed  the  picture,  I  flew 
to  the  novel,  and  all  through  it  my 
imagination  was  colored  and  stimu- 
lated by  the  still-fresh  memory  of 
the  Hollywood  interpretation.  This 
seems  to  confirm  the  long-held  sus- 
picion that  Hollywood  wields  an 
incalculable  influence  on  the  fan 
mind.  "The  Grapes  of  Wrath"  is 
another  biggie  that  lost  nothing  and 
gained  (Continued  on  page  75) 


OF  YOUR  FELLOW  FANS 


"L4&H£ft 


AL  CAPP 


Reg.  U.  S.  Pol.  Off.  X  *f  OOT* 


WOULDN'T  YO'  LIKE  IT  EF  AH 
COOKED  YO'  CREAM 
WHEAT  eVRY/rCP 
MAWNIN*?  (ftl'^H1^ 


SAVE  KITCHEN  TIME  WITH  NEW , 
5-MINUTE"  CREAM  OF  WHEAT  / 

COOKS  TO  FULL  DlGESTlBli-ITY- 
EVEN  FOR  BABIES  -  IN  ONLY 
5-MINUTES... CONTAINS  ADDED 
VITAMIN  Bi  AND  MINERALS 
EVERYBODY  NEEDS / 

YOUR  CHQ^I-^ 


AH  LIKES  MAH  CREAM  OF  WHEAT) 
EVERY  MAWNIN'  REGARD-LESS  / 
O'  WHO  COOKS  IT  /.'/  jn 


CREAMofWHEAT 


NOWTWO  KINDS- 
new  5-MINUTE" 
AND  "REGULAR" 


of  Whcol"  Reg.  II.  S.  Pul.  Off. 


AUGUST,  1940 


13 


Us  Quilted' 

that's  why 


OUR    PUZZLE  PAGE 


v/omen 


choose 


TAMPON 


SPECIAL 
"QUILTING" 

makes  Fibs  the  ideal  internal 
protection  .  .  .  keeps  Fibs 
from  expanding  abnormally 
in  use— prevents  risk  of  par- 
ticles adhering  — increases 
comfort,  lessens  possibility 
of  injury  to  delicate  tissues. 


EASY 
TO  USE 

Fibs,  the  Kotex  Tampon, 
is  more  comfortable,  more 
secure,  easier  to  use.  Be- 
cause of  the  rounded  top, 
no  artificial  method  of  in- 
sertion is  necessary! 


A  KOTEX 
PRODUCT 


.  .  .  Fibs  Merit  Your  Confidence! 
Made  of  surgical  Cellucotton  (not 
cotton)  which  absorbs  more  quickly 
than  surgical  cotton;  that's  why  hos- 
pitals use  it.  Mail  coupon  with  10c 
for  trial  supply. 


Accepted  for  Advertising 
by  The  Journal  of  the  American  Medical  Association 
*Trade  Marks  Reg.  Xi  ■  S.  Jr"at.  Office 


FIBS-Room  1429A,  919  N.  Michigan  Ave.,  Chicago. 

I  enclose  10c  for  trial  supply  of  FIBS,  the  Kotex 
Tampon,  mailed  in  plain  package. 

Name  - 

Address  i  - 

City  State    


Puzzle  Solution  on  Page  83 


ACROSS 


DOWN 


25. 
26. 


1  &  6.  Character  actor 
12.  Star    of  "Charlie 
Chan  in  Panama" 

17.  "The  Westerner" 

18.  Father   of  "My 
Son,  My  Son" 

19.  She's  in  "My  Fa- 
vorite Wife" 

20.  Actress  in  "Pride 
and  Prejudice" 

21.  M-G-M's  motto: 
"-  -  -  Gratia  Ar- 
tis" 

22.   Stewart 

24.  Eleanor  Powell's 

kind  of  dance 
"Little  Ac- 
c  -  -  -  nt" 
"  .  -  -  -  of  Mrs. 
Cheyney" 

28.  Four:  Rom.  num. 

29.  Novelist  in  "The 
Doctor  Takes  A 
Wife" 

31.  Ken  May  -  -  -  - 
33.  Girl  in  "Henry 
Goes  Arizona" 

36.  "Abe  Lincoln  in 
Illinois" 

37.  Arabian  garment 
39.  Bette    Davis'  ex- 
hubby 

Southern  state: 
abbr. 

Femme  in  "All 
This,  and  Heaven 
Too" 
Regard 

Milland's  rival  in 
"Irene" 

Silkworm:  var. 

"Waterloo 
Br  -  -  -  e" 

54.  Small  tag 

56.  Japanese  herb 

57.  Permit 


41 


42. 


46. 
48. 


53. 


59. 

61. 
62. 
63. 

67. 

71. 
72. 

73. 

74. 
75. 
77. 

82. 
84. 
86. 


93. 
95. 
99. 

101. 
102. 

104. 
105. 
106. 

108. 
109. 
111. 

113. 
115. 
116. 
117. 

118 


Great  actor  in 
"Boom  Town" 
Skill 

Portuguese  coin 
Andrea  Leeds' 
sister-in-law 
Actress   in  "Way 
of  all  Flesh" 
Queer 

Scarecrow  in 
"Wizard  of  Oz" 
Director  of  "Our 
Town" 
"Rosa  -  -  -" 
Cad 

Hero  in  "I  Was 

an  Adventuress" 

Oldest 

L  -  -  n  Errol 

Detective  in 

"  'Til  We  Meet 

Again" 

-  -  -  O'Connor 
Our  star's  son  in 
"The  Crowd 
Roars" 
Prettier 

"It's  a  " 

Father    in  "Bill 
of  Divorcement" 
Therefore 
Goldfish    in  "Pin- 
occhio" 

-  -  -  La  Rocque 
Bow 

Danielle  Dar- 
rieux's  hubby 
Word  of  triumph 
Meek 

Great  Swedish 
star 

Dedicate 
Hard 

Prussian  city 
These  make  up  a 
film 
Nobles 


1.  One  of  "Lillian 
Russell's"  husbands 

2.  His  last  name  is 
Pryor 

3.  "Tarzan's"  jungle 
friend 

4.  "-  -  -  -  Gwynn" 

5.  Author  of  51 
down:  init. 

6.  Popular  male 
singing  star 

7.  Exclamations  of 
wonder 

8.  "-  -  union  in  Vi- 
enna" 

9.  Most  serious 

10.  Daughter  in 
"The  Ghost 
Comes  Home" 

11.  Hamilton 

12.  Crowns 

13.  "The  Emper  -  -'s 
Candlesticks" 

14.  Latvians 

15.  Growing  out 

16.  Refund 

17.  Abel's  brother 
"The  Ware 
C  -  -  -" 

Actor  in  "Sandy  Is 
a  Lady" 
Prizes 
Misfortunes 

"  pade" 

Small  lump 
Joel  McCrea's 
lovely  wife 
Eggs  of  fishes 
38.  Grand  actress  in 

"Our  Town" 
40.  Traps 

42.  Ralph   -  -  -  lamy 

43.  "Naughty 
M  —  etta" 

44.  Former   film  men- 
ace, now  director 

45.  To  become  old 
47.  Chart 

49.  Wise-cracking 
comedienne 


21. 

23. 

27. 
28. 
30. 
32. 
34. 

35 


50. 

51. 

55. 

58. 
60. 
63. 

64. 
65. 
66. 
67. 

68. 
69. 
.70. 
76. 
78. 
79. 

80. 


100. 
103. 

107. 
108. 
110. 

112. 
114. 
115. 


"Broadway 
Seren  -  -  -" 
"  thwest  Pas- 
sage" 

She's  scheduled  for 
"Joan  of  Arc" 
Go  astray 
Born 

Comic  in  "Road  to 
Singapore" 
Fuss 
Label 
Novice 
"Disputed 
P   -  -  age- 
Character 

"The  N  ance" 

Film  stage 
Length  of  film 

Tide" 
Tending  to  wear 
away 

Who   sang  in 
"Music   for  Ma- 
dame ?" 
Evening:  poet. 
Boy 

Mickey  was  this  in 
"Boys'  Town" 
Recesses 

Gene  Autry  is  "at 
home"  here 
Scents 
Portends 

"The  Shop  Around 

  Corner" 

B  —  Lugosi 
Furnished  with 
weapons 
Labors 

Our  Star  managed 
him   in  "Sweet- 
hearts" 
Concludes 
Mr.  Kruger's  first 
name 

"Off  the  - 
Consumed 
"Oklahoma 

Front  " 

Bob  -  -  eele 
Upon 

Co-star  of 
Company" : 


•  -  ord" 


"Two's 
init. 


14 


MODERN  SCREEN 


(Continued  from  page  8) 

Down  Went  McGin+y 

Having  made  himself  genuinely  dis- 
liked for  some  years  now,  Brian  Donlevy, 
the  World's  Toughest  Guy,  shows  pleas- 
ing signs  of  softening  into  a  very  likable 
human  in  this  solid  little  political  trav- 
esty. As  Dan  McGinty,  fugitive  from  a 
breadline  who  plays  ball  with  the 
crooked  politicians  and  rises  to  be  Gov- 
ernor of  a  State,  Brian  gives  as  sympa- 
thetic a  hard-guy  performance  as  you've 
ever  seen  this  side  of  Edward  G.  Robin- 
son. One  or  two  more  roles  like  this  may 
yet  place  Mr.  Donlevy's  name  on  the 
theatre  marquee. 

Also  headed  for  stardom  (and  you  can 
remind  us  about  it  next  year)  is  Akim 
Tamiroff,  the  Amazing  Russian  who 
seems  to  be  able  to  play  anything  on 
two  or  more  legs,  standing,  sitting  or 
lying.  In  this  case,  the  lusty  Akim  plays 
the  political  Boss,  and  Donlevy,  his 
stooge.  The  pushing  around  these  two 
insensitive  lugs  give  each  other  through- 
out the  fast-moving  action  is  taken  out 
of  the  banal  feud  class  by  their  capital 
performances  and  the  fresh  slant  pro- 
vided by  the  story. 

Undoubtedly  the  picture  isn't  in  the 
"Mr.  Smith  Goes  to  Washington"  class- 
but  misses  by  only  a  single  star.  There 
are  some  unbelievable  bits,  such  as  toss- 
ing the  Governor  into  jail  and  refusing 
him  a  writ  of  habeas  corpus,  but  the  low- 
down  into  smelly  politics  is  timely  and 
authentic;  the  heartclutchings  engen- 
dered by  McGinty's  ruinous  reforma- 
tion, thanks  to  quietly  blonde  and  lovely 
Muriel  Angelus  whom  he  married  purely 
on  a  business  basis,  are  pretty  clutchy; 
and  it  all  proves  you  don't  have  to  spend 
a  trillion  to  make  a  good  entertaining 
picture — if  your  yarn  and  actors  have 
what  it  takes.  Written  and  directed  by 
Preston  Sturges. — Paramount. 

PREVIEW  POSTSCRIPTS:  This  started 
as  a  B  picture,  and  wound  up  an  A. 
Usually  ifs  the  reverse.  .  .  .  When  the 
studio  realized  what  it  had,  $150,000  was 
added  to  the  original  $250,000  schedule — 
for  added  glamour,  election  crowds,  etc. 
.  .  .  Brian  Donlevy,  who  bites  off  babies' 
heads  and  spits  spikes,  was  born  in  Porta- 
down,  County  Armagh,  Ireland,  where 
his  father  manufactured  Irish  whiskey 
before  immigrating  to  Sheboygan  Falls, 
Wis.  At  13,  he  bugled  for  the  Wisconsin 
Nat'l  Guard,  chasing  Villa  around  Mejijo; 
at  14,  he'd  fibbed  his  way  into  the  Lafay- 
ette Escadrille;  at  17,  he  was  dog-fighting 
over  the  Western  Front  in  World  War 
No.  1,  and  has  two  wounds,  one  in  the 
head  to  prove  it.  He's  married  solidly 
to  Marjorie  Lane,  leads  an  unsensational, 
hobbyless  life,  and  is  so  broad  and  thick- 
necked  you  wouldn't  believe  he  mea- 
sured 6  ft.  His  middle  name's  Waldo,  and 
if  you  call  him  that — duck!  .  .  .  Blondly 
maturish,  Muriel  Angelus  was  born  into 
the  London  middleclass,  is  convent-bred 
and  was  a  child  dancer  for  Fokine  along 
Piccadilly,  winding  up  in  the  musi- 
eomedy  chorus  when  she  rounded  17. 
She's  been  drop-kicked  between  London 
and  Paramount  for  the  past  three  years 
and  hopes  this  second  "discovery"  by 
Paramount  will  stick.  .  .  .  Preston  Sturges, 
who  wrote  and  directed  this  film,  has 
made  45  trips  to  Paris,  where  his  mother 
used  to  manufacture  cosmetics.  He's 
beautifully  and  internationally  educated, 
Chicago-born  and  was  once  a  Wall 
Street  runner.  He  got  drunk  the  night 
his  play,  "Strictly  Dishonorable,"  opened 
because  it  seemed  a  flop.  Next  a.m.  his 
mother  wakened  him  and  read  the  rave 
notices  and  he's  never  touched  a  drop 
since.  He's  yacht-nuts,  owns  the  Holly- 


It's  a  love  Match" . . 

when  your  skin  meets  its  Woodbury  Powder  Shade 


Margaret  Young,  former  student  of  the  Uni- 
versity of  Southern  California,  a  blonde,  says: 
"The  powder  I'd  been  using  didn't  do  a  thing 
for  me.  So  I  sent  for  the  8  Woodbury  shades. 
'Windsor  Rose'  was  a  'love  match'!  It  made 
my  skin  look  much  more  vivid  and  alive!" 


Ruth  Lynott,  graduate  of  the  University  of 
Wisconsin,  a  handsome  brunette,  says:  "You 
see?  We're  so  different!  Yet  we've  each  found 
a  Woodbury  Powder  shade  that's  perfect  for 
our  skin.  'Brunette'  is  my  complexion's  buddy 
for  life.  It  keeps  me  finished  and  flattered  in 
any  setting  — wind,  sun  or  stars!" 


"Woodbury  stays  on  so  well,  too,"  adds 
Margaret  Young,  "even  when  I  play  ten- 
nis! My  skin  hasn't  a  trace  of  shine  after 
six  hot  sets."  "Right! "  echoes  Ruth  Lynott. 
"Woodbury  stays  —  day  in,  night  out! " 
Yes!  Woodbury's  lasting,  germ-free  purity 
guards  against  unattractive  shiny  nose! 


FREE... THE  GLAMOROUS  WOODBURY  8t 

Send  for  the  8  Woodbury  Powder  shades  — 
free!  See  how  smart,  yet  how  true  to  the 
skin's  tints  they  are!  One  of  them  will  make 
a  "love  match"  with  your  complexion! 
Woodbury  costs  only  50^-,  25^,  10(f. 


WOODBURY  POWDER 

SHADES  THAT  DRAMATIZE  YOUR  SKIN 


(PASTE  ON  PENNY  POSTCARD.    MAIL  NOW!) 

John  H.  Woodbury,  Inc.,  8114  Alfred  St.,  Cincinnati,  Ohio 
(In  Canada,  John  H.  Woodbury,  Ltd.,  Perth,  Ontario) 

Please  send  me,  free  and  postpaid,  all  8  shades  of 
Woodbury  Facial  Powder  .  .  .  approved  by  leading  fashion 
and  beauty  authorities  for  glamorous  make-up.  Also  gen- 
erous tube  of  Woodbury  Cold  Cream. 


A'ame_ 


AUGUST,  1940 


15 


wood  Green  Hat  cafe,  has  been  married 
three  times,  now  happily  to  Louise  Sar- 
gent. .  .  .  Akim  Tamiroff  worked  in  this, 
"Untamed"  and  "Way  of  All  Flesh"  at 
the  same  time.  He  and  Donlevy  lost  ten 
pounds  in  their  rough-and-tumble  feud 
fights,  broke  no  bones,  each  being  pretty 
solid,  but  really  wrestled! 

^^kit  My  Favorite  Wife 

Irene  Dunne  and  Cary  Grant  are  to- 
gether again  in  one  of  the  hilarious 
comedies  in  which  they  excel.  And  with 
Garson  Kanin  directing,  you  can  bet 
your  last  cent  that  this  picture's  put  over 
with  a  punch  that  will  hang  grins  on 
every  last  sour-puss  in  the  audience. 

The  story  concerns  a  young  man,  Cary 
Grant,  who  has  wife  trouble.  This  is 
not  unusual  in  itself,  but  Cary's  main 
trouble  lies  in  the  fact  that  he  has  one 
wife  too  many,  and  trouble  with  both  of 
them.  Irene  Dunne,  Wife  No.  1,  has  been 
dead,  supposedly,  for  several  years  and 
takes  her  husband's  second  wedding  day, 
of  all  days,  to  put  in  her  belated  reap- 
pearance. Wife  No.  2,  Gail  Patrick,  can- 
not imagine  why  her  brand-new  spouse 
suddenly  loses  all  interest  in  her  when 
they  arrive  at  their  honeymoon  hotel, 
little  dreaming  that  poor  Mr.  Grant  has 
just  spotted  Wife  No.  1  in  the  lobby. 

From  that  moment  on,  Mr.  G.  has  one 
terrible  time.  Irene  Dunne  is  still  his 
favorite  wife,  but  Gail  Patrick  is  not  a 
girl  to  be  trifled  with — and  before  the 
harassed  hero  can  muster  up  enough 
courage  to  confess,  several  reels  of  the 
most  hysterical  situations  have  gone  by. 
Chief  among  them  is  when  Grant  dis- 
covers that  Wife  No.  1  had  not  been 
alone  on  the  desert  isle  for  all  these 
years  as  he  supposed,  but  had  been  kept 
company  by  handsome  Randolph  Scott. 
You'll  just  have  to  see  this  yourself  to 
really  believe  that  a  happy  ending  can 
be  worked  out  from  all  the  confusion  and 
mix-up.  Directed  by  Garson  Kanin. — 
RKO-Radio. 

PREVIEW  POSTSCRIPTS:  When  this 
picture  went  on  location  for  a  scene  at 
the  swank  Pasadena  Vista  Del  Arroyo 
Hotel,  staid  millionaires  and  retired 
lowans  besieged  the  gates  to  watch  the 
scene  in  which  Irene  Dunne  was  dunked 
in  the  pool — the  rough-and-ready  treat- 
ment now  prescribed  for  glamour  girls. 
The  cost  to  the  studio  amounted  to  $400, 
for  three  costumes  were  used  before  the 
scene  was  okayed.  .  .  .  Cary  Grant,  Ran- 
dolph Scott  and  Director  Kanin  spent 
their  location  week  at  the  hotel,  which 
caused  a  record-breaking  turn-out  of 
Pasadena  debs  for  teas,  luncheons  and 
dinner -dances.  .  .  .  Leo  McCarey's  debut 
as  a  fidl-fledged  producer  got  off  to  a 
bad  start  when,  returning  from  location- 
hunting  at  Lake  Arrowhead  at  the  start 
of  the  picture,  the  car  in  which  he  and 
Author  Gene  Fowler  were  riding  over- 
turned, and  both  were  seriously  injured. 
McCarey  conducted  much  of  his  work 
from  a  hospital  bed  and,  against  doctor's 
orders,  showed  up  on  the  set  for  the  final 
scenes. 

Turnabout 

Sally  and  Tim  Willows,  being  very 
scrappily  married,  were  getting  along 
as  well  as  could  be  expected,  until  one 
day  a  Magic  Widget  switched  them  into 
each  other's  bodies — by  request.  Tim 
became  Sally  in  Pants,  and  Sally  became 
Tim  in  Brassieres. 

That's  the  gist  of  this  screwball  ex- 
travaganza, another  of  the  late  Thome 
Smith's    nuthouse   farces.    Thorne  also 


gave  us  the  delirious  "Topper"  series,  and 
while    "Turnabout"    doesn't    have    the  | 
punch  satire  that  underlay  "Topper" — 
it  has  its  points. 

Ordinarily  the  situations  would  point  to 
another  of  those  stories  about  a  husband 
and  wife  who  fight  because  each  feels  , 
the  other  is  leading  a  life  of  ease.  But 
when  Tim  Willows  (John  Hubbard)  goes 
swish,  putting  his  hand  on  his  hip  and 
throwing  his  tonsils  in  high;   and  the 
eye-filling  Carole  Landis  (as  Sally)  be-  j 
comes  deep  bass  with  manly  muscles,  it 
gets  pretty  delightfully  hilarious.  Carole's  1 
take-off  of  her  husband's  mannerisms 
proves  Miss  Landis  doesn't  have  to  get 
by  in  Hollywood  on  her  figure  alone. 

Since  that  eminent  doctor  of  prattfalls, 
Hal  Roach,  produced  and  directed  "Turn- 
about," the  entire  picture  skids  along  on 
a  banana  peel  and  is  choked  with  gags. 

The  settings  are  pretty  terrific,  being  i 
very  Apartment-of -Tomorrow,  with  lino- 
leum walls,  transparent  doors  and  win- 
dows that  open  at  the  touch.  Even  Tim's 
office  has  patent  leather  chairs.  As  for 
the  clinch  closing  gag,  it  is  north  of  ter- 
rific. After  the  Nasty  Widget  restores 
them  to  their  original  selves,  he  neglects 
to  transpose  the  baby  Sally  was,  as  they 
say,  expecting!  And  to  Sally's  great 
amusement,  Tim  finds  that  he  is  to  be 
the  mother  of  their  child!  Directed  by 
Hal  Roach. — United  Artists  Release. 

PREVIEW  POSTCRIPTS:  John  Hubbard  j 
is  from  East  Chicago,  Indiana,  pilots  his 
own  plane,  and  is  practising  bull  fighting  I 
— to  his  wife's  horror.  Says  she:  "John 
may  throw  the  bull  in  Hollywood,  but 
not  in  Mexico!"  When  the  picture  was 
completed,  Hubbard  asked  Hal  Roach 
for  the  nightgown  he  had  to  wear  in  one 
sequence,  then  tore  the  dainty  feminine 
tidbit  into  tiny  pieces.  "That  restored 
my  self-respect,"  he  explained.  .  .  .  Carole 
Landis,  who  last  wore  six  sea  shells  and 
a  postage  stamp  in  "1,000,000  B.  C,"  dons 
mental  pants  in  this — has  no  idea  what 
the  future  will  bring.  She's  quite  an 
athlete  and  had  little  trouble  aping  John 
Hubbard's  manly  gestures  because  she 
insists  she  was  a  tomboy  when  a  gal. 
Offstage,  she  holds  hands  continuously 
with  Alan  Gordon  .  .  .  Margaret  Roach 
is  Hal  Roach's  daughter.  After  finishing 
the  picture,  she  left  for  a  sanitarium  to 
reduce.  She's  been  seen  around  with 
Edgar  Bergen.  .  .  .  Carole  Landis,  Mary 
Astor  and  Joyce  Compton  generously 
loaned  $112,632  worth  of  their  jewels  to  I 
the  studio  for  this.  It  cost  $4,000  to  insure 
them  for  one  day!  Gosh,  times  are  hard 
around  Hollywood!  .  .  .  Mary  Astor's 
romantic  life  is  most  subduedly  serene 
these  days  and  she  shows  it  .  .  .  Everyone 
on  the  set  went  nuts  trying  to  describe 
the  plot  of  the  picture  to  each  other  .  .  . 
Director  Hal  Roach  is  a  crack  polo  player, 
owns  banks,  says  he  carries  his  office  in 
his  hat,  and  ribbed  players  throughout 
the  filming  .  .  .  Dapper  Adolphe  Menjou 
and  his  missus  upstaged  each  other  all 
through  the  film,  trying  to  steal  scenes 
from  one  another,  Verree  usually  win- 
ning. Miss  Teasdale's  related  to  Edith 
Wharton  and  Sara  Teasdale,  is  known  as 
Voo-voo  to  friends  but  can  do  nothing 
about  it.  She  likes  popcorn,  ice  cream, 
bum  puns,  good  books,  L'il  Abner,  baby 
pictures,  dogs  and  Menjou.  She  hates 
cats,  cigarettes,  umbrellas,  tub  baths, 
germs  and  snooty  waiters.  She  and 
Adolphe  make  about  $6,500  a  week  when 
both  work.  They  just  struggle  along  .  .  . 
Franklin  Pangborn's  screen  name  in  this 
is  Pingboom;  Will  Gargan  never  got  it 
right,  calling  his  Penguin,  Pingpong  or 
Pinball.  Gargan,  by  the  way,  ropes 
calves  for  exercise.  The  four-legged  kind, 
that  is.   He  is  also  an  expert  at  tennis. 


16 


MODERN  SCREEN 


***  The  Doctor  Takes  A  Wife 

When  a  beauteous  spinster  who  lives 
alone  and  loves  it  gets  mixed  up  with 
a  doctor  who  loathes  career  women,  the 
fun  begins.  And  with  Loretta  Young 
and  Ray  Milland  as  the  aforementioned 
parties,  you  can  be  assured  that  the  situ- 
ations are  handled  with  as  much  finesse 
as  frivolity.  It's  Loretta  Young's  best 
role  in  a  long  time,  and  the  leading  man 
comes  through  with  a  performance  which 
will  undoubtedly  leave  feminine  fans 
screaming  for  more  Milland.  Reginald 
Gardiner,  Gail  Patrick  and  Edmund 
Gwenn  are  additional  money-back  guar- 
antees for  this  picture. 

Reginald  Gardiner  falls  heir  to  the 
meanie  role  of  the  heroine's  publisher 
who  is  more  interested  in  her  ability  to 
make  money  than  in  the  little  matter  of 
whether  that  ability  wreaks  havoc  with 
her  personal  life.  The  fact  that  she  has  to 
put  up  with  a  sham  marriage  to  Milland 
to  hold  her  public  doesn't  concern  Reg 
the  least  bit.  However,  when  it  looks 
as  if  Milland  is  really  going  to  get 
Loretta  for  his  own,  Gardiner  tries  to 
throw  a  monkey  wrench  in  the  happy 
ending.  Gail  Patrick  is  the  villainess 
of  the  piece — a  dangerous  dame  from 
the  deep  south,  who  intends  to  grab 
off  Dr.  Milland  if  it's  the  last  thing 
she  does.  But  after  the  fair  Loretta 
brings  her  forgotten  feminine  wiles  into 
play,  the  southern  charms  of  belle  Pat- 
rick look  mighty  sick.  Edmund  Gwenn 
gives  a  grand  characterization  of  the 
sentimental,  muddling  pater  of  the  hero. 
The  rest  of  the  cast  is  completely  satis- 
factory in  every  respect.  Excellent  enter- 
tainment. Directed  by  Alexander  Hall. — 
Columbia. 

PREVIEW  POSTSCRIPTS:  It  took  the 
city  of  Escondido,  California  to  be  prud- 
ish enough  to  refuse  to  allow  part  of  the 
picture  to  be  shot  in  that  town.  Director 
Alexander  Hall  wanted  to  take  his  com- 
pany to  Escondido,  California,  for  loca- 
tion, but  its  Chamber  of  Commerce  re- 
fused on  the  grounds  that  the  film  was 
indecent.  The  reason?  The  script  calls 
for  Ray  Milland  and  Loretta  Young  to 

live  together  without  benefit  of  clergy  

It  took  a  stuffed  dummy  to  get  more 
closeups  than  Loretta  Young.  The  dum- 
my was  used  for  the  medical  scenes.  .  .  . 
Nineteen-year-old  Maurice  Max,  mes- 
senger boy  on  the  lot,  was  technical 
adviser  for  the  jitterbug  scene  in  the 
'film.  He's  an  amateur  who  has  won 
numerous  cups  for  his  Terpsichorean  ef- 
forts. .  .  .  The  foreign  countries  were 
well-represented  in  this  picture,  with 
Ray  Milland,  Reginald  Gardiner,  Edmund 
Gwenn  and  George  Metaxa  all  from 
across  the  ocean. 

***  If  I  Had  My  Way 

More  like  a  vaudeville  show,  with  song 
and  dance  acts  appearing  as  frequently 
as  they  did  in  the  good  old  days  B.C. 
(Before  Cinema),  "If  I  Had  My  Way" 
has  little  to  offer  in  the  way  of  a  plot. 
But,  what  it  lacks  in  story,  it  more  than 
makes  up  for  in  cast.  With  Bing  Crosby 
and  Gloria  Jean,  the  picture  can't  help 
but  be  entertaining. 

The  trouble  with  the  film  lies  in  the 
fact  that  you  know  exactly  what  is  going 
to  happen  from  one  reel  to  the  next. 
You're  sure  that  Gloria  Jean's  father  will 
be  killed  in  the  beginning  of  the  film, 
leaving  Bing  and  El  Brendel  to  take  her 
to  her  wealthy  New  York  uncle.  You 
know  that  the  uncle  will  pack  Gloria  off 
to  her  great-uncle,  a  vaudeville  has-been 
with  a  heart  as  big  as  the  salary  checks 
he  once  received.   You  realize  that  the 

august,  1940 


restaurant  Bing  and  Brendel  are  stuck 
with  will  turn  out  to  be  a  whopping  suc- 
cess— saved  from  the  clutches  of  the 
Friendly  Finance  Company  in  the  nick 
of  time. 

Gloria  Jean  is  excellent;  Bing  Crosby 
is  his  same,  easy-going  self,  crooning  and 
clowning  his  way  through  a  galaxy  of 
songs.  The  Swedish  comedian,  El  Bren- 
del, is  good  for  numerous  chuckles,  while 
Charles  Winninger  is  the  lovable  char- 
acter you  always  expect  him  to  be. 
Blanche  Ring,  Trixie  Friganza  and  Eddie 
Leonard  are  a  few  of  the  old-timers  who 
revive  their  acts  successfully  on  the 
screen.  The  director,  David  Butler,  helps 
the  story  by  handling  it  with  a  deft  and 
sure  touch. — Universal. 

PREVIEW  POSTSCRIPTS:  Gloria  Jean 
is  Bing's  twenty-first  leading  lady  and 
the  third  one  to  sing  with  him  in  pictures. 
Her  favorite  dessert  is  ice-cream,  in  any 
shape  or  form.  She  has  three  sisters, 
ranging  from  a  high-school  sub-deb  to 
Baby  Bonnie,  now  two  years  old.  None 
of  her  sisters  long  for  movie  careers,  in 
fact,  her  oldest  sister  is  so  shy,  she  won't 
even  pose  with  Gloria,  without  terrific 
urging.  Sister  Lois  is  Gloria's  stand-in 
at  the  studio — work  which  she  regards  as 
"all  right"  but  not  too  glamourous.  .  .  . 
If  you're  familiar  with  old-timers,  you'll 
spot  Blanche  Ring  in  this  film.  And  you 
can't  miss  her  ex-husband,  Charles  Win- 
ninger, who  also  appears  in  this.  For  the 
first  time  in  its  long  and  illustrious 
screen  career,  the  famous  Bing  voice  had 
to  have  a  "double."  In  one  scene  Bing 
was  supposed  to  give  out  with  a  low  and 
guttural  chuckle.  Take  after  take  was 
made,  but  Director  Butler  just  didn't 
think  Bing  was  low  or  guttural  enough. 
Finally  the  actor  suggested  that  the  di- 
rector do  it  himself — which  is  exactly 
what  Mr.  B.  did — and  on  the  first  "take." 

Untamed 

Well  sir,  it  seems  that  after  all  these 
years  the  big  clean  Northwest  still  has 
its  healing  power.  But  even  up  thar 
whar  men  are  men  and  grizzly  ba'rs 
ain't  white  mice,  you  certainly  cannot 
take  the  oldest  formula  in  the  world  and 
get  a  modern  up-to-date  picture,  even 
though  you  throw  in  Technicolor. 

All  the  ancient  ingredients  are  here: 
the  good-natured  French-Canadian  trap- 
per (Akim  Tamiroff ) ,  with  the  lovely 
blue-eyed,  black-haired  young  wife 
(Patricia  Morison) ;  the  gossipy  strait- 
laced  neighbors  at  the  Factor  Post;  and 
the  young  doctor  who  has  come  north 
to  regain  his  soul  (Ray  Milland) . 

And  you  can  call  the  shots  as  they 
come.  The  doctor  and  the  repressed 
young  wife  will  fall  in  love.  You  know 
that  when  they  are  about  to  separate 
forever  he  will  have  to  go  out  into  the 
raging  blizzard  and  bring  back  the 
sulfanilamide;  that  she  will  follow  to  save 
him;  and  that  Akim,  conveniently  away 
until  this  moment,  will  return  and  mis- 
understand. Why  they  didn't  call  this 
"Old  Faithful"  instead  of  "Untamed,"  I 
will  never  know  and  will  give  an  old  set 
of  encyclopedias  to  find  out. 

The  Technicolor  works  hard  to  take  the 
eye  off  the  stodginess  of  the  going;  Pat 
Morison's  fresh  loveliness  lends  well  to 
the  color  cameras,  too;  and  the  rest  of 
the  cast  does  its  best  to  fan  life  into  life- 
lessness.  Though  their  work  is  un- 
tiring, the  patient  dies.  Ray  Milland's 
operations  and  love-making  show  ex- 
perience, but  I  can't  understand  why, 
living  in  the  rugged,  healthful  North, 
so  many  of  the  trappers  and  their  fam- . 
ilies  needed  medical  attention.  Directed 
by  George  Archainbaud. — Paramount. 


Ufa 


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fedion  with  pastels,  d.v 

plete  y°u'  mol<e  Up  1 

""IRRESISTIBLE  LIPSTICK 

TO  STAY  ON 
10NGER..- 
SMOOTHER 


AT  ALL 
r  5  AND  10  CENT 
STORES 


17 


Flaming  silks  flashing  against  blue  sky  and 
green  turf!  Men  born  with  a  zest  for  danger 
and  the  right  to  worship  beautiful  women! 
Headstrong  young  love!  Fierce  family  pride! 
Romance!  Beauty!  Courage!  Again  a  great 
picture  has  captured  a  great  tradition! 


□EXXXX 


Walter  Brennan  •  Fay  Bainter  •  Brenda 

"Kentucky's"  great  star 

Joyce  •  John  Payne  •  Charlie  Ruggles 
Marjorie  Weaver  •  Hattie  McDaniel 

of  "Gone  With  The  Wind"  fame 

Directed  by  HENRY  KING 

Associate  Producer  Gene  Markey  •  Original 
Screen  Play  by  Ethel  Hill  and  Jack  Andrews 
A  20th  Century-Fox  Picture 

jggaca 


18 


MODERN  SCREEN 


RICHARD  CARLSON 

Now  appearing  in  Paramount '$  "The  Ghost  Breakers 


LINDA  DARNELL 

Will  next  be  seen  in  20th  Century-Fox's  "Brigham  Young' 


PAULETTE  SETS  BOB'S  HEART  A-DANCING  WITH  SOME  VERY  UN-GHOSTLIKE  ROMANCING 


AUGUST,  1940 


25 


SOME  years  ago  I  interviewed  John  Barrymore.  I  was  lucky  to  find  him 
in  rare  good  humor,  brilliantly  loquacious  and  witty,  even  willing  to  grow 
confidential.  The  subject  slipped  into  forbidden  territory:  women.  "You 
know,"  he  suddenly  confided,  "I've  never  married  a  woman — they  have  all 
married  me!" 

Well,  it's  all  changed  now.  For  if  Love  hasn't  finally  come  to  the  Great 
Profile,  it  most  certainly  is  a  very  reasonable  facsimile  thereof.  Having  spent 
his  entire  life  defending  himself  against  women,  marrying  only  those  whose 
assaults  have  been  too  determined  to  resist,  he  has  finally  fallen  as  desperately 
and  as  deeply  in  love  as  only  a  battle-scarred  Great  Lover  can,  with  Elaine 
(Blitzkrieg)  Barrie. 

Not  that  Barrymore  hasn't  had  genuine  passions  before,  often  leading  to 
marriage.  But  thus  far  no  woman  has  been  able  to  hold  the  romantic  fortress 
after  storming  it.  The  Barrymore  temperament  has  been  too  complex  for 
any  of  them  to  grapple  with  successfully.  That  is,  any  of  them  except  Elaine 
Barrie.  For  Elaine,  though  she  is  most  heartily  disliked  by  all  the  able-bodied 
females  of  the  country,  has  so  far  been  thoroughly  equal  to  the  task.  She 
cannot  be  underrated. 

Today,  as  I  write,  she  is  in  full  command  of  the  situation.  John  literally 
eats  out  of  her  hand.  Elaine  has  become  a  sort  of  wife-mother  to  him.  She 
has  straightened  him  out  physically  and  has  dashed  the  bottle  from  his  lips. 
He  has  his  occasional  beer  and  once  in  a  while  he  gets  tight,  but  he  seems  to 
me  to  be  in  the  best  physical  condition  in  years.   Elaine  has  yanked  his  foot 

out  of  the  grave,  his  step  is 
jaunty  as  of  old  and  his  eyes 
have  lost  that  pair-df- 
poached-eggs-swimming- 
in-milk  look.  He  bathes 
regularly,  his  clothes  are 
clean  and  well-pressed,  and 
they  say  he  has  money  in 
his  pocket.  At  least  it  is 
certain  he  has  money  in 
Elaine's.  He  even  has  an 
overcoat,  not  to  mention  a 
car,  and  he  is  attacking  his 
enormous  debts  with  some 
systematic  plan. 

On  the  motherly  side, 
Elaine  keeps  house,  lays  out 
his  clothes,  fights  his  busi- 
ness fights  and  may  even 
yet  wangle  a  cherished 
yacht  from  the  financial 
wreckage  in  which  he  has 
lived  for  years. 

Now,  were  Elaine  content 
to  take  a  place  in  the  back- 
ground and  manipulate  her 
fascinating  clown  prince,  all  might  be  well.  A  patient  wife,  sitting  at  home  knit- 
ting socks  and  sweaters  for  her  lover,  mixing  hangover  juice  to  soothe  his  ach- 
ing brow,  softening  the  blows  of  unkind  press  notices,  might  earn  the  grudging 
credit  of  the  world. 

But  no.  Elaine  burns  with  a  great  ambition.  She  wants  to  be  an  actress. 
And  not  an  ordinary  actress.  She  has  a  firm  belief  that  she  is  a  genuine  Barry- 
more (look  at  the  name  she  had  assumed  even  before  she  knew  John),  and 
she  has  an  undying  ambition  to  be  recognized  as  such. 

It  was  Elaine  who  talked  Barrymore  into  appearing  in  "My  Dear  Children," 
a  cute,  if  sappy,  little  play,  written  to  suit  (and  about)  Barrymore's  talents  and 
life.  Elaine's  purpose  was  threefold:  (1)  She  wanted  to  get  away  from  the 
process  servers  who  literally  lived  in  and  around  the  grounds  of  their 
$100,000  Hollywood  estate  (registered  in  her  name);  (2)  she  wanted  to  get 
John  out  of  Hollywood,  which  she  thought  was  killing  him,  and  have  him  all 
to  herself  in  the  top  of  a  theatrical  trunk;  and  last,  but  not  least,  she  had 
visions  of  becoming  another  Bernhardt.  Had  she  not  just  finished  a  triumphal 
tour  of  the  burlesque  houses  in  something  by  Ibsen  called  "How  to  Undress  in 
Front  of  Your  Husband?" 

But  it  took  a  lot  of  talking  to  lure  John  from  his  Hollywood  discomforts  to 
the  discomforts  of  the  road  which  he  hadn't  visited  for  17  years.  His  health  at 
the  time  was  none  too  good,  he  was  making  a  comeback  around  Hollywood,  he 
wouldn't  read  the  play  (he  never  reads  anything),  and  he  had  no  illusions 
about  Elaine's  acting  ability.  But  John  is  like  putty,  actually.  You  can  talk 
him  into  anything.  Elaine  put  on  a  successful  assault  and,  before  he  could  say, 


26 


MODERN  SCREEN 


"To  hell  with  William  Shakespeare,"  Barrymore  was  back 
on  the  boards,  hopping  about  on  jitter-producing  one- 
night  stands. 

Opening  cold  in  the  Midwest  Bible  Belt,  the  show  was 
received  most  icily.  Either  out  of  jealousy  for  Elaine  or 
genuine  shock  at  the  gradual  inception  of  off-color  ad 
libbing  Barrymore  began  injecting  into  his  part,  the 
women's  clubs  all  but  succeeded  iv-.  closing  the  show  in 
Davenport,  Iowa.  Yet,  despite  all  the  newspaper  attacks, 
crowds  always  managed  to  collect  by  the  hundreds  out- 
side the  stage  doors,  to  wait  patiently  for  John.  Most  of 
them  were  women.  They  cheered  Barrymore  and  gave 
Elaine  the  feminine  equivalent  of  the  bird. 

Meanwhile,  all  was  dissension  and  ill  temper  backstage. 
Barrymore  and  Elaine  weren't  getting  on  too  happily  (her 
reception  bothered  her),  the  cast  reflected  the  general 
jitters,  Barrymore  was  beginning  to  consult  the  scotch  for 
relief,  and  the  play  producers  were  about  to  say,  "The  devil 
with  it!"  Then,  suddenly,  came  a  blessing  in  disguise. 

It  happened  in  St.  Louis.  The  play  had  been  granted 
another  life  by  an  angel  appearing  with  a  much-needed 
$1500,  and  Barrymore  had  consented  to  fight  it  out  despite 
everything.  Just  before  performance  time  our  hero  sat  in 
his  dressing-room,  drinking  a  highball.  Elaine  walked  in 
without  knocking  and  cried:  "John,  don't  drink  that  high- 
ball!" 

"Why  not?"  Barrymore  said  coldly. 

"Because  it  will  kill  you!"  Elaine  answered. 

Barrymore  replied  by  draining  the  glass,  then  refilling  it 
Calmly  he  raised  it  to  his  lips,  and  calmly  Elaine  walked 
over  and  struck  it  out  of  his  hands.  He  ordered  her  out 
furiously.   As  she  left,  a  wicked  gleam  came  into  his  eyes. 

There  is  a  well-known  scene  in  "My  Dear  Children"  in 
which  John  upends  and  spanks  one  of  his  three  daughters.^ 
(He  never  remembers  by  which  of  his  three  wives  he  had 
them.)  Elaine  played  one  of  the  daughters.  That  night, 
when  it  came  time  to  spank  Elaine,  John  hit  her  so  hard 
he  split  her  panties.  She,  called  on  to  bite  him  in  retalia- 
tion, bit  him  so  hard  the  green  sleeve  of  the  doublet  he  was 
wearing  for  the  scene  was  dripping  blood  when  he  went 
offstage.  That  there  was  no  further  bloodshed  was 
remarkable. 

Instead,  John  played  the  rest  of  the  evening  and  week 
ignoring  Elaine  who  in  turn  froze  him.  They  went  to 
separate  hotels,  not  a  word  passed  between  them,  except 
on  the  stage  and  you  could  defrost  them  only  with  a  blow- 
torch. The  spanking  scene  was  delivered  with  much  re- 
straint and  not  even  the  few  under-the-breath  words  of 
hatred  with  which  John  had  occasionally  let  off  steam 
towards  Elaine  in  the  past,  were  heard.  The  only  differ- 
ence was,  Elaine  got  her  notice. 

As  she  left  for  New  York,  her  parting  shot  was  a  note 
from  a  local  lawyer  reminding  the  producers  that  Elaine 
had  a  run-of-the-play  contract  calling  for  $500  a  week. 
John,  who  was  getting  a  ten  per  cent  cut  of  the  gross, 
replied  "Nuts!"  or  words  to  that  effect.  Later  when  Equity 
clamped  down  in  Elaine's  favor,  either  through  remorse  or 
relief,  Barrymore  announced  dramatically:  "I'll  pay  half!" 
The  producers,  pleased  with  Elaine's  exit,  willingly  agreed 
to  pay  the  other  half. 

From  that  night  on,  a  strange  thing  happened.  The  play, 
about  to  lay  an  egg,  became  a  tremendous  success.  And 
John,  left  alone,  fell  off.  For,  on  moving  into  Chicago, 
word  had  got  around  by  feminine  news  express  that  the 
Great  Lover  once  again  was  free,  hanging  there  lusciously 
on  a  vine,  a  slightly  fermented  grape  vine  perhaps,  but 
free  again  for  the  plucking.  With  a  tremendous  sigh  of 
relief,  Chicago  womanhood  threw  off  its  restraint  and 
attended  en  masse.  "I'm  seeing  John  Barrymore's*  show 
tonight,"  one  matron  summed  it  up,  "and  I  do  hope  he's 
drunk!" 

Free  of  Elaine,  John  sought  the  comforts  of  the  bottle, 
and  at  the  theatre  everyone   {Continued  on  page  77) 


august,  1940 


IT'S  JOAN  FONTAINE  WHO 
HAS  THE  UPPER  HAND 
NOW  AND  SHE  DEMANDS 
THE  BEST  IN  TREATMENT! 

By 

Kirtley  Baskette 


Though  Joan  was  a  British 
citizen  until  two  years  ago, 
she's  never  set  foot  on 
English  soil — except  techni- 
cally, at  the  Tokyo  Embassy. 


MODERN  SCREEN 


NOT  LONG  ago  a  pretty,  sensitive-faced  girl  walked  into 
a  Hollywood  preview  with  a  serene  smile  and  high  hopes. 
She  was  wearing  a  brand  new  evening  gown.  There  were 
orchids  at  her  throat  and  a  handsome  young  man  at  her 
side.  She  had  come  to  see  herself  in  the  picture  which, 
her  studio  had  assured  her,  was  to  be  her  big  chance 
at  last. 

When  she  walked  out,  the  smile  and  the  orchids  were 
both  wilted,  the  hopes  were  shattered  and  the  young  man 
was  trying  awkwardly  to  be  comforting.  Even  her  friends 
felt  so  embarrassed  they  turned  their  faces  as  she  passed. 
What  had  happened  in  "Gunga  Din"  had  happened  before 
— time  and  again.  Her  part  had  been  pared  to  practically 
nothing.  •  But  this  time  was  the  last  time. 

Joan  Fontaine  knew  that  night  she  was  through  sticking 
her  pointed,  determined  little  chin  out  for  Hollywood 
movie-makers  to  bat  around.  "I  am  tired  of  being  told 
I'm  unpretty  and  unwanted,"  she  thought  bitterly.  "I'm 
sick  of  being  too  young,  too  English,  too  easily  slighted,  too 
readily  hurt.  No  one  will  ever  take  me  seriously.  I'll 
always  be  Oh  via  de  Havilland's  little  sister!" 

Quite  suddenly  the  screen  career  she  had  sought  so 
fiercely  through  four  years  and  fourteen  pictures  became 
unimportant.  "I  don't  understand  this  business  anyway," 
reasoned  Joan  Fontaine.  '1  don't  like  it.  I'm  through 
with  it."  And  she  meant  it. 

All  of  which  makes  it  the  more  surprising  that  today 
Joan  Fontaine  is  acclaimed  one  of  the  two  genuine  stars 
"discovered"  by  Hollywood  in  recent  years.  The  other  is 
Vivien  Leigh.  Joan's  picture,  "Rebecca,"  is  chasing  the 
astounding  attendance  records  of  "Gone  With  the  Wind," 
around  the  nation.  The  White  House  has  commanded  it 
for  a  third  showing.  Critics  hail  Joan  as  a  remarkable 
dramatic  "find",  and  everyone  pictures  a  thrilled  Miss  Fon- 
taine, with  a  seven-year  contract  with  Dave  Selznick, 


The  I  5-year  age 
difference  isn' 
i  m  p  e  d  i  m  e 
marital  happ 
for  the 
Ahernes,  wh 
be  first  anniver 
sary-ing  it  on 
gust  20th 


basking  in  a  state  of  delirious  career  rapture  at  long  last. 

That's  not  exactly  true.  She's  pleased,  of  course,  but 
she's  not  too  impressed.  In  fact,  Joan  Fontaine  has  yet 
to  see  herself  in  "Rebecca."  She  has  never  seen  "The 
Women"  either.  She  has  never  viewed  herself  in  any 
picture  since  she  walked  out,  sick  and  disheartened,  from 
the  preview  of  "Gunga  Din."  Something  happened  then, 
as  I  said,  and  something  else  a  little  later — something  called 
love.  Together  they  have  switched  Joan  Fontaine's  ambi- 
tions around  just  when  reluctant  fortune  beamed  her 
broadest  smile. 

Some  day,  when  Hollywood  scenario  writers  run  com- 
pletely dry  of  ideas,  I  suggest  they  pry  into  the  personal 
saga  of  Joan  Fontaine.  It  has  about  everything  a  story 
should  have — heart  throbs  and  heartbreaks,  the  struggle 
of  a  strong  will  in  a  frail  body,  triumphs,  disappointments. 
It  has  the  drama  of  a  rival  sister  act.  It  has  recurring,  in- 
curable romance.  It  has  a  sprinkling  of  Cinderella.  It  even 
has  that  Hollywood  specialty,  the  happy  ending. 

Joan  Fontaine's  happy  ending  is  not,  however,  her  "Re- 
becca" success.  It's  her  home  and  her  husband,  "Mr.  A.," 
as  Joan  calls  Brian  Aheme.  Joan  Fontaine  can  take  movie 
success  or  leave  it  at  this  point.  She  may  do  either,  by 
the  way.  What  really  counts  in  her  life  is  the  modest,  but 
pretty,  home  in  Beverly  Hills  where  I  saw  her  the  other 
day,  shared  an  excellent  lunch  in  her  garden  and  talked 
over  the  epic  struggle  of  Fontaine  versus  Hollywood  which 
she  now  recalls  with  a  decided  twinkle  in  her  grey  eyes. 

Incidentally,  the  general  impression  of  Joan  Fontaine 
around  Hollywood,  I  regret  to  say,  for  too  long  has  been 
that  she  is  a  driving,  ambitious,  career-obsessed  young 
lady  with  about  as  much  sense  of  humor  as  a  time  clock 
That's  not  only  too  bad,  it's  utterly  untrue.  I  can  person- 
ally swear  that  "Mrs.  A."  is  gracious,  vivacious,  voluble 
and  extremely  swell  company.  She  (Continued  on  page  70) 


WHEN  OLD  maids"  look  under  their  beds  at  night, 
they  hope  to  find  Charles  Boyer. 

When  statisticians  pore  over  figures  (feminine 
and  financial) ,  they  learn  that  the  number  of  women 
suing  for  divorce  doubles  after  the  release  of  each 
new  picture  starring  Charles  Boyer. 

In  brief,,  and  though  it'll  make  him  wince  to  hear 
it,  Charles  Boyer,  a  perverse  gentleman  who  hates 
hats,  neckties  and  spats,  is  the  "reel"  reason  ladies 
leave  home. 

He  is  a  legend  with  a  French  accent.  And,  since 
the  death  of  amorous  D'Annunzio,  the  Italian  famed 
for  his  affair  with  Actress  Duse,  Charles  Boyer  is 
now  the  only  authentic,  two-legged,  full-fledged 
"Ladies'  Man"  in  captivity. 

Such  are  the  facts.  Unfortunately,  the  facts  do 
not  make  Monsieur  Boyer  very  happy. 

"Do  I  mind  being  labeled  a  Ladies'  Man?"  he 
will  repeat  slowly,  seriously.  "Truthfully,  I  don't 
like  it.  I  don't  consider  it  complimentary.  After  all, 
the  term  is  used  so  much,  and  I've  been  around  this 
business  long  enough  to  know  that  three  or  four 
new  heart-throbs  are  born  every  year  in  the 
movies." 

And  having  stated  his  mind  in  so  frank  a  fashion, 
Monsieur  Boyer,  who  is  a  nervous  chain  smoker, 
will  puff  clouds  of  smoke  from  a  slender  cigarette. 
From  behind  this  protective  smoke  screen,  he  will 
attempt  to  point  out  that,  not  only  does  he  dislike 
being  called  a  Ladies'  Man,  but  that — and  his  sin- 
cerity is  such  that  you  almost  believe  him — he  is 
really  not  that  kind  of  creature  at  all. 


) 


He  will  speak  thus  and  so — and  most  emphatically: 
"Actually,  I  have  no  romantic  illusions  about  my- 
self. I  don't  mind  wearing  a  scrawny  beard,  or 
being  bald,  or  having  a  club-foot — if  my  characteri- 
zation calls  for  it.  But,  frankly,  I  am  not  pleased 
when  my  scripts  consistently  demand  me  to  play  a 
lover. 

"Indeed,  it  would  be  most  sad  to  be  famous  merely 
because  women  considered  you  attractive.  I  should 
never  want  to  depend  upon  my  appearance,  which 
really  isn't  much,  anyway.  Moreover,  I  know  that 
appearance  changes,  that  you  grow  older,  that  you 
can't  possibly  last.  Besides,  I'm  too  realistic." 

BOYER  will  then  glance  at  the  dressing-room  mir- 
ror, stare  at  himself  critically,  and  then  wag  his 
head  disapprovingly. 

"Yes,  I  am  realistic,"  he  will  confess.  "I  know  that 
if  I  happened  to  be  a  bond  salesman  or  a  drugstore 
clerk  instead  of  an  actor,  and  I  strolled  down  Broad- 
way today  amid  hordes  of  women,  none  would  even 
bother  to  give  me  a  second  glance,  except  to  say, 
'God,  look  at  that  thing  passing  by.' 

"So,  if  women  consider  me  romantic,  it  is  merely 
because  they  fall  under  the  spell  of  the  characters 
I  portray.  I  am  identified  mainly  with  romantic 
roles,  so  they  get  the  impression  that  I  am  that  kind 
of  person  in  real  life.  Which,  as  you  see,  I  am  not." 

However,  all  of  this  conceded  persuasiveness  on 
the  part  of  Monsieur  Boyer,  does  not  alter  the  facts 
of  the  case.  He  has  made  passionate  lovef  on  the 
screen,  to  most  every  great  or  glamorous  actress  in 


JUST  ONE  DREAMY  GLANCE,  ONE  SOFTLY-SPOKEN  WORD  AND,  IN  SPITE  OF  HIMSELF, 


10 

MODERN  SCREEN 


i 


By   Irving  Wallace 


Filmdom.  Hedy  Lamarr,  Jean  Arthur, 
Bette  Davis,  Greta  Garbo,  Irene 
Dunne,  Marlene  Dietrich,  Claudette 
Colbert — all  have  succumbed  to  his 
cinematic  appeal. 

Moreover,  all  of  these  women  admit 
that  Monsieur  Boyer  is  ever  so  much 
the  Ladies'  Man.  Hedy  Lamarr  says, 
"He  is  tender,  so  sensitive,  so  gallant." 
Bette  Davis  adds,  "He  is  utterly  charm- 
ing." Irene  Dunne  confesses,  "He  has 
strength,  vitality,  a  dark  attraction." 

We  sat  with  Charles  Boyer  in  his 
portable  dressing-room,  as  he  slumped 
in  a  wicker  chair,  resting  from  a 
strenuous  five-hour  tussle  with  War- 
ner Brothers'  "All  This,  and  Heaven 
Too."  We  sat  across  from  him,  and 
passed  the  compliments  of  his  leading 
ladies  on  to  him. 

He  chuckled  pleasantly.  Then,  sud- 
denly serious,  he  wrinkled  his  brow. 
True,  American  women  might  con- 
sider him  a  Ladies'  Man,  because  they 
were  hypnotized  by  the  fiction  of  his 
roles.  But  Hollywood  actresses 
couldn't  be  fooled  that  way. 

"Why,  I  can't  understand  it,"  he 
said.  "I'm  very  intense  and  serious 
on  the  sets.  I  can't  imagine  how  the 
actresses  playing  opposite  me  can 
consider  me  (Continued  on  page  86) 


BOYER  WINS  ANOTHER  HEART 


AUGUST,  1940 


MODERN 


34 


MODERN  SCREEN 


RECENTLY  Louella  O.  Parsons,  veteran  Holly- 
wood observer,  admitted  in  her  daily  newspaper 
column  that  she  couldn't  be  more  surprised.  What 
astonished  her  most  on  that  particular  morning 
was  her  discovery  that  Joel  McCrea  is  one  of  the 
richest  actors  in  Hollywood. 

Now,  in  these  perilous  times,  no  sensible  star 
wants  excessive  publicity  about  the  dough  he  may 
have  managed  to  sock  away  as  a  gesture  toward 
security.  Least  of  all  a  man  like  Joel,  who  is  no 
blasted  plutocrat  by  any  stretch  of  anyone's  imagi- 
nation. He  has  no  delusions  of  grandeur,  no  feel- 
ing that  he  is  set  apart  from  the  common  crowd. 
He  never  thinks  the  other  fellow,  who  may  be 
broke,  depressed,  and  near  to  defeat,  is  an  infe- 
rior human  being  just  because  of  his  predicament. 

Joel,  himself,  was  even  more  amazed  at  reading 
this  news.  Before  nightfall  a  stranger  had  insisted 
that  the  McCrea  wealth  finance  a  giant  munitions 
factory;  several  newsboys  had  cracked,  "Lend  me 
a  dollar";  two  of  the  really  rich  men  in  Hollywood 
had  kiddingly  branded  him  an  impostor;  and  his 
wife  had  floated  in  with  three  new  John  Fred- 
erics hats,  "because  I've  just  heard.  .  .  !" 
Besieged  and  bewildered,  Joel  finally  found  out 
how  the  story  got  started.   Because  he  is  con- 
servative and  has  arrived  at  a  position  of  inde- 
pendence, because  he  doesn't  accept  every 
picture  offered  him,  folks  began  to  gossip. 
He  has  always  turned  down  radio  shows 
when  he  is  making  a  film,  asserting  that 
he  can't  do  justice  to  both,  at  once.  This 
rare  confession  added  fuel  to  the  fire. 
Investigation  proves  that  he  has  never 


bought  a  town  house,  a  limousine  or  a  yacht. 
He  owns  no  race  horses.  He  is  never  the  life  of 
the  party  at  expensive  cafes  like  Ciro's,  nor  has 
he  ever  entertained  lavishly  at  home.  He  hasn't 
committed  even  a  minor  splurge. 

He  is  one  of  the  "easiest  to  meet"  persons  in 
Hollywood,  because  he  is  intensely  interested  in 
practically  everyone  regardless  of  age,  sex,  creed 
or  temporary  position  in  life.  If  a  contest  were 
ever  held  in  the  studios  for  the  most  popular 
actor,  the  one  face  that  wouldn't  be  red  would  be 
McCrea's.  Literally,  hundreds  of  people  in  Hol- 
lywood, from  big  shots  to  would-be's,  will  boast 
of  his  friendship  at  the  slightest  opportunity.  Yet, 
actually,  there  are  a  great  many  facets  to  Joel's 
personality  that  have  been  constantly  overlooked. 
He  loves  to  talk,  but  he  is  so  consistently  sympa- 
thetic that  he  is  usually  talking  vividly  about 
the  break  a  mutual  friend  deserves.  You  learn 
that  Joel  is  his  attractive,  competent,  thoroughly 
masculine  screen  self,  plus  a  lot  more,  if  you  dare 
to  ask  him  a  flock  of  personal  questions,  point- 
blank.  We  did,  in  the  name  of  the  public,  on  one 
of  his  busiest  afternoons. 

He  was  being  guided  through  an  explosive  scene 
with  Laraine  Day  in  "Foreign  Correspondent"  by 
short,  portly  Alfred  Hitchcock,  who  is  much  in 
demand  since  directing  "Rebecca."  They  repeated 
it  four  times,  an  hour's  stint,  before  he  returned 
to  his  set  dressing-room. 

Immediately  you  are  struck  by  Joel's  size.  Ex- 
tremely broad-shouldered,  he  is  six-feet-three 
and  wears  a  thirty-eight-and-a-half  sleeve,  which 
gives  you  an  idea.    You  (Continued  on  page  84) 


JOEL  McCREA'S  GOTTEN  A  LOT 


FROM  LIFE,  BUT  NOT  AT  THE 


OTHER  FELLOW'S  EXPENSE 


"If  a  contest  were  ever  held 
in  the  studios  for  the  most 
popular  actor,  the  one 
face  that  wouldn't  be  red 
would  be  Joel  McCrea's." 


1940 


35 


% 


71j 


/to-  fh 


4. 


5  A  A  - 


AS  MANY  FANS  BELIEVE 


HER  BUST  IS  33' 


INCHES 


AND 


HER 


WAIST 


ONLY 


95  V 


NCHES 


,0* 


SHE  DRIVES  A  GREY-COLORED, 
LOW-SLUNG  LA  SALLE  COUPE" 

fXACT/.) 


ro 


4t\ 


date. 


^7  <^  <vT 


■  X 


Her  present  contract  expires  in 
1943.  By  that  time  she  will  have 
earned  a  salary  of  $1,600,000— an 
amount  so  stupendous  that  it  would 
take  the  United  States  Mint  ten  days 
and  nights  of  labor  to  turn  it  out  in 
separate  dollars. 


Before  a  scene,  when  the  wooden 
slate  with  the  scene  number  on  it  is 
held  up  in  front  of  the  camera,  De- 
anna  will  always  lean  forward  and 
knock  wood  for  good  luck.  Otherwise, 
she  has  no  superstitions.  "I  haven't 
been  in  show  business  long  enough  to 
acquire  any,"  she  admits. 


Deanna  has  never  kept  Vaughn 
Paul  waiting  on  a  date.  Nine  out  of 
ten  times  she  is  absolutely  punctual. 
Neither  dressing  nor  excessive  primp- 
ing ever  delay  her.  "When  he's  down- 
stairs, I  whip  through  my  make-up 
like  mad,"  she  explains. 


She  saw  "Naughty  Marietta"  seven 
different  times!  And  she  read  "Gone 
With  the  Wind"  twice — from  cover  to 
cover — "because  it  was  so  sad." 


Her  mother  still  calls  her  Edna  Mae, 
which  was  her  monicker  before  pub- 
licity people  tagged  her  with  Deanna. 
Her  married  sister  calls  her  Eggnog, 
and  studio  folks  call  her  Dee. 


She  wears  a  jeweled  wrist  watch 
which  Vaughn  Paul,  whose  father  is 
general  manager  of  Edward  Small 
productions,  gave  her  last  Christmas. 


She's  wild  about  new  shoes,  espe- 
cially anything  cute  or  tricky.  She 
prefers  sandals,  pays  from  $12  to  $22 
a  pair,  and  wears  size  6,  which  isn't 
bad.  After  all,  Greta  Garbo  requires 
size  7  AA,  and  Deanna's  girl  friend, 
Helen  Parrish,  sports  a  7^  A. 


Deanna's  favorite  dish  is  spaghetti. 
Her  second  favorite  dish  is  another 
helping  of  spaghetti.  However,  she 
can't  stand  mushrooms;  the  sight  of 
cauliflower  makes  her  ill;  and  chewing 
vegetables,  she  says,  nauseates  her. 


Charles  Previn,  pudgy  studio  mu- 
sical director,  used  to  puff  cigarettes 
while  Deanna  Durbin  sang  for  him. 
He  knew  the  smoke  wasn't  good  for 
her,  but  wished  to  teach  her  to  warble 
under  any  conditions,  and  to  grow 
up  without  prima  donna  fussiness. 


36 


MODERN  SCREEN 


By  George  Benjamin 


Our  Cover  Girl's  the  prep 
schoolers'  dream  girl,  and  even 
their  mothers  and  sisters  ap- 
prove! What's  she  got,  any- 
way? Any  number  of  "sterling 
Qualities, "  but  it's  those  "little 
things"  like  her  salary  that 
really  set  her- apart. 


EXCLUSIVE!  A  "TRUTH  SESSION"  WITH  DEANNA, 
DIVULGING  DOZENS  OF  FASCINATING  QUEERIOSITIES! 


At  home,  she  keeps  a  diary,  a 
drawer  full  of  licorice  sticks,  a  wig- 
stand  upon  which  to  practice  coiffures, 
and  three  midget  turtles  named  Penny, 
Joan  and  Kay. 


When  she  is  worried  about  her  per- 
sonal problems,  or  aggravated,  or 
angry — which  is  extremely  rare — her 
speaking  voice,  as  caught  by  the  mi- 
crophone, becomes  a  mumble. 


Once  a  week  she  reads  her  most 
interesting  fan  mail.  She  answers  the 
best  letters,  but  does  not  correspond 
with  fans  regularly.  She  now  replies 
to  notes  from  French  soldiers  in  the 
trenches,  and  has  authorized  the 
studio  to  send  500  of  her  records  to 
the  American  Red  Cross  in  Europe. 


A  couple  of  years  ago  she  gave  Joe 
Pasternak's  secretary  an  autographed 
portrait  of  herself.  It  was  autographed 
with  her  first  poem:  "To  Eleanor — 
Our  friendship  still  lasts,  though  two 
years  have  slipped  by;  I  hope  it  con- 
tinues, at  least  till  we  die — Lovingly, 
Deanna." 


Mrs.  Kellephene  Morrison,  her  tutor, 
admits  that  Deanna  doesn't  take  to 
mathematics  at  all.  However,  she  can't 
get  enough  of  French  and  history! 
Mrs.  Morrison  says  that  her  beautiful 
17-year-old  pupil  is  a  better  than  aver- 
age student,  although  she  hasn't  much 
time  for  studying.  After  completing 
her  high  school  courses  this  summer, 
she'll  take  up  operatic  Italian  and 
German,  and  take  a  strum  at  the  harp. 
But  the  payoff  is  this:  The  California 
state  law  demands  that  Deanna  con- 
tinue studying — of  all  things — music 
appreciation!    A  snap  for  her! 


She  can't  stand  people  who  are  too 
meticulous,  people  who,  for  example, 
after  using  a  towel,  fold  it  neatly  and 
hang  it  up.  She  always  stuffs  her 
towel  back  into  the  rack. 


She  never  has  trouble  falling  asleep. 
She  wears  a  plain  nightgown  to  bed, 
sleeps  very  soundly  for  eight  hours — 
and  has  dreams  about  twice  a  month. 


A  White  Russian  named  Alexis  Hol- 
monsky,  who  resides  in  Shanghai, 
China,  writes  her  a  ten-page  fan  letter 
every  month.  He  believes  Deanna  is 
the  reincarnation  of  a  Saint.  He  thinks 
it  is  her  mission  to  bring  peace  and 
light  to  a  world  filled  with  darkness, 
and  feels  she  should  be  kept  pure — 
and  not  be  embraced  or  kissed  on  the 
screen.          (Continued  on  page  88) 


AUGUST,  1940 


37 


JACKIE  OF 
AIL  TRADES 

AND  DEFINITELY  THE  MASTER 
OF  THE  WOMAN  SITUATION,  TOO! 

By  James   R.  Scheer 


SHE'S  a  sweet  kid,  isn't  she?"  Jackie 
Cooper's  grey-blue  eyes  followed  the 
shapely  form  of  the  young  girl  exiting 
from  the  sound  stage  at  Paramount  Stu- 
dios. The  "she"  to  whom  he  referred  was 
Leila  Ernst,  his  leading  lady  in  "The  Al- 
drich  Family  in  Life  With  Henry,"  blonde 
honey  and  a  deb  from  Boston. 

"Now  don't  get  the  idea  that  I'm  in  love 
with  her!  Sure,  I  like  her!  What  guy 
wouldn't?  But,  honest,  I've  never  really 
been  out  on  my  feet — in  love,  I  mean." 

When  Jackie  says  something  is  true,  you 
needn't  bother  putting  a  stack  of  Bibles 
under  his  left  hand,  and  asking  him  to 
raise  his  right,  for  those  grey-blue  eyes 
spell  honesty. 

And  the  Hollywood  girls  who  go  out 
with  him  know  there's  not  an  ounce  of 
conceit  in  him.   Jackie  is  the  same  fellow 


Jackie  has  gone  conserva- 
tive in  all  but  sports  coats. 
They're  his  one  weakness. 


Leila  trrnst,  Jackie's  tavorite 
leading  lady,  has  rejoined 
"Too  Many  Girls"  on  tour. 


f 


whether  he's  wearing  loose  fitting  polo 
shirts  and  cool  gabardine  slacks,  or  his 
tux.  Once  a  month  he  likes  to  dress — to 
get  all  formaled  up.  But,  invariably,  the 
stiff  collar  wears  red  streaks  in  his  neck, 
and  he's  glad  to  closet  the  regalia  when 
the  evening  is  over. 

On  date  nights  he  always  shaves.  Which 
proves  that  he  has  a  great  deal  of  imagina- 
tion, since  his  beard  is  very  much  like  the 
little  man  who  wasn't  there. 

His  address  book  includes  the  names 
and  phone  numbers  of  Judy  Garland,  Bo- 
nita  Granville,  Leila  Ernst,  Jimmy  Rogers 
and,  recently  penciled  out,  that  of  Diana 
Lewis,  now  Mrs.  William  Powell.  On  go- 
ing-out nights,  his  wallet  usually  contains 
$10. 

"None  of  the  girls  I  take  out  are  gold 
diggers,  so  $10  is  a  pretty  safe  sum.  Actu- 


ally, there  aren't  many  places  to  go.  We 
either  go  bowling  or  dancing  at  Ciro's,  the 
Beverly  Wilshire  or  the  Victor  Hugo.  I 
never  like  to  take  a  girl  to  a  dive.  And 
this  will  probably  surprise  you,  but  I 
usually  have  a  dollar  or  two  left  when  I 
come  home.  What's  more,  my  date  and  I 
have  never  had  to  wash  dishes  to  pay  the 
check." 

Most  of  the  economy  comes  from  the 
fact  that  neither  Jackie  nor  his  dates  drink 
liquor — partly  because  of  lack  of  desire 
and  partly  because  of  city  ordinances. 

At  the  risk  of  making  Jackie  sound  like 
the  pride  of  the  W.C.T.U.  and  a  simon  pure 
piece  of  male  virtue,  it  must  be  said  that 
he's  not  a  prude  and  doesn't  drink  be- 
cause, as  he  says,  "I  don't  like  the  stuff.  If 
others  want  to  drink,  it  is  entirely  up  to 
them.  I  like  beer,  (Continued  on  page  74) 


By 

James  Reid 


Jean's  is  the  reverse  of 
the  usual  Hollywood 
story.  The  more  suc- 
cessful she  has  become 
as  an  actress,  the  more 
self-conscious  she's 
grown  as  a  person. 


MODERN  SCREEN 


IT  TAKES  A  "PEEPING  TOM"  OR  A  CLAIRVOYANT  TO  GET  THE  LOWDOWN  ON  JEAN 


ONCE  UPON  a  time— around  the  year  1925— 
several  promoters  banded  together  to  start  a  club 
at  Encino,  the  San  Fernando  Valley  spot.  Ten 
miles  from  town,  it  was  unknown  territory  to 
Hollywoodites  and  the  promoters  faced  the  prob- 
lem of  getting  the  moneyed  movie  crowd  inter- 
ested in  a  place  "so  far  out  in  the  country." 

They  decided  to  make  a  two- reel  movie  of  the 
club's  attractions  and  exhibit  it  in  a  sales  office  in 
town.  They  didn't  want  to  spend  much  money, 
so  scouted  around  till  they  found  two  unemployed, 
but  ambitious,  young  men  willing  to  do  the  job 
for  $200.  For  this  sum  the  two  men  agreed  not 
only  to  make  the  picture,  but  to  furnish  the 
camera,  the  film  and  the  girl  to  portray  the  happy 
club  member. 

The  boys  managed  to  borrow  a  camera,  rent 
free.  They  also  managed  to  get  some  free  film — 
never  mind  how.  And  one  of  them  knew  a  girl 
so  ambitious  to  have  a  screen  career  that  she 
would  work  for  nothing,  on  the  gamble  that  she 
would  be  "discovered"  in  the  movie. 

The  "happy  club  member"  put  in  such  a  stren- 
uous day  enjoying,  for  the  benefit  of  the  camera, 
every  sport  the  spot  offered,  that  she  couldn't  eat 
the  free  dinner  the  club  had  agreed  to  provide. 
After  the  third  course,  she  had  to  be  taken  home, 
exhausted. 

That  girl,  so  willing  to  work  for  nothing  to  be- 
come a  part  of  Hollywood,  was  Jean  Arthur.  Yet 
today,  well-established,  she  has  a  reputation  for 
being  that  town's  most  "difficult"  star. 


Three  years  ago,  she  went  on  a  one-woman 
strike  against  the  studio  that  had  made  her  name 
important.  Perhaps  she  was  justified,  perhaps 
not.  Anyway,  after  a  year,  the  studio  wanted  her 
back — at  her  terms.  The  way  was  wide  open  for 
harmony  at  last  between  star  and  studio.  She 
came  back,  but  still  with  a  large  chip  on  her 
shoulder.  She  said  in  effect,  "I  don't  want  to  be 
bothered  by  your  publicity  department." 

People  assigned  to  interview  her  made  the  dis- 
covery that  they  had  to  work  through  the  pub- 
licity chief  of  a  rival  studio  at  which  her  husband, 
Frank  Ross,  Jr.,  was  then  an  associate  producer. 
They  made  the  further  discovery  that  they  were 
expected  to  interview  Frank,  ask  him  what  they 
wanted  to  ask  Jean  and  quote  his  answers  as  if 
the  words  were  hers.  They  had  to  join  in  the 
conspiracy  or  go  without  stories.  Jean  Arthur 
"interviews"  couldn't  be  had  any  other  way. 

The  writers  wanted  to  know  why  she  had  to 
have  her  husband  talk  for  her.  Why  couldn't  she 
talk  for  herself?  They  were  told  that  interviews 
made  her  a  nervous  wreck.  She  went  through 
agonies  of  self-consciousness,  being  asked  to  talk 
about  herself. 

Few  of  the  press  believed  this  explanation. 
What  they  believed  was  that  Jean  probably  fan- 
cied she  didn't  need  stories  written  about  her  and 
that  Frank  was  trying  to  cover  up  her  attitude. 
Certainly  press  agents  thought  she  fancied  she 
didn't  need  publicity,  the  way  she  resented  items 
they  cooked  up  to  get  her  (Continued  on  page  82) 


august,  1940 


41 


SHOULD  HOLLYWOOD 


"Shall  women  remain  slaves? 
Of  course  not.  Women  are 
the  equal  of  men,  and  they 
deserve  the  right  to  succeed 
at  career  ..." 

Victoria  Woodhull,  1872 

LISTEN,  LADY,  if  your  husband  or 
boy  friend  becomes  too  violent,  just 
remind  him  that  women  were  freed 
only  fifty-seven  years  after  the  slaves. 

This  freedom  business  took  a  lot  of 
effort.  Susan  Anthony  was  jailed  for 
casting  a  ballot;  Mrs.  Amelia  Bloomer 
was  pelted  with  mud  for  wearing 
panties  in  public;  Victoria  Woodhull 
was  cursed  because  she  ran  for  Presi- 
dent, and  Emmeline  Pankhurst  went 
on  a  hunger  strike  to  prove  women 
were  citizens. 

In  brief,  lady,  all  this  happened  to 
free  you.  And  today,  if  you're  mar- 
ried and  don't  want  to  be  a  feminine 
frozen  asset — well,  feel  at  liberty  to 
go  out  and  get"  a  job.  And  if  you're 
not  yet  married,  but  intend  to  be,  and 
feel  you  have  career  talents  beyond 
massaging  the  laundry  twice  a  week, 
get  busy  and  further  that  career. 

Listen  to  these  film  idols  who,  with 
wives  exactly  like  you,  are  authorities 
on  the  subject.  They'll  convince  you. 

John  Payne,  grandnephew  of  the 
man  who  composed  "Home,  Sweet 
Home,"  does  not  believe  it  has  to  be 
home,  sweet  (Continued  on  page  65) 


By  James 


4  2 


MODERN  SCREEN 


WIVES  WORK??? 


"In  the  career  of  a  female 
there  are  few  prizes  to  be 
obtained  which  can  vie  with 
the  obscure  state  of  beloved 
wife  or  happy  mother  ..." 

Jane  Porter,  1840 

BUT  WAIT  a  minute,  lady.  Before 
you  go  running  off  to  get  a  job,  chisel 
out  a  career  and  sign  your  own  checks, 
you'd  better  think  it  over  carefully. 
Because,  when  all  is  said  and  done, 
maybe  there's  no  place  like  home. 

Sure  you're  free  and  independent. 
Sure  you've  got  a  right  to  live  your 
own  life.  But  maybe  being  a  career 
woman  isn't  all  it's  cracked  up  to  be. 
And  maybe  there's  something  to  this 
soft  stuff  about  a  stove  on  payments 
and  a  trundle  bed  with  someone  in  it. 

Think  it  over.  Maybe  the  twenty - 
four  hour  a  day  job  of  being  a  house- 
wife and  a  mother  won't  ever  get  your 
name  in  bulbs — but  it'll  keep  you 
from  acquiring  callouses  while  punch- 
ing a  time  clock,  or  suffering  a  pretzel 
spine  while  hunched  over  a  secre- 
tarial typewriter,  or  getting  a  me- 
chanic's wrist  while  taking  shorthand. 

In  fact,  there  are  plenty  of  men, 
important  men,  who'll  trade  you  ten 
career  girls-  any  day  for  one  peaceful 
and  efficient  limper  lily  whose  talents 
are  wholly  confined  to  burning  toast, 
tending  the  baby  and  warding  off 
collectors.   {Continued  on  ■page  62) 

G  a  r  s  o  n 


Har>k  Qnd  p  „ 
v°n  didn't     9  Su/'a- 

f°newpQ  wed 
be  fr,endlierl 


unseverabfe  tie 
binds  the.  r~ 

,n  a  dozen  happy 

Kfars  of  marriaZ 

these  two  have  fought 
*e.r   way  up 

nofh'ng,  together. 


After  being  pursued 
for  hectic  years  by 
Clara  Bow  and  Lupe 
Velez,  Gary  fell  m 
,ove  with  '  Rocky  , 
"for   her  quietness. 


£red  MacMurray's 
be*n  married  fQr  4 
Y*"*  +0  gorgeous  ex 
sho*  girl,  Lilian  La 
fmcf  ■    who   wQS  J? 
f'rst  Qnd  only  ,ov7 


AUGUST,  1940 


ODER  THE  SUII 


v 


I  Carter 


DO  YOU  take  to  sunshine  like  a  duck  to  water  or  do 
you  spend  your  summers  dodging  from  one  shadow  to 
another,  trying  to  escape  the  havoc  that  Old  Sol  wreaks 
upon  your  sensitive  complexion?  There  really  are  two 
types  of  people,  you  know:  those  who  should  sun-tan 
and  those  who  should  not.  So  this  month  we're  going  to 
outline  two  compaigns  of  summer  beauty  strategy — 
one  for  each  of  you. 

Time  was,  when  Hollywood  was  new,  that  every 
girl  who  hit  the  camera  coast  had  to  expose  herself 
indiscriminately  to  the  mercies  of  the  sun,  and  bake  and 
broil  before  she  could  expect  to  be  taken  seriously  by 
anybody  in  that  fabulous  film  capital.  Now,  however, 
everybody  from  Hollywood  Boulevard  to  Housatonic 
Falls  and  back  again  knows  very  well  that  some  skins 
just  have  no  business  being  sun-tanned  at  all. 

How  can  you  be  sure  about  yours?  Well,  here's  one 
pretty  safe  test.  If  the  pigmentation  (coloring,  to  you) 
of  your  skin  is  evenly  and  uniformly  distributed,  and 
if  you  belong  to  the  brown  or  dark-haired  persuasion, 
with  medium  to  dark  eyes,  you  will,  almost  invariably, 
have  a  skin  of  a  depth  and  thickness  that  will  hold  its 
own  with  Old  Man  Sunshine.  On  the  other  hand,  if 
your  hair  and  eyes  are  light,  or  if  you  are  a  natural 
red-head,  you  will  almost  certainly  be  the  possessor 
of  a  skin  low  in  pigmentation — thin,  light  and  sensitive 
to  even  slight  exposure  to  the  sun.  You  in  this  group 
may  find  it,  not  only  unsafe,  but  impossible  to  tan  and 
you're  likely  to  do  your  skin  irreparable  injury  if 
you  try. 

If  you  decide  to  go  in  for  tanning,  do,  no  matter  what 


44 


MODERN  SCREEN 


SWING  INTO  SUMMER  CONFIDENT 
THAT  YOUR  MAKE-UP  IS  ALWAYS 
TllGHT.  AND  WHETHER  YOU  SUN-TAN 
OR  WHETHER  YOU  DON'T,  HOLLYWOOD 
HAS  SOME  HELPFUL  TIPS  FOR  YOU 


your  coloring,  take  it  easy  on  the  first  few  exposures. 
Otherwise,  you  achieve  nothing  but  an  ugly  burn  that 
will  not  only  ruin  your  appearance,  but  also  dry  and 
harden  your  skin  so  that  it  won't  absorb  any  of  the 
sun's  ultra-violet  or  other  beneficial  rays.  You  doubt- 
less know  that  sun  rays,  acting  upon  the  sterols  in  your 
skin,  produce  a  natural  vitamin  D  which,  in  turn,  is 
absorbed  and  acts  on  the  calcium  in  your  foods.  This 
is  what  builds  sturdy  teeth,  bones  and  nerves.  We  all 
need  sunshine — either  direct  or  indirect — for  health  as 
well  as  beauty,  and  it  behooves  each  one  of  us  to  get 
it  in  the  way  that  will  do  the  most  good.  When  you 
first  start  to  sun-tan,  protect  your  skin  with  copious  and 
frequent  applications  of  one  of  those  special  creams, 
oils  or  sun-tan  lotions  that  are  now  available  every- 
where. Use  these  both  before  and  during  exposure. 

Five  minutes  on  each  side  is  plenty  of  direct  sun  for 
blonde  beginners.  Ten  minutes  on  each  side  will  be 
just  about  right  for  darker  sun  worshipers.  Increase 
each  side's  exposure  five  minutes  a  day  and,  before  you 
know  it,  you'll  have  a  smooth,  golden,  even  tan  and, 
besides  that,  your  nerves,  digestion  and  general  health 
will  improve.  Did  you  know  that  a  tanned  person 
can  actually  withstand  more  heat  or  cold  than  one  who 
is  not  tanned?  It's  true. 

"*«fou  blonde  beauties  ought  to  know  about  sky  shine, 
too.  That  is  sunlight  reflected  from  the  sky.  It  pene- 
trates your  skin,  even  when  you  are  in  the  shade — if 
you  are  ofa&Ioors.  For  you  super-thin-skinned  lassies, 
sky  shine  wfU  provide  all  the  tan  you  ought  to  have. 
Try  it  and  see  i&r  yourselves.  (Continued  on  page  80) 


X 


AUGUST,  1940 


BRENDA  JOYCE 

A  20th  Century-Fox  Playci 


45 


Photos  by  Jules  Buck 


Three  years  ago,  at  a  cocktail  party,  a"  mutual  friend  introduced  Buddy  Adler 
to  Anita  Louise — and  this  is  what  happened!  They're  shown  above  with  their 
attendants,  among  whom  were  Ida  Lupino,  Wendy  Bgrrie  and  Greg  Bautzer. 


WHEN  Anita  Louise  became  the  flustered  but 
beautiful  bride  of  blushing  Buddy  Adler,  the 
movie  colony  heaved  a  sigh  of  relief  that 
bounced  from  the  wedding  place  to  the  sea. 
Not  that  the  colony  was  especially  perturbed 
about  Anita's  protracted  spinsterhood.  They 
knew  she'd  marry  some  day.  But  for  three 
long  years  her  romance  had  inched  along, 
blocked  by  parental  objection  and  Buddy's 


inability  to  support  her  in  the  Hollywood  man- 
ner, and  the  town  had  been  growing  anxious. 

On  May  18th,  at  exactly  8  P.M.,  the  long 
wait  was  ended.  The  25-year-old  actress  and 
the  32-year-old  script  writer-theatre  owner 
were  finally  and  securely  bound  in  iioly 
matrimony.  The  wedding  took  place  in  the  pre- 
tentious Los  Angeles  home  of  the  Socialite 
Ray  Dodge.  There,  before  Judge  Thurmond 


MODERN  SCREEN 


An  avalanche 
of  rice  followed 
Mr.  and  Mrs. 
Adler  to  their 
waiting  Cadil- 
lac limousine. 


1 


The  wedding  supper  was  served  in  the  brilliantly  lit  garden  of  the  Ray  Dodge 
estate.  Drinks  flowed  freely  and,  according  to  the  waitresses,  Buddy  and 
Anita  Adler  ate  much  more  heartily  than  any  bridal  couple  they'd  ever  seen! 


Clarke  and  fifty  invited  guests,  Anita  appeared, 
clad  in  an  ivory  moire  and  slipper  satin  period 
gown  adapted  from  the  one  worn  by  Martha 
Scott  in  "Our  Town."  In  her  hand  she  carried 
a  white  Bible  that  closed  about  a  spray  of 
lilies  of  the  valley,  and  beside  a  white  satin 
kneeling  bench  she  accepted  the  plain,  gold 
band  that  made  her  Mrs.  E.  Maurice  Adler. 
Immediately  after  the  ceremony  the  entire 


gathering  spilled  into  the  garden  for  refresh- 
ments which  consisted  primarily  of  stuffed 
squab  and  chicken  for  the  wedding  party  and 
chicken  a  la  king  and  scotch  for  everyone  else. 
Not  until  the  last  man  had  eaten  did  the  fes- 
tivities halt  and  then,  making  a  quick  switch 
to  street  clothes,  the  happy  couple  faced  a  bar- 
rage of  rice  and  dashed  away  for  a  four-day, 
destination-unannounced  honeymoon. 


I 


I 


SEVER 
WIVES  ! 


DELUSIONS  OF  GRANDEUR? 
NO— THE  STRAIGHT  FACTS 
ON  MRS.  TYRONE  POWER 


By    Gladys  Hall 


IT  ALL  began  by  my  saying  idly  to  Tyrone,  "Sup- 
posing you  had  twenty-seven  wives,  like  Brigham 
Young.  .  .  ." 

There  was  a  slight  widening  of  those  Power  eyes, 
an  imperceptible  pause,  a  quick  thrust  of  laughter, 
and  Ty  wowed  me  by  saying,  "But  I  have!" 

"Maybe  it's  wishful  thinking,"  I  said  soothingly, 
"or  maybe  it's  the  altitude." 

We  were  sitting  on  a  fallen  ironwood  log  up  in 
the  wild  and  piney  heights  of  Big  Bear,  where  the 
"Brigham  Young"  company  was  on  location.  In  the 
distance  we  could  see  tepees  of  the  Indians,  the 
covered  wagons  of  the  early  Mormons,  oxen,  horses, 
cows,  children  scuffling  in  the  dust  and  women 
preparing  the  evening  meal  over  fires.  In  the  fore- 
ground was  the  six-feet-three  figure  of  Dean 
(Brigham  Young)  Jagger,  completely  surrounded 
by  twelve  of  the  wives  he  has  in  the  picture. 

"It's  well  for,  me,  though,  that  I'm  not  Brigham 
Young,"  Ty  went  on.  "I  have  claustrophobia  and 
can't  stand  elevators,  small  rooms  and  crowds.  If 
I  had  twelve  wives,  let  alone  twenty-seven,  I'd 
smother!" 

Catching  my  inquiring  eye  he  continued,  laugh- 
ing. "When  I  said  I  had  twenty-seven  wives — well, 
I  was  exaggerating.  I  should  have  said  that  I  have 
seven  wives.  But,  happily  for  my  claustrophobia, 
they  are  all  neatly  packaged  and  combined  in  the 
person  of  Annabella. 

"Back  in  the  days  of  Brigham  Young,  a  man 
probably  needed  twenty-seven  wives  to  get  one 
good,  well-rounded  companion  out  of  the  lot  of 
them.  Now  it's  completely  different.  The  girl  of 
today  is  a  composite  of  all  the  girls  the  imagination 
of  a  man  can  conjure  up. 

"For  instance,  when  I  was  very  young  and  dream- 
ing about  my  ideal  girl,  I  got  myself  into  a  lather 
because  my  tastes  and  preferences  would  change 
from  month  to  month.  One  month  I'd  decide  that 


MODERN  SCREEN 


she  should  be  a  domestic  girl,  a  housewife,  a  girl 
who  would  be  the  clinging  vine  to  my  sturdy  oak. 
The  next  month  that  idea  would  bore  me  and  I'd 
visualize  a  vital,  forceful  Dorothy  Thompson  type, 
a  girl  who  would  give  me  mental  companionship. 
Then  I'd  decide  I  wanted  to  marry  the  athletic 
type,  a  young  Amazon,  a  girl  keen  on  sports  and  the 
'  out-of-doors.  The  business  girl  would  get  my  next 
vote — someone  who  would  be  a  partner  to  me, 
someone  who  would  share  my  interests,  understand 
my  problems. 

"I'd  dream  of  the  pioneer  woman,  who  followed 
her  man  into  the  wilderness,  meeting  hardship  and 
disaster,  and  taking  whatever  came  on  her  sporting 
chin.  I'd  imagine  how  nice  it  would  be  to  be  married 
to  the  old-fashioned  girl,  the  kind  of  girl  who  would 
faint  at  the  sight  of  a  mouse,  be  insulted  if  you 
offered  her  a  cigarette  and  swoon  if  you  offered 
her  a  drink.  Next  I'd  go  for  the  idea  of  the  ultra- 
sophisticated  girl,  veddy  smart,  the  good  sport, 
shock-proof.  In  sequences  as  rapidly  shifting  as  the 
pattern  in  kaleidoscope,  I'd  fancy  myself  married 
to  a  country  girl,  a  city  girl,  a  girl  who  would 
give  me  laughs,  a  wise  girl,  a  play-girl.  Well," 
said  Ty,  "today  a  fellow  gets  all  of  those  in  one 
girl."  He  added  "I  did. 

I'LL  PROVE  it.  Annabella,  for  instance,  is  the 
Home  Girl,  the  domestic  girl.  She  not  only  plans 
all  our  meals,  knows  food  values  and  food  combina- 
tions, does  her  own  marketing  thriftily  and  tastily, 
feeds  her  family  as  wholesomely  and  efficiently  as 
any  Mrs.  Brigham  ever  did,  but  what  is  more,  if 
she  has  to  go  into  the  kitchen  and  cook  our  food 
herself,  she  can  and  has. 

"There  was  a  night  when  guests,  eight  of  them, 
were  expected  for  dinner.  The  servants  were  taken 
ill.  But  at  eight,  our  eight  guests  sat  down  to  a 
dinner  which  would  have  given  any  chef  the  medal 


for  distinguished  service.  And  from  the  shrimp 
cocktails  to  the  marron  glace,  Annabella  did  it  all! 

"Other  times  she  goes  into  the  kitchen  just  be- 
cause she  feels  like  it.  The  added  attraction,"  Ty 
laughed,  "is  that  she  never  looks  kitcheny.  I  mean, 
those  trick  French  and  ruffly  aprons  she  wears 
when  she  whips  up  a  little  something.  And  the 
dash  of  lipstick  and  the  hair  thingumdo!  Annabella 
in  the  kitchen  looks  like  a  scene  from  a  Lubitsch 
picture. 

"As  for  being  feminine — well,  Annabella,  like 
most  girls  of  today,  can  shake  a  mean  niblick,  draw 
a  pay-check  as  big  as  any  man's  or  discuss  the 
international  situation,  man  to  man.  But,  in  the 
last  analysis,  I  am  the  Lord  and  Master  in  our 
house.  I  dare  to  make  this  brash  statement,"  laughed 
Tyrone,  "knowing  that  Annabella  will  read  it.  I 
have  enough  faith  in  her  femininity  to  know  that 
she  would  be  the  last  to  deny  it,  or  want  to  deny 
it.  By  being  the  Lord  and  Master  I  mean  that, 
though  nothing  is  ever  said  about  our  relative 
status,  marriage  being  a  partnership  these  days, 
money  matters,  decisions  about  trips,  plans  for 
the  future,  investments — all  those  things  are  my 
domain. 

"I  also  married  the  forceful,  vital  type,"  said 
Tyrone.  "Annabella  has  a  heart  as  stout,  a  spirit 
as  steel-strong  as  any  woman  of  the  pioneer  days. 
She  proved  that  when,  at  sixteen,  after  having  been 
sheltered  like  a  hothouse  flower  all  her  life,  she  ran 
away  from  home,  went  to  Paris  and  lived  through 
poverty,  loneliness  and  discouragement  until  she 
got  what  she  wanted,  her  chance  in  pictures. 

"My  hat  is  off  to  the  girls  of  today,"  said  Ty,  doffing 
his  broad-brimmed  felt  hat  of  the  Mormon  scout, 
"who  go  out  and  earn  their  livings,  keeping  their 
chins  up,  keeping  themselves  well-groomed  and 
alert,  physically  and  mentally.  No,  I  don't  admire 
the  women  of  the  'good,  old  (Continued  on  page  67) 


ugust,  1940 


49 


UIHEH  DIETRICH  IECIII5 


MARLENE  has  the  situation  well  in  hand. 
With  allure  perched  on  every  eyelash  and 
enticement  written  into  every  curve  of  her 
beautiful  face  and  body,  she  is  probably  the 
only  woman  in  town  qualified  to  laugh  at  the 
touchy  subject  of  escort-scarcity  in  Holly- 
wood. Her  problem  is  never  one  of  nabbing 
a  companion,  but  rather  of  finding  time  to  see 
all  the  men  who  want  to  see  her. 

Just  what  has  she  got  that  brings  them  run- 
ning? She  is  the  adoring  mother  of  a  15-year- 
old  daughter.  She  is  a  rabid  stamp  collec- 
tor. She  is  a  devout  Clark  Gable  fan,  and 
she  is  on  friendly  terms  with  her  husband. 
Certainly  none  of  these  points  can  be  the  basis 
of  her  appeal.  What  is  it  then  that  wins  her 
four  escorts  an  evening  while  others  sigh 
for  one? 

Some  observers  say,  vaguely,  that  she  has 
a  knowledge  of  every  feminine  wile  employed 


since  the  days  of  Mother  Eve.  We  think  it's 
something  more  tangible.  We  think  it's  her 
amazing  intelligence,  her  scissor-sharp  wit,  her 
exquisite  grooming  and  her  native  genius  for 
making  the  man  she  is  with  seem  important 
to  himself. 

Last  year,  a  group  of  college  boys  elected 
her  the  world's  "most  escortable"  woman, 
elaborating  on  the  obvious  advantages  of  hav- 
ing her  beauty  and  charm  dangling  from  their 
willing  arms  for  an  evening  of  gadding  about. 
Though  their  judgment  is  not  to  be  sniffed  at, 
they,  too,  missed  the  real  Dietrich.  They 
ignored  the  fact  that  she  is  a  superb  cook, 
that  she  has  a  wicked  sense  of  humor,  that 
she  thoughtfully  sends  flowers  to  her  friends 
whenever  she  leaves  town  and  that  she  is  an 
easy  touch. 

And  if  you  think  such  characteristics  aren't 
worth  having,  just  look  at  a  list  of  her  escorts. 


50 


MODERN  SCREEN 


It 


m°"rhs  oM    d    VOrced'*n  f93?    l   USln'  ,ove/y  AwJ  fom,er 

aw**k  escorf  fo  °Horses 


for  her  brilliance  in  ma.nta.n.ng 
Marlene  is  famous  fo    her  ^  wh  h 

amity  among  her  numerous  co ™P  +he  ranks  «rf 

has  several  in  a  single  even.ng^  N£»  rf  ^  Durant, 
-erfra"  men  is  Spencer  Tracy  .Ac  p.  hose 

forty-year-old  Spence  ,oms  h,m  ^  ^ 

occasions  when  Mrs.  ^-J**  is  her  husky,  blonde  hus- 
Never  present  in  Marlene  s  reJm"e      ,  b    +ne  same  stud.o 
band.  Rudolf  Sieber,  who  *  employ^  ^ 
as  his  gorgeous  w.fe-but 


Josef  von  Sternberg,  a  small,  heavy-set  man  with  a  sharp  face  and  Mephi- 
stophelean mustache,  was  born  forty-six  years  ago  in  Vienna.   Originally  a 
film  cutter,  he  saved  his  money  and  then  gambled  his  last  cent  on  the  production 
of  a  free-lance  picture  which  turned  out  so  sensationally  well,  it  made  him  famous. 
He  topped  that  fame  by  discovering  Dietrich,  and  in  his  years  as  her  manager  was 
her  tender  friend  (to  the  vehement  objection  of  his  wife),  and  a  ruthless  taskmaster 
when  her  work  was  involved.  At  present,  his  glory  dimmed,  von  Sternberg  lives  quietly 
in  a  smallish  Hollywood  house,  not  far  from  Marlene's  own.  Despite  the  proximity  of 
their  homes,  they  are  not  neighborly  and  now  meet  less  and  less  frequently. 


appeared  on  the  set  of  "Destry  RidesTL*  »  k *    lm     l  met  before  +heY 

being  performed,  Marlene's  eye" Sparked  interest    T  introduc*°ns  were  still 

greatly  surprised  and  instinctive  y  C^rv  *  J'mm/-  e"ormously  flattered  but 

he  became  more  than  mildly  infatuated  with  the  DM  't         ^  to  some- 

has  blown  cold  and  they  greet each  ^  I  i,glrrTU5htheir«e 
the  Stewart  orbs  still  ligh/up  a the  mention  of^M  f  ^  "  ^  been  noted  th°' 
^  gossip  columnists  who  «Jf  ^^t^^ 


51 


Lovebirds  George  Raft  and  Norma 
Shearer,  who 're  thinking  of  doing 
a  play  together,  razz  Gary  Cooper 
for    using    a    cigarette  holder. 


Loretta  Young  out-Fraziers  Brenda  in 
a  strapless  black  chiffon.  How  Tom 
Lewis,  advertising  executive,  can 
talk    shop,    we    don't  understand! 


Portrait  of  a  starving  man  and  his 
wife.  The  Humph  Bogarts  are  ex- 
hausted from  arguing  over  whose 
idea  it  was  to  dine  out,  anyway. 


Irene  Dunne  is  s.till  being  scolded 
for  those  hunches  she  played  at 
the  Derby.  Well,  lucky  id  love,  un- 
lucky at  pony-playing,  Dr.  Griffin! 


Pat  Paterson,  who's  succumbed  to 
the  dark-hair  trend,  gets  chucked 
under  the  chin  by  Jack  Warner, 
Husband   Charles   Boyer's  ex-boss. 


Anna  Neagle  helps  her  Svengali, 
Herbert  Wilcox,  celebrate  his  birth- 
day at  a  fabulous  $3000  party  which 
RKO  gave  at   Ciro's   t'other  night. 


Charlie  McCarthy  has  to  be  nailed 
into  bed  the  nights  Eddie  Bergen 
dates  June  Duprez,  the  lovely  Eng- 
lish   actress.      He's    that  jealous! 


This  Nick  Grinde-Marie  Wilson  thing 
goes  on  and  on,  but  it's  not  fazing 
their  appetites — the  strawberry  sun- 
daes are  the  last  of  seven  courses. 


When  Virginia  Bruce  teased  Hubby 
J.  Walter  Ruben  about  looking  so 
"sour-pussy"  in  public,  she  didn't 
bargain   for  this   sort   of  reaction! 


As  love-lit  a  pair  of  "just  friends" 
as  we've  seen — Dan  Topping  and 
Sonja  Henie.  They  go  everywhere 
together — from   Honolulu   to  Ciro's. 


Myrna  Loy,  decked  in  a  peppermint- 
striped  silk  crepe  gown  of  red, 
white  and  blue,  trips  the  light  La 
Conga  with  Writer  Jean  Negulescu. 


52 


MODERN  SCREEN 


They're  dubbing  Kay  Francis'  pro- 
ducer-escort the  "French  Orson 
Welles."  Has  a  million  films  up  his 
sleeve,  but  none  ever  materialize. 


The  biggest  menace  around  is  Ann 
Rutherford.  We  caught  her  at 
Ciro's  "snaking"  Bonita  Granville's 
one    and    only,    Rand  Brooks. 


Bruce  Cabot,  who's  taken  an  option 
on  Socialite  Frances  Robinson, 
supervises  her  calories  at  Hal 
Roach's    elaborate    buffet  supper. 


1 


Mrs.  Massey,  snacking  on  bacon  and 
eggs  with  Hubby  Raymond,  confides 
that  she'll  brain  the  next  person 
who    calls    her    Mrs.  Lincoln. 


Nothing  blase  about  the  Louis 
Haywards  when  they  go  night  spot- 
ting. They  .do  it  so  seldom,  it's 
still   mighty   thrilling  business. 


Spencer  Tracy  takes  "Mama"  (that's 
what  he  calls  Louise)  to  a  preview 
to  celebrate  her  return  home, 
after    a    month    in    the  hospital. 


Imagine  Roz  Russell  in  a  movie  called 
"No  Time  For  Comedy!"  She  and 
Cary  Grant,  of  "His  Girl  Friday" 
fame,  are  Hollywood's  gayest  pair. 


Claire  Trevor  is  glowing  from  radio 
producer-hubby,  Clark  Andrews', 
slightly  prejudiced  praise  of  her 
air-wave  Duse-ing  in  "Big  Town." 


Hollywood's  best  dressed  couple, 
the  Adolphe  Menjous,  have  just 
seen  themselves  in  the  movies 
and    couldn't    be    more  pleased! 


New  England  champion  half-miler, 
Jeff  Lynn,  side-burning  it  for 
"All  This,  etc.,"  sprints  Pat  Still- 
man  to   the   nearest  jitterbuggery. 


George  Brent  and  Ann  Sheridan 
(they're  Brenty  and  Annie  to  each 
other)  are  hot  'n'  heavying — and 
it's    not   a   publicity   stunt  either! 


AUGUST,  1940 


53 


GARBO—PLAYGIRL! 

According  to  Garbo's  close  friend  and  Dr. 
Hauser's  publisher,  Frey  Brown,  the  Silent 
One  is  a  great  gal.  "There's  nothing  high- 
hat  about  her,"  he  claims.  "Why,  like  as 
not,  five  minutes  after  you  meet  her  you'll 
be  on  the  floor  playing  games.  She's  that 
simple."  We  don't  doubt  that  Miss  Garbo's 
that  simple,  but  how  about  the  games?  The 
intricacies  of  leap-frog  never  came  easily 
to  us. 

SURPRISE  VISIT 

The  other  day  Irene  Dunne  was  working  in 
the  garden  that  is  her  pride  and  joy.  Ordi- 
narily she  keeps  to  the  fenced-off  section,  but 
this  day  she  had  wandered,  trowel  in  hand, 
to  work  on  the  petunias  bordering  the  front 
walk.  A  sight-seeing  bus  suddenly  careened 
around  the  corner  and,  before  Irene  could 
scramble  to  her  feet  and  make  a  getaway. 


the  driver  had  spotted  her  and  megaphoned  , 
the  news  to  his  gaping  passengers.  The 
bus  came  to  a  stop  with  a  screech  of  brakes. 
In  answer  to  the  cries  of  "Hello,  Miss  Dunne!" 
the  star  could  only  manage  a  weak,  "Well, 
this  is  a  pleasure!"  and,  smiling  and  wav- 
ing, backed  away  slowly  until  she  made  the 
hedge  where  she  disappeared  from  view. 

STANDING  DATE 

May  Robson  has  one  date  with  which  noth- 
ing can  interfere — that's  her  Saturday  after- 
noon appointment  at  the  beauty  parlor.  Ac- 
cording to  Miss  Robson,  two  hours  in  the 
hands  of  a  good  beautician  before  every 
Saturday  night  rolls  around  does  any  girl 
lots  of  good. 

BLITZKRIEG 

On  the  set  of  "I  Love  You  Again,"  William 
Powell  and  Director  W.  S.  Van  Dyke  are 


waging  daiiy  battles.  No,  it's  not  a  case  of 
temperament,  since  Powell  thinks  Van  Dyke 
is  tops  as  a  director,  and  "Woody"  feels  the 
Powell  histrionics  can't  be  beat.  •  The  two 
just  like  to  argue — about  anything  and  every- 
thing. Of  course,  the  fact  that  Van  Dyke  is 
a  violent  Roosevelt  booster,  and  Powell  is 
equally  vehement  in  upholding  the  Republi- 
can party,  gives  them  plenty  of  material  for 
discussion.  But  the  other  day  the  fur  flew 
hot  and  heavy.  Only  this  time  the  argu- 
ment concerned  itself  with  whether  a  dash  of 
cream  should  be  added  to  scrambled  eggs. 
Powell,  of  course,  was  the  one  who  was  all 
for  the  dash. 

ROMANCES  AND  REBOUNDS 

Linda  Darnell  and  Bob  Shaw  are  still  smitten 
with  one  another's  charms,  but  now  are 
spending  all  their  evenings  teaching  Linda's 
young  brother  and  sister,  Calvin  and  Monte, 
how  to  skate  at  the  Tropical  Ice  Gardens 


54 


MODERN  SCREEN 


THE  HOLLYWOOD  SUN!  AND  OUR  ACE  REPORTER,  LOIS  SVENSRUD,  FERRETS  IT  OUT! 


.  .  .  Connie  Bennett  still  goes  places  with 
Robert  Ainley  while  ex-heart  Gilbert  Roland 
looks  mighty  happy  in  the  company  of 
Frances  Robinson  .  .  .  Deanna  Durbin's 
needle-pointing  like  mad  between  scenes. 
The  handiwork  will  develop — she  hopes — 
into  dining-room  chair  seats  for  her  new 
home  .  .  .  The  Buddy  Adlers  (Anita  Louise) 
say  they  wish  they'd  taken  the  great  step 
months  ago  and  not  wasted  so  much  time 
finding  happiness  .  .  .  William  Powell  and 
the  bride  are  on  a  steady  diet  of  night 
clubs,  and  Bill's  showing  more  vim,  vigor 
and  vitality  than  he  has  in  years  .  .  .  George 
Brent  gets  positively  poetical  when  the  sub- 
ject of  Annie  Oomphie  Sheridan  is  brought 
up  .  .  .  Loretta  Young  is  still  dividing  dates 
between  writer  Robert  Riskin  and  radio 
producer  Tom  Lewis  .  .  .  Lana  Turner  and 
Artie  Shaw  have  patched  up  their  differences 
and  claim  the  dove  of  peace  has  settled  in 
their  honeymoon  cottage  to  stay  .  .  .  Nancy 
Kelly  and  Irving  Cummings,  Jr.,  have  never 


been  more  serious  in  their  lives  .  .  .  Martha 
Scott  and  Perc  Westmore  looked  awfully 
pleased  in  one  another's  company,  while 
ex-Mrs.  Westmore  (Gloria  Dickson)  and 
Ralph  Murphy  are  holding  hands  in  every 
dark  corner  in  town  .  .  .  Tyrone  Power  and 
Annabella  have  had  to  give  up  their  South 
American  jaunt,  but  haven't  given  up  the 
idea  of  second-honeymooning  there  as  soon 
as  the  Power  heir  puts  in  an  appearance 
.  .  .  Alice  Faye  and  Tony  Martin  are  having 
secret  rendezvous  and  may  patch  it  all  up 
.  .  .  Brenda  Marshall  and  Bill  Holden  are 
promising  in  front  of  a  preacher  as  soon  as 
her  divorce  papers  are  signed,  on  the  dotted 
line. 

COMPETITION  FOR  NORMA 

George  Raft  and  Norma  Shearer  may  be  as 
inseparable  as  ham  and  eggs,  but — if  the 
truth  were  known — Norma  hasn't  supplanted 
the  Number  1  girl  in  Mr.  Raft's  life!    At  the 


Brown  Derby  the  other  evening,  Raft  was 
showing  a  picture  he'd  just  received  of  his 
real  heart-beat.  She's  Joanie  Peine,  six- 
year-old  daughter  of  Virginia  Peine.  "Pret- 
tiest picture  I  ever  saw,"  said  George  proudly. 

BARGAIN  HUNTER 

Martha  Scott  had  just  one  day's  notice  be- 
fore going  into  Joan  Fontaine's  role  in  "The 
Howards  of  Virginia."  That  one  day  was 
jammed  with  a  hair-dresser  date,  an  agent's 
appointment,  a  check-up  with  the  dentist,  and 
even,  mind  you,  a  luncheon  interview.  She 
arrived  at  the  appointed  place,  much  out 
of  breath.  "I  just  couldn't  help  being  late," 
she  explained.  "On  the  way  up,  the  ele- 
vator boy  said  something  about  a  sale  on 
the  third  floor  and — well,  gosh,  I'm  only  hu- 
man— I  just  had  to  stop  off  and  go  through 
all  the  racks.  I  didn't  buy  anything,"  she 
said,  but  added  with  tiue  feminine  pride,  "but 
you  can  bet  I  didn't  miss  anything,  either." 


AUGUST,  1940 


55 


candle*.  \      pr,se    P  Yonor. 

^arl°rp\onnPed  *  h>S 
RusseW  Pl 


*  .os  on 
\irst  U1  .    •- ; 


service,  cost    _   and  hey 


Rox  one 
,\ossa\ 


sWces. 


MAUREEN'S  NO  CLOTHES-HORSE 

Maureen  O'Hara  is  the  despair  of  her  studio  when  it  comes  to  clothes. 
No  one  looks  lovelier  in  the  latest  gowns  than  she  does,  but  no  one 
cares  less  about  them!  She  has  three  outfits — a  slack  suit,  a  tweed 
street  suit  and  a  brocaded  white  evening  dress.  They  were  all  made 
by  her  mother,  and  Maureen's  so  fond  of  them  that  she  sees  no  need 
for  other  clothes.  "They're  nice  outfits,"  she  says,  "but  of  course, 
they  won't  be  at  their  best  until  they're  about  five  years  old.  That's 
the  English  idea,  you  know,  so  unless  I  go  Hollywood  in  the  next 
four  years,  I'll  still  be  wearing  them — and  liking  them!" 

TRACY'LL  FIX  HIM 

Maybe  you've  doubted  that  Spencer  Tracy  really  packs  the  punch 
which  you've  seen  him  deliver  on  the  screen.  But  it  happens  to  be 
a  fact  that  extras  shy  away  from'  the  job  of  having  a  screen  fight 
with  him.  They  just  can't  take  it.  So  in  "Boom  Town,"  you'll  see 
Frank  Hagney  at  the  receiving  end  of  the  Tracy  wallops.  Hagney's 
the  man  who  made  his  reputation  years  ago  as  the  only  man  in 
pictures  who  stood  up  for  ten  rounds  with  Jack  Dempsey! 

THAT'S  RISING  TO  AN  OCCASION 

Lots  of  cracks  have  been  made  about  Elsa  Maxwell  since  she  landed 
in  Hollywood,  but  out  on  the  "Public  Deb  No.  1"  set,  the  lady  would 
win  any  popularity  poll.  In  the  words  of  cast  and  crew,  Elsa's  a 
"good  egg" — and  that's  top  movie-lot  praise.  Just  f'rinstance — the 
other  day  a  wardrobe  girl  called  up  Maxwell's  home  and  left  word 
that  she  should  appear  for  work  in  a  dinner  dress.  Elsa,  you  know, 
wears  all  her  own  clothes  in  pictures.  She  turned  up  in  a  beautiful 
Paquin  gown  of  swirling  black  crepe,  only  to  learn  that  the  wardrobe 
girl  had  made  a  mistake  and  that  it  should  have  been  an  afternoon 
dress.  For  a  moment,  it  looked  as  if  production  costs  would  zoom 
to  the  skies  while  a  messenger  went  to  the  Maxwell  home  for  another 
dress.  It  also  looked  as  if  the  wardrobe  girl  would  be  invited  to  leave 
the  studio's  employ.  But  only  for  a  moment,  for  Elsa  boomed,  "What's 
all  the  fuss  about?  We'll  just  chop  this  off  to  an  afternoon  dress 
length.    Gimme  a  pair  of  sheafs,  and  let's  get  going."    With  the  help 


of  the  same  wardrobe  girl,  the  actress  snipped  off  and  basted  up  her 
dress  and  was  on  the  set  in  fifteen  minutes. 

MAXWELLIAN  RHUMBA 

Tyrone  Power  dropped  by  on  the  set  another  day  when  La  Maxwell 
was  going  into  a  rhumba  scene.  "Are  you  going  to  gag  it?"  he  asked 
politely.    "Honey,"  said  Elsa,  "with  my  figure,  there's  no  choice!" 

COMMAND  PERFORMANCE 

For  a  scene  in  "Dance,  Girls,  Dance,"  Lucille  Ball  has  to  do  a  strip- 
tease act.  She  did  it  several  times,  and  each  time  the  sequence  was 
rejected  by  the  Hays'  office.  When  the  director  called  Lucille  and 
told  her  to  report  for  another  retake  of  the  same  number,  Lucille  said 
plaintively,  "Hey,  what  is  this?  I'm  beginning  to  think  the  boys  at 
the  Hays'  office  are  having,  me  do  all  these  versions  of  the  strip- 
tease just  for  their  entertainment." 

SCARE-PROOF 

The  other  evening  Lucille  and  her  current  steady,  Director  Al  Hall, 
took  a  busman's  holiday  and  went  to  a  theatre  where  "Rebecca" 
was  showing.  Lucille  was  so  in  the  mood  of  the  play  that  she  was 
still  shivering  when  Al  bid  her  good-night  at  the  door  of  her  apart- 
ment house.  Once  inside  the  door,  she  noticed  how  dark  the  hall- 
way was  and  got  a  violent  case  of  the  jitters.  Naturally,  when  a 
figure  loomed  up  out  of  the  shadows,  she  let  out  a  blood-curdling 
scream.  "Oh,  gosh,"  she  apologized,  when  she  recognized  her  harm- 
less next-door  neighbor,  "I'm  terribly  sorry  to  have  scared  you,  but 
you  see  I've  just  been  to  a  movie  arid  .  .  ."  "Perfectly  all  right," 
said  the  lady  from  next  door.  "Just  tell  me  the  name  of  the  picture. 
I  wouldn't  miss  it  for  the  world!" 

JIMMY'S  BIRTHDAY  PARTY 

On  the  "No  Time  For  Comedy"  set,  Jimmy  Stewart  was  given  a  sur- 
prise party  by  the  cast  and  crew — and  Olivia  de  Havilland,  who 
came  over  from  Set  7  on  the  same  lot  to  help  celebrate  Jim's  "32nd." 


56 


MODERN  SCREEN 


The  whole  thing  was  Roz  Russell's  idea  and  she  had  a  huge  cake 
made,  with  "Happy  Birthday,  Jimmy,  from  the  Gang"  embroidered 
handsomely  'mid  garlands  of  roses.  She  hired  three  Western  Union 
messengers,  dressed  them  in  grotesque  masks  from  the  make-up  de- 
partment and,  at  the  proper  moment,  had  them  rouse  Jimmy  from  deep 
study  of  his  script  with  the  high-pitched  strains  of  "Happy  Birthday 
to  You!"  With  this  as  a  start,  production  stood  still  while  much  went 
on  behind  the  scenes! 

NOT  TY'S  BEST 

When  the  "Brigham  Young"  company  went  on  location  at  Lake 
Arrowhead  recently,  Annabella  went  along  for  the  ride.  The  script 
that  day  called  for  a  love  scene  between  Tyrone  Power  and  Linda 
Darnell  and,  after  Ty  had  kissed  his  leading  lady,  Director  Henry 
Hathaway  asked  Annabella  just  what  she  thought  of  the  scene. 
"Very  nice,"  said  young  Mrs.  Power.  "But — "  she  hesitated,  "I've 
known  him  to  kiss  better." 

DIDJA  KNOW? 

That  Spencer  Tracy  spends  every  lunch  hour  visiting  his  polo  ponies 
.  .  .  That  Claudette  Colbert  is  a  candid  camera  fiend  and  loves  to 
snap  as  she  goes  around  the  studio  lot,  of  all  places  .  .  .  That  Gene 
Raymond  spends  eight  hours  a  day  practicing  the  piano  when  not 
working  on  a  picture — and  if  working,  makes  up  for  lost  time  on 
Sundays  .  .  .  That  Laraine  Day  and  Sidney  Guilaroff  may  decide 
to  make  a  life  partnership  of  their  friendship  .  .  .  That  Genevieve 
Tobin  is  taking  orders  from  her  husband,  William  Keighley,  on 
the  "No  Time  For  Comedy"  set,  and  she  loves  it  .  .  .  That  Luise 
Rainer  is  back  in  town,  looking  for  a  new  picture  career  .  .  .  That 
Ann  Sothern  has-  given  up  keeping  her  husband  company  when  he 
goes  bowling.  Says  it  isn't  worth  the  finger-nail  havoc  .  .  .  That 
Helen  Parrish  and  Forrest  Tucker  really  mean  it  about  "going  steady" 
for  the  next  two  years  .  .  .  That  Virginia  Field  and  Richard  Greene 
are  buying  kitchen  ware  for  their  new  home  and  will  name  the  day 
any>  minute  now  .  .  .  That  Lana  Turner's  hair  is  now  a  dark  red 
and  that  Hedy  Lamarr's  wearing  a  very  short  bob  .  .  .  That  Mary 
Martin  had  quite  a  time  on  the  set  of  "Rhythm  on  the  River"  the  day 


following  her  elopment.  Everyone  wanted  to  kiss  the  bride  .  .  .  That 
Maureen  O'Sullivan  has  taken  a  house  in  Canada  for  the  rest  of 
the  summer  in  order  to  be  near  husband  John  Farrow,  who's  there 
in  training  .  .  .  That  Olivia  de  Havilland  will  take  out  a  pilot's 
license  one  of  these  days  and  show  Jimmy  Stewart  how  flying's  really 
done  .  .  .  That  Vivien  Leigh  and  Laurence  Olivier  are  contemplating 
another  co-starring  play  to  be  presented  in  New  York  in  spite  of  the 
chilly  reception  given  their  "Romeo  and  Juliet"  by  the  critics.  Noth- 
ing ventured  nothing  gained  is  their  motto! 

NO  MORE  FISH  STORIES! 

Jane  Withers  has  really  fixed  her  father.  Mr.  Withers'  favorite  pas- 
time is  going  on  week-end  fishing  trips,  from  which  he  brings  back 
very  few  fish  but  a  good  many  stories  about  the  size  of  the  ones 
eaten  over  the  camp-fire.  When  the  pater's  birthday  rolled  around 
recently,  Janie  presented  him  with  scales.  But  most  fabulous  scales 
that  not  only  weigh,  but  measure,  and  at  the  same  time  record  all  the 
data  on  the  catch! 

SEWING  CIRCLE 

You'd  never  have  believed  that  the  "Anne  of  Windy  Poplars"  set 
was  in  super-sophisticated  Hollywood!  Every  single  day  Anne 
Shirley,  her  hair-dresser,  her  stand-in  and  every  feminine  member 
of  the  cast  got  together  and  sewed  like  mad  on  the  layette  for  Anne 
and  John  Payne's  prospective  heir.  The  chief  electrician  rigged  up  a 
special  Klieg  light  for  the  ladies  so  that  there'd  be  no  excuse  for 
anything  but  the  most  infinitesimal  stitches.  Naturally,  Anne  was 
duly  grateful  for  all  the  help  she'd  had  from  the  feminine  contingent, 
but  she  was  alsolutely  overwhelmed  by  the  present  bestowed  on  her 
by  the  crew.  The  burliest  electrician  on  the  lot  was  the  one  to  hand 
her  the  gift  "from  the  boys."  It  turned  out  to  be  the  most  fragile  and 
dainty  of  crepe  de  chine  crib  covers! 

LOVE  IS  ALSO  DEAF 

Sonja  Henie  and  Dan  Topping  are  still  seeing  one  another  exclusively, 
but  Sonja's  sticking  to  her  story  that  there  are  no  romantic  feelings 
on  either  side.  At  a  recent  party  at  Arrowhead  Springs  Hotel,  how- 
ever, it  looked  like  pure,  unadulterated  romance.  Sonja  and  Dan 
were  doing  a  tango  and  looking  so  deeply  into  one  another's  eyes 
they  didn't  notice  that  the  music  had  stopped  and  the  whole  floor 
had  cleared.  It  took  a  round  of  applause  from  the  rest  of  the  dancers 
to  jar  them  out  of  their  trance — and  even  then  the  situation  didn't 
quite  seem  to  register. 

UNBALANCING  THE  BUDGET 

When  John  Payne  was  having  q  swimming-pool  built  in  his  back- 
yard, he  decided  he  needed  some  exercise  and  wanted  to  help  the 
workmen  out.  The  contractor  nixed  the  idea,  however,  until  Johnnie 
could  get  a  union  card.  This  was  obtained,  and  the  next  day  he 
reported  for  work  bright  and  early.  But  he  was  fired  before  the 
day  was  out.  The  contractor  explained  as  nicely  as  possible  that 
he  just  wasn't  keeping  up  with  the  rest  of  the  boys  and  was  ruining 
the  contracting  budget. 

SHORT  SHOTS 

Dr.  Joel  Pressman  flew  all  the  way  from  Victoria,  B.  C,  to  treat 
Director  Wesley  Ruggles'  sore  throat  on  the  "Arizona"  location  .  .  . 
Jonathan  Hale  was  Ceylon  consul  for  ten  months — but  didn't  know  it 
was  illegal  until  he  got  to  Washington  fifteen  years  later.  He  wasn't 
twenty-one  at  the  time  of  his  consulship  .  .  .  Dick  Powell  and  Joan 
Blondell  have  assumed  personal  supervision  of  the  film  career  of  a 
six-year-old  actor,  Mickey  Kuhn.  They're  convinced  he'll  win  the 
hearts  of  movie-goers  as  no  youngster  has  since  Jackie  Coogan  .  .  . 
On  the  "Arizona"  set,  nicknames  are  as  follows:  Jean  Arthur,  Little 
.  Phoebe;  Bill  Holden,  Cactus  Kid;  Warren  William,  The  Cad;  and  Porter 
Hall,  the  Villain.  Just  for  fun  .  .  .  Robert  Young  is  planning  a  super 
trip  to  Alaska  with  his  wife  and  kiddies.  They'll  charter  an  Alaskan- 
going  yacht  .  .  .  The  Don  Ameches  are  expecting  a  fourth  baby, 
and  maybe  it'll  be  a  tie-up  for  Don's  new  Fox  picture,  "Four  Sons" 
.  .  .  George  Brent's  bought  a  75-acre  pineapple  plantation  in  Hawaii 
.  .  .  Jean  and  Mrs.  Hersholt  recently  celebrated  their  twenty-sixth 
wedding  anniversary  and  are  happier'n  {Continued  on  page  90) 


AUGUST,  1940 


57 


ne  more  month  to  wait  .  .  .  one  gloriously  free 
summer  month  when  nothing  is  quite  as  important  as 
gay  times,  light  thoughts  and  last  flings  at  sun-tan. 

cUhen  ribbons  cut .  .  .  lids  off .  .  .  boxes  opened/ 

Starting  with  the  September  issue,  oJ^lodern  Screen 
will  introduce  as  a  regular  feature  a  complete  section 
devoted  entirely  to  you  and  your  clothes  .  .  .  pages  brirn,- 
ming  with  fashions  that  are  new  and  news  .  .  .  pages 
sparkling  with  clothes  as  pretty  and  practical  as  they  are 
penny-wise .  .  .  pages  designed  around  budgets  and  chock- 
full  of  ideas  on  how  to  stretch  them  .  .  .  fashion  pages 
with  a  mission  and  a  oJ^Iotto.     ^Remember  September! 

CLOTHES  for  YOUNG  HEARTS  and  YOUNG  PURSES 


58 


MODERN  SCREEN 


EVEN  IF  I'M  mALL  IN* 

AT  BEDTIME 
I  NEVER  NEGLECT 

MY  ACTIVE  - 
LATHER  FACIAL 
WITH  LUX  SOAP 


pat  Lux  Soap's 

CREAMY  LATHER 
LIGHTLY  INTO 

YOUR  SKIN.  RINSE 
WITH  WARM 

WATER.THEN  COOL 


THEN  PAT  TO  DRY. 

SEE  HOW  MUCH 
SMOOTHER  YOUR 
SKIN  FEELS— HOW 

FRESH  IT  LOOKS 


Take  Hollywood's 
try  ACTIVE -LATHER 
FACIALS  for  30  days 


HAVE  YOU  FOUND  the  right  care  for  your 
skin?  Claudette  Colbert  tells  you  how  to 
take  an  ACTIVE-LATHER  FACIAL  with  Lux  Toilet 
Soap.  Here's  a  gentle,  thorough  care  that  will  give 
your  skin  protection  it  needs  to  stay  lovely.  Lux 
Toilet  Soap  has  ACTIVE  lather  that  removes  dust, 
dirt  and  stale  cosmetics  thoroughly  from  the  skin 
—  does  a  perfect  job.  Try  Hollywood's  ACTIVE- 
LATHER  FACIALS  for  30  days.  You'll  find  they 
really  work — help  keep  skin  smooth,  attractive. 


9  out  of  10  Hollywood  Screen  Stars  use  Lux  Toilet  Soap 


AUGUST,  1940 


59 


STARS  HAVE  NO  SECRETS  FROM  US!  WRITE  IN,  WE  TELL  ALL 


Dot  Yackum,  Rochester,  N.  Y.  No,  Ruby 
Keeler  isn't  scheduled  for  a  picture  right 
now.  We  hear,  however,  that  she  is 
thinking  of  taking  her  ex-husband,  Al 
Jolson's,  offer  of  a  part  in  his  forthcom- 
ing musical  show. 

Steven  Kaczor,  New  York  Mills,  N.  Y. 
We've  been  checking  up  on  the  "horsey 
set"  in  which  you  are  so  interested  and 
have  discovered  the  names  of  ten  West- 
ern stars'  mounts.  Here  they  are:  Gene 
Autry — Champion;  Roy  Rogers — Trigger; 
Bill  Boyd — Topper;  Dick  For  an — Smoke; 
Tex  Ritter— White  Flash;  Bob  Steele— 
Tony;  Jack  Randall — Rusty;  Buck  Jones 
— Silver;  Bob  Livingston— Silver  Chief 
and  Russell  Hayden— Sultan.  Russ  also 
has  a  horse  called  Banjo,  whom  he  rides 
a  good  deal,  but  Sultan  is  his.  favorite. 

Rose  Carrillo,  Rochester,  N.  Y.  You  are 
far  from  alone  in  your  admiration  for 
Bobby  Stack;  for  although  he's  made  just 
one  picture  ("First  Love"),  he  gets  more 
fan  mail  than  any  other  masculine  star 
on  the  Universal  lot,  and  only  Deanna 
and  Gloria  Jean  top  him  among  the 
ladies.  He's  twenty-one  years  old  and  is 
one  of  the  few  stars  to  be  born  in  Los 
Angeles.  When  he  was  eleven,  Bob  went 
abroad  with  his  mother  and  dad.  He 
studied  in  France  for  six  years,  at  the 
end  of  which  time  his  family  was  stunned 
to  discover  he'd  forgotten  most  of  his 
English.  He  had  to  converse  with  them 
through  an  interpreter.  He  wound  up  his 
education  at  the  University  of  Southern 
California,  where  he  had  a  finger  in 
practically  every  campus  pie.  He  starred 
in  swimming  and  boxing;  got  his  varsity 
letter  in  polo;  was  active  in  dramatics; 
kept  up  with  his  studies  remarkably  well, 
and — in  his  spare  moments — managed  to 
work  in  a  feminine  conquest  or  two. 
Furthermore,  he  won  the  junior  skeet 
shooting  championship  and  broke  several 
auto-racing  records.  At  nineteen  he  left 
college  and  entered  a  Los  Angeles  dra- 
matic school.  It  was  there  that  a  talent 
scout  ferreted  him  out  and  arranged  for 
him  to  take  the  test  which  resulted  in  his 
contract.  Bob  is  six  feet,  one  inch  tall, 
has  blue  eyes,  blonde  hair  and  weighs  one 
hundred  seventy-five  pounds.  No,  ma'am, 
he's  not  married.  Claims  he's  wedded  to 
his  art. 

Eleanore  Golembski,  Chicago,  Illinois.  Yes, 
Gantry,  the  beautiful  race  horse  in  "Pride 
of  the  Blue  Grass"  was  really  blind.  The 
young  man  in  that  picture,  who  so  took 
your  fancy,  is  James  McCallion,  and  you 
can  write  to  him  at  Warner  Brothers, 
Burbank,  California. 

C.  Schleininger,  Canton,  Ohio.  That  chap 
who's  painlessly  teaching  history  to  so 
many  children  and  their  parents  these 


days  hasn't  always  been  such  a  good  ex- 
ample. No  indeed,  Don  Ameche  has  only 
recently  recovered  from  a  prolonged  and 
severe  case  of  incorrigibility!  As  a  child, 
he  was  in  and  out  of  a  dozen  scrapes  st 
day;  growing  up,  he  found  himself  in  and 
out  of  four  colleges  in  as  many  years; 
then,  in  the  business  world,  he  had  a  new 
employer  practically  every  week  or  so. 
However,  since  he's  discovered  the  acting 
profession — or  vice  versa — he's  calmed 
down  miraculously  and  is  fast  becoming 
Hollywood's  most  solid  citizen.  Thirty- 
two-year-old  Don  is  from  Kenosha,  Wis- 
consin, and  his  pre-movie  jobs  include 
mattress  stuffing,  ditch  digging,  truck 
loading  and  radio  work.  He  couldn't  bear 
one  town  or  one  job  longer  than  a  few 
days.  But  in  acting  he's  discovered  the 
variety  and  excitement  he's  always 
craved,  yet  never  dreamed  he'd  find  in  a 
single  job.  Don's  smile  is  famous  all  over 
the  world  and  it  has  given  him  the  repu- 
tation of  being  a  devil-may-care  sort  of 
fellow.  There's  a  serious  side  to  him, 
too,  however.  He  reads  avidly  and  is 
informed  on  almost  every  subject.  Don 
is  married  to  his  childhood  sweetheart, 
Honore  Prendergast,  who  never  lost  faith 
in  him  even  when  everyone  else  claimed 
he'd  never  amount  to  a  row  of  beans. 
They  have  three  sons,  Donnie,  Ronnie 
and  Tommie. 

Eleanor  Shaw,  New  York,  N.  Y.  Alan 
Marshal  came  by  that  slight  English  ac- 
cent honestly.  You  see,  he  hails  from 
Sidney,  Australia,  and,  in  spite  of  a  par- 
tial American  education,  he's  retained 
some  of  his  broad  "a's."  He's  not  one  bit 
affected,  however,  and  is  extremely  well- 
liked  in  Hollywood.  Alan's  thirty-cne, 
and  won't  have  another  birthday  until 
January  29.  Just  over  six  feet  tall,  he 
weighs  165  pounds  and  has  dark  hair  and 
brown  eyes.  Good  news!  No  woman  in 
his  life  yet! 

Beatrice  Schramer,  Aurora,  111.  You'll  be 
surprised  to  hear  that  Mary  Lee  has  at- 
tained the  ripe  old  age  of  fifteen,  al- 
though she  looks  lots  younger  than  that. 
Her  birthday  is  October  24,  and  she  was 
born  in  Centralia,  Illinois.  Until  two 
years  ago,  Mary  led  a  perfectly  normal, 
unexciting  existence,  of  which  the  high 
spots  were  going  to  school,  taking  piano 
lessons  and  studying  voice.  However,  one 
fine  day,  Ted  Weems  heard  her  singing  at 
some  local  function  and  asked  her  if  she'd 
join  his  orchestra  as  the  vocalist,  and 
come  to  New  York.  Would  she!  She 
practically  had  her  bag  packed  before 
he'd  finished  the  sentence.  New  York 
was  wonderful,  but  Hollywood,  where 
she  landed  after  Gene  Autry  heard  her 
sing — is  even  more  thrilling,  says  Mary. 
Something's  happening  every  minute. 
She  goes  in    (Continued  on  page  69) 


60 


MODERN  SCREEN 


It's  really  a  treat  for  a  baby's  relatives  to 
hear  his  mother  say,  "Dear— dear!  I  just 
can't  get  him  to  eat  his  vegetables!" 

At  this  signal,  they're  off,  each  with  a 
screamingly  good  trick,  guaranteed  to  charm 
a  baby  into  eating.  Usual  upshot:  a  tantrum. 

And  it's  so  unnecessary — you  don't  need 
tricks  if  he  likes  the  taste!  Try  him  on  the  fla- 
vors and  textures  that  have  made  a  hit  with 
so  many  babies— try  him  on  Clapp's!  Watch 
him  eat  when  he  gets  food  that  he  likes! 


Dodge  those  family  pow-wows . . . 

BABIES  TAKE  TO  CLAPP'S! 


Get  your  baby's  advisory  council  to  make  a 
taste  test— they'll  soon  find  out  why  babies 
like  Clapp's  so  well.  Vegetables  are  more  pleas- 
ant to  anybody's  taste  when  they're  canned  at 
the  peak  of  freshness  and  lightly  salted  accord- 
ing to  doctors'  directions. 

And  with  Clapp's  rich  flavor  goes  a  growth- 
producing  supply  of  vitamins  and  minerals, 
too. 


Yes,  and  it's  the  feel  as  well  as  the  taste! 
Clapp's  Strained  Foods  feel  smooth— though 
not  liquid.  Clapp's  Chopped  Foods  are  uni- 
formly cut. 

For  19  years,  Clapp's  have  been  getting  tips 
from  doctors  and  mothers  .  .  .  you  learn  a  lot 
in  19  years!  Clapp's  were  first  to  make  both 
Strained  and  Chopped  Foods  commercially, 
and  they  make  nothing  but  baby  foods. 


17  Strained  Foods  for  Babies 

Soups — Vegetable  Soup  •  Beef  Broth  •  Liver 
Soup  •  Unstrained  Baby  Soup  •  Vegetables 
with  Beef  •  Vegetables— Asparagus  •  Spin- 
ach •  Peas  •  Beets  •  Carrots  •  Green  Beans 
Mixed  Greens  •  Fruits— Apricots  •  Prunes 
Applesauce  •  Pears-and-Peaches  •  Cereal 
— Baby  Cereal. 

12  Chopped  Foods  for  Toddlers 

Soup— Vegetable  Soup  •  Combination  Din- 
ners—Vegetables with  Beef  •  Vegetables 
with  Lamb  •  Vegetables  with  Liver  -Vege- 
tables— Carrots  •  Spinach  •  Beets  •  Green 
Beans  •  Mixed  Greens  •  Fruits— Applesauce 
Prunes  •  Dessert— Pineapple  Rice  Dessert 
with  Raisins. 


Clapp's  Baby  Foods 

OKAYED  BY  DOCTORS  AND  BABIES 


AUGUST,  1940 


61 


I 


HOW 


YOU  RATE  AS  A 


if  "f""'"      What  every  woman  yearns  to  be!  A  lovely 
female  menace!  ...  an  exciting  threat  to  the 
most  determined  bachelor  .  .  .  and  bad  news 
to  every  other  girl  at  the  party.  Do  you 
qualify?  Don't  bother  to  search  your  wishful 
soul  for  the  answer — here's  a  little  chart 
that  Tells  All! 


CHECK  UP  ON  YOUR  APPEAL! 

(Mark  "yes"  or  "no"  to  these  8  questions — then  learn 
your  score  from  the  answers  on  the  opposite  page.) 

YES 

NO 

1 

Do  busy  young  men  hold  open  the  doors  in 
public  buildings  for  you?  ck§, 

2 

When  you  buy  a  new  hat,  does  the  fjjih.  ^(y^t 
salesgirl  assure  you  that  it  looks         |n    /W  )jt! 

"youthful"?                       p*5j£  (jlJjW 

) 

3 

Do  you  ever  have  to  be  introduced  \ 
to  the  same  man  twice? 

4 

Do  your  "blind  dates"  say  you're  a  knockout 
at  the  beginning  of  the  date,  but  forget  your 
name  before  the  evening's  out? 

5 

Are  you  versatile?  Can  you  play  a  hard  game  of 
tennis  with  Tom  in  the  afternoon  and  be  Dick's 
glamorous  dancing  partner  in  the  evening? 

6 

Does  forgetting  your  powder  compact  on  an 
important  date  throw  you  into  a  panic? 

7 

Do  you  ever  go  to  bed  with  stale  make-up  on? 

8 

Do  men  ever  tell  you  that  you  remind  them  of 
their  favorite  flower? 

Of  ^ 

SEE  OPPOSITE  PAGE  FOR 


NEWS 


HOLLYWOOD  WIVES  SHOULD 
NOT  WORK 

{Continued  from  page  43) 


Some  of  the  males  who  think  a  wife's 
place  is  in  the  home — and  keep  then- 
own  wives  there — are  renowned  stars 
like  Henry  Fonda,  James  Cagney,  Gary 
Cooper,  Don  Ameche,  Pat  O'Brien  and 
Fred  MacMurray. 

While  they  all  have  different  ideas  on 
why  a  female  shouldn't  chase  a  career, 
they  all  agree  on  one  point:  that  a  wo- 
man shouldn't  be  forced  to  remain  at 
home;  the  choice  must  be  left  to  the 
woman.  It's  useless,  they  confess,  to 
argue  with  a  female.  The  only  man, 
they  agree,  who  can  tell  a  woman  where 
to  get  off  is  the  street  car  conductor. 

On  the  subject  of  the  wife  and  the 
home,  Henry  Fonda  would  be  an  expert. 
A  happy  husband,  just  returned  from  the 
East,  bringing  by  airplane  his  newborn 
son,  Fonda  was  anxious  to  reveal  his 
thoughts. 

"I  don't  believe  in  wives  working,"  he 
declared,  flatly.  "The  first  few  years  of 
marriage  are  a  period  of  adjustment. 
If  the  husband  and  wife  are  working, 
and  both  are  tired  in  the  evening,  the 
adjustments  are  hard  to  make. 

"True,  if  a  wife  has  been  working  be- 
fore marriage,  she  may  miss  a  certain 
feeling  of  independence,  of  knowing  that 
her  money  and  her  time  are  her  own  to 
spend  as  she  pleases.  But  marriage  in- 
fers partnership — a  partnership  with  the 
same  mutual  interests,  but  with  a  divi- 
sion of  duties. 

"Women,  nowadays,  are  not  trained  to 
be  homemakers.  Therefore,  unless  the 
couple  can  afford  servants,  which  the 
average  newlyweds  cannot,  the  woman 
has  the  most  difficult  side  of  the  adjust- 
ment. She  learns  a  new  job,  and  to  have 
to  do  the  new  job  and  handle  her  career 
as  well,  is  an  imposition  that  should  not 
be  expected  of  her." 

FONDA  paused,  studied  a  snapshot  of 
his  infant  son  which  he  weighed  in  his 
palm  and  then  continued  seriously: 

"Aside  from  rare  cases  of  a  husband's 
illness  or  outsiders  to  support  which  the 
husband  cannot  afford — conditions  under 
which  a  wife  might  work — I  believe  a 
woman  makes  a  better  wife  and  mother 
if  she  does  not  exhaust  her  energies  by 
working  outside  the  home." 

For  further  data,  a  search  was  made 
for  James  Cagney.  He  was  caught  on  the 
run,  literally.  In  an  effort  to  take  off  ten 
pounds  for  his  next  flicker,  "City  For 
Conquest,"  Cagney  was  trotting  in  a 
wide  circle  around  his  house. 

Did  Cagney  feel  his  wife  should  hold 
down  an  outside  job?  No,  he  didn't. 
As  he  ran,  legs  tattooing  the  manicured 
lawn,  arms  flaying  the  ozone,  the  little 
Irishman  puffed  forth  his  theories: 

"I  consider  my  wife  .  .  .  puff,  puff  .  .  . 
an  individual.  When  she  married  me,  I 
expected  her  to  remain  .  .  .  puff  .  .  . 
whew  .  .  .  independent  of  mind.  I  left  it 
up  to  her  to  decide  if  she  wanted  to  con- 
tinue her  .  .  .  puff  .  .  .  career.  I  asked 
her  if  .  .  .  whew,  didja  ever  try  to  talk 
while  running?  ...  I  asked  her  if  she 
wanted  to  be  a  dancer  or  concentrate 
on  being  Mrs.  Cagney." 

Cagney  gulped  oxygen  and  snorted. 
He  slowed  down. 

"Billie,  my  better  half — she's  watching 
us  from  the  window  there — made  the 
decision  I  hoped  she  would.  When  we 
got  to  Hollywood,  she  announced  her 
decision.    'Jim,'  she  said  to  me,  T  think 


62 


MODERN  SCREEN 


I'll  have  enough  to  do  in  our  home.  You 
devote  your  energies  to  making  a  living 
and  getting  some  place,  and  I'll  help  you 
save  and  do  what  I  can  for  your  career.' 

"Whew!  What  a  wife!  Utterly  unsel- 
fish. She's  always  insisted  that  I  have 
the  limelight.  Do  you  think  this  run- 
ning will  help  me  lose  weight?  Geez. 
She  has  concerned  herself  with  keeping 
a  comfortable  house  for  me  to  return 
to  from  the  studios.  What  a  relief,  this 
house,  after  staggering  home  dog-tired. 
I'm  glad  my  wife  stays  put.  Like  now, 
after  this  gallop,  she'll  have  a  big  meal 
for  me.  Sure,  I  think  a  wife  should 
work  ...  at  home!" 

After  the  preceding  strenuous  chit- 
chat, Gary  Cooper  was  most  relaxing.  In 
fact,  he  was  entirely  relaxing,  as  he 
slumped  on  a  canvas-backed  chair,  in 
the  corner  of  a  sound  stage,  chewed  a 
commissary  toothpick  and  meditated. 

HE  emerged  from  meditation  with  this 
statement  about  career  women: 
"No,  thanks.  None  of  the  women  in 
my  family  ever  had  careers.  They  al- 
ways had  enough  to  do  without  that. 
And  I  believe  the  same  should  hold  true 
for  my  wife. 

"Besides,  my  wife,  Rocky,  was  never 
really  interested  in  a  career.  All  her 
early  training  pointed  toward  being  a 
proper  wife.  She  had  gone  to  finishing 
school  and  been  brought  up  along  those 
lines.    Which  suited  me. 

"Listen,  I  never  in  my  life  met  a  career 
woman  of  forty  or  more  who  didn't 
wish  she'd  devoted  more  time  to  her 
marriage  than  to  her  career.  Such  wom- 
en have  missed  one  of  the  most  vital 
things  in  life — companionship.  Their 
marriages  have  been  only  business  ar- 
rangements." 

Gary  Cooper  added  strongly  (being 
very  social  minded)  that  he  had  enough 
money  and  that  it  would  be  indecent  if 
his  wife  earned  even  more  for  the  Coo- 
per coffers.  Further,  he  felt  his  wife 
didn't  have  to  work  and  that,  if  she  did, 
she  might  possibly  deprive  someone 
more  needy  of  the  bread  and  butter. 

"If  my  wife  ever  decides  that  she 
wants  a  career,"  concluded  Cooper,  "she 
doesn't  have  to  look  further  than  me. 
Because  God  knows,  I'm  a  big  enough 
career  in  myself!" 

Over  at  Twentieth  Century-Fox,  Don 
Ameche,  the  poor  man's  Paul  Muni, 
halted  between  takes  of  the  anti-Nazi 
bombshell,  "Four  Sons,"  long  enough  to 
echo  the  question  of  the  moment  and  to 
answer  it  in  detail. 

"Should  wives  work?"  repeated  Ame- 
che.  "Definitely  not! 

"A  woman  has  just  as  much  responsi- 
bility and  hard  work  in  her  duties  as 
homemaker  as  a  man  has  in  his  business 
and  career,  whatever  his  work  may  be. 
She  should  not  be  subjected  to  the  dou- 
ble duty  of  being  wage -earner  and 
homekeeper,  or  she  might  become  a  tired 
drudge  instead  of  the  charming  com- 
panion who  inspired  his  love. 

"A  woman's  responsibilities  as  sweet- 
heart, wife,  mother  and  housekeeper  re- 
quire more  physical  labor,  more  applied 
psychology,  more  tact,  diplomacy  and 
good  management  than  any  man's  job. 

"Definitely,  I  am  against  wives  work- 
ing outside  the  home,  and  that  doesn't 
mean  I  think  a  woman's  place  is  in  the 
home.  If  a  woman  is  an  efficient  house- 
keeper, she  takes  the  leisure  to  cultivate 
herself  and  other  interests  outside  the 
home,  which  make  her  more  interesting. 
Naturally,  there  is  a  period  when  chil- 
dren are  young,  when  this  is  not  pos- 
sible, since  children  require  such  con- 
stant care.  But  it  can  be  done,  and  Mrs. 
Ameche  is  perfect  proof  of  that  fact. 


HERE'S  YOUR 


ANSWERS  TO  QUESTIONS  ON  OPPOSITE  PAGE 


7 


8 


Yes?  Then  you  must  have  that  radiant  complexion  men  notice  ■ 
right  away!  If  you  must  push  your  own  doors,  try  daily  Pond's 
treatments  to  soften  blackheads,  make  pore  openings  less  notice- 
able .  .  .  give  a  fresh,  glowing  look! 


Beware!  That  sales  talk  is  used  to  flatter  the  not -so-young  looking. 
Has  dry,  lined  skin  stolen  your  youthful  sparkle?  Use  Pond's  Cold 
Cream  regularly  to  soften  skin,  help  postpone  superficial  lines. 


We  hope  not!  You  should  make  such  an  indelible  impression  at  the 
first  meeting  that  the  poor  fellow  can't  get  you  out  of  his  head. 
And  here's  a  pointer — nothing  about  a  girl  makes  such  a  thrilling, 
lasting  impression  as  a  lovely,  fresh  Pond's  complexion. 


If  "yes,"  notice  that  end-of-date  letdown  is  often  the  fate  of  the 
poor  girl  who  looks  "greasy"  as  the  evening  wears  on.  Warning: 
Before  make-up,  remove  all  cleansing  cream  and  excess  oiliness  of 
skin  with  Pond's  Tissues.  They're  softer,  stronger,  more  absorbent! 


You're  no  smarter  than  you  look!  While  wielding  the  racket,  pro- 
tect your  face  with  Pond's  Vanishing  Cream.  Before  the  dance 
this  cream  will  "de-rough"  your  skin  in  a  trice! 


It  shouldn't — and  won't  if  you've  used  Pond's  Vanishing  Cream. 
Gives  skin  a  soft  finish  that  holds  make-up  for  ages.  Hates  a  shiny 
nose  worse  than  you  do! 


You're  a  silly  girl  if  you  do.  That's  the  worst  beauty  crime  you 
can  commit!  Every  night:  Pat  in  gobs  of  Pond's  Cold  Cream.  Mop 
up  with  Pond's  Tissues.  Finish  with  Vanishing  Cream  for  over- 
night softening. 


Only  a  flawlessly  lovely  complexion  inspires  such  poetry  in  the 
masculine  heart.  If  you'd  like  to  be  some  man's  ever -burning  in- 
spiration, bear  down  hard  on  your  Pond's  homework — night  and 
morning — Monday  through  Sunday! 


WHAT'S  YOUR  SCORE? 

If  you  made  80  or  more — congratulations!  You're  a  full-fledged 
menace  to  men.  If  you  rated  60  to  80,  you  have  possibilities- 
get  to  work  and  build  your  rating  up.  And  if  your  total  is  under 
60 — you  can't  afford  to  wait  another  minute!  Begin  right  now  to 
give  your  skin  the  care  that  will  spell  SUCCESS 


/ 


Your  Score 


20  for  Yes 
0  for  No 


10  for  No 
0  for  Yes 


10  for  No 
0  for  Yes 


10  for  No 
0  for  Yes 


10  for  Yes 
0  for  No 


10  for  No 
0  for  Yes 


20  for  No 
0  for  Yes 


10  for  Yes 
0  for  No 


Your  Total 


CLIP  THIS  COUPON 


POND'S 


POND'S,  Dept.  9MS-CVH,  Clinton,  Conn. 

Please  send  me — quickly — so  I  can  begin  at  once  to  build 
up  my  "lovely-menace"  rating — a  Pond's  Beauty  Kit  con- 
taining a  generous  9-treatment  tube  of  Pond's  Cold  Cream, 
special  tubes  of  Pond's  Vanishing  Cream  and  Pond's  Lique- 
fying Cream  (quick-cleansing  cream),  and  7  shades  of  Pond's 
Face  Powder.  I  enclose  10>!  for  postage  and  packing. 


Name. 


City. 


.State . 


Copyright,  1940.  Pond'B  Extract  Company 


AUGUST,  1940 


63 


I 


1  ^e^V^^ce, 


"Mrs.  Ameche  was  a  fine  dietitian  and 
intensely  interested  in  her  work.  But 
she  did  not  insist  on  continuing  her 
career  after  marriage.  She  made  her 
home  and  her  family  her  career.  We 
now  have  a  lot  of  fun  together.  I'm  very 
much  in  love  with  my  wife.  I  look  for- 
ward to  going  home  to  her  and  the 
children  after  a  long  day  at  the  studio. 
We're  happy.  Proof  that  maybe  our  way 
is  the  right  way." 

Next  debater  to  take  over  the  platform 
was  a  football  coach — or,  at  least,  jovial 
Pat  O'Brien,  transformed  by  the  art  of 
the  Warners'  make-up  department  into  a 
perfect  carbon  of  the  great  Notre  Dame 
mentor,  Knute  Rockne. 

Having  completed  an  important  mo- 
ment in  his  latest  film,  Pat  O'Brien  sat 
down  heavily  in  a  chair  and  screwed 
up  his  face. 

THIS  was,  perhaps,  no  time  to  be  dis- 
cussing femininity  and  career,  but  Pat 
seemed  pleased  to  speak  of  Eloise  Taylor, 
his  wife. 

"Frank  McHugh,  you  know,  first  in- 
troduced me  to  Eloise,"  Pat  explained. 
"She  was  dancing  in  Frank's  musical 
comedies.  And  a  couple  of  years  later, 
when  I  met  her  in  the  road  company  of 
'Broadway,'  we  married.  I  was  opposed 
to  Eloise  continuing  her  career,  but  I 
didn't  say  anything.  I  left  it  entirely  up 
to  her.  And  finally  she  was  the  one  to 
suggest  forsaking  her  dancing  for  the 
role  of  wife. 

"I  think  both  wife  and  husband  par- 
ticipating in  careers  makes  for  a  tough 
proposition.  Especially  in  Hollywood. 
You  see  little  enough  of  each  other 
when  just  the  husband  is  working,  but 
when  you're  both  working — why,  you 
become  strangers.  I  mean,  if  Eloise  chose 
to  enter  films,  I  might  be  working  morn- 
ing and  afternoon,  and  come  home  to 
learn  she  had  been  called  for  work  at 
night.  That  wouldn't  be  much  of  a 
marriage. 

"A  woman,  at  home,  makes  it  better 
for  the  kids,  too.  We  have  Mavourneen 
and  Patrick.  Fine  Irish  youngsters.  And 
they're  getting  a  swell  upbringing  be- 
cause my  wife  is  home  to  look  after 
them.  At  least  they  see  one  of  their  par- 
ents. If  my  wife  wanted  a  career,  the 
youngsters  wouldn't  even  know  they  had 
parents. 

"Should  Hollywood  wives,  or  any 
wives,  work?  You  can  quote  me.  Pat 
O'Brien  says  'No!' " 


For  final  arguments,  Fred  MacMurray 
was  cornered.  Getting  him  to  talk  was 
like  extracting  one  of  his  molars.  The 
Kid  from  Kankakee,,  known  to  his  fam- 
ily as  Bud,  paced  on  the  "Rangers  of 
Fortune"  sound  stage. 

He  recalled  being  knotted  to  Lillian 
Lament.  He  had  met  her  in  "Roberta," 
when  he  was  in  the  orchestra  and  she 
was  a  show  girl. 

But  ever  since  their  wedding,  Fred 
hasn't  allowed  Lillian  to  work.  Though 
it  was  her  decision,  really.  Instead,  she 
has  devoted  her  energies  to  helping  Fred 
learn  Spanish,  seeing  that  he  got  his 
favorite  meal  of  pot  roast  and  sauer- 
kraut, holding  his  hand  at  previews  and 
assuring  him  that  he  wasn't  the  worst 
actor  in  the  world. 

"She's  the  perfect  wife  for  me,"  ad- 
mitted Fred  MacMurray,  finding  his 
tongue.  "You  know,  when  I  leave  the 
studio,  after  a  long  tiresome  day  of 
work,  I  prefer  to  return  home  to  a  fresh, 
new  world.  I  like  to  be  greeted  by  a 
wife  who  doesn't  care  about  discussing 
pictures. 

"Sure,  maybe  I'm  selfish.  And  maybe 
I'm  being  male.  But  I'll  be  frank — I  want 
my  wife  to  devote  all  of  her  time  to  me. 
It's  comfortable,  enjoyable  and  great  for 
my  ego.  Also,  with  Lillian  at  home  in- 
stead of  on  the  stage,  I  get  my  meals 
on  time,  I  get  a  mate  who  is  alive  and 
not  work-worried. 

"But  don't  think  my  wife  is  in  a  gilded 
cage.  She  isn't.  She  has  plenty  to  do. 
Why,  our  home  is  a  job  alone.  Lillian 
didn't  phone  some  fancy-priced  interior 
decorator  to  furnish  it.  She  furnished 
every  chair,  footstool  and  lamp  herself. 

At  this  point  Fred  MacMurray  became 
confidential. 

"Psst!  I'll  let  you  in  on  a  big  secret — 
the  real  reason  I  don't  think  my  wife 
should  have  a  career.  I  married  her  be- 
cause of  the  hats  she  wears.  The  goofiest 
cockeyed  collection  of  headgear  on  earth. 
And  isn't  it  plain — if  she  were  busy  at  a 
career,  how  in  the  devil  would  she  ever 
have  time  to  go  shopping  for  those  fasci- 
nating hats?" 

There  then — a  half  dozen  veterans  of 
marital  bliss,  insisting  that  a  woman  in 
that  white  bungalow  with  green  shutters 
is  more  important  than  one  in  a  business 
office. 

And  maybe  they're  right.  Maybe  it 
would  be  better  to  put  down  the  want 
ads,  lady,  and  hop  right  over  to  the  free 
cooking  school  around  the  corner! 


Clark  refuses  to  be  impressed  by  the  not-too-wild  animal  act  Mrs.  Gable  is 
putting  on  to  entertain  him  on  one  of  his  rare  days  at  home. 


64 


MODERN  SCREEN 


HOLLYWOOD  WIVES 
SHOULD  WORK 

(Continued  from  page  42) 


home,  for  his  wife  of  three  years,  Anne 
Shirley.  The  Southern  lad,  who  will 
inherit  a  half  million  dollars  on  his  thir- 
ty-fifth birthday,  relaxed  on  the  "Mary- 
land" set  long  enough  to  point  out  why 
he  permits  his  wife  to  work — and  why 
other  men's  wives  should  be  given  the 
same  opportunity. 

"Most  men  don't  realize  it,  but  it's 
often  necessary  for  a  woman  to  work," 
young  Payne  stated.  "There  are  two 
kinds  of  necessities.  The  first  is  finan- 
cial; for  instance,  a  young  couple  either 
makes  so  little  that  it  takes  the  earning 
powers  of  both  to  keep  going,  or  they 
prefer  to  work  for  a  few  years  in  order 
to  save  enough  to  start  raising  a  family 
on  something  more  than  hopes. 

"The  second  necessity,  and  equally 
important,  is  the  desire  of  the  wife  to 
continue  working.  If  she  enjoys  her 
work,  if  she's  of  the  temperament  that 
is  happier  outside  a  domestic  sphere  and 
is  capable  of  managing  both  career  and 
domestic  responsibilities,  I  see  no  rea- 
son why  a  wife  should  not  work." 

JOHN  PAYNE  leaned  forward,  and  his 
voice  became  very  earnest.  "My  wife, 
Anne,  has  been  on  the  stage  and  in  pic- 
tures since  she  was  a  baby.  She  enjoys 
it.  There  is  no  financial  necessity  for 
her  continuing,  but  there  is  a  tempera- 
mental necessity — she  likes  the  work 
and  wants  to  continue  it. 

"If  I  took  the  old-fashioned  'I'm-the- 
Master-of-the-House'  attitude  and  for- 
bade my  wife  to  work,  I  believe  that 
would  be  as  cruel  as  though  I  beat  her! 

"All  these  career  matters,  I  believe, 
should  be  ironed  out  before  marriage,  to 
prevent  any  quarrels  later  .  .  .  Anne  and 
I  expect  a  baby  in  July.  We're  delighted. 
Naturally,  the  picture  she  is  making  now 
will  be  her  last  for  a  while.  But,  if, 
when  the  baby  is  old  enough  to  be  left 
in  other  competent  hands,  Anne  wants 
to  do  a  picture  occasionally,  there's  no 
reason  why  she  shouldn't. 

"My  wife  and  I  are  both  in  the  motion 
picture  business.  We  understand  each 
other's  problems.  I  know  when  she 
works  all  day  and  has  early  calls,  that 
she  has  to  rest  in  the  evening  and  won't 
feel  like  gadding  about.  And  she  real- 
izes the  same  thing  about  me.  I  think 
unhappiness  and  quarrels  about  whether 
wives  should  or  should  not  work  arise 
when  couples  refuse  to  try  to  under- 
stand each  other's  problems,  when  they 
selfishly  fail  to  co-operate  and  to  be  con- 
siderate of  each  other. 

"In  brief,  I  feel  wives  are,  first  of  all, 
individuals.  They're  not  chattels.  Why 
not  let  them  follow  a  career?  Why  not 
treat  them  as  thinking  human  beings 
who  know  as  much  as  husbands  do  about 
the  interests  of  their  partnership?" 

Second  on  the  verbal  firing  line,  ac- 
costed and  barraged  with  question 
marks,  was  Gene  Raymond,  blonde- 
haired,  hard-working  husband  of  Jean- 
ette  MacDonald.  Did  he  think  it  was  all 
right  for  a  wife  to  follow  a  career? 

He  did.  "In  my  case,  the  answer'  is 
certainly  'Yes!' "  he  replied.  "Can  you 
imagine  anything  more  ridiculous  than 
my  thinking  an  artist  of  Jeanette's 
calibre  should  stay  home  and  plan  meals 
and  mend  socks  for  a  guy? 
"As  to  what  I  think  of  women  in  gen- 


"An  old  maid  showed  me  how 
to  raise  my  baby 


ii 


1 .  I  was  unlucky,  I  guess.  Some  women  go 
through  pregnancy  hardly  knowing  it.  Mine 
was  awful.  Some  mothers  have  babies  good 
as  "gold."  Mine  used  to  howl  all  night  long. 
And  was  terribly  constipated  in  the  bargain. 


2.  One  day  an  old  friend  of  the  family  came 
to  visit  us.  The  house  was  a  mess.  The  baby 
upset  again.  And  I  was  on  the  verge  of  tears. 
My  friend  put  her  arms  around  me  and  said 
maybe  she  could  help. 


3.  "I  may  be  an  old  maid,"  she  said,  "but  I 
work  for  a  baby  doctor.  And  he  always  asks 
mothers  if  they  use  special  food  ...  do  they 
use  special  powder .  .  .  special  baby  medi- 
cines. You  see,  everything  a  baby  gets  today 
should  be  made  especially  for  him." 


4.  She  looked  up  on  the  dresser  and  saw 
the  laxative  I  was  using  for  the  baby.  "Now 
that  adult  laxative  up  there,"  she  pointed: 
"my  doctor  would  advise  against  it.  He 
would  recommend  one  made  especially  for 
children  .  . .  one  like  Fletcher's  Castoria." 


5.  She  told  me  that  Fletcher's  Castoria  was 
designed  especially  and  only  for  a  baby's 
needs.  It's  gentle,  as  a  baby's  laxative  should 
be.  Yet  very  effective.  It  works  mainly  in 
the  lower  bowel— so  it's  not  so  likely  to  up- 
set the  stomach.  And  above  all,  she  said 
Fletcher's  Castoria  is  safe. 


6.  So  I  bought  a  bottle.  It  worked  like  a 
charm!  But  one  of  the  pleasantest  surprises 
was  its  nice  taste.  If  your  baby  is  a  medi- 
cine-hater, as  mine  is,  you  know  how  im- 
portant taste  can  be.  So  you  can  bet  I  keep 
Fletcher's  Castoria  always  handy.  (I  hon- 
estly couldn't  recommend  a  better  laxative.) 


^^V/M^H  CASTORIA 

The  modern — SAFE — laxative  made  especially  for  children 


AUGUST,  1940 


65 


"MODESTY" 

CONDEMNED 
ME  TO 

AGONY! 


The  Embarrassing  Trouble 
Many  People  Suffer! 

Terrible,  indeed,  is  the  price  of  "modesty"  when 
you  suffer  from  Piles — even  simple  Piles. 

Simple  Piles  can  torture  you  day  and  night  with 
maddening  pain  and  itching.  They  tax  your  nerves; 
drain  your  strength;  make  you  look  and  feel  old  and 
worn.  Millions  of  men  and  women  suffer  from  sim- 
ple Piles.  Mothers  particularly,  during  pregnancy 
and  childbirth,  are  subject  to  this  trouble. 

TO  RELIEVE  THE  PAIN  AND  ITCHING 

What  you  want  to  do  to  relieve  the  pain  and  itching 
of  simple  Piles  is  use  Pazo  Ointment. 

Pazo  Ointment  really  alleviates  the  torment  of 
simple  Piles.  Its  very  touch  is  relief.  It  quickly  eases 
the  pain;  quickly  relieves  the  itching. 

Many  call  Pazo  ablessing  and  say  it  is  one  thing  that 
gives  them  relief  from  the  distress  of  simple  Piles. 

SEVERAL  EFFECTS 

Pazo  does  a  good  job  for  several  reasons. 

First,  it  soothes  simple  Piles.  This  relieves  the  pain, 
soreness  and  itching.  Second,  it  lubricates  the  affected 
parts.  This  tends  to  keep  the  parts  from  drying  and 
cracking  and  also  makes  passage  easier.  Third,  it 
tends  to  shrink  or  reduce  the  swelling  which  occurs 
in  the  case  of  simple  Piles. 

Yes,  you  get  grateful  effects  in  the  use  of  Pazo ! 

Pazo  comes  in  collapsible  tubes,  with  a  small  per- 
forated Pile  Pipe  attached .  This  tiny  Pile  Pipe,  easily 
inserted  in  the  rectum,  makes  application  neat,  easy 
and  thorough.  (Pazo  also  comes  in  suppository  form 
for  those  who  prefer  suppositories.) 

TRY  IT  FREE! 

Give  Pazo  a  trial  and  see  the  relief  it  affords  in 
many  cases  of  simple  Piles.  Get  Pazo  at  any  drug 
store  or  write  for  a  free  trial  tube.  A  liberal  trial  tube 
will  be  sent  you  postpaid  and  free  upon  request. 
Just  mail  the  coupon  or  postcard  today. 


GROVE  LABORATORIES,  INC.  FREE! 
Dept.  119-MO-2,  St.  Louis,  Mo.  I 
Gentlemen:  Please  send  me  free  PAZO. 


eral  working,  well,  I  don't  think  of  wo- 
men in  general.  It's  a  problem  to  be 
decided  strictly  by  the  two  people  con- 
cerned, and  it's  no  one's  business  but 
their  own.  In  other  words,  if  your  hus- 
band doesn't  want  you  to  work,  well, 
you  shouldn't.  Me,  I  think  it's  right  for 
my  Mrs.  to  work.    And  so  she  does." 

For  another  candid  opinion,  I  had  a 
session  with  Allan  Jones  on  a  sound 
lot  at  Universal  Studio,  amid  the  anti- 
quated temples,  chariots  and  Roman  sol- 
diers. To  hold  forth  on  career  women, 
Allan  Jones  beat  a  retreat  from  "The 
Boys  From  Syracuse"  and  his  wife,  Irene 
Hervey,  playing  opposite  him  in  the  com- 
edy. Then,  in  the  seclusion  of  a  dress- 
ing-room, he  spoke  his  piece. 

"Certainly  a  Hollywood  wife  should 
work.  Any  wife  anywhere  should  work. 
After  all,  if  a  woman  has  spent  her  single 
years  as  an  actress,  warbler  or  lawyer, 
toiling  hard,  trying  to  improve  herself, 
getting  on  the  road  to  success,  she 
shouldn't  let  marriage  detour  her. 

f  HAVE  always  encouraged  Irene  to 
A  work.  I  wanted  her  to  appear  in  this 
movie  with  me.  I  think  it's  good  for  her, 
and  fortunately,  she  has  also  been  able 
to  bear  a  child  and  keep  up  a  happy 
home  life.  Of  course,  there  are  pitfalls. 
It  would  be  fatal  for  a  wife  to  become 
more  famous  than  her  husband.  I 
wouldn't  get  much  kick  out  of  being 
addressed  as  Mr.  Hervey.  But  that  pit- 
fall is  up  to  the  woman.  She  should 
know  how  far  to  get  lost  in  a  career.  She 
must  be  like  Irene  Hervey — the  perfect 
working  wife!" 

However,  for  the  English  accented  ver- 
sion of  a  hubby  who  thinks  the  little 
lady  should  work,  I  went  to  good-na- 
tured Louis  Hay  ward.  When  he  got 
rice  and  Ida  Lupino  in  his  hair,  he  also 
got  a  new  problem  in  his  head.  And  in 
that  same  head  of  his,  he  solved  it. 
Here's  how — 

"If  a  man's  wife  wishes  to  work,  she 
should,"  began  Hayward.  "I  must  say, 
though,  I  wouldn't  have  put  it  just  that 
blandly  a  year  ago. 

"We  had  a  number  of  intense  discus- 
sions about  it." 

His  eyes  twinkled  in  remembrance. 

"I  told  her  I  thought  she  had  worked 
long  enough,  that  she  should  give  retire- 
ment a  fling  and  see  if  she  didn't  like 


it  better  than  getting  up  at  six  o'clock  in 
the  morning  and  smearing  her  pretty 
face  with  grease-paint.  Well,  the  little 
lady  said  no! 

"So  we  worked  out  a  compromise.  She 
was  to  free-lance.  In  this  way  she  could 
select  the  pictures  she  wanted,  and  if  she 
didn't  like  a  script — well,  she  could  stay 
home  and  devote  all  her  time  to  me. 
That,  naturally,  appealed  to  me." 

Louis  Hayward's  face  glowed.  "It's 
turned  out  very  well.  Ida  seems  happier 
than  she's  ever  been  in  her  picture  work, 
and  I  realize  now  it  would  certainly  be 
stupidity  to  expect  her  to  give  up  some- 
thing she  enjoys  so  much  for  any  out- 
dated ideas  such  as  I  may  have  once  had. 
On  top  of  that,  I  think  she's  one  of  the 
really  fine  young  actresses  on  the  screen, 
so  why  should  I  keep  her  from  work, 
and  why  should  I  deny  the  entertain- 
ment world  a  person  of  great  talent." 

On  the  drawing-room  set  of  Para- 
mount's  "I  Want  A  Divorce,"  Dick 
Powell,  the  reformed  crooner,  was  in  the 
mood.  He  had  just  finished  a  scene 
opposite  his  wife,  Joan  Blondell.  In  the 
scene  he  had  kissed  her.  He  enjoyed 
getting  paid  for  kissing  her.  Work  was 
a  pleasure.  Indeed  it  was.  Mellowed, 
and  a  trifle  thoughtful,  Dick  Powell 
couldn't  imagine  his  wife  not  working. 

"Joan  was  born  and  raised  in  a  trunk. 
All  her  early  li^e  was  vaudeville.  There 
was  never  a  moment  she  wasn't  support- 
ing herself.  And  today,  though  that's 
no  longer  necessary,  she  still  must  work 
to  remain  one  hundred  per  cent  happy. 
I  have  more  sense  than  to  take  a  bird 
out  of  its  native  state. 

"Moreover,  in  our  particular  case, 
Joan's  career  is  no  problem  because  it 
doesn't  interfere  with  the  other  things 
in  her  life.  Joan  is  one  of  those  oddities 
who  can  follow  a  career  and,  at  the  same 
time,  raise  children  and  run  a  home. 

"I  personally  think  an  outside  job  is 
really  good  for  any  woman.  It  prevents 
her  from  becoming  dulled  by  the  four 
walls  of  a  home.  It  keeps  her  from  be- 
ing bored.    It  makes  her  interesting." 

There's  the  encouragement  five  major 
Hollywood  males  can  offer  you,  lady. 

What?  You  say  your  husband  objects? 

Well,  listen,  just  sic  Allan  Jones,  Gene 
Raymond  and  John  Payne  on  him,  the 
narrow-minded  lug!  Who  does  he  think 
he  is  anyway? 


Address— 
City  


JSlale- 


This  offer  is  good  only  in  U.  S. 


Dottie  Lamour,  breath-taking  in  a  gardenia  and  orchid  lei,  goes  Pirates'  Den- 
ning with  her  agent  and  very  good  friend,  Wynn  Rocamora. 


00 


MODERN  SCREEN 


I  HAVE  SEVEN  WIVES 

(Continued  from  page  49) 


days  any  more  deeply  than  I  admire 
the  working  girls  of  today.  They've  got 
what  it  takes,"  said  Ty. 

"So  I  married  a  Pioneer  Woman,  too. 
I  know  that  if  something  happened  to 
Annabella  and  me  so  that  we  could 
never  work  in  pictures  again,  so  that  we 
would  lose  the  money  we  have  and  have 
to  start  from  scratch,  we  could  do  it. 
I  know  what  is  important  to  us  and 
what  is  non-essential.  I  know  that  we 
could  very  easily  do  without  cars, 
servants,  a  big  house,  expensive  clothes, 
gadgets,  wines,  all  the  things  money  can 
buy,  and  be  just  as  happy  as  we  are 
today.  Perhaps  happier,"  said  Tyrone, 
thoughtfully. 

"Because,  look  .  .  .  it's  difficult  to  find 
fault  with  anything  that  has  been  as 
good  as  this  movie  business  has  been  to 
me.  I  know  very  well  that  there's  one 
thing  harder  than  working,  and  that's 
looking  for  work;  one  thing  tougher 
than  grousing  about  food  and  houses  and 
servants  and  responsibilities,  and  that's 
not  having  food  or  houses  to  grouse 
about.  But  I  also  know  that  money  is 
the  bane  of  my  life.  And  Annabella 
knows  that.  I  never  had  so  much 
trouble  as  I've  had  since  I  began  to  have 
some  of  the  stuff.  It's  a  hectic  round  of 
investing  this,  investing  that — financial 
gymnastics  which  are  as  boring  to  me 
as  they  are  mysterious. 

"The  only  way  you  can  really  enjoy 
anything  you're  doing  is  to  have  no  fear 
of  it.  I  have  no  fear  of  being  without 
money.  I  have  no  fear  of  losing  the 
spot  I  am  fortunate  enough  to  occupy 
on  the  screen  today.  For,  of  course,  I 
can't  always  remain  where  I  am.  I  can't 
be  tops  indefinitely;  I  know  that  and 
don't  give  a  damn.  I  figure  if  I  lose  my 
place,  all  right,  I  lose  it.  What  is  more, 
if  I  should  lose  it  and  turn  to  the 
theatre  in  vain,  I'd  be  the  worst  bum 
in  the  world.  I  have  neither  ability  nor 
ambition  in  any  other  direction.  I 
couldn't  do  anything  else,  not  one  blessed 
thing.  But  I'm  a  Fatalist,  and  I  believe 
whatever  is  to  happen  will  happen. 

MY  point  is  that  a  woman  without 
stamina,  a  woman  not  a  pioneer 
woman  at  heart,  would  try  to  change  a 
man  of  my  temperament.  She'd  be  afraid 
of  me.  She'd  be  afraid  of  what  I  might 
do,  where  I  might  go.  Annabella  isn't 
afraid.  Annabella  doesn't  try  to  change 
me.  Annabella  doesn't  try  to  make  me 
"safe  for  domesticity."  She  isn't  afraid 
for  precisely  the  same  reasons  as  those 
women  of  the  covered  wagon  days 
weren't  afraid  when  they  accompanied 
their  men  into  the  wilderness,  braving 
every  kind  of  hardship  and  hazard, 
facing  the  dark  Unknown.  Just  so  would 
Annabella,  or  any  modern  girl,  follow 
her  man.  Today  it's  a  wilderness  not 
peopled  with  Indians  and  wild  animals, 
perhaps,  but  peopled  with  economic  de- 
pressions and  fears  for  the  future  which 
can  do  quite  as  clean  a  job  of  scalping 
and  torturing  as  hostile  Indians  ever  did." 

There  was  silence  between  us,  there 
on  top  of  the  world.  And  I  was  thinking 
that  if,  in  Annabella,  Tyrone  married 
several  women,  in  Tyrone,  Annabella, 
too,  must  find  a  companion  for  every 
mood  and  want,  a  friend  for  every  hour. 
This  slender  chap  with  the  poet's  eyes 
and  the  clean,  definite  lines  of  face  and 
body  has  in  him  the  qualities  of  many 
men.  He  has  passion,  pain,  pity,  an  un- 
derstanding of  women  which  does  not 
come  to  most  men  until  they  are  ripe 


ANDREA  LEEDS,  SAMUEL  GOLDWYN  STAR,  IN  THE  20TH  CENTURY-FOX  PICTURE  "EARTHBOUND" 


ANDREA  LEEDS 

and  childhood  chum  agree 

A  Woodbury 
Beauty  Nightcap 
revives 
Skin  Glamour 


Andrea  exchanges  beauty  secrets  with  a  friend,  as  told  to  LOUELLA  PARSONS,  Movie  Columnist 


I.  Aboard  ship,  returning  from  her  honey- 
moon, Andrea  met  another  bride,  a  girl  she 
hadn't  seen  since  her  pigtail  days.  "You're 
prettier  than  in  pictures,"  said  her  friend. 
"How  do  you  keep  your  skin  so  soft?" 


3.  What  husbands  think,  counts  most  with 
brides,  says  lovely  Andrea.  So  she  uses  3- 
Way  Woodbury  Cold  Cream  every  night  at 
bedtime  for  cleansing;  leaves  on  a  light  film 
to  invigorate  her  skin  while  she  sleeps. 


CLEANSES  safely 
Smooths  as  it  LUBRICATES 
INVIGORATES 


WOODBURY  COLD  CREAM 

THE  3-WAY  BEAUTY  CREAM 


2.  The  other  bride  has  lovely  skin,  too.  So 
when  the  girls  compared  notes,  they  found 
both  take  a  Woodbury  Beauty  Nightcap. 
Both  use  Woodbury  Cold  Cream  to  cleanse, 
soften  and  enliven  their  complexions. 


Build  Beauty  into  Your  Skin  at  Night 
with  this  3- Way  Cream 

At  bedtime  cleanse  with  Woodbury  Cold 
Cream — its  germ-free  purity  protects 
the  skin.  Lubricate  with  Woodbury — 
leave  a  film  on  overnight.  Woodbury's 
oils  melt  at  skin  contact.  Let  Woodbury 
invigorate  your  skin — it  contains  a  skin- 
invigorating  Vitamin.  Buy  a  jar  of 
Woodbury  Cold  Cream  today.  This  3- 
Way  beauty  cream  costs  only  31-00, 
50tf,  2St,  lOtf,  at  all  beauty  counters. 


MAIL  NOW  FOR  GENEROUS  TUBE  ...  FREE! 

(Paste  on  Penny  Postcard) 
John  H.  Woodbury,  Inc. ,6616  Alfred  St. .Cincinnati, Ohio 
(In  Canada)  John  H.  Woodbury,  Ltd.,  Perth,  Ontario 
Please  send  me,  free  and  postpaid,  a  generous-size 
tube  of  3-Way  Woodbury  Cold  Cream.  Also  8  fashion- 
approved  shades  of  exquisite  Woodbury  Facial  Powder. 

Name  


Address. 


AUGUST,  1940 


67 


What  every 

motorist 
should  know 

When  you  drive,  take  some  Beech-Nut 
Gum  along.  It's  always  refreshing  and 
restful,  especially  when  you  get  tired  or 
tense.  Your  choice  of  7  delicious  kinds: 

Peppermint,  Spearmint,  Oralgum 
and  4  flavors  of  BEECMES  (Candy  Coated) 
Peppermint,Spearmint,  Pepsin, Cinnamon 
Beech-Nut  Gum  is  made  in  Flavor-town 
(Canajoharie,  New  York),  famous  for 
Beech-Nut  quality  and  flavor. 

Beech-Nut 
Gum 


with  years.  He  has  a  reverence  for  life 
and  the  courage  to  laugh  at  it,  too.  Some 
of  these  qualities  he  was  showing  me,  un- 
consciously, of  course,  as  we  talked.  In 
the  silence,  I  paid  tribute  to  him  for 
being  wise  beyond  his  years. 

"I  married  the  Business  Girl,  too,"  Ty 
went  on.  "Or  rather  I  married  a  girl  in 
my  business,  which  amounts  to  the  same 
thing.  For  with  Annabella,  I  don't  have 
to  go  home  and  draw  a  diagram  of  what 
I'm  doing,  and  why.  I  don't  have  to  be 
afraid,  when  I'm  in  a  melancholy  mood, 
that  Annabella  will  be  hurt  or  won't 
understand.  She  always  understands. 
Being  a  business  woman,  she  isn't  per- 
sonal about  everything — that's  the  an- 
swer. When  I  am  in  such  a  mood,  she 
doesn't  immediately  assume  that  it  has 
something  to  do  with  her.  She  knows 
that  a  scene  has  gone  wrong,  that  we're 
behind  schedule,  that  it's  something  like 
that.  When  I'm  in  a  bad  mood  I  can't 
tell  you  what  Annabella  does  about  it, 
because  I  don't  know.  The  mark  of  the 
clever  woman  is,  I  think,  when  she  can 
fit  herself  to  a  man's  moods  without  his 
knowing  she  is  doing  it.  Annabella  has 
that  'mark.' 

BUSINESS  women  don't  grumble  about 
the  demands  of  business.  For  in- 
stance, we  like  to  take  trips  together. 
We'd  planned  to  take  a  long  trip  this 
summer.  Well,  I  didn't  have  to  be 
afraid  that  Annabella  wouldn't  under- 
stand when  I  told  her  that  we  couldn't 
go,  because  as  soon  as  I  finish  'Brigham 
Young'  I  start  on  'The  Great  Command- 
ment' and  then  on  'The  Californian.' 

"Business  women  know  how  to  make 
the  best  of  what  time  they  have.  So, 
instead  of  taking  our  trip  together, 
Annabella  comes  up  to  our  location 
week-ends,  and  we  make  the  most  of  it. 
And  when  she  isn't  with  me,  I  don't 
have  to  have  the  uneasy  feeling  that  she 
is  languishing  at  home,  bored,  feeling 
sorry  for  herself.  She  is  studying  Eng- 
lish every  day,  ridding  herself  of  her 
accent,  preparing  to  do  pictures  again. 
She  is  doing  some  radio  work,  too.  She 
is  as  busy  as  I  am — that's  the  comfort  of 
having  a  business  woman  for  a  wife. 

"And  not  only  did  I  marry  a  mental 
companion  but  I  married  the  Good 
Companion,  in  every  way.  We  read  a 
lot  together — the  essays  of  Montaigne  at 
present,  if  you  please!  We  read  every- 
thing there  is  to  read  about  the  situation 
abroad  and  at  home.  But,  also,  I've  often 
gone  home  on  a  Friday,  told  Annabella 


I  had  a  couple  of  days  off,  said  'Let's  hop 
in  the  car  and  just  go!'  and  without  a 
glance  at  her  hair,  without  a  single  wail 
of  'What  shall  I  wear?'  Annabella  chucks 
a  suitcase  in  the  car,  is  in  herself  and, 
with  no  questions  asked,  we're  off! 

"Married  to  Annabella,"  Ty  went  on, 
liking  the  sound  of  his  own  voice,  I 
could  tell,  because  the  words  were  fram- 
ing Annabella,  "riches  never  cease.  I 
found  I  also  married  the  Athletic  Girl! 
Annabella  swims  with  me,  stroke  for 
stroke.  We  swim  almost  every  morning 
in  our  pool  and  let  me  tell  you,  I  duck 
her  at  my  peril!  We  play  golf  together, 
bowl,  play  tennis  and  badminton.  We 
ride  together,  take  hikes  together.  It's 
always  a  toss-up  which  one  of  us  will 
tire  first. 

"She's  a  Country  Girl  because  she 
knows  things  about  gardens.  She  loves 
them  with  that  deep,  earthy  love  that — 
well,  that  makes  things  grow.  And  I 
don't  mean  hot-house  orchids,  either.  I 
mean  she  knows  about  soils  and  planting 
things  at  the  rise  of  the  moon  and  all 
the  rural  lore.  She  grows  pole  beans 
and  husky  tomato  plants  and  makes  the 
young  green  corn  to  spring  and  the 
pumpkin  vines  to  flourish.  And  she  can 
take  what  she  grows  and  can  'em!"  Ty 
fetched  up,  triumphantly. 

"Come  evening,  she  can  get  into  a 
smart  gown,  do  things  to  her  hair,  go  to 
Ciro's  with  me  and  be  a  City  Gal.  She's 
the  Play  Girl  because  she  smokes  a 
companionable  cigarette  with  me,  takes 
an  occasional  cocktail,  does  a  nasty 
rhumba,  enjoys  a  good  story  and  has 
more  'chic'  than  all  of  poor  Brigham's 
twenty-seven  wives  could  muster  up 
among  them. 

"Annabella's  also  the  Old-fashioned  Girl 
because  she  wants  babies  and  prefers 
home  to  night  clubs,  and  she's  wise  with 
that  'woman's  intuition'  we  read  about. 
For  instance,  she  knows  that  I  hate  argu- 
ments, and  will  back  away  from  any- 
thing resembling  a  fight.  Consequently 
we  never  argue  at  our  house.  She 
knows  my  pet  hate  is  people  who  drive 
in  the  middle  of  the  road  at  ten  miles  an 
hour,  deaf  to  any  horn.  When  I  cuss  my 
pet  hate,  Annabella  doesn't  tell  me  not 
to  be  silly,  she  says  a  few  French  words, 
too! 

"You  can't  be  bored  with  the  Girl  of 
Today,"  said  Ty.  "There's  no  longer  any 
excuse  for  polygamy  because  now  a  man 
marries  half  a  dozen  women  when  he 
says  'I  do'  to  one.  I  did,"  he  told  me 
again,  laughing,  "and  hope  I've  proved  it!" 


GOING  TO  THE  N.  Y.  WORLD'S  FAIR? 

Visit  the  Beech-Nut  Building.  If  you 
drive,  stop  at  Canajoharie,  in  the 
Mohawk  Valley  of  New  York,  and  see 
how  Beech-Nut  products  are  made. 


Even  a  tempera- 
ture of  100° 
couldn't  keep 
those  sports  ad- 
dicts, the  Ronald 
Reagans,  away 
from  the  tennis 
match  Bill  Tilden 
and  Lester  Stoe- 
fen  played  for 
the  benefit  of 
the  Red  Cross 
abroad.  Like  a 
couple  of  kids  at 
the  circus,  Jane 
and  Ronald  drank 
one  lemonade 
after  the  other 
to   keep  cool! 


68 


MODERN  SCREEN 


SALAD  SATISFACTION 

(Continued  from  page  11) 


'em  hot!)  sorrel,  fennel,  tarragon  and 
sweet  basil. 

Surely  with  such  a  collection  and  with 
the  thousand  and  one  other  ideas  from 
which  you  can  choose,  you  have  advance 
assurance  of  success  for  your  Salad  Bar 
party.  Now  all  you  need  is  a  good  salad 
dressing  recipe — and  here  it  is! 

SALAD  BOWL  DRESSING 

Mix  in  a  bowl  or  in  a  jar  with  a  tight- 
fitting  cover,  or  right  in  the  big  salad 
bowl  itself  before  adding  the  greens,  the 
following  ingredients  in  the  order  given: 


1 

% 

1 

1 

% 
% 

y4 


teaspoon  salt 
teaspoon  sugar 
teaspoon  dry  mustard 
teaspoon  paprika 
teaspoon  black  pepper 
cup  salad  oil 

cup  vinegar  (cider  and  tarragon 
mixed) 


A  touch  of  garlic  may  be  added  to  the 
dressing,  though  our  star  expert  prefers 
to  rub  the  large  salad  bowl  with  a  cut 
clove  of  garlic,  instead.  That's  all  there 
is  to  it.  .  .  .  your  guests  provide  their  own 
extra  seasoning  and  they  have  fun  do- 
ing it,  while  you  get  the  reputation  of 
being  a  mighty  smart  little  hostess  and 
a  big  jump  ahead  of  your  crowd! 


INFORMATION  DESK 

(Continued  from  page  60) 


for  every  sport  under  the  sun.  She  also 
collects  phonograph  records  and  rides  at 
least  once  a  day  on  the  big  double  decker 
busses  in  Los  Angeles,  because  she  still 
gets  a  huge  kick  out  of  them.  Mary  is  a 
fraction  under  five  feet,  weighs  100 
pounds  and  has  curly  brown  hair  and 
brown  eyes.  She  loves  the  color  red,  and 
her  greatest  ambition  is  to  some  day  own 
a  bright  scarlet  convertible  coupe. 

Lois  Kinchiner.  Pottstown,  Pa.  You  can 
reach  both  of  those  little  singing  stars, 
Linda  Ware  and  Susanna  Foster,  at 
Paramount  Studios,  5451  Marathon  St., 
Hollywood,  California. 

Jenevieve  Hunton,  Wheatland,  Wyo.  June 
Lang,  who  was  formerly  married  to  Vic 
Orsatti,  was  recently  married  to  John 
Roselli.  No,  Betty  Field  and  Jackie 
Cooper  don't  go  around  together.  Jackie 
is  five  years  younger  than  she  is,  and 
they  each  have  their  own  group  of 
friends.  Also,  Betty  is  now  on  Broadway, 
many  miles  from  Hollywood.  Lana 
Turner  loves  nice  clothes,  especially 
sportswear.  -  Did  you  know  she  has  sev- 
enty sweaters?  Ginger  Rogers  is  twenty- 
nine  years  old. 


INFORMATION  DESK 
MODERN  SCREEN 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  your  newly  revised  chart 
listing  the  heights,  ages,  birthdays  and  mar- 
riages of  all  the  important  stars.  I  enclose 
5c  (stamps  or  coin)  to  cover  cost  of  mailing. 

Name  

Street   '...i:  

City   State  


flattering  to  both 
blondes  and  brunettes 


"Have  you  despaired  of  finding  the 
perfect  summer  shade?  I  know  I 
had!  And  then,  I found  Dusk  Rose. 
And  I  ivant  every  one  of  you  to  dis- 
cover it,  too.  Write  in  for  a  free 
sample.  And  ivhen  it  arrives,  Tm 
sure  you  11  be  thrilled!  It's  not  as 
dark  or  tan  as  most  summer  shades 
are . . .  instead,  it's  beautifully  deep 
and  rosy,'''  says  Miss  Vermilye. 

DUSK  ROSE  gives  your  face  a 
lovely  smooth  and  even  finish. 
It's  so  flattering— to  both  blondes 


and  brunettes!  And  more  than 
that . . .  it's  grand  at  keeping  your 
face  from  looking  shiny  under 
harsh  lights  and  in  brilliant  sun- 
shine. How  can  it  do  this?  By 
being  anti-shine  ...  by  absorb- 
ing harsh  lights  and  reflecting 
the  softer,  more  flattering  ones 
from  your  face. 

Dusk  Rose  comes  in  10f£  and 
20f  boxes,  as  well  as  the  big  eco- 
nomical size  that  so  many  women 
prefer.  Have  a  beauty  treat  .  .  . 
go  out  and  buy  a  box  now. 


Write  in  for  a  free  sample  of  Dusk  Rose  this  very 

/minute.  With  it  will  come  3  other  lovely  summer 
shades:  Rose  Dawn,  Rose  Brunette  and  Sunlight. 
#       Pond's,  Depths  -PH ,  Clinton,  Conn. 

Copyright.  1940,  Pond's  Extract  Company 


AUGUST,  1940 


69 


CHECK  UGLY 
PERSPIRATION 


Dew  is  the  dainty  deodorant  that  checks 
perspiration  too.  Safe,  sure,  Dew  will  not 
irritate  the  skin  even  after  shaving. 

KILL  ITS  ODOR 


1«hHH 


If  you  like  cream,  ask  for  Dri-Dew,  daintily- 
scented,  harmless  to  fabrics.  If  liquid  is 
preferred,  Instant  Dew 
dries  in  seconds.  Use 
Dew  today  and  be  safe. 
At  drug,  department 
and  lo-cent  stores. 

*  \of 

USE       M       25/,  50/ 


LIQUID 

OR 
CREAM 


the  DOUBLE-PURPOSE  deodorants 


Clear,  Soothe 

TIRED  EYES 

IN  SECONDS! 


Only  TWO  DROPS  of  this  eye  specialist's 
formula  are  needed  to  SOOTHE  and 
REFRESH  dull,  tired  eyes  ...  Its  special 
EXCLUSIVE  ingredient  quickly  CLEARS  eyes 
red  and  inflamed  *(from  late  hours, 
fatigue,  driving,  overindulgence,  etc.). 


Thousands  prefer  stainless,  sanitary, 
safe  EYE-GENE,  because  it  is  quickly 
EFFECTIVE  in  making  EYES  FEELGOOD. 
WASH  your  eyes  with  EYE-GENE 
today.Onsaleatdrug,depart- 
ment  and  ten-cent  stores. 


USE 


EYE-GENE 


HANDLE  WITH  CARE 

(Continued  from  page  29) 


has  as  much  bounce  as  a  tennis  ball,  as 
well  as  plenty  of  what  strings  the  racquet, 
too.  Weakness  following  a  serious  opera- 
tion wasn't  nearly  enough  to  keep  her 
from  flying  East  and  back  with  Mr.  A. 
the  other  day.  Nor  has  the  hospital  pain 
wiped  out  the  laugh  wrinkles  around 
her  eyes. 

In  spite  of  her  unhappy  career  moments 
in  Hollywood,  Joan  Fontaine  has  main- 
tained a  flexible  funny  bone.  And,  all  in 
all,  she  has  managed  to  get  more  out  of 
her  young  life  along  the  way  than  a  lot 
of  other  people,  including  perhaps,  big 
sister  Olivia  de  Havilland. 

FOR  instance,  while  Olivia  still  plucks 
daisy  petals,  Joan  has  had  seven  en- 
gagements— count  'em — seven  from  the 
first  at  sixteen  till  the  one  that  took  at 
twenty-two.  The  first  betrothal,  oddly 
enough,  plunged  Joan  into  all  her  pro- 
tracted Hollywood  career  worries,  just  as 
the  last  one  lifted  her  blissfully  out. 

Joan  Fontaine  first  came  to  Hollywood 
from  Saratoga  to  bid  her  sister  Olivia 
fond  farewell.  She  was  going  back  to 
Japan,  of  all  places,  to  get  married.  The 
idea  of  "Livy's"  startling  good  fortune 
and  budding  dramatic  career  in  Holly- 
wood struck  little  sister  Joan  as  something 
to  be  expected  more  or  less.  Things  like 
that  always  happened  to  Livy.  Never  to 
Joan. 

So  when  a  Hollywood  agent  met  her 
with  Olivia  and  said,  "Why  don't  you  stay 
in  Hollywood  and  act,  too?"  the  shock 
was  too  much  for  her  frail  constitution. 

"Good  heavens,"  said  Joan.  "Is  it  as 
easy  as  that?" 

"It  should  be  for  you,"  said  the  agent, 
explaining  why.  Well,  Joan  listened  to 
beguiling  words,  and  pretty  soon  she 
guessed  she'd  have  to  change  her  plans. 
Cupid  took  the  count,  as  Cupid  often  does 
at  sixteen,  and  instead  of  sailing  for 
Japan,  Joan  had  her  trunk  sent  down 
to  Hollywood.  She  should  have  known 
what  she  was  letting  herself  in  for.  But 
for  some  reason  she  didn't. 

Right  here,  it  might  be  a  good  idea  to 
dip  briefly  back  into  the  dossiers  of  les 
soeurs  de  Havilland  of  Saratoga,  Cali- 
fornia, during  the  pre-Hollywood  era. 
Coming  events  sometimes  cast  their 
shadows  before. 

Only  fifteen  months  separate  Olivia 
and  Joan.  But  that  apparently  was  plenty 
of  time  for  the  Fates  to  huddle  and  whip 
up  an  entirely  different  personality  pat- 
tern for  little  sister.  Olivia  and  Joan 
have  always  been  and  still  are  as  close 
as  those  two  peas  in  a  pod.  But  they've 
also  always  been  as  different  as  day  and 
night. 

For  one  thing,  there  was  the  matter  of 
health.  While  Olivia  was  skipping  se- 
renely through  childhood  with  nothing 
much  more  serious  than  hangnails,  Joan 
was  a  chronic  doctors'  delight.  She  spent 
her  first  year  in  this  life  wrapped  in 
cotton,  her  entire  little  body  burning  with 
eczema.  Later  on  came  combined  measles 
and  streptococcus  infection.  Then  serious 
ear  trouble,  rheumatic  fever  and  double 
pneumonia  with  pleurisy — all  scattered 
strategically  through  her  growing-girl 
years. 

The  result  was  half  days  at  school  and 
long  play  hours  indoors  sucking  a  ther- 
mometer, reading  endless  books  and  being 
in  general  a  frustrated  Alice-sit-by-the- 
fire,  while  Olivia  and  all  the  rest  of  the 
kids  were  romping  around  outdoors,  do- 
ing big  things  at  school  and  energetically 


asserting  their  personalities.  Inferiority 
complexes  fastened  on  Joan  like  bar- 
nacles. 

"You  said  you  thought  I  was  good  in 
'Rebecca,'  "  smiled  Mrs.  Aherne.  "I  ought 
to  have  been.  I  was  that  girl.  I  knew  I 
was  a  plain,  unattractive  nobody.  I  was 
certain  everyone  hated  me." 

Olivia,  on  the  other  hand,  was  sure 
everyone  loved  her.  Or  she  should  have 
been.  Scholarships,  honors,  fun  and  fes- 
tivity came  her  way.  She  was  a  beautiful 
belle  of  the  town;  she  was  bright.  Every- 
thing in  school  was  cum  laude.  Every- 
thing nice  plopped  into  Olivia's  lap. 
Everything  nice  was  usually  snatched  out 
of  Joan's.  Such  as  the  time  Joan  was  to 
do  Alice  in  "Alice  in  Wonderland"  in  a 
Saratoga  amateur  production. 

It  was  easily  the  biggest  moment  in 
her  life  to  date.  On  the  eve  of  the  play 
Joan  came  down  with  pneumonia.  Who 
played  the  part?  Olivia. 

The  point  is,  Joan  should  have  known 
that  Fate  wasn't  going  to  let  her  get  by 
with  a  comparatively  easy  conquest  of 
Hollywood.  Olivia,  as  advertised,  has 
sailed  along  smoothly  with  steady,  nor- 
mal, sunny  successes.  For  Joan  it  was  the 
hard  way  from  the  start. 

Of  course,  the  heaviest  handicap  you 
can  ask  for  in  Hollywood  is  to  be  the 
sister  of  an  established  star.  Olivia  had 
worked  in  Hollywood  almost  two  years 
before  Joan  came  back  from  Japan,  where 
she  had  sailed  for  her  health,  taking  snow 
baths  for  some  odd  reason  and  getting 
herself  betrothed  to  a  young  American 
consul.  Once  she  had  decided  on  a  career 
instead,  she  knew  she  faced  making  good 
entirely  on  her  own.  Which  suited  her 
just  fine. 

THE  Hollywood  measures  she  took  for 
a  separate  identity  earned  Joan  Fon- 
taine local  accusations  of  resenting  and 
determinedly  rivaling  Olivia's  success. 
She  adopted  her  stepfather's  name,  Fon- 
taine, and  at  first,  rather  naively,  actually 
believed  no  one  would  unmask  her  as 
Olivia  de  Havilland's  sister.  In  her  first 
contract  at  RKO  she  specified  that  no 
studio  publicity  was  ever  to  hook  her 
up  with  Olivia  de  Havilland.  She  made 
a  point  of  making  her  own  friends  and 
keeping  her  business  interests  separate 
from  those  of  her  sister.  For  a  long  time 
she  and  Olivia  made  it  a  rule  not  to  go 
out  in  public  together. 

There's  no  doubt  the  sister  situation 
presented  a  definite  challenge  to  Joan 
Fontaine.  After  all,  she  had  spent  most 
of  her  life  being  overshadowed  by  big 
sister  Olivia.  In  Hollywood  she  wasn't 
content  to  fix  Olivia's  lunch,  haul  her  to 
and  from  the  studio,  sew  her  frocks  and 
act  as  maid  in  waiting,  all  of  which  she 
did  for  some  months.  Joan  is  an  indi- 
vidualist and  a  spirited  one.  Hollywood, 
in  a  way,  was  her  first  chance  to  be 
important  in  her  own  right  and  she 
determined  to  take  advantage  of  the 
opportunity. 

The  idea  of  jealousy,  however,  is  pure 
Hollywood  bosh  and  can  be  very  easily 
exploded  by  scores  of  incidents.  It  was 
Joan,  for  instance,  not  Olivia,  who  first 
was  called  for  a  test  for  Melanie  in  "Gone 
With  the  Wind."  "I  can't  do  Melanie,"  she 
told  David  Selznick,  "but  Olivia  can."  In 
her  place  the  next  morning  she  sent  her 
sister — for  what  resulted  in  the  greatest 
part  Olivia  de  Havilland  has  ever  had. 

This  didn't  start  out  to  be  a  sister  story, 
though,  believe  it  or  not.  It  started  out 


70 


MODERN  SCREEN 


to  be  the  story  of  how  Joan  Fontaine 
fought  to  get  what  she  wanted  in  Holly- 
wood, and  then  found  she  wasn't  sure 
she  wanted  what  she  got.  And  you  can 
chart  her  progress,  as  Joan  pointed  out, 
with  little  peaks  of  high  hopes  and  dizzy 
drops  of  despair. 

Hope  number  one  swelled  when  she 
made  a  local  stage  hit  in  "Call  it  a  Day" 
at  Hollywood  Boulevard's  El  Capitan 
Theatre.  Joan  was  on  the  stage  only  two 
minutes  but  she  walked  off  with  the 
reviews.  That  triumph,  all  two  minutes 
of  it,  brought  a  screen  contract  with  Jesse 
Lasky,  then  part  of  the  Pickford-Lasky 
studio.  But  the  minute  after  Joan  signed, 
it  seemed,  Pickford-Lasky  split  into  little 
pieces  and  her  hopes  with  it. 

She  started  again,  this  time  at  RKO. 
A  couple  of  B  pictures  did  her  no  good, 
but  while  playing  a  small  part  in  "Quality 
Street,"  Joan  caught  the  eye  of  Katharine 
Hepburn,  and  Hepburn  went  to  bat  for 
her.  "You  ought  to  give  that  girl  a  lead," 
she  told  RKO  big  bugs.  Oddly  enough 
they  did.  Joan  played  her  first  real  job 
in  a  little  picture  called  "The  Man  Who 
Found  Himself"  and  made  the  movie 
critics  sit  up  and  blink.  Not  enough 
people  saw  the  picture  to  make  her  a  star. 
But  at  RKO  it  had  results. 

The  front  office  called  an  excited  Joan 
in  and  told  her  she  was  terrific.  "Our 
biggest  discovery,"  they  exulted.  "We're 
going  to  build  you  .  .  .  groom  you  for  big 
things!"  Joan  tripped  about  on  air.  The 
long  hours  of  dramatic  training  she  had 
savagely  attacked  with  her  determined 
ambition  seemed  about  to  pay  off  at  last. 
Then  the  air  suddenly  slipped  out  from 
under  her — and  for  the  silliest  possible 
reason.  She  got  in  bad  with  her  own 
publicity  department! 

It  happened,  Joan  firmly  believes  to 
this  day,  because  her  poker  education  had 


Ano+her  back-to-the-soiler  is  Baby 
Sandy,  who  preserves  that  figure  by 
strenuous  gardening  between  films. 
Note  that  she's  traded  in  her  boyish 
bob    for    an    ultra-feminine  hair-do! 


been  sadly  neglected.  She  was  on  loca- 
tion at  the  Norconian  Club  when  a  bunch 
of  the  boys  asked  her  to  sit  in  on  a  red- 
hot  game  one  night  when  shooting  was 
over.  Joan  was  tired  in  the  first  place 
and  wanted  to  go  to  bed.  In  the  second 
place,  she  didn't  know  a  bob-tailed 
straight  from  a  royal  flush.  She  said  "No." 
They  said  she  was  high-hat.  The  studio 
publicity  chief  even  bawled  her  out  when 
she  got  back  to  Hollywood.  The  press 
began  to  take  cracks  at  her.  Being  sensi- 
tive anyway,  new,  completely  bewildered 
and  at  a  loss  as  to  just  what  to  do  about 
it,  Joan  feared  her  career  was  ruined 
forever.  When  the  part  in  "Stage  Door" 
she  had  been  promised  went  to  Andrea 
Leeds  instead,  she  was  sure  of  it. 

It's  a  pretty  terrible  thing  to  be  sensi- 
tive in  Hollywood  where  set  manners 
are  rough-and-ready  and  relations 
strictly  off  the  cuff.  Joan  wasn't  used  to 
it.  Nor  has  she  ever  got  completely  ac- 
climated to  a  world  where  people  you 
barely  know  call  you  "Honey"  and  "Dar- 
ling" instead  of  "Miss"  and  "Madame" 
and  are  quite  likely  to  put  their  arms 
about  you  instead  of  shaking  hands.  It 
terrified  her  even  more  then,  and  she 
didn't  know  what  to  do  about  it.  "All 
I  wanted  to  do  was  get  along  with 
people,"  Joan  Fontaine  recalled  a  little 
wistfully. 

Probably  the  nadir  of  Joan  Fontaine's 
Hollywood  experience,  ironically  enough, 
was  the  picture  hailed  as  her  greatest 
break.  "Damsel  in  Distress"  was  much 
more  than  a  title.  The  damsel  was  Joan 
— and  no  kidding.  Her  tortures  were  not 
only  mental,  but  physical  as  well.  She 
made  the  picture  in  a  state  of  high  nerves, 
apprehension   and   physical  exhaustion. 

"Damsel  in  Distress"  was  the  Fred 
Astaire  cinematic  divorce  from  Ginger 
Rogers,  you'll  remember.  Joan  got  in  on 


IF  YOUR  ROMANCE 
ISN'T  "CLICKING"- 


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LIFELESS,  OLD-LOOKING! 


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SMOOTH,  LOVELY  SKIN  AND  YOU'VE  LET 
YOURS  SET  SO  DRY,  LIFELESS  AND  OLD- 
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TIME  AGO  THAT  YOU  OUGHT  TO  TRY 

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LEAVES  SKIN  SOFT  AND  SMOOTH 


MADE  WITH  Ofwe  Oil  to  KEEP  SKIN  SOFT  AND  SMOOTH 


AUGUST,  1940 


71 


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a  rain  check.  RKO  really  wanted  Loretta 
Young  but  couldn't  get  her.  Nobody  par- 
ticularly wanted  Joan.  She  didn't  even 
want  herself.  She  hadn't  danced  since 
she  was  fourteen.  She  knew  she  couldn't 
possibly  follow  Ginger  Rogers  teamed 
with  the  best  hoofer  of  them  all.  But 
she  dragged  herself  down  to  the  studio 
at  four  in  the  morning  for  weeks  and 
did  the  best  she  could  about  it.  She 
limped  home  at  night  and  taped  the  red 
sores  worn  into  her  heels.  On  the  nervous 
side — well — Ginger  liked  to  visit  the  set 
almost  every  day  which  didn't  help  J oan's 
composure  any.  And  halfway  through 
the  picture  the  producer  came  up  to  her 
and  heartened  her  by  saying,  "You  know, 
I've  been  worried  about  you  in  this  pic- 
ture. But  I've  just  seen  the  rushes  and 
I  think  you  might  do!"  Joan  could  have 
shot  him. 

ABOUT  the  only  reward  Joan  Fontaine 
■  got  from  critics  for  "Damsel  in  Dis- 
tress" was  some  kindly  condemnation 
with  faint  praise.  From  her  studio  she 
got  a  quick  return  ticket  to  the  B's.  And 
from  her  public — 

One  night  with  a  current  fiance  Joan 
crept  into  the  Hollywood  Pantages  Theatre 
to  see  the  fiasco  with  her  own  eyes.  She 
had  been  much  too  terrified  to  take  in  the 
preview.  Sitting  in  the  dark  watching 
herself  in  action,  Joan  heard  a  woman 
sit  down  behind  her  and  suddenly  gasp. 
"My!  Isn't  that  girl  revolting!" 

Joan  crept  out  feeling  like  a  criminal. 
That's  when  she  began  to  wonder  if  this 
Hollywood  business  was  worth  it.  She 
never  saw  herself  in  another  picture  until 
the  "Gunga  Din"  mistake. 

"Gunga  Din"  was  Fontaine's  Last 
Chance,  in  capital  letters,  at  RKO.  As 
usual  there  was  the  build-up  for  Joan 
before  the  letdown.  You  lucky  girl,  was 
the  idea,  after  all  the  terrible  pictures 
you've  made,  getting  another  chance  in 
RKO's  picture  of  pictures  with  Cary 
Grant,  Victor  McLaglen,  Douglas  Fair- 
banks, Jr.,  and  all  this  epic  production. 
Well,  the  chance  was  all  right  with  Joan. 
But  after  she  had  worked  a  few  days, 
"Gunga  Din"  went  on  location  and  stayed 
for  weeks  while  Joan  sat  around  Holly- 


wood biting  her  nails.  When  the  company 
got  back  she  went  on  the  set  one  day 
and  asked  to  see  the  script  so  she  could 
find  out  what  she  was  to  do.  There  was 
an  eloquent  silence,  then  a  few  people 
laughed.  "This  is  a  little  embarrassing, 
Joan,"  said  one,  "but  you  see,  we're  cut- 
ting you  out!" 

They  called  her  later  and  said  that 
wasn't  true  at  all  and  for  her  to  be  sure 
to  show  up  at  the  preview  to  see  her 
triumph.  That  was  when  Joan  got  her- 
self the  new  dress,  the  handsome  young 
escort  and  the  orchids.  That  was  also 
when  she  watched  the  picture  go  on  and 
on  as  her  face  grew  redder  and  redder. 
She  thinks  she  walked  in  and  out  of  a 
few  scenes.  She  knows  pretty  soon  she 
was  walking  out  of  RKO  for  keeps  with 
her  last  pay-check  in  her  purse.  She's 
never  been  back  on  the  lot. 

That  was  the  end  of  Joan  Fontaine 
versus  Hollywood.  There  was  an  episode 
with  "Man  of  Conquest"  and  her  dramatic 
bit  in  "The  Women,"  but  as  far  as  Joan 
was  concerned,  the  waltz  was  over.  "I 
gave  up,"  admitted  Mrs.  A.  "I  decided 
the  whole  thing  had  been  a  bad  idea." 

She  went  up  to  a  desert  ranch  at  Vic- 
torville.  She  rode  horses  all  day  and 
read  books  after  supper.  One  book  kept 
her  up  all  night,  glued  to  its  pages  and 
scared  half  to  death.  It  was  Daphne  du 
Maurier's  "Rebecca."  And  to  show  you 
how  hard  the  Hollywood  habit  is  to  break 
up — "I  shot  the  whole  picture  myself  in 
that  room  that  night,"  Joan  recalled.  "I 
plotted  every  shot,  every  camera  angle." 
She  never  held  the  slightest  hope  of  doing 
it,  of  course.  It  was  all  just  a  flight  of 
fancy.  Joan  felt  as  if  she  was  practically 
retired  from  the  screen  anyway. 

Then  the  thing  happened,  as  things 
often  do  in  Hollywood.  At  a  dinner  party 
Joan  sat  next  to  David  Selznick.  She 
got  around  to  that  have-you-read-any- 
good-books-lately?  stage  of  the  conver- 
sation and  mentioned  "Rebecca."  "It 
certainly  should  make  a  good  picture," 
she  said. 

"I  think  so,"  said  Selznick.  "I've  just 
bought  it.  How  would  you  like  to  do  it?" 

It  wasn't  as  simple  as  all  that,  of  course. 
The  offer  was  mainly  parlor  conversation 


Eric  Blore  irons 
things  out  for 
Joe  Penner  on 
the  set  of  "The 
Boys  from  Syra- 
cuse," while  Alan 
Mowbray  super- 
vises. The  picture 
— adapted  from 
the  play — is  hi- 
larious, with  the 
famous  "duck 
salesman"  in  a 
dual  role  —  twin 
slaves,    no  less! 


72 


MODERN  SCREEN 


with  Selznick,  too.  Joan  was  tested, 
though,  off  and  on  a  dozen  or  so  times  for 
almost  a  year.  But  so  were  Vivien  Leigh 
and  Margaret  Sullavan  and  a  few  others. 
Selznick  really  wanted  either  a  very  big 
name  star  or  a  complete  newcomer.  Joan 
Fontaine  was  neither  one.  "Better  forget 
'Rebecca,' "  they  told  her  at  last.  So  she 
did.  Something  new  in  her  life  helped 
her — a  gentleman  named  Brian  Aherne. 

Joan  met  Brian  Aherne  strictly  by  mis- 
take. It  happened  in  Palm  Springs  one 
week-end.  He  heard  her  voice  and 
thought  she  was  Olivia.  Brian  had  long 
been  a  member  of  that  chivalrous  Holly- 
wood male  group  at  Warner  Brothers, 
known  as  "The  Society  for  the  Protection 
of  Olivia  de  Havilland."  But  Olivia,  much 
to  Joan's  disgust,  had  never  brought  him 
to  the  house. 

Well,  they  had  fun  in  the  desert  sun, 
and,  after  that,  it  seemed  they  kept  run- 
ning into  each  other  around  town  in  the 
most  romantic  places.  But  things  didn't 
progress  at  all.  The  reason  was  obvious. 
Joan,  as  usual,  was  already  engaged,  this 
time  to  Number  Six. 

One  afternoon  Brian  invited  Joan  to 
a  cocktail  party  in  the  garden  of  his 
home  which  is  now  their  home.  There 
was  a  fortune  teller  there.  When  he  got 
around  to  Joan  he  rolled  his  eyes  mys- 
teriously and  exclaimed,  "You're  going  to 
marry  your  host!"  Just  like  that. 

Joan  thought  that  was  rather  funny, 
so  she  called,  "Oh,  Mr.  Aherne,  listen 
to  this.  He  says  I'm  going  to  marry  you!" 

"Maybe  we'd  better  do  something  about 
that,"  replied  Mr.  A.  gallantly.  "When 
can  I  see  you?" 

"Wednesday  or  Thursday,"  suggested 
Joan. 

"Wednesday  and  Thursday,"  corrected 
Mr.  A.,  completely  master  of  the  situation. 


Of  course  all  that  swami  stuff  sounds 
to  me  like  Mr.  A.  was  a  pretty  smooth 
operator.  Anyway,  Number  Six  was  out 
of  luck  right  then  and  there,  and  Number 
Seven  was  telling  Joan  he  needed  a  wife. 
He  wanted  someone,  Brian  said,  who 
wasn't  in  the  movies.  "That  certainly 
sounded  like  me!"  recalled  Joan  with  a 
grin.  Four  days  after  their  first  date 
they  were  engaged. 

And  two  days  before  the  wedding,  with 
all  the  trimmings  which  Joan  had  pianned 
at  Del  Monte,  her  telephone  rang.  "You're 
going  to  play  'Rebecca,' "  the  Selznick 
office  informed  her.  "Come  on  over  for  a 
make-up  test." 

"I  am  going  to  play  myself  in  my  own 
wedding,"  Joan  replied.  It  was  much  too 
late  to  consider,  she  continued.  She  had 
decided  to  quit  pictures  anyway.  In  other 
words,  the  answer  was  "No." 

"A  seven-year  contract  goes  with  the 
part,"  they  told  her. 

JOAN  said  she  had  a  contract  for  life. 
She  just  wasn't  interested. 
Well,  of  course,  she  did  play  "Rebecca" 
in  the  end,  with  all  her  heart,  because 
she  was  wrapped  up  in  the  part.  She 
showed  her  courage  fighting  an  illness 
which  made  her  faint  on  the  set  twice 
and  finally  resulted  in  a  serious  operation. 
But,  remember,  she  didn't  consent  until 
she'd  had  her  wedding  and  her  honey- 
moon. And  even  then  only  when  Brian, 
knowing  how  much  she  had  wanted  to  do 
it,  said  he  thought  she  might  as  well, 
inasmuch  as  he  would  be  tied  up  with 
"Vigil  in  the  Night"  and  "My  Son,  My 
Son"  for  the  next  few  months  anyway. 

But  the  fame  that  has  at  last  come  to 
Joan  Fontaine  is  nothing  to  her  compared 
with  the  happiness  she  has  found  outside 
of  her  career.  Brian  Aherne  is  her  major 


career,  her  sun,  moon  and  stars,  too.  And 
if  Hollywood  even  faintly  threatens  her 
marriage — it  is  just  too  bad  for  Holly- 
wood! Joan  has  made  that  plain. 

Her  contract  with  Selznick  is  the  only 
one  in  Hollywood  which  stipulates  she 
can  follow  her  husband  wherever  he  goes, 
regardless  of  Selznick's  wishes  or  pro- 
duction plans.  Right  now  "Mr.  and  Mrs. 
A."  are  blissfully  flying  all  over  the  skies 
in  Brian  Aherne's  new  plane,  and  no 
studio  is  going  to  ground  them  either — 
or  their  happiness. 

"The  truth  is,"  stated  Joan  Fontaine, 
"that  now  I  don't  particularly  care  about 
being  a  star.  I  don't  even  know  that  I'll 
keep  on  acting  after  awhile. 

"I've  suddenly  found  everything  1 
could  ask  for  in  my  husband.  I'm  so 
divinely  happy  being  his  wife.  I'm  going 
to  see  that  this  one  thing  I  really  care 
about  is  never  taken  away.  Any  career  I 
might  have  is  secondary  in  my  life. 
What  amazes  me  now  is  that  I  ever  wor- 
ried about  one." 

All  of  which  makes  Joan  Fontaine's 
trail  of  Hollywood  heartbreaks  well 
worth-while  at  last,  I  should  think.  It 
takes  a  lot  of  other  Hollywood  career 
girls  I  could  name  a  lifetime  to  arrive 
at  any  such  sage  conclusion — and  then 
sometimes  they're  never  quite  sure 
they're  right  about  it. 

Joan  will  do  "Jane  Eyre"  next  for 
Selznick,  but  not  until  fall,  when  she's 
fully  recovered  from  the  surgery  and 
fat  and  sassy  again.  As  for  "Rebecca," 
I  said  I  thought  it  was  high  time  she 
took  a  look  at  herself  and  learned  what 
all  the  shouting  was  about. 

"Maybe  some  afternoon,"  conceded 
Joan  Fontaine,  "I'll  sneak  off  and  see  it. 
But  I  don't  know.  I've  got  a  million 
things  to  keep  me  busy  here  at  home." 


SISTER  CALLS  ME  CUPID  fi 


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etrating  foam  gets  into 
hidden  crevices  be- 
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helps  your  toothbrush 
clean  out  decaying 
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the  stagnant  saliva  odors  that  cause 
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dentifrice  is  exactly  like  it." 


AUGUST,  1940 


7.} 


Here's 
a  knife  youd 
never  expect 
to  find  in 


store 


JACKIE  OF  ALL  TRADES 

(Continued  from  page  39) 


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though,  and  sometimes  my  mother  serves 
it  at  my  parties." 

Parties  at  the  Cooper  home  on  Crescent 
Drive  in  Beverly  Hills  are  noisily  enjoy- 
able affairs — for  everyone  but  neighbors 
Marlene  Dietrich  and  George  Brent,  who 
find  themselves  wavering  between  a  de- 
cision to  call  out  the  riot  squad  or  shut 
the  windows  on  the  Cooper  side. 

It's  not  "women"  but  his  band  that's 
Jackie's  favorite  topic  of  conversation. 
Eight  years  ago  on  a  steamer  to  Panama, 
he  heard  a  drummer  who  handled  the 
sticks  and  the  wire  brushes  like  Ray 
Bauduc.  And  his  mother  and  step- 
father, a  producer  at  Monogram  Studios, 
have  never  heard  the  last  of  it. 

"I  saved  my  pennies  and  bought  a  set 
of  drums,"  he  explains.  "Then  I  took 
some  lessons,  but  they  slowed  me  up.  I 
guess  I  had  tom-toms  in  the  soul.  While 
in  the  East,  I  met  Gene  Krupa  when  he 
was  still  with  Benny  Goodman.  Gosh, 
that  man's  good!  He's  by  far  the  best 
technical  man  in  the  business  and  reads 
music  perfectly!  I  learned  a  lot  from  him. 
Krupa  can  get  more  results  with  less 
effort  than  anybody  I  know  of." 

GENE  KRUPA,  busy  with  sticks  and 
the  one-two-three-four,  may  not  be 
aware  of  it,  but  he  gave  Jackie  Cooper 
the  push  that  started  him  organizing  his 
own  swing  band. 

"Maybe  you'll  laugh  when  I  tell  you 
our  combination  of  instruments,"  con- 
tinued Jackie,  "  'cause  it  sounds  crazy. 
We  have  two  trumpets,  one  trombone, 
two  clarinets  (the  clarinetists  double  on 
saxes)  and  a  full  rhythm  section  of  piano, 
drums,  guitar,  bass  fiddle  and  vibra- 
harp.  But  actually  it  sounds  good — at 
least  to  me — especially  when  the  clarinets 
take  melody  an  octave  above  the  trum- 
pets.   I  love  that. 

"You  see,  this  isn't  a  regular  jazz  band. 
We're  not  copying  the  style  or  arrange- 
ments of  any  name  orchestras.  We  can't. 
It  would  sound  too  thin  with  ten  players. 
Most  orchestras  have  at  least  thirteen 
men  in  them.  We  play  Dixieland  style 
— not  quite  on  the  order  of  Bob  Crosby. 
That  is,  not  as  corny  or  New  Orleansy. 
It's  more  modern  Dixie  stuff. 

"Although  we've  had  bookings  at  pri- 
vate parties  and  at  a  few  night  spots, 
we  don't  want  to  play  dances,"  Jackie 
confided.  "That's  one  reason  we  have 
such  a  peculiar  combination  of  instru- 
ments. Right  now  it  looks  as  if  we'll  be 
signed  by  a  sponsor  to  play  regularly  on 
a  national  hook-up. 

"I  really  organized  the  band  because 
every  year  I  like  to  tour  vaudeville. 
When  you  make  personal  appearances, 
you  can't  just  stand  there  and  smile  and 
talk.  You  gotta  give  the  audience  its 
money's  worth." 

The  only  thing  Jackie  doesn't  like 
about  his  band  is  the  name  "Clambake 
Cats"  that  a  publicity  man  pinned  on  it. 
"The  name  has  stuck  to  us — like  a  burr 
on  the  seat  of  our  pants,"  he  says. 

Another  thing  Jackie  doesn't  like  is  the 
constant  buzz  of  rumors  about  himself 
and  Mickey  Rooney. 

Jackie  is  precocious.  There's  no  doubt 
about  that.  He  is  four  or  five  years 
older  than  his  physical  age.  He's  as  tact- 
ful as  a  two-in-one  version  of  Milton 
Wright  and  Dale  Carnegie.  He's  a  husky 
kid  with  big  hands  and  a  handshake  like 
the  Village  Blacksmith.  He's  not  the 
kind  who  says  one  thing  and  means  two 
others.    And  his  Achilles  heel  is  a  sen- 


sitivity about  being  misrepresented  in 
regard  to  Mickey  Rooney. 

Recently  a  national  magazine,  touting 
the  ability  of  Mickey  Rooney  and  his 
fists,  implied  that  Mickey  and  he  never 
meet  each  other  without  a  new  chip  on 
their  shoulders.  This  hits  Jackie  square 
in  the  heart.  He  knows  they  have  never 
exchanged  lefts  or  rights,  nor  even  been 
near  it. 

Everything  considered,  such  a  match 
would  be  a  mismatch.  Discounting  Fitz- 
simmons'  statement,  "The  bigger  they  are 
the  harder  they  fall,"  one  must  remem- 
ber that  Mickey  is  five  feet  and  one  half 
inches  tall;  Jackie  is  five  feet,  nine.  Mickey 
Rooney  is  light  as  a  jockey.  Jackie 
weighs  156.  Jackie  has  been  taking  box- 
ing lessons  since  he  was  five — exactly  12 
years. 

Comparing  them  bicep  for  bicep  in 
anticipation  is  actually  silly,  for  Jackie 
has  never  had  real  trouble  with  Mickey 
Rooney  and  doesn't  expect  any. 

"A  lot  of  articles  say  that  I'm  jealous 
of  Mickey!  Gosh,  but  I'm  not.  Why  do 
writers  have  to  say  those  things?  Natu- 
rally it  burns  me  up.  Whatever  success 
he's  achieved — and  that  is  plenty — he  de- 
serves.   That's  the  way  I  feel  about  it! 

"Some  people  say,  'Why  doesn't  he  go 
around  with  Mickey  if  they  are  such 
good  friends?' "  Jackie  snorted  exas- 
peratedly.  "Now  that's  kinda  silly,  isn't 
it?  We're  friends.  Just  because  we 
don't  go  with  the  same  groups  doesn't 
prove  a  thing.  Because  we  both  happen 
to  be  actors,  doesn't  mean  we  must  be 
bosom  companions.  In  the  younger  set, 
Deanna  Durbin  doesn't  pal  around  with 
Judy  Garland,  but  does  that  mean  they 
are  enemies?  People  are  friends  be- 
cause they  find  recreations,  hobbies  and 
other  friends  in  common,"  he  said. 

JACKIE  feels  a  great  deal  of  personal 
interest  in  Mickey's  success  in  com- 
edy roles. 

"Four  or  five  years  ago,  I  told  Mickey 
I  thought  he  should  try  comedy  parts. 
Look  what  he's  done  recently!  Every 
Andy  Hardy  picture  is  a  smash.  So  far 
as  competition  in  acting  goes,  I  don't  feel 
that  any  such  thing  exists  between  us. 
In  comedy  roles,  he  and  I  differ  entirely. 
To  use  an  example,  you  might  say 
Mickey  and  I  go  along  the  style  of  Bob 
Hope  and  Jack  Benny.  Like  Hope, 
Mickey  delivers  the  gags  straight  out. 
Like  Benny,  I  pull  the  dumb  sort  of  stuff 
and  get  laughs  from  being  the  butt  of 
the  gags. 

"Nope.  We're  distinctly  different  types. 
Frankly,  I  like  Mickey.  And  I'm  not 
saying  this  as  a  sort  of  handshake  in 
words.  That  isn't  at  all  necessary.  He's 
been  pretty  nice  to  me,  and  I  respect  him 
a  great  deal,"  he  said. 

As  Jackie  Cooper  sat  there  on  the 
studio  bench  on  Sound  Stage  11,  he 
puffed  thoughtfully  on  his  black  carbon- 
caked  pipe — permission  of  his  mother 
and  step-dad. 

He's  an  odd  combination  of  youth  and 
maturity — this  Jackie  Cooper.  And  for 
a  young  fellow  whose  salary  spreads  into 
three  zeros,  his  taste  is  surprisingly  sim- 
ple compared  with  that  of  most  youthful 
Hollywood  professionals.  Most  of  them, 
for  instance,  have  warehouses  full  of 
suits  that  get  most  of  their  wearing  from 
hangers.    Jackie  is  practical,  however. 

"Lemme  see  now  how  many  suits  I 
have.  I  really  don't  go  around  in  gunny 
sacks,  but  I  haven't  got  365  suits  and  one 


74 


MODERN  SCREEN 


for  leap  year  day.  There's  the  blue  pin 
stripe,  the  plain  blue,  the  dull  green,  the 
brown,  the  tux  and  a  couple  of  others — 
seven  in  all.  They  cost  between  $50  and 
$60.  One  reason  I  don't  stock  up  on  suits 
is  that  I'm  still  growing.  And  I  don't 
want  to  buy  them  to  keep  the  moths 
busy. 

"  "Sports  coats  are  my  weakness.  I  have 
a  million  of  them" — discounting  youthful 
enthusiasm,  10  or  12 — "and  I  pay  $35 
apiece  for  them.  I  like  loud  socks  and 
solid  colors  in  slack  socks.  I  never  have 
enough  shoes  or  socks.  It's  the  truth," 
he  insisted,  tapping  ashes  from  his  pipe. 

What  with  pipe,  adult  clothing,  perfect 
social  adjustment,  external  symbols  of  a 
ripening  personality,  the  Cooper  of  to- 
day is  different  in  a  thousand  ways  from 
the  scared  six-year-older  who  lisped  a 
popular  ditty  in  the  Fox  "Movietone  Fol- 
lies" in  1929.  "Now  my  voice  is  too 
gravelly  for  singing,"  he  laughs. 

JACKIE,  who  gets  along  on  a  $15  a 
week  allowance,  long  ago  graduated 
from  Cooganish  roles  to  boyish  problem 
child  roles  and,  finally — with  plenty  of 
growing  pains — into  adolescence. 

It  was  at  the  in-between  age — when 
knees  are  knobby  and  bodies  awkward 
and  voices  crack  into  a  fluty  falsetto 
without  warning — that  Jackie  Cooper  left 
M-G-M.  In  1934  executives  feared  that 
his  acting  days  were  numbered.  So 
Jackie  got  an  offer  to  study  in  the  studio's 
dramatic  school  at  a  salary  till  he  was 
21  years  old. 

He  and  his  mother  said  "no"  simul- 
taneously. And  it  turned  out  to  be  the 
wise  thing,  because  later  Jackie  wowed 
them  on  a  personal  appearance  tour. 
Then  he  spent  a  year  at  Beverly  Hills 
High  School,  followed  by  a  small-budget 
picture,  "Boy  of  the  Streets,"  as  a  warm- 
up  with  Monogram.  "That  Certain  Age," 
with  Deanna  Durbin,  cinched  things. 
Today  you  can't  stop  him. 
If  he  isn't  acting,  he's  drumming  like 


Krupa  or  rehearsing  his  band.  And  if 
he's  not  doing  that,  he's  bowling,  dancing 
— he  can  waltz  or  jitterbug  with  equal 
ability — or  seeing  a  show  with  Forrest 
Tucker,  Helen  Parrish  and  whatever 
girl  he  dates.  He  has  no  steady  and 
doesn't  want  one  for  six  or  eight  years. 

Jackie,  who  reads  Pearl  S.  Buck  avidly, 
shows  horses  yearly  at  Palm  Springs, 
takes  swell  16  mm.  movies  as  a  hobby, 
likes  hiking  in  the  hills,  collecting  guns, 
wrestling  with  his  two  dogs,  "Champ" 
and  "Schlepperman,"  and  enjoys  telling 
stories,  revealed  a  bit  of  his  romantic 
past  the  other  day. 

"Do  you  know  Helen  Parrish  could 
sue  me  for  breach  of  promise  if  she 
wanted  to?"  He  chuckled.  "I  had  a 
crush  that  was  a  crush  on  her  when  we 
were  eleven.  One  day  I  kissed  her,  and 
the  next  minute  we  were  very  practical 
about  the  whole  affair.  'We'll  get  mar- 
ried as  soon  as  we're  twenty-one,'  I  said, 
and  Helen  agreed.  Well,  that  was  long 
ago,  and  times  have  changed.  So  have 
Helen  and  I.  She's  more  beautiful  than 
ever,  and  if  you  don't  believe  it  ask  my 
friend,  Forrest  Tucker." 

Jackie  is  not  so  free  with  proposals  to- 
day. He  tries  to  keep  his  heart  where  it 
belongs — off  his  sleeve — and  that  is  where 
acting  technique  comes  in  handy  even 
if,  as  he  remarks,  "it's  no  great  help  on 
moonlight  nights."  And  when  blonde 
Leila  Ernst,  his  new  bubbling  gal  in  "The 
Aldrich  Family  in  Life  With  Henry," 
comes  near  the  set,  he  tries  to  comment 
casually — "She's  a  sweet  kid,  isn't  she?" — 
but  his  eyes  show  him  to  be  a  master  of 
understatement. 

It  may  be  that  elusive  thing  that  Tin 
Pan  Alley  lyricists  call  "a  strange  mad- 
ness," or  what  full-fledged  adults  call 
love,  or  it  may  be  nuthin'  but  a  "crush" 
— if  Jackie  Cooper  will  go  so  far  as  to 
admit  that.  But  words  being  tricky 
things  and  young  men's  fancies  being 
even  trickier,  perhaps  we'd  better  do 
the  sensible  thing — drop  the  subject. 


A  DOLLAR  FOR  YOOR  THOUGHTS 

(Continued  from  page  13) 


much  by  its  passage  through  the  movie 
mill.  Summed  up,  one  might  say  that  to 
be  immortalized,  modern  literature  must 
be  screened. — E.  A.  Loucks,  Vancouver, 
Canada. 

Change  of  Heart 

I  waited  until  "Broadway  Melody  of 
1940"  played  at  third  run  houses  before 
I  saw  it.  I  did  want  to  see  Fred  Astaire, 
but  frankly,  I  was  afraid  Eleanor  Powell 
would  spoil  the  picture  for  me.  After 
hearing  good  reports  of  the  film  gener- 
ally, I  finally  gritted  my  teeth  and  went. 

Well,  I  was  pleasantly  surprised.  In 
fact,  I  liked  Eleanor  Powell  so  well,  I  sat 
through  the  picture  twice  and  I'd  cer- 
tainly like  to  see  her  co-starred  with 
Astaire  again.  That,  coming  from  me, 
sounds  odd  because  I  never  thought  I 
would  want  to  see  Fred  dance  with  any- 
one but  Ginger  Rogers.  Here's  hoping 
this  letter  helps  bring  the  two  of  them 
together  again.  —  Josephine  Crutcher, 
Tampa,  Florida. 

No  More  Sour  Grapes 

Why  must  women  act  offended  when 
their  husbands  rave  about  the  beauty  of 
feminine  stars?  Wives  have  their  favor- 
ites, too! 

When  men  remark  upon  the  beauty  of 


Joan  Bennett  or  Jean  Arthur,  must  we 
always  snap  back,  "I'd  like  to  see  her 
sans  make-up,"  or  "I've  heard  she's  posi- 
tively unglamorous  off-screen."  Ten  to 
one,  men  are  waiting  for  some  jealous 
rejoinder  and  think  it's  very  childish. 
Why  not  just  say,  "Yes,  she  is  beautiful 
and  so  talented  one  lives  through  the 
part  with  her."  Then,  when  you  mention 
the  good  looks  of  Richard  Greene,  he'll 
probably  say,  "Yes,  he  is  a  handsome 
devil." 

Try  it  sometime,  ladies,  and  remember, 
we'd  look  worse  without  our  make-up, 
too! — Leona  Brock,  Fairfield,  111. 

Tribute  to  Bette 

Years  ago,  across  the  screens  of  the 
world,  there  flashed  a  doll-faced,  insen- 
sitive, terrifying  soulless  girl.  Her  name 
was  Mildred.  The  film  was  "Of  Human 
Bondage,"  and  in  it  Bette  Davis  first  re- 
vealed the  acting  genius  that  sets  her 
apart  from  every  other  living  actress. 

"Fury,"  "Bordertown,"  "Marked  Wo- 
man" and  "Kid  Galahad"  followed,  and  in 
each  of  them  Bette  Davis  revealed  new 
depths  of  emotion,  new  heights  of  artistry, 
of  beauty  and  passion.  "That  Certain 
Woman"  was  a  welter  of  sentimental 
nonsense,  but  out  of  it  she  created  moving 
drama  and  tragedy.  In  "Dark  Victory" 
she  gave  us  a  portrait  so  rich  in  emotion, 


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BATH-FRESH 


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AUGUST,  1940 


75 


ANNE  SHIRLEY  in"ANNE  OF  WINDY  POPLARS' 

AN  RKO-RADIO  PICTURE 


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so  moving  in  its  poignancy  and  beauty 
that  it  seemed  she  had  set  herself  a 
standard  she  could  never  again  equal. 

Then  came  "Elizabeth  and  Essex,"  and 
again  one  is  humbled  by  the  genius  of 
Bette  Davis.  Her  Elizabeth  is  violent, 
cruel,  passionate — but  withal  possessing 
an  obscure  beauty.  This  is  her  triumph 
and,  because  of  it,  I  again  salute  Bette 
Davis — screen  immortal. — Jan  Howard, 
South  Island,  New  Zealand. 

Glamour  vs.  Oomph 

I  know  some  folks  clamor 
For  the  thing  they  call  glamour 
Which  is  sold  by  Lamarr  and  Lamour, 
But  Lamarr  leaves  me  cold; 
On  Lamour  I'm  not  sold — 
Their  acting  is  pretty  but  poor. 
It's  for  the  oomph  girls  I  yearner. 
(See  Annie  and  Turner.) 
They're  the  ones  that  can  make  me  say 
"Ah!" 

They  don't  have  to  pose 

In  long  slinky  clothes 

Or  sarongs,  like  Lamour  and  Lamarr. 

Though  they  have  sex -appeal, 

It's  the  kind  that  is  real; 

Ann's  wrestling  with  Garfield's  enjoyed. 

But  would  Lamarr  still  allure 

Tumbling  'round  on  the  floor 

With  her  beautiful  po(i)se  all  destroyed? 

Lorraine  King 

Hampton,  New  Hampshire 

Let  Lloyd  Go  Straight 

Haven't  they  enough  villains,  running 
around  loose  in  Hollywood,  without  mis- 
casting Lloyd  Nolan  as  one?  He  plays 
them  well  because  he  is  a  good  actor,  but 
it's  such  a  waste  of  oomph! 

He'd  be  much  bigger  box-office  rescu- 
ing maidens  in  distress  or  making  love 
in  the  moonlight.  Even  a  layman  can  see 
that.  He  may  not  be  the  pretty  boy, 
matinee  idol  type,  but  he  has  a  very 
potent  brand  of  appeal  all  his  own.  Even 
when  he's  portraying  an  out  and  out  rat, 
you  find  yourself  liking  him! 

Why  not  leave  the  leering  and  sneering 
to  George  Raft,  Chester  Morris,  Cesar 
Romero  or  George  Sanders — all  past  mas- 
ters in  the  art,  as  well  as  implausible 
heroes — and  let  Lloyd  go  straight? 

Give  him  a  doctor  role — that  always 
does  an  actor  good,  somehow — and  then 
cast  him  as  father.  (They  seem  to  be 
popular  on  the  screen,  lately.)  After  that 
watch  somebody  "discover"  him! — Ruth 
King,  Cranford,  N.  J. 

More  Tracy,  Please 

Matinee  idols  are  all  right  once  in  a 
while,  as  long  as  we  have  a  generous  slice 
of  Tracy  for  every  dash  of  Greene  and 
Taylor.  Who  said  Spencer  Tracy  wouldn't 
make  a  good  lover?  Have  you  seen  "I 
Take  This  Woman?"  That  certainly  ought 
to  change  your  mind,  for  who  could  have 
played  that  role  with  more  ardor  or  en- 
thusiasm than  "our"  Tracy?  Who,  in 
fact,  could  have  made  anything  out  of 
that  picture  but  Spence?  He  can  breathe 
life  into  any  role  he's  given. 

And  while  you're  about  it,  Hollywood, 
when  do  we  get  a  sequel  to  "Northwest 
Passage?"  Just  as  I  was  getting  set  for 
more  adventures — bingo!  "The  End." 
That's  the  red-blooded,  no-punches- 
pulled  sort  of  adventure  story  that  gives 
movie-goers  an  exhilarating  lift! 

Spencer  Tracy  may  not  be  handsome 
but  he's  certainly  got  something — call  it 
sincerity,  kindliness  or  a  real  gift  for 
acting.  Please  hurry  to  our  theatre  with 
more  of  his  pictures! — Merelyn  Hughes, 
Greensburg,  Penn. 


Memory  Chest 

Once  in  a  great  while,  we  see  a  scene 
that  will  live  forever  in  our  memories. 
I  have  stored  these  away  in  my  "memory 
chest." 

The  scene  in  "Rose  Marie"  where  Nel- 
son Eddy  faced  Jeanette  MacDonald,  and 
their  melodious  voices  blended  into  the 
"Indian  Love  Call." 

The  poignant  scene  where  Rhett  bade 
Scarlett  farewell  on  the  road  to  Tara  in 
"Gone  With  The  Wind." 

In  "Boys'  Town,"  when  Father  Flana- 
gan returned  to  his  small  group  of  boys 
at  Christmas,  with  merely  a  handful  of 
broken  toys. 

The  soul-stirring  scene  in  "Mr.  Smith 
Goes  to  Washington"  where  the  small 
boy  reads  the  last  few  lines  of  the 
Gettysburg  address  at  the  Lincoln 
Memorial. 

The  Technicolor  beauty  of  "The  Ad- 
ventures of  Robin  Hood"  when  Robin 
Hood  and  his  Merry  Men  swung  through 
the  trees  of  Sherwood  Forest  to  stop 
Prince  John's  party  of  friends. 

The  end  of  "San  Francisco,"  when  the 
group  of  people  on  the  hill  sang  "San 
Francisco,"  and  we  saw  the  great  city  of 
today  rise  from  the  ruins  of  the  city  of 
yesterday. 

The  side-splitting  scene  in  "The  Aw- 
ful Truth,"  where  Cary  Grant  tried  on 
the  derby,  assisted  by  the  only  too- 
willing  Irene  Dunne. 

Yes,  Hollywood,  like  all  of  us,  makes 
blunders,  but  as  long  as  she  gives  us 
scenes  like  these  to  remember,  movies 
are  our  best  entertainment. — Bette  Har- 
ner,  Columbus,  Ohio. 

Encouragement  for  Youth 

In  this  chaotic  age  of  youth  movements 
and  youth  training  in  foreign  countries, 
let  us  give  thought  to  the  youth  of  our 
own  land.  Let  us  give  them  encourage- 
ment, instead  of  criticism  and  fault- 
finding. 

In  every  boy's  life,  there  comes  a 
time  when  he  feels  discouraged  and  un- 
wanted and  pictures  like  "Young  Tom 
Edison,"  are  just  the  tonic  and  inspiration 
he  needs.  He  feels  less  alone  in  his  misery 
when  he  sees  that  even  as  great  a  person 
as  Thomas  Edison  was  at  one  time  mis- 
understood. 

My  heart  was  very  full  when  young 
Tom  was  laughed  at  by  his  townsfolk  and 
when  he  was  stumbling  through  the  rain 
looking  for  a  job.  How  often  I  have  seen 
boys  lost  in  the  fog  of  a  world  they  can- 
not yet  understand!  Let  us  let  them  know 
that  we  can  forgive  them  their  mistakes 
as  long  as  their  attitude  is  right. 

If  the  civic  organizations  of  every 
community  would  give  free  tickets  to  its 
boys  to  see  "Young  Tom  Edison,"  they 
would  be  doing  both  the  town  and  the 
boys  a  truly  great  service.  Think  it  over, 
won't  you,  city  Dads — Mrs.  Lewis  Allen, 
Gainesville,  Tex. 


UP-TO-DATE  ADDRESS  LIST! 

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em Screen,  149  Madison  Ave.,  New 
York,  N.  Y. 


76 


MODERN  SCREEN 


WHAT  LOVE  HAS  DONE  TO  BARRVMQRE 

(Continued  jrom  page  27) 


wondered  how  he'd  behave.  He  began 
by  rilling  the  show  with  the  most  bawdy 
of  references,  mostly  ad  lib,  and  designed 
to  embarrass  the  customers  who,  curi- 
ously, loved  it.  When  a  lady  in  full  eve- 
ning regalia  swept  in  importantly  and 
late  one  night  he  turned  and  asked: 
"Where  the  hell  have  you  been?"  When 
a  stage  door  Jenny  sneered  and  cried: 
"So  you're  the  Great  Lover,  are  you! 
You're  not  so  hot!"  he  replied  with  a  lot 
of  eyebrow  work,  "Just  when  did  I  spend 
the  night  with  you?" 

He  also  led  his  cast  a  terrible  life.  One 
night  when  his  butler  in  the  play  ap- 
peared in  a  green  doublet  and  jerkin  (as 
per  script)  he  said:  "You  know,  you  look 
like  a  slightly  pregnant  string  bean!" 
One  night,  when  kissing  Doris  Dudley 
who  took  Elaine's  place  in  the  cast,  he 
suddenly  looked  down  her  back  and 
cried:  "You  know,  you  have  a  nice 
fanny!" 

His  drinking  gags  became  the  talk  of 
the  nation.  When  his  stage  butler  brought 
him  a  glass  of  water,  he'd  grimace  and 
yell:  "Not  enough  gin  in  this  water." 
When  served  a  stage  highball  made  of 
weak  tea,  he'd  say:  "God,  I  wish  this 
were  real!" 

Then  he'd  put  on  a  drunk  act  that 
would  shame  a  souse  walking  a  penthouse 
roof  edge.  He'd  stagger  about  hitting  the 
scenery,  upset  tables,  lurch,  grab  himself, 
have  the  words  freeze  on  his  lips  while 
his  eyes  rolled  horribly — all  the  time 
emitting  belches  that  sounded  like  distant 
bombing.  Whether  he  was  stinking  or 
not  was,  of  course,  problematical — many 


doubted  the  sincerity  of  these  gestures, 
but  it  was  true  that  offstage  he  was  not 
putting  on  an  act  when  he  hit  the  bottle. 

After  the  show  he'd  disappear.  Nobody 
knew  where  he  went,  but  he'd  usually 
manage  to  appear  by  performance  time. 
Sometimes  he  was  so  weary  and  ill  he 
could  hardly  stand.  One  night  he  ad 
libbed:  "Get  me  a  wheelchair  and  I'll  do 
a  Lionel!"  Nobody  obliged,  thinking  it 
a  gag,  and  gallantly  he  stood  up  through- 
out the  show,  collapsing  just  as  the  final 
curtain  fell.  They  started  to  rush  him  to 
a  hospital,  but  he  came  to  and  said:  "The 
hell  you  will!  That's  where  Elaine  hooked 
me!" 

LIVING  thusly  between  the  bottle  and 
the  grave,  John  deteriorated  steadily. 
His  appearance,  tending  always  to  ex- 
tremely unstudied  sloppiness,  became 
even  more  careless.  In  time  he  had  only 
one  suit  and  had  even  lost  his  overcoat! 
He  lived  in  a  cheap  rented  house  and  was 
always  broke.  They  gave  him  a  male 
nurse  to  take  Elaine's  place,  a  likable 
young  Oklahoman  named  Carl  Stiever 
who  had  wanted  to  be  a  doctor.  Stiever 
had  his  hands  full  trying  to  keep  Barry- 
more  from  toppling  off  the  wagon.  The 
Barrymore  personality  in  time  conquered 
him — for  who  can  resist  it?  Together  the 
pair  would  disappear  till  four  in  the 
morning,  and  neither  could  ever  explain 
their  itinerary.  Carl  did  manage  to  wean 
Barrymore  from  the  bottle  by  getting 
him  to  agree  to  two  weak  highballs  a 
night.  But  John  couldn't  even  take  these 
without  getting  somewhat  spiffy-eyed. 


His  finances  at  this  time  were  at  their 
lowest  ebb,  though  he  was  earning  wads 
of  money.  Out  of  his  10%,  which  fluctu- 
ated between  $1,000  a  week  and  $2,200, 
John  had  a  steady  retinue  outgo.  Take 
a  typical  $1,000  week.  He  would  have  to 
shell  out  as  follows: 

Elaine's  salary  $250  a  week 

Doctor    100  a  week 

Chicago  lawyers   125  a  week 

Dolores  Costello,  for  two  kids 

200  a  week 

Michael  Strange's  child.  125  a  week 

Rent    25  a  week 

Nurse   56  a  week 

Entertaining  his  daughter  Diana 
who  turned  up  to  guard  him 

25  a  week 
This  left  about  $100  a  week  out  of 
which  to  buy  food  and  cigarettes,  and 
keep  off  the  Hollywood  creditors  who  had 
shifted  their  scene  of  operations.  These 
unhappy  bill-hawks  snatched  off  the 
surpluses  of  better  weeks  at  the  box 
office — if  they  were  lucky.  For  the  Barry- 
more habit  has  always  been  to  spend  it 
as  it  rolls  in — be  it  five  bucks  or  five 
million. 

Meanwhile  women  kept  storming  his 
citadel,  climbing  fire  escapes  to  peek  in  on 
him  in  hotel  and  hospital.  One  even  sent 
him  a  box  inclosing  rag  and  a  bone  and 
a  hank  o'hair.  But  one  night,  when  Elaine 
called  up  as  he  lay  under  an  oxygen  tent, 
he  miraculously  came  to  and  cried  vio- 
lently: "Bring  that  phone  here.  I  want 
to  rip  it  out!"  He  was  back  at  the  old 
stand  next  night,  thoroughly  recovered. 

This  state  of  extremely  doubtful  para- 


august,  1940 


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dise  wasn't  doomed  to  last.  After  a 
triumphal  season  in  Chicago,  playing 
right  through  the  hottest  months,  "My 
Dear  Children"  moved  into  New  York 
with  more  horns  blowing  than  in  Sunday 
traffic.  New  York  gave  it  a  front  page  re- 
ception— thanks  to  Elaine. 

You  may  remember  the  occasion.  After 
the  opening  night  performance,  John  was 
sitting  around  at  Fefe's  Monte  Carlo,  a 
swank  New  York  nightspot,  with  his 
daughter,  Diana  Barrymore  Blythe.  Sud- 
denly, Elaine,  flanked  by  mama  in  the 
background,  and  terribly  fetching  in  a 
slinky,  gold  lame  low-cut  evening  gown 
(the  gal  can  dress) ,  marched  up  to  John 
and  in  pear-shaped  tones  that  sounded 
like  a  muffled  but  passionate  firebell  (she 
has  a  nice  low  voice)  cried:  "All  I  want 
is  twenty-four  hours  with  you.  I  cannot 
go  on  without  you.  I  do  not  want  you 
for  keeps.  Please  let  me  have  this  night, 
this  day,  these  twenty-four  hours.  Oh, 
I  know  I  have  done  a  lot  of  things  that 
I  shouldn't  have,  but  I  entreat  you  to 
relent!" 

TO  her  credit,  even  though  it  sounded 
like  a  well-rehearsed  part  of  a  radio 
soap  program,  Elaine  gave  a  wonderful 
performance.  But  as  John  wilted,  young 
Diana  drew  herself  up  and  said:  "This  is 
my  father.  We  are  Barrymores,  and  you 
have  nothing  in  common  with  us.  Please 
go." 

"I'm  staying,"  Elaine  shot  back  as  John 
murmured  something  to  Diana  about 
"Don't  be  a  Barrymore."  Elaine  added: 
"I'm  his  wife." 

"Then  I'm  going,"  cried  Diana  and 
swept  off.  Immediately  John  and  Elaine 
were  in  each  other's  arms,  weeping  and 
kissing  and  uttering  strange  noises  like 
"Sweetsie!  You  are  like  a  breath  of 
Spring!" 

The  story  raged  around  the  newspapers 
for  some  days,  one  paper  finally  printing: 
"This  edition  positively  guaranteed  to 
contain  no  news  about  John  Barrymore!" 

Immediately  Elaine  started  to  pull  what 
remained  of  John  together,  and  in  turn 
John  dropped  an  impending  $300,000  suit 
against  her  for  alleged  moneys  she  had 
extracted  from  him.  Elaine's  divorce  suit 
went  into  the  legal  ash-cans  (to  the  cha- 
grin of  the  lawyers  and  the  reporters), 
and  Elaine  went  back  into  the  cast  of 
"My  Dear  Children"  on  which  her  eyes, 
though  blinded  by  passion,  still  were 
focused. 

This,  alas,  did  no  good  to  anybody  ex- 


cept Barrymore.  The  instant  Elaine  en- 
tered the  cast  the  show  began  to  fall 
off  at  the  box  office.  Women,  having 
enjoyed  the  front  page  reunion,  grew 
war-like  again.  When  Elaine  appeared  on 
the  stage,  she  was  hissed.  When  John 
spanked  her  she  was  hissed  some  more. 
Her  panties,  however,  remained  in  one 
piece.  The  greater  the  hiss,  the  lighter 
his  hand  fell. 

Stubbornly  he  took  Elaine's  part,  de- 
fended her,  refusing  to  remove  her  from 
the  cast.  Weaned  almost  completely  from 
the  bottle,  and  living  a  normal,  routine, 
married  man's  life  (a  good  married  man, 
that  is)  his  ad  libbing  became  almost 
non-existent.  His  occasional  references 
to  the  human  posterior  were  uttered 
without  conviction.  As  far  as  he  was 
concerned,  it  no  longer  existed.  He  caught 
himself  saying,  "I  beg  your  pardon"  when 
he  belched  by  accident;  never  once  did 
he  pull  his  usual  "spontaneous"  ad  lib 
about  celebrities  out  front:  "That  stinker 
so-and-so  is  out  there,  the  louse!"  One 
night  the  play's  authors  stood  in  the  back 
of  the  theatre  and  actually  squirmed. 
"My  God,"  they  moaned,  "he's  playing 
the  part  straight!" 

The  cast  itself  became  estranged  from 
Barrymore.  Despite  their  suffering  at  his 
expense,  they  had  stuck  by  him.  Barry- 
more is  a  hard  man  to  dislike  till  you 
know  him  well.  Now,  with  his  listless 
performances  and  almost  deliberate 
sabotage  of  the  lines  of  the  play, 
eleven  hard-tried  friends  became  eleven 
enemies. 

Despite  the  raspberrying,  Elaine  stuck 
it  out.  When  David  Selznick  tried  to  buy 
"My  Dear  Children,"  she  insisted  upon 
equal  billing  with  Barrymore.  "It  was 
to  be  a  package  deal  or  no  deal  at  all," 
she  contended.  Selznick  didn't  exactly 
see  her  in  the  picture  and,  in  time, 
thumbs-downed  the  deal.  Barrymore 
again  stood  by  her. 

In  time  the  Bronx  cheers  began  to  get 
under  Elaine's  skin  and  several  times 
during  the  spring  run  of  the  show, 
Barrymore  announced  to  his  producers  on 
Wednesday  he  was  leaving  the  cast  Sat- 
urday night.  Conferences  like  the  en- 
suing one  were  typical. 

The  producers,  flanked  by  their 
lawyers,  met  Elaine,  flanked  by  no 
lawyer  and  fought  it  out,  reminding 
Barrymore  through  Elaine  that  he  had 
signed  a  run-of-the-play  contract  and 
that  there  was  such  a  thing  as  Equity. 
In  the  end  Elaine  had  to  capitulate. 


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MODERN  SCREEN 


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Last  May  Elaine  and  John  finally  had 
their  way.  Business  had  fallen  off  some- 
what at  the  box  office  and  John  had  a 
contract,  reputedly  engineered  by  Elaine 
and  a  theatrical  agent,  to  go  to  Hollywood 
and  make  "The  Great  Profile,"  a  story 
written  by  Darryl  Zanuck  himself  (under 
the  assumed  name  of  Monte  Crosman) 
and  ingredients  for  which  had  been  fur- 
nished by  the  shenanigans  surrounding 
"My  Dear  Children!"  John  signed  for 
$37,500 — a  terrific  comedown  from  the 
$9,000  a  week  he  received  in  his  heyday, 
and  considerably  less  than  the  $250,000 
the  performance  is  actually  worth.  It 
is  said  that  Elaine,  so  anxious  was  she 
to  get  out  of  the  play  with  dignity,  en- 
gineered the  whole  poorish  deal.  .  On 
the  understanding  that  John  would  open 
the  show  again  around  August  15th  and 
go  on  tour,  the  producers  finally  con- 
sented to  the  vacation. 

And  the  paradox  goes  on.  Barrymore's 
health  improves,  but  his  attitude  toward 
the  world  grows  less  picturesque.  Who 
knows,  he  may  yet  wind  up  a  domesti- 
cated duck — quietly  married,  devoted  to 
his  pipe  and  dogs  and  yachts  (his  favorite 
madness)  and  the  payment  of  his  debts. 

The  latter,  of  course,  seems  most  un- 
likely. Though  he  has  made  millions, 
nobody,  including  himself,  knows  how. 
much  he  is  in  debt.  "If  I  only  had  a  West 
Indies  island,"  he  mourns,  "I  could  throw 
it  to  those  (slightly  unprintable)  so  and 
sos  (very  unprintable)!"  Nor  does  he 
know  whom  he  owes.  "I  can't  think  of 
anybody,"  he  sighs.  It  is  true  that  any- 
body with  a  pen  can  make  Barrymore 
sign  anything. 

ELAINE  is  trying  to  straighten  out  these 
complicated  finances,  but  even  she 
finds  herself  stumped.  She  is  reputedly 
saving  her  money,  has  it  somewhere  in  a 
hole  in  the  ground.  If  John  suspects  this, 
it  is  doubtful  that  he  cares,  for  he  has  no 
regard  for  money  whatever.  He  is  aware, 
however,  that  Elaine  is  spending  a  lot  of 
his  earnings — what's  left  after  the  ali- 
mony and  the  process  servers  are  paid — 
on  clothes,  fur  coats  especially.  "Every- 
time  she  passes  Jaeckels  (one  of  New 
York's  most  expensive  furriers)  her 
nostrils  quiver,"  John  snorts.  "No  mink 
in  New  York  is  safe  from  her  clutches!" 

But  he  really  doesn't  care.  Possibly 
it's  because  John  Barrymore's  getting  old. 
He's  a  definite  fifty-nine.  Elaine's  young 
and  dynamic  and  full  of  a  sirenish  allure. 
Possibly  the  thought  occurs  that  some- 
day women  will  no  longer  crowd  the 
stage  door  exits  as  they  still  do.  So  he 
doesn't  mind  when  Elaine  rudely  elbows 
a  path  for  him  through  the  mobs  of  ex- 
cited, gaping  gals. 

Furthermore,  he  realizes  he  needs 
money  to  batter  down  those  heavy  debts. 
He  knows  his  appearance  and  health  must 
be  maintained  to  earn  it.  He  knows  one 
of  those  attacks  might  dent  his  enormous 
vitality  and  powers  of  recuperation  if  he 
isn't  prepared  to  meet  them.  He  realizes 
all  this — and  that  Elaine  with  all  her 
shrewdness,  her  attractiveness,  her  fierce 
proprietorship  and  her  motherliness — is 
a  buffer  between  him  and  a  rapidly 
closing-in  world.  He  has  begun  to  feel 
he  needs  someone  badly.  His  life,  a  con- 
stant mad  merry-go-round  from  his  very 
teens,  has  never  provided  a  moment  of 
relaxation.  It  has  been  a  hell  of  a  life, 
filled  with  terrific  adventures — mostly 
escaping  from  women  and  creditors  in 
order  to  fall  into  their  clutches  again.  He 
is  beginning  to  realize  he  can't  take  it 
much  longer.  That  he  is  aware  of  this, 
I  understood  all  too  well  when  he  looked 
at  me  suddenly  and  said  during  a  moment 
in  our  interview:  "You  know,  I'm  nothing 
but  an  old  man  who  wants  to  go  fishing!" 


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Simply  covershort,  broken,  brittle 
nails  with  NU-NAILS.  NU-NAILS 
can  be  worn  any  length  and  polished 
with  any  desired  enamel.  So  natural  they  can- 
not be  detected.  They  even  have  half-moons. 
Helps  check  nail-biting  habit.  Protects  frag- 
ile nails  while  they  growstrongagain.  Easily 
applied,  remains  firm,  waterproof.  Removed 
at  will.  Set  of  Ten,  20c  at  all  ten-cent  stores. 
Nu-Nails,  Dept.  15-H,  462  No.  Parkside,  Chicago 


NU-NAILS 

Artificial  Fingernails 


Make  your  eyes  gleam  with  light, 
dance  with  brightness!  Use  KURLASH, 
the  wonderful  eyelash  curler  that 
sweeps  lashes  upwards,  makes  eyes 
appear  larger  and  lovelier.  Requires 
no  heat,  cosmetics  or  practice.  This 
dainty  beauty  aid  is  only  $1.00. 

P.S.  KURLENE,  the  rich, 
oily-base  cream  makes 
lashes  appear  dark  and  lux- 
uriant. Used  with  Kurlash, 
makes  curl  last  longer. 
Ideal  for  daytime  make- 
up, too.  50^ 

KURLASH 

The  Only  Complete  Eye- Beauty  Line 
THE  KURLASH  COMPANY,  INC. 
ROCHESTER,  N.  Y.  CANADA,  TORONTO  3 

I--------------  -  —  -  -| 

Write  Jane  Heath,  Dept.  C-8,  for  generous  trial  tube  of 

IKurlene  (send  10c  in  coin  or  stampsl.  Receive  free  chart 
analysis  of  your  eyes  and  how  to  make  the  most  of  them. 


|  Color :  Eyes_ 


AUGUST,  1940 


79 


...enjoy  modern  monthly 

protection!  WORN  INTERNALLY} 


SAVE  MONEY  TOO! 


j>  >  discover  Holly-Pax— the 
tampon  that  is  super  absorbent  yet  thriftily  priced 
—  amazing  service  per  tampon  at  low  cost. 

And  with  all  their  absorbency,  Holly-Pax  are 
blessedly  tiny  and  dainty —  easier  to  use  because 
scientifically  compressed.  Get  a  package  today. 


At  Drug,  Department  and 
Ten 


H 


o  1 1 1|-  Pa  x 

THE  €c0?t0??ttf  TAMPON -10  forjZOc 

Universal  Cotton  Products  Corporation 
Box  H31,  Palms  StatioQ,  Hollywood,  California 

For  the  enclosed  1  Of  please  send  me  trial  pack- 
age of  Holly-Pax,  in  plain  wrapper  also  New 
Facts  You  Should  Know  About  Monthly  Hygiene. 


NAME  

ADDRES  S  . 


WOULDST  KNOW  THE  SECRET  OF 

ALLURE?...  ARCH  YOUR 

brows  in  LOVELINESS! 

Shape  and  glorify  their  beauty  with 
|         LOVELINESS  — the  smoother  eye- 
brow pencil,  with  fine  soft  point.  En- 
m^as  r'cn  your  brows  with  arched  per- 
-   I  \   fection,  or  bring  out  an  impudent 
enticing  tilt .  . .  Enhance  the  magic 
"come  hither"  in  your  eyes  and  draw 
people  to  you  ...  LOVELINESS  is 
purse  size  and  point-protected  to 
keep  it  always  ready  for  use  . . . 
Brown  or  black.  10c  everywhere. 

W^    EYEBROW  PENCILS 


ALSO  THE 


LIP  LINER  ...  10c 


BEAUTY  UNDER  THE  SUN 

(Continued  from  page  45) 


Freckles,  of  course,  are  tiny  patches  of 
tan  which  appear  on  skin  which  has 
little  or  uneven  pigmentation.  They  fre- 
quently disappear  or  at  least  fade  at  the 
end  of  the  summer,  but  the  permanent 
kind  are  quite  difficult  to  remove  safely. 
The  best  way  to  cure  freckles  is  preven- 
tion, so  protect  yourself  with  brimmed 
hats,  visors,  parasols,  creams  and  lotions 
and  spend  most  of  your  time  in  the  shade. 
If  freckles  don't  worry  you,  forget  them. 

Immediately  after  sunning,  creams  will 
be  your  safest  cleansers.  Go  a  little  light 
on  water  and  friction  for  a  day  or  two, 
until  your  skin  has  lost  its  first  burning 
sensation.  Talcum  powder  is  fine  to  re- 
lieve a  very  mild  burn.  And  there  are 
any  number  of  good  ointments  and  lo- 
tions to  take  the  sting  out  of  the  hide  of 
overzealous  sun  worshipers. 

NOW,  how  shall  we  make  up  our  sum- 
mer faces — whether  or  not  we  tan? 
Summer  make-up  should  be  much  softer, 
more  glowing  and  also  more  casual  than 
that  worn  in  winter  weather. 

Your  skin  should  be  kept  petal  smooth 
with  plenty  of  light  creams,  both 
cleansing  and  foundation.  Not  only  will 
these  protect  it  against  sun,  wind  and 
water,  but  a  satin-textured  skin  will 
hold  make-up  ever  so  much  longer  and 
better  than  one  roughened  by  the  ele- 
ments. Never  try  to  apply  make-up  over 
a  soiled,  sticky  complexion.  If  you  can't 
wash  with  soap  and  water,  you  can  al- 
ways use  cream  and  a  facial  tissue,  cot- 
ton wrung  out  in  a  refreshing  skin  lotion 
or  some  of  those  handy  little  specially 
prepared  pads  all  ready  packed  in  mois- 
ture-proof containers.  If  you  are  home, 
keep  a  bottle  of  skin  freshener  on  ice 
for  special  make-up  occasions.  It  will  be 
as  stimulating  as  a  quick  facial. 

If  you  are  young  and  unlined,  you  may 
want  to  try  a  "shining  countenance" 
make-up.  Apply  a  skin-matching  foun- 
dation in  either  cream,  stick  or  liquid 
form,  then  "set"  it  by  patting  lightly 
with  a  cube  of  ice  wrapped  in  a  layer  of 
waxed  paper.  Powder  may  be  added 
and  also  patted  down  with  the  wrapped 
ice.  That  dewy  look  can  be  further  en- 
hanced by  a  patting  of  cotton  wrung  out 
nearly  dry  in  icy  skin  freshener. 

The  new  tendency  in  Hollywood — and 
therefore  everywhere  else — is  toward  that 
natural,  freshly-scrubbed  look  that 
Vivien  Leigh  so  charmingly  tyrjiftes,  as 
does  Brenda  Joyce,  the  lovely  Twentieth 
Century-Fox  starlet  whose  figure  strides 
so  jauntily  across  page  45.  Helen  Par- 
rish,  Judy  Garland,  Paulette  Goddard, 
Jean  Arthur,  Priscilla  Lane,  Maureen 
O'Hara  and  Judith  Barrett  are  just  a  few 
of  the  other  cinema  charmers  who  are 
shining  examples  of  this  refreshing  trend 
that  is  sweeping  the  country.  Make-up 
is  an  artifice,  a  means  to  an  end — the 
achievement  of  a  lovely,  natural  ap- 
pearance. Any  kind  which  detracts  from 
that  end  defeats  its  only  purpose.  Never 
forget  that. 

In  general,  the  creams  and  powders 
you  use  in  summer  should  be  of  a  light, 
fluffy  texture  if  your  skin  is  normal  or 
cily.  In  case  it's  dry,  as  it  may  be  if  you 
do  much  sun  bathing,  the  heavier,  richer 
creams  will  do  more  for  you.  Your 
powders  should  be  fine  and  fluffy. 

Summer  powder  should  always  match 
ihe  lightest,  brightest  tone  of  your  fresh- 
ly scrubbed  facial  skin.  You  tanned  or 
naturally  dark-complexioned  damsels 
should  choose  powder  rich  in  golden, 


bronze  or  faintly  orange  shades.  You 
blondes  and  red-heads  will  look  luscious 
in  creamy  petal  pinks  and  soft,  blushing, 
faintly  rosy  powders. 

Lip  and  cheek  rouge  should  be  bright 
and  gay  looking.  Leave  the  dark,  rich, 
more  brilliantly  vivid  shades  for  cooler 
days  and  nights.  The  smartest  girls  this 
year  match  their  nail  polish,  rouge  and 
lipstick,  and  the  effect  is  perfectly  stun- 
ning. No  more  clashing,  vari-colored  reds 
to  mar  an  otherwise  beautiful  make-up 
ensemble.  Why  didn't  we  think  of  that 
simple  improvement  ages  ago!  Summer 
eye  make-up  should,  by  all  means,  be 
simple,  clean  and  fresh  looking. 

Rouge  for  you  who  tan  should  contain 
warm  orange  or  coppery  red  undertones. 
Your  lipstick  should  match  or  harmonize, 
as  we  mentioned  before.  You  unsullied 
fair  ones  can  go  in  for  the  lighter  orange- 
reds  which  are  always  fresh  looking. 

Brownettes  who  may  be  in  a  quandary 
can  usually  determine  their  best  rouge 
colors  by  taking  a  good  long,  searching 
look  at  their  mirrors  with  an  explorer's 
weather  eye  out  for  hitherto  undiscov- 
ered highlights  in  hair  and  eyes.  You 
in-betweens  may  need  to  do  a  little  ex- 
perimenting, for  you  are  a  mixed  type 
and  what  suits  one  of  you  may  not  suit 
another.  However,  if  you'll  pinch  your 
cheeks  until  some  color  rises,  then  match 
or  accent  that  very  shade,  you'll  find  a 
rouge  and  lipstick  color  that  will  really 
give  you  a  big  lift. 

r\ID  you  ever  have  to  turn  yourself 
from  Cinderella  into  a  glamour  girl 
in  half  an  hour  flat,  when  an  unexoected 
phone  call  changed  the  schedule  of  what 
had  started  out  to  be  a  well-ordered  eve- 
n:r>^  at  home?  It's  bad  enough  to  meet  up 
with  such  emergencies  in  the  cool,  clear 
atmosphere  of  winter  but,  when  the  heat 
of  summer  complicates  things,  disaster 
may  be  the  result  if  you're  not  fore- 
sighted  enough  to  plan  some  sort  of  a 
cool-headed  working  plan.  Here  is  our 
suggestion: 

Get  into  your  negligee  and  for  the  first 
five  minutes,  roll  up  any  straggling  locks 
on  quick  curlers.  Get  out  a  set  of  fresh, 
clean  lingerie,  remove  old  nail  polish  and 
cold  cream  your  face,  neck,  hands  and 
arms. 

Now,  turn  on  the  water  for  your  bath. 
(Whatever  else  you  miss,  don't  skip  that.) 
Whether  it's  tub,  shower  or  sponge,  give 
yourself  a  thorough  scrubbing.  Out  of 
the  tub,  with  a  quick,  brisk  rub-down 
with  a  clean  towel,  topped  off  with  a 
dash  of  cologne  and  your  favorite  dusting 
powder.   Ten  minutes  are  up! 

Whisk  on  some  facial  cream  and  sit 
down  to  apply  your  fresh  nail  polish. 
That  job  can't  be  hurried.  Now  sit  or 
lie  down  and  relax  completely  for  two 
minutes  while  the  polish  dries.  (You 
can't  do  anything  else  anyway.)  Fifteen 
minutes  are  up. 

All  right,  now  to  a  well-lighted  mirror 
and  the  old  faithful  make-up  box.  Over 
a  film  of  foundation  cream,  apply  rouge, 
powder,  lipstick  and  eye  make-up. 
Twenty  minutes! 

Take  down  the  curlers,  comb  out  you 
hair  and  aim  the  atomizer  where  it  will 
do  the  most  good.  Twenty-five  minutes! 
Step  into  your  clothes,  not  forgetting  to 
transfer  comb,  compact,  clean  hankie,  key 
and  lipstick  to  the  right  pocketbook,  and 
out  you  go! 

Half  an  hour  with  not  a  second  to 
spare.    But,  if  you  plan  it  right,  you'll 


80 


MODERN  SCREEN 


be  able  to  step  out  as  sweet  and  crisp 
and  fresh  as  apple  blossoms  after  rain. 
The  man  in  your  life  will  be  so  impressed 
he  wouldn't  trade  you  in  for  Ann  Sheri- 
dan, Hedy  Lamarr  and  Betty  Grable  all 
rolled  into  one! 

So  go  now,  step  out  into  the  sunshine, 
have  yourself  a  prodigious  summer  and 
always  keep  your  make-up  looking  crisp, 
cool,  clean  and  caressable. 

*  *  * 

What  kind  of  soap  do  you  use?  There 
are  so  many  excellent  ones  nowadays 
that  we  think  it's  jun  to  change  about 
frequently.  One  fine,  white  soap  we  like 
has  recently  been  improved  three  ways: 
first,  it  has  been  made  milder;  second, 
it  has  been  given  a  delightful  new  fra- 
grance, and  third,  its  lathering  qualities 
have  been  greatly  improved  so  that  it 
gives  a  quick  creamy  lather  even  in 
water  that's  as  hard  as  nails!  Cleansing 
with  soap  and  water  is  so  important  to 
beauty  that  you  can't  be  too  careful  in 
your  own  choice.  Send  us  your  name 
on  a  post  card,  and  we'll  be  glad  to  tell 
you  the  name  of  this  aid  to  loveliness. 

*  *  * 

Your  face  should  always  be  protected 
against  summer  sun,  wind  and  water  by 
a  light  film  of  foundation  cream.  One 
such  excellent  cream  is  being  made  by 
a  famous  cosmetic  house  whose  products 
are  widely  used  by  the  movie  stars.  We 
particularly  like  it  because  it  is  available 
in  four  luscious,  flattering  skin  shades 
that  really  do  something  for  your  beauty 
while  protecting  your  skin.  This  foun- 
dation cream  stays  on  remarkably  well, 
too.  It  will  look  nice  for  hours  under 
trying  summer  conditions  and  will  even 
last  through  a  vigorous  swim  or  stren- 
uous game  of  tennis.  This  grand  adherent 
quality  helps  a  lot  to  preserve  your  skin's 
natural  moisture  and  to  prevent  drying. 
Shall  we  send  you  the  name  of  this  popu- 
lar foundation  cream? 

*  *  * 

Many  girls — and  women,  too — have 
such  fine,  sensitive  skins  that  they  can't 
use  even  the  average  powders  without  a 
sensation  of  prickly  dryness.  If  you  hap- 
pen to  be  one  of  these  people,  let  us 
recommend  a  soft,  fine  powder  we  know 
about,  made  of  extremely  high  quality 
talc  with  the  daintiest  scent  you  ever 
came  across.  It  was  made  for  the  fine, 
delicate  skin  of  babies — but  some  of  the 
most  fastidious  women  we  know  wouldn't 
think  of  using  anything  else.  So,  if  you've 
ever  had  any  difficulty  in  this  respect, 
by  all  means  write  us  for  the  name  of 
this  pure,  silken  smooth  talcum. 

*  *  * 

Have  you  ever  compared  the  beauty 
of  a  girl  whose  eyes  were  properly  made- 
up  with  the  unattractiveness  of  another 
whose  eyes  were  unaided  by  the  glamor- 
izing magic  of  mascara,  shadow  and  brow 
pencil?  Then  you  know  that  there  just 
is  no  comparison.  It  is  the  difference 
between  blankness  and  beauty,  dullness 
and  sparkle,  hidden  loveliness  and  instant 
attraction,  for  these  three  simple  little 
aids  to  eye  beauty  make  a  girl's  eyes 
appear  not  only  larger  but  deeper  in  both 
color  and  brilliance.  One  prominent 
maker  of  just  such  aids  to  eye  loveliness 
is  now  featuring  perfectly  stunning  gold 
colored  vanity  cases  containing  solid 
mascara.  They  also  make  a  cunning  little 
zipper  case  containing  a  smooth  cream 
form  mascara  that  you  can  apply  without 
water.  Their  brow  pencils  in  various 
colors  and  their  eye  shadow  in  any  one 
of  six  flattering  shades  are  all  priced 
within  the  reach  of  the  most  thrifty 
budgeteers.  If  their  name  interests  you 
just  drop  us  a  card.  We'll  be  delighted 
to  share  the  good  news  with  you. 


TEST 


m 


(91°  IN  THE  SHADE) 


<  V 


NO  UNDERARM  ODOR  AFTERS 


This  difficult  test  was  carried 
out  under  the  supervision  of  a 
trained  nurse,  at  famous  "Palm 
Springs"  resort  in  California. 
The  thermometer  stood  at  91° 
in  the  shade!  In  this  gruelling 
heat,  Miss  A.  D.  played  two 
sets  of  tennis  .  .  .  after  apply- 
ing Yodora.  Afterwards,  the 
supervising  nurse  pronounced 
"not  a  trace  of  underarm 
odor!"  Amazingly  efficient,  this 
deodorant  seems  as  gentle,  as 
silky,  as  delicate  as  your  face 


cream!  It  is  soft  and  easy  to  ap- 
ply. Non-greasy,  Yodora  leaves 
no  unpleasant  smell  to  taint 
your  clothing.  Will  not  injure 
fabrics.  In  lot1,  2S(f  or  60c1  jar, 
or  25c1  tube.  McKesson  &  Rob- 
bins,  Inc.,  Bridgeport,  Conn. 

YODORfl 

DEODORPHT  CREflm 


REMOVE 
HAIR  without 

razor,  liquid 
paste  or  powder 


25. 


iBaby  Touch  Hair  Remover  is  the 
Imodern  way  to  remove  hair  from 
Ithe  arms,  legs  and  face.  No  chem- 
licals — no  odor.  Use  like  a  powder 
■  puff.  Women  prefer  it  because  it 
is  so  convenient  to  use,  and  costs 
so  little.  Try  it — if  you  don't  like  it  better  than  any  other 
methou  jusi  return  it  to  us.  Your  money  will  be  promptly 
refunded.  At  drug  and  department  stores  or  send  25c  for 
one  or  $1.00  for  five  of  the  Baby  Touch  Pads.  Baby  Touch 
Mittens  (Two  sides)  35c  each,  3  for  $1.00. 

BABY  TOUCH  HAIR  REMOVER  CO. 

4839  Fyler  Ave.  St.  Louis,  Mo. 


SIMPLIFIED  STEPS  TO 
BEAUTY  AND  STYLE. 


The  new  issue  of  LURE  gives  you  19 
pertinent  articles  and  features  designed 
to  help  you  dress  and  look  your  best — 
at  low  cost.  Typical  are  such  seasonal 
articles  as 

•  MEDIUM  OR  WELLDONE 

Definite  rules  for  the  suntan  season. 
How  to  tan  but  not  burn. 

•  VACATION  WARDROBE 

A  two  weeks'  fashion  supply  for  fun, 
frolics  and  festivity. 

•  LOOK  PRETTY,  PLEASE! 

How  to  appear  your  best  on  those 
vacation  snapshots. 

•  THIS    IS    THE    WAY    TO  WASH 
YOUR  CLOTHES 

Tips  to  keep  your  summer  apparel 
fresh  and  new  looking. 

•  MEN— WHERE    TO    MEET  THEM 
AND   HOW   TO   TREAT  THEM 

A  chart  of  helpful  suggestions. 


NOW  ON  SALE 

10c 


Li! 


FREE 

/WEDDING 

RING 


ith 


dered 

plate 


given 


DIAMOND   CO.,    Dept.    297W.  Jefferson 


lated    diamond  en- 
naqement     ring  or- 
now.  Smart, 
yellow  gold 
wedding  ring 
ith  brillianis 
as  get-ac- 
nted   gift  FREE 
witn    every  Flash- 
ing   simulated  Dia- 
mond   Solitaire  En- 
gagement   ring  or- 
dered at  our  Anniver- 
ry  Sale  offer  of  only 
.   SEND  NO  MONEY 
Accept  on  10  Days1 
eturn  mail.  EMPIRE 


T'RED  ALL  THE  TIME? 

Try  Building  Up  Your  Endur- 
ance this  Sensible,  Easy  Way 

Lack  your  Old  pep?  Get  little  di- 
gestive upsets  every  few  days?  If 
there's  nothing  organically  wrong  with  you — then 
it's  more  than  likely  SLUGGISH  DIGESTION 
is  to  blame.  It  can  make  that  gas  and  bloated  feel- 
ing; can  give  you  heartburn,  a  dizzy  head. 

Start  your  DIGESTIVE  JUICES  FLOWING 
NORMALLY  again.  Set  Fleischmann's  live  Yeast 
to  work  on  those  digestive-juice  glands.  It's  a 
STIMULATOR.  In  test  cases  the  speed  of  diges- 
tion was  greatly  increased.  Then  you  should  begin 
to  FEEL  SWELL,  look  a  lot  better.  Get  Fleisch- 
mann's Yeast  today.  Eat  one  cake  first  thing  in  the 
morning,  another  cake  }4  hour  before  supper. 

Write  for  "You  Can't  Feel  Well  If  Digestive 
Juices  Are  Failing"  to  F.  Y.  Co.,  Dept.  E-?A,  695 
Washington  St.,  New  York.  Absolutely  FREE! 

Copyright,  1940,  Standard  Brands  Incorporated 


WAKE  UP  YOUR 
LIVER  BILE  - 

Without  Calomel — And  You'll  Jump  Out 
of  Bed  in  the  Morning  Rarin'  to  Go 

The  liver  should  pour  out  two  pints  of  liquid 
bile  into  your  bowels  daily.  If  this  bile  is  not  flow- 
ing  freely,  your  food  may  not  digest.  It  may  just 
decay  in  the  bowels.  Gas  bloats  up  your  stomach. 
You  get  constipated.  You  feel  sour,  sunk  and  the 
world  looks  punk. 

It  takes  those  good,  old  Carter's  Little  Liver  Pills 
to  get  these  two  pints  of  bile  flowing  freely  to 
make  you  feel  "up  and  up."  Amazing  in  making 
bile  flow  freely.  Ask  for  Carter's  Little  Liver  Pills 
by  name.  10<f  and  25<£  at  all  drug  stores.  Stubbornly 
refuse  anything  else. 


ENLARGEMENT 


B-    For  MODERN   SCREEN   READERS.    Jusi   1 1 1 
I  H  HLd>  »•«•  will  beautifully  enlarge  any  snapshot,  photo,  Kodak  picture 

H       ■  ■  ■SB  prim  or  negative  to  5x7  inches  FREE— with  this 

ad.  Please  include  color  of  hair  and  eyes  for  prompt 
information  on  a  natural,  life-like  color  enlargement  in  a  free  frame.  Your 
original  returned  with  your  free  enlargement  (10c  for  return  mailing  appre- 
ciated). Look  over  your  pictures  now  and  send  us  your  favorite  snapshot  or 
negative  today  as  this  free  offer  is  limited.  DEAN  STUDIOS,  Dept.  202, 
211  7th  St.,  Des  Moines,  Iowa. 


AUGUST,  1940 


81 


Two  dat/rpaif -stolen 6y 
REGULAR PAIN 7 

WHY  WOMEN  WHO  MUST  STAY  UP  AND  ACTIVE 
THROUGH  TRYING  DAYS  RELY  ON  Ml  DPI 

Today,  millions  of  women  use  Midol  to 
make  their  "dreaded  days"  more  comfort- 
able— to  keep  active  in  those  times  when 
Nature  used  to  cry  "rest." 

Don't  hesitate  to  try  it.  Midol  is  a  new 
formula  developed  for  its  special  purpose, 
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THE  STRANGE  CASE  OF  JEAN  ARTHUR 


{Continued  from  page  41) 


name  in  the  papers,  and  the  way  she  re- 
fused to  be  photographed  except  during 
working  hours. 

The  Jean  Arthur-is-difficult  legend 
grows  and  grows.  It  was  helped  along  the 
other  day  when  a  writer  heard  that  Jean 
had  given  a  helping  hand  to  a  studio 
worker  who  had  had  a  terrific  run  of  bad 
luck.  He  tried  to  ferret  out  the  details. 
He  couldn't  get  to  Jean,  so  he  went  to 
the  worker.  The  worker  wouldn't  talk. 
"I'd  like  to  tell  you  what  she  did,"  he 
said,  "but  if  I  told,  she'd  cross  me  right 
off  her  list  of  friends.  She's  like  that. 
She  doesn't  trust  anybody  who  talks 
about  her." 

That  writer  had  figured  that  Jean  was 
finally  doing  things  to  counteract  her 
reputation  for  being  cold  and  unap- 
proachable, but  he  came  away  convinced 
that  she  didn't  care  about  that  reputation. 

He  didn't  know  that  periodically  Jean 
makes  up  her  mind  to  simplify  her  life 
and  give  interviews  and  then,  just  as 
periodically,  she  weakens  at  the  last  mo- 
ment, gets  chills  and  jitters  and  can't 
carry  through. 

IN  the  past  five  years  of  her  stardom, 
she  has  given  perhaps  ten  interviews. 
Each  of  them  has  been  an  unmitigated 
ordeal  for  her.  Honest  writers  who  have 
actually  interviewed  her  will  admit  that 
and  testify  that  they  didn't  have  much 
fun,  themselves. 

Consider  the  experience  of  one  writer, 
assigned  to  do  a  "personality  portrait"  of 
Jean  Arthur,  whom  he  had  never  met. 
He  asked  for  an  interview.  He  was 
promised  one  "within  the  next  few  days." 
Six  weeks  later  he  was  still  waiting  for 
an  appointment.  When  he  showed  no 
signs  of  giving  up  his  vigil,  he  was  asked 
to  write  out  his  questions  in  advance.  She 
was  wary  of  a  writer  she  didn't  know — 
that  was  understandable.  He  wrote  out 
his  questions.  This  evidence  of  his  good 
faith  went  unacknowledged.  Still  un- 
deterred, he  persisted  in  trying  to  get  to 
her.  Finally,  after  two  more  weeks,  he 
was  told  that  she  would  talk  to  him  dur- 
ing her  lunch  hour — on  location,  forty 
miles  away. 

So  he  drove  the  forty  miles,  on  a  swel- 
tering day,  only  to  learn  on  his  arrival 
at  the  location  site  that  Miss  Arthur 
"couldn't  see  him."  She  had  had  a  sleep- 
less night  and  a  hard  morning,  and  she 
was  literally  in  tears  at  the  thought  of 
an  interview.  She  didn't  send  her  regrets 
for  wasting  his  time  with  a  wild-goose 
chase.  She  only  sent  word  that  she  "had 
to  rest"  during  her  lunch  hour. 

Curious  to  gaze  upon  this  star  who  was 
so  unapproachable,  he  stayed  around  to 
watch  her  at  work.  He  saw  her,  bare- 
headed under  a  broiling  sun  and  wearing 
a  heavy  costume,  do  a  scene  over  and 
over,  for  an  hour.  Not  once  did  she  show 
signs  of  regal  temperament,  of  resenting 
the  director's  demands,  of  insisting  on  a 
rest.    She  was  the  spirit  of  co-operation. 

Without  knowing  it,  she  persuaded  the 
writer  that  people  who  knew  her  might 
have  reason  to  like  her.  He  renewed  his 
efforts  to  meet  her,  talk  with  her.  And, 
when  the  picture  was  finished,  he  finally 
managed  it. 

He  saw  her  in  her  own  home  where, 
if  anywhere,  she  should  have  been  com- 
fortable. She  wasn't.  She  appeared,  when 
he  was  announced,  with  tear-reddened 
eyes.  She  said  she  had  been  crying  about 
her  kitten,  which  (she  said)  had  been  hit 
by  a  car.  Throughout  the  interview,  she 


sat  nervously  fingering  a  handkerchief. 
When  she  smiled,  it  was  a  nervous  smile. 
Frank  was  present,  apparently  for  pro- 
tection. Frank  left  no  doubt  that  the 
interview  was  to  be  confined  to  the 
questions  written  out  in  advance.  The 
writer  began  at  the  beginning  and  went 
down  the  list.  Sometimes  Jean  answered, 
hesitantly.  Sometimes  Frank  did  the  an- 
swering, especially  when  a  question 
called  for  a  little  personal  revelation  by 
Jean  about  herself.  Several  times  Frank 
interposed,  "Jean  doesn't  want  to  answer 
that." 

The  writer  came  away  with  the  baffling 
impression  that  he  had  just  met  a  movie 
star's  husband  who  wasn't  painfully  self- 
conscious,  and  a  movie  star  who  was. 

It  seems  incredible  that  anyone  could 
become  a  movie  star,  have  years  of  acting 
experience  and  still  be  painfully  self- 
conscious  as  a  person.  Yet  that  is  the 
answer  to  the  enigma  of  Jean  Arthur, 
the  girl  who  seems  so  warm  on  the  screen 
and  so  cold  off  it. 

It's  a  strange  case — the  reverse  of  the 
story  of  every  other  star  in  Hollywood. 
Here  is  a  girl  who  has  become  more 
self-conscious  as  a  person,  the  more  suc- 
cessful she  has  become  as  an  actress. 

Scoff  and  say:  "How  could  anyone  be 
self-conscious  and  act?"  Psychologists 
say  it  is  possible.  One  psychologist  cites 
the  case  of  a  girl  who,  attractive  and  in- 
telligent, had  no  reason  for  an  inferiority 
complex,  but  she  had  one.  She  was  prob- 
ably the  most  sensitive  girl  in  her  town. 
Most  people  misunderstood  her,  they  mis- 
took her  natural  shyness  for  unnatural 
aloofness.  At  any  party,  she  always  stayed 
in  the  background,  helplessly  watching 
the  other  girls  getting  all  the  attention, 
simply  because  she  could  never  get  up 
the  courage  to  express  herself  and  show 
off  as  they  did.  Yet  every  year,  when  the 
local  drama  club  put  on  a  play,  there  she 
was,  acting  the  feminine  lead — and  very 
well,  too,  without  a  hint  of  self-conscious- 
ness. She  wasn't  herself  in  the  play,  she 
was  somebody  else.  And,  as  somebody 
else,  she  wasn't  embarrassed,  having 
people  watch  her.  When  the  play  was 
over,  she  was  herself  again  and  more 
self-conscious  than  ever  until  the  next 
play  came  along. 

JEAN  ARTHUR  is  like  that.  As  a  young 
girl  in  high  school  in  New  York,  she 
was  shy  and  sensitive.  She  dreaded  get- 
ting out  into  the  world,  where  a  girl  had 
to  be  aggressive  to  amount  to  anything. 
She  didn't  stop  to  analyze  it  then,  but  that 
was  why  her  only  ambition  was  to  be  a 
teacher  of  foreign  languages.  People 
didn't  expect  a  teacher  to  be  aggressive 
They  expected  a  teacher  to  be  a  quiet, 
serious  person  like  Jean. 

She  discovered  acting  by  accident.  One 
afternoon  she  went  to  a  photographer's 
studio  with  a  girl  friend  who  was  looking 
for  work  as  a  model.  The  photographer 
was  overloaded  with  assignments.  He 
said,  "I  could  use  your  friend,  too."  So 
Jean,  who  had  never  fancied  herself  as 
a  photographic  subject,  was  drafted  as 
a  model.  She  was  scared  stiff  that  he 
would  discover,  in  the  first  sitting,  that 
she  was  too  self-conscious  to  look  natu- 
ral in  front  of  a  camera. 

The  photographer  said,  "Relax.  Forget 
you're  Gladys  Greene."  (That  was  her 
name  then.)  "Pretend  you're  a  college 
girl  about  to  have  a  date  with  the  foot- 
ball hero.  Look  as  she  would  look."  She 
tried  that  and  succeeded  and  made  the 


82 


MODERN  SCREEN 


amazing  discovery  that  she  lost  her  self- 
consciousness,  when  she  pretended"  she 
was  someone  else. 

She  didn't  have  to  model  many  times 
before  she  gave  up  the  teaching  idea 
completely.  Modeling  was  more  fun  than 
teaching  could  ever  be.  She  could  look 
forward  to  doing  different  things,  in 
different  settings,  every  day.  More  im- 
portant, she  could  look  forward  to  being 
different  people  every  day  and  escaping 
from  her  self-conscious  self. 

Movie  scouts  became  model-minded. 
She  received  a  movie  offer.  She  grabbed 
at  the  chance  to  go  to  Hollywood.  She 
had  hardly  arrived,  a  starry-eyed  Cin- 
derella, when  she  was  given  the  feminine 
lead  in  a  picture  called  "The  Temple  of 
Venus."  A  few  days  later,  it  was  taken 
away  from  her.  Acting  for  a  movie 
camera  was  more  complicated  than  act- 
ing for  a  still  camera,  and  she  didn't  have 
the  experience  necessary.  To  give  her 
some  experience,  the  studio  made  her  an 
ingenue  in  two-reel  comedies.  Then,  after 
a  year,  they  let  her  go. 

When  that  happened,  she  seriously  con- 
sidered finishing  school  and  carrying  out 
her  original  idea  of  becoming  a  teacher. 
She  shuddered  at  the  thought  of  being 
just  Gladys  Greene  or  Jean  Arthur,  as 
she  was  now  known,  for  the  rest  of  her 
life.  She  had  had  a  taste  of  playing  at 
make-believe  and  the  unself- conscious- 
ness that  it  brought.  Desperately,  she 
wanted  to  keep  on  acting. 

SHE  was  desperate  enough  to  work  for 
nothing  in  the  Encino  Country  Club 
movie.  She  was  desperate  enough  to 
play  silly  ingenues  and  vapid  Western 
heroines  for  years,  on  the  gamble  that 
some  day  someone  would  see  her  as  a 
possibility  for  an  important  role.  Finally, 
she  was  desperate  enough  to  go  to  New 
York  and  get  on  the  stage  to  prove  to 
Hollywood  that  the  girl  it-had-known- 
when  could  act. 

She  has  suppressed  most  of  the  details 
of  her  struggle.  She  doesn't  like  to  re- 
call the  humiliations  she  had  to  suffer 
during  the  years  she  was  slighted,  ignored 
and  pushed  aside  while  she  watched  other 
girls  get  the  big  roles  and  the  publicity 
build-ups.  .  , 

Instead  of  looking  on  her  long  fight  as 
a  saga  of  determination,  Jean  is  self-con- 
sciously afraid  that  people  will  think 
it  took  so  long  for  recognition  because  she 
lacked  something. 

She  has  let  people  think  that  she  and 
Frank  met  where  they  married— in  the 
East.  (The  wedding  date  was  June  11, 
1932.)  Actually,  they  met  on  the  Para- 
mount lot.  Both  of  them  were  under 
contract,  and  neither  of  them  seemed  to 
be  getting  anywhere.  Their  mutual  dis- 
couragement drew  them  together.  Frank 
was  dropped  by  the  studio  and  went 
east  to  go  into  the  real  estate  business. 
When  Jean,  too,  departed  from  Hollywood 
and  went  back  to  New  York,  they  simply 
took  up  where  they  had  left  off. 

Jean's  return  to  Hollywood  was  tri- 
umphal. Every  studio  in  town  clamored 
for  her.  One  big  role  followed  another. 
She  did  "Mr.  Deeds  Goes  to  Town"  and 
became  the  most-talked-about  girl  on 
the  screen.  Every  magazine  wanted  a 
Jean  Arthur  interview.  It  was  sweet, 
getting  all  this  attention,  even  be^tedly, 
but  it  was  also  frightening.  She  didn't 
know  what  people  expected  her  to  be 
like  in  person.  She  was  afraid  they  might . 
be  disillusioned.  She  wasn't  changed 
from  what  she  had  been  before.  She  lived 
just  as  simply,  dressed  just  as  simply, 
was  just  as  unsensational  a  person.  In 
self-defense,  she  sought  seclusion. 

She  didn't  dodge  interviewers  because 
she  wanted  to  get  even  with  them  for 


ignoring  her  so  long.  She  didn't  sud- 
denly take  to  avoiding  places  where  she 
would  run  into  candid-cameramen  be- 
cause she  wanted  to  get  even  with  them 
for  not  having  taken  her  picture  years 
before.  She  climbed  into  a  large  clam- 
shell and  pulled  down  the  lid  because 
public  curiosity  made  her  self-conscious. 

She  is  still  that  way.  She  is  still 
dodging  interviewers  and  public  places. 
Recently,  for  the  first  time,  she  posed  for 
pictures  "at  home"  —  but  only  after 
months  of  persuasion.  She  still  objects 
when  press  agents  want  to  print  anything 
about  her  as  a  person,  not  an  actress.  If 
people  like  her  as  an  actress,  she  wants  to 
leave  well  enough  alone. 

There  is  no  reason  why  people  wouldn't 
like  her  equally  well  as  a  person,  if  she 
would  let  them  know  her.  She  is  re- 
freshing because  she  is  not  a  dazzling 
Glamour  Girl,  but  a  simple,  everyday  per- 
son— on  the  quiet  side.  She  has  money, 
but  she  doesn't  show  it  off.  She  and  Frank 
live  in  a  rented  house  of  nine  rooms — 
small  for  Hollywood — tucked  away  in  the 
hills.  She  has  a  mongrel  dog  without  a 
sniff  of  a  pedigree.  She  spends  most  of 
her  spare  time  in  slacks,  which  are  no- 
toriously unglamorous  on  the  female 
form  but  comfortable.  She  putters  in 
the  garden.  She  reads  a  great  deal.  She 
talks  well  among  friends — but  is  a  better 
listener.    She  isn't  a  good  mixer. 

She  can't  be  too  difficult  to  live  with. 
Frank  has  been  getting  along  all  right 
with  her  for  eight  years.  They  recently 
went  on  a  long  holiday  together.  Now 
there  is  talk  of  their  having  formed  an 
independent  movie  company  together — 
Frank  to  be  the  producer,  Jean  the  star. 

A  friend  recently  asked  her  if  she  had 
ever  thought  of  adopting  a  child.  "No," 
said  Jean,  "I  want  to  have  my  own."  That 
sounds  as  if,  before  too  long,  she  intends 
to  take  time  off  for  a  Blessed  Event. 

When  she  will  stop  acting  permanently, 
she  doesn't  know.  Before  she  stops,  she 
would  like  to  play  "one  role  in  which 
people  will  remember  me."  For  a  while, 
she  thought  that  Scarlett  O'Hara  might 
be  it,  but  that  deal  fell  through  at  the 
eleventh  hour.  For  a  while,  too,  she 
thought  that  she  and  Frank  might  some 
day  produce  "Joan  of  Arc."  But  David 
Selznick  has  announced  plans  to  produce 
"Joan  of  Arc,"  starring  Ingrid  Bergman. 
So  she's  still  looking  for  "the  one  role." 

Meanwhile,  she  and  Frank  are  talking 
of  buying  or  building  in  the  Valley.  Won- 
der if  she  has  considered  Encino  as  a 
home  site?  There  couldn't  be  a  more 
fitting  climax  to  her  strange  story  than 
to  settle  down,  famous  and  financially  in- 
dependent, in  the  spot  where  she  once 
worked  for  nothing,  in  the  hope  of  landing 
a  job  as  an  actress. 


Solution  to  Puzzle  on  Page  14 


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er, smoother, 
softer — give  you 
a  lovelier  com- 
plexion, we  will 
refund  your  pur- 
chase price. 
The  Stillman  Co.,  Aurora,  Illinois 


Slillmaris  cream 


'T  GET  HIM 

(Continued  from  page  35) 


sense  his  good  health  from  his  tan,  his 
vitality  and  his  ability  to  concentrate 
forcefully.  He  is  far  more  colorful  than 
you  anticipate.  The  records  show  that  he 
is  an  exceptionally  successful  man  from 
all  angles,  but  Joel  definitely  is  no 
stuffed-shirt.  All  his  reactions  are  nor- 
mal, yet  he  is  the  first  to  say  that  he  is 
crazy  about  Hollywood,  and  he  relies  on 
his  impulses. 

"I  have  never  lived  on  a  budget,"  he 
said,  referring  to  his  reputation  as  a 
shrewd  business  man.  "I  couldn't  be 
bothered  with  figuring  closely.  I  don't 
have  any  sort  of  a  desk  at  home;  I  don't 
suppose  we  even  have  a  pen  in  the  place! 
But  I  have  Scotch  blood  in  me,  and  I 
believe  it's  every  man's  primary  duty  to 
support  himself  and  save  for  the  future. 
I  think  you  should  seriously  consider  the 
cash  possibilities  of  whatever  line  of  work 
you  take  up;  if  you  maneuver  towards 
what's  profitable,  you  aren't  so  liable  to 
pick  a  dead-end  career.  The  reason  I  got 
into  pictures  was  that  I  wanted  ad- 
venture on  an  exciting  scale.  That's  ex- 
actly what  Hollywood  has  given  me.  But," 
he  grinned,  "I  also  foresaw  that  there  was 
good  money  to  be  made  here. 

"I  just  hired  my  first  business  manager 
a  month  ago  and  he  attends  to  all  my 
bills,  bookkeeping  and  mail.  I  persuaded 
Paramount  to  give  me  one  of  the  rooms 
in  the  men's  dressing-room  building  for 
his  office,  and  I  go  in  there  about  once 
a  week  to  see  him.  Frankly,  though,  it 
is  my  opinion  that  you  can  get  rich 
quicker  in  other  businesses.  An  actor 
may  hit  big  money,  but  it  is  for  a  com- 
paratively brief  spell  and  the  income  tax 
gets  most  of  it.  A  man  who  is  concen- 
trating on  wealth  would  aim  at  an  in- 
come spread  over  a  long  period  of  years; 
it  would  not  be  so  highly  taxed  and  he'd 
probably  have  investments  which  would 
bring  him  in  considerable  dividends. 

I HAVE  one  financial  secret,  and  it's 
the  trick  that  has  helped  me.  I  don't 
budget;  I  simply  take  half  of  what  I  earn, 
before  anything  happens,  and  invest  it. 
I  started  this  system  when  I  was  a  kid 
delivering  newspapers  on  Hollywood 
Boulevard.  When  I  got  my  first  movie 
contract  with  Metro,  I  made  myself  get 
by  on  half  salary,  and  I've  stuck  to  the 
policy  ever  since. 

"The  present  little  theory  that  I  have 
walked  a  blueprint  is  absurd.  I  can  under- 
stand how  you  have  to  fight  through 
discouraging  periods,  because  I  have  had 
my  own  share  of  struggles.  I  have  made 
plenty  of  mistakes.  I  made  one  very  em- 
barrassing one  shortly  after  I  got  my 
first  chance  to  be  an  actor.  I'd  gone  to 
school  with  Cecil  B.  DeMille's  daughter, 
and  he  ordered  Mitchel  Leisen,  then  his 
assistant  and  art  director,  to  test  me  for 
the  lead  in  'Dynamite.'  You  can  imagine 
how  thrilled  I  was!  I  didn't  get  it,  but  I 
was  happy  enough  to  play  a  bit  and  to  be 
under  long-term  contract  to  M-G-M.  It 
looked  as  though  I  was  going  to  be  a  star 
in  double  time,  so  when  the  studio  sent 
out  some  interviewers  I  didn't  hesitate  to 
describe  my  limited  past  dramatically.  I 
was  elated  with  the  publicity,  especially 
when  it  was  tied  up  with  'A  Woman 
Of  Affairs,'  in  which  I  was  to  be  Garbo's 
dashing  lover.  Miss  Garbo  was  quite 
polite  to  me  the  first  day.  There  never 
was  a  second.  Clarence  Brown  didn't 
fire  me,  himself;  he  sent  his  assistant  to 
tell  me  to  report  to  the  casting  office.  The 
casting  director  was  out  and  his  assistant 


— life  in  Hollywood  is  full  of  assistants 
— told  me  to  take  off  their  palm  beach 
suit,  because  I  was  too  tall  for  the  part. 

"While  I  was  sitting  feeling  sorry  for 
myself  in  my  dressing-room,  I  saw 
John  Mack  Brown  going  by  in  the  same 
suit.  I  lost  that  opportunity  because  it 
was  too  important  a  part  for  me  in  too 
big  a  picture.  My  second  break  was  a 
bad  one,  too.  Eventually,  I  was  assigned 
to  another  role  and  we  rehearsed  the 
whole  day  before  we  were  to  start  shoot- 
ing. That  night  my  telephone  rang.  I 
wasn't  experienced  enough;  the  director 
had  no  confidence  in  me,  and  I  was  be- 
ing replaced  by  Conrad  Nagel.  I  know 
what  it  is  like  to  be  out  on  your  ear  when 
all  you  need  is  someone's  faith  and  train- 
ing. Metro  didn't  take  up  my  option,  and 
for  the  next  six  months  I  couldn't  get  a 
job  at  any  studio.  The  publicity  I  had 
leaped  at  was  a  boomerang.  'What's  the 
matter?'  I  was  asked  everywhere.  'Why 
wouldn't  Metro  keep  you?" 

JOEL  was  smart  enough  to  remain  his 
own  clean-cut  self.  He  doesn't  smoke; 
he  doesn't  drink.  He  was  such  a  hand- 
some exception  to  the  rule  that  the  most 
glamorous  reigning  stars  began  inviting 
him  to  be  their  escort  to  the  most  ex- 
clusive social  events.  Joel  is  not  given 
to  reminiscing  about  any  notable  social 
splash  he  made  as  the  colony's  most- 
rushed  bachelor.  He  said,  "I  don't  want 
to  discuss  those  dates.  Frances  might  go, 
'Hmm!' "  Joel  can  hardly  forget,  how- 
ever, the  night  he  was  supposed  to  go  to 
Pickfair  to  meet  the  present  King  of 
England.  The  Fairbankses  and  Charlie 
Chaplin  were  entertaining  for  the  illus- 
trious guests,  and  Gloria  Swanson  had 
invited  Joel  to  take  her  to  the  formal 
dinner.  Came  the  great  day,  and  Joel 
was  thunderstruck.  Miss  Swanson's  secre- 
tary phoned  that  the  gentlemen  were 
wearing  white  ties.  Joel  didn't  know 
what  on  earth  that  meant,  and  after  he 
found  out  she  meant  tails  he  was  still  in 
a  pickle,  because  he  had  only  a  poorly- 
fitted  tuxedo.  Characteristically,  he  was 
not  awed  into  doing  anything  rash.  He 
obviously  didn't  have  time  to  have  a  full- 
dress  suit  tailor-made,  so  he  'phoned 
Gloria  that  he  was  ill.  Incidentally,  he 
never  owned  tails  until  a  role  required 
them,  and  a  studio  got  them  for  him. 

After  his  semi -romance  with  Swanson, 
he  dated  Constance  Bennett  quite  a  bit. 
She  didn't  humble  his  hunches,  either. 
He  didn't  buy  a  snappy  convertible;  he 
couldn't  out  of  his  half  salary.  He  pur- 
chased a  second-hand  Dodge  roadster  and 
arrived  at  all  Beverly  Hills  mansions  in 
it.  The  ladies  invariably  had  their  own 
limousine  for  further  transportation.  "I 
was  the  backward  type,"  smiled  Joel.  "I 
didn't  force  myself  on  them." 

The  McCrea  marriage  is  now  in  its 
seventh  year,  and  Joel  and  Frances  have 
two  husky  young  sons.  But  it  is  foolish 
to  be  saccharine  about  this  pair.  It  wasn't 
a  cut-and-dried  set-up.  Neither  of  them 
fell  in  love  at  first  sight.  They  were 
introduced  on  the  beach  at  Santa  Monica 
when  Joel  was  being  candid-camera'd  in 
the  surf,  and  Frances,  who  was  going 
through  the  sophisticated  stage,  dis- 
missed him  as  probably  one  more  of  those 
overgrown  boy  athletes.  When  they  were 
cast  together  in  "The  Silver  Chord,"  she 
gave  him  her  best  aloof  treatment.  He 
drove  past  her  on  the  street  a  few  days 
after  the  film  had  begun  and  shouted 
hello  at  her.  She  didn't  answer,  where- 


84 


MODERN  SCREEN 


upon  he  automatically  took  a  violent  dis- 
like to  her.  He  went  through  the  who- 
does-she-think-she-is  phase;  after  all, 
he  was  bigger  in  pictures  than  she  was. 
For  three  weeks  they  didn't  get  along. 
It  was  the  only  time  he  has  ever  en- 
countered such  an  impasse.  Frances,  off- 
guard,  found  that  he  was  no  boor.  He 
thereupon  realized  that  her  ingenue  looks 
were  deceiving,  that  there  was  a  fire  and 
a  sweeping  punch  to  her  that  made  her 
fascinating. 

Joel  is  a  combination  of  contradictions. 
He  is  sure  to  do  the  common-sense  thing, 
but  prepare  for  him  to  behave  in  his  in- 
dividual way.  He  plays  safe  and  will  be 
apt  to  confound  you  if  you  blandly  as- 
sume you  have  him  catalogued.  He 
utilizes  ultra-modern  advantages  ordi- 
narily, for  instance,  but  he  won't  fly.  He 
just  doesn't  like  airplanes.  But  when 
Frances  was  in  the  East  on  location  he 
missed  her  so  much  that  he  flew  back 
to  marry  her.  He'd  never  flown  before 
and  hasn't  since. 

"Before  I  married  I  was  certain  I 
never  would.  I  thought  men  could  live 
alone.  I  invested  my  money  in  a  ranch, 
one  that  is  now  self-supporting."  This  is 
phrasing  it  mildly.  Joel's  one  thousand 
acres,  forty-five  minutes  north  of  Holly- 
wood, have  made  him  the  third  largest 
corn  grower  in  California,  and  he  raises 
Hereford  cattle.  "I  built  a  ranch  house 
which  I  thought  could  always  be  head- 
quarters. Frances  preferred  to  live  in 
town,  but  we  have  never  bought  a  town 
house,  because  we  didn't  want  to  be  tied 
down  to  it.  Anyway,  those  tremendous 
places  are  only  for  millionaires.  At  first 
we  rented  a  big  house  and  laughed  be- 
cause we  got  it  at  a  bargain.  Before  the 
year  was  out,  the  joke  was  on  us;  we 
hadn't  counted  on  the  upkeep." 

Nearly  once  a  year  the  McCreas  move. 
They  never  seem  to  know  where  they'll 
be  residing  next,  and  fortunately  both 
of  them  enjoy  this  uncertainty.  There's 
always  the  ranch  to  fall  back  upon.  And 
just  because  they're  no  longer  'patsies' 
about  home  up-keep,  don't  conclude  that 
their  domesticity  is  dull.  "We  rented  our 
present  home  last  winter,  and  I  didn't  try 
out  the  swimming  pool  then.  It  was  full. 
But  in  two  weeks  it  was  empty.  'Why  did 
you  do  that?'  I  asked  Frances.  'I  didn't 
do  anything!'  she  retorted.  We  discovered 


it  leaks.  There  are  no  cracks;  it  just 
takes  two  weeks  for  a  good  drain  job!" 

There  is  very  little  routine  in  Joel's 
days,  considering  the  efficiency  with 
which  he  functions.  He  wakes  up  early 
every  morning  from  habit,  but  from 
then  on,  if  he  isn't  working,  he's  never 
positive  what  will  happen.  If  he  has 
enough  time,  he'll  go  out  to  the  ranch. 
While  it  is  no  plaything,  it  didn't  become 
profitable  right  away.  "Yes,"  exclaimed 
Joel,  "I  pulled  quite  a  boner  out  there! 
I  decided  that  it  would  be  more  economi- 
cal to  pay  a  foreman  a  small  salary  and 
give  him  an  interest  in  the  crop.  That 
was  psychologically  bad,  and  I  ruined  a 
good  farmer.  It  made  him  my  partner, 
and  there  was  too  much  controversy.  I'm 
all  for  harmony.  I'll  argue  my  head  off  to 
gain  a  point,  but  I  steer  clear  of  wran- 
gling. It  was  my  fault  for  I  made  the 
deal.  I  had  to  call  it  off.  Now  I  pay  a 
good  salary  and  if  I  say  'Do  it  wrong!'  at 
least  there  is  no  long-winded  debate. 

THE  McCrea  social  activities  are  not 
planned  ahead.  When  Joel's  working, 
he  proceeds  on  the  principle  that  he  won't 
go  out  at  all  evenings.  Should  he  feel  like 
dinner  with  the  director  or  with  someone 
in  the  cast,  he  will  telephone  Frances,  and 
she  will  join  them  for  an  early  supper. 
Getting  Frances  places  on  time  is  cur- 
rently one  of  Joel's  little  problems.  She 
has  honorable  intentions,  but  ignores 
clocks  with  a  fine  flare.  "I  shouldn't  brag 
myself,  because  until  a  year  or  so  ago  I 
was  always  late  for  appointments.  Frank 
Lloyd  cured  me.  He  was  never  once  a 
minute  late,  and  when  I  saw  that  a  direc- 
tor and  producer  with  his  tremendous 
interests  could  be  that  considerate,  I 
swore  to  get  over  that  bad  habit." 

Joel  has  served  his  apprenticeship 
under  confining  long-term  contracts.  For 
years  he  never  knew  what  he  would  ap- 
pear in,  until  he  read  the  title  in  the 
papers.  A  year  ago,  Joel  had  nerve  enough 
to  request  a  release  from  his  Samuel  Gold- 
wyn  deal.  In  his  contract  he'd  had  a  clause 
stating  that  he  was  to  be  in  two  of 
Goldwyn's  important  productions  each 
season.  He  discovered  he  was  getting  the 
lesser  films  and  was  being  loaned  out  for 
what  he  pithily  termed  "tomatoes."  The 
legendary  Sam  didn't  want  Joel  to  leave 
him,  even  though  Mr.  McCrea  had  upset 


FEMININE  HYGIENE 


Gives 
Hours  of 
Protection 


■a 

Safe  •  No  Caustic  •  No  Poison  •  No  Burning 

Everywhere  fastidious  women  are  adopting  this 
new,  amazingly  safe  way  in  feminine  hygiene! 
Not  only  to  kill  germs  on  contact,  but  to  enjoy 
continuous  protection  for  hours — without 
injury  to  delicate  tissue. 

Called  Zonitors — these  dainty,  snow  white, 
greaseless  suppositories  spread  a  deep  reaching 
protective  coating.  To  kill  germs,  bacteria  at 
contact.  To  cleanse  thoroughly.  To  deodorize 
— not  by  masking — but  by  destroying  odor. 

Zonitors  are  most  powerful  continuous-aclion 
suppositories  . . .  gentle,  safe  for  delicate  tissue. 
Non-caustic,  contain  no  poison.  Don't  burn  or 
irritate.  Help  promote  gentle  healing. 

Greaseless,  Zonitors  are  completely  remov- 
able with  water.  Nothing  to  mix,  no  apparatus 
needed.  Come  12in  package  individually  sealed 
in  glass  bottles.  Get  Zonitors  today  at  drug- 
gists. Follow  this  amazingly  safe  way  in  fem- 
inine hygiene  women  are  raving  about. 

wmm%  am  mm  revealing  booklet,  sent  in 
plf  Pp  plain  envelope,  write 
■  Zonitors,  1807  Chrysler 

Bldg.,New  York  City. 


AND  BATHERS 


Get  instant  lather 
even  in  salt  water, 
with  S  A  Y  M  A  N  '  S 
Vegetable  Wonder  SOAP 

Write  Sayman,  Dept. 
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.Pure,  V/hHe.SW'n  ^ 

o  Sooting  t°  . 
*'  HormFobncs 


Lundigan  pins  one  of  the  orchids  Warners  gave  away  to  publicize  "Brother 
Orchid"  on  his  lovely  light  o'  life,  Margaret  Lindsay. 


yODORS 


ALSO  IN  UQUID  S  POWDER  FORM 


AUGUST,  1940 


85 


Blend-O's  save  my 

I  •  from  pulling  or  breaking... 
null  and  are  practically  invisible' 


Says  charming  ROCHE LLE  HUDSON 

featured  in  "BABIES  FOR  SALE," a  Columbia  Picture 

No  Wonder  Hollywood,  the  city  of- gorgeous  girls, 
has  so  quickly  taken  to  this  Modern  Plastic  hair 
curler.  Consider  these  features: 

1.  PROTECTION  —  no  rough  edges  or  springs  which 
might  cut  your  hair. 

2.  CONSTRUCTION — light,  durable  plastic  lasts  longer, 
stays  fastened  and  feels  SO  much  better. 

3.  APPEARANCE  —  5  natural  shades  blend  toward  in- 
visibility . .  .black,  brown,  blonde,  auburn,  platinum. 

4.  EFFECT — delightfully  soft,  natural  looking  curls 
roll  off  easily.  Need  Not  Be  Combed  Out. 

Use  BLEND-O'S  for  Beauty 

Inlaid  Co.,  Prov.,  R.  I.,  U.S.A. 


BLENDO 

BLEND  WITH  YOUR  HAIR 


,  dep«' 


went  1 


Muddy  Skin 
Blemishes 
Blackheads 
Blotches 


HOMELY  SURFACE 

PIMPLES 


To  the  thousands  of  folks  suffering 
from  surface  pimples,  acne,  muddy 
complexion,  skin  eruptions,  etc.,  we  will  send  FREE  book- 
let of  a  simple  method  of  treating  the  skin.  A  noted  der- 
matologist's private  method.  No  harmful  medicine,  skin 
peel,  diet,  etc.  Something  different.  Send  to  Dr.  W.  D. 
Tracy  Co.,  1637  J,  New  Haven,  Conn. 


DR.  C.  H.  BERRY'S  FRECKLE 
OINTMENT — used  for  40  years  for  freckles.  $1.25 
&  65c  at  drug  and  Dept.  Stores.  For  FREE 
sample,  address  KREMOLA.  Dept.  M-l,  2975  S. 
Michigan  Ave.,  Chicago,  111. 


Don't  let  baby  wear  outgrown  shoes.  Baby  feet 
grow  so  fast  you  must  change  to  new  shoes  often. 
Baby  doctors  all  over  America  tell  mothers  to 

buy  Wee  Walkers,  those  CORRECT    j.  ; 

baby  shoes  which  cost  so  little.  i&jj 
Infants'  Wear  Dept.  of  the  following 
low-profit  stores.  Birth  to  shoe  size  c*. 

W.  T.  Grant  Co.  S.  S.  Kresge  Co.  J.J.  Newberry  Co. 
H.  L.  Green  Co.,  Inc.  Sears,  Roebuck  and  Co. 

Metropolitan  Chain  Stores,  Inc.      Schulte- United  Stores 
I.  Silver  &  Bros.   F.  &  W.Grand 
G.  R.  Kinney  Company 
FREE;  Baby  foot 
measuring  scale 
in  pamphlet  on 
fitting.  Moran 
ShoeCo.,Dept.M 
Carlyle,  111. 


'ee  Walkers  for  the  wee  walker 


him  a  number  of  times  by  trying  to  sell 
him  various  other  actors.  Barbara  Stan- 
wyck secured  the  lead  in  "Stella  Dallas," 
only  because  Joel  kept  insisting  she  was 
the  one  for  it.  Like  all  of  Joel's  casting 
efforts,  this  was  a  purely  philanthropic 
deed.  Goldwyn  invariably  spluttered 
"No!"  to  each  of  Joel's  discriminating  sug- 
gestions; he  roused  Joel  in  the  middle  of 
the  night  to  come  up  and  tell  him  again 
why  Barbara  was  right  for  that  break. 
Jon  Hall  owes  his  stardom  to  Joel's 
intercession. 

As  a  free-lance,  Joel,  in  his  early 
thirties,  is  varying  his  roles  admiringly. 
"This  one  has  taught  me  I'd  better  stop 
wearing  cheap  clothes.  I  hate  fittings, 
but  now  I  am  going  to  a  top  tailor  on  the 
Strip,  because  when  I  took  a  look  at  the 
first  rushes  and  saw  how  I  looked  in  com- 


parison with  Herbert  Marshall,  I  knew 
that  my  wardrobe  would  have  to  be 
vastly  improved."  He  is  not  fond  of  New 
York  City,  other  than  for  its  stage  plays. 
His  idea  of  a  vacation  is  to  train  East 
with  Frances,  pick  up  a  car  and  then 
drive  around  the  country.  They  don't 
travel  as  movie  stars,  and  so  they  get  in 
a  lot  of  spontaneous  fun.  He  is  anxious 
for  her  to  continue  her  career,  believing 
that  any  woman  who  has  a  talent  should 
have  the  privilege  of  exercising  it.  Em- 
phatically head  of  his  own  household, 
Joel  is  smart  enough  not  to  be  selfish. 

If  you  are  curious  about  some  of  Holly- 
wood's muchly  touted  players,  you  bump 
into  a  strange  barrier  when  you  try  to 
know  them  as  they  honestly  are,  but  you 
don't  need  to  get  Joel  McCrea  wrong. 
He's  perfectly  willing  to  set  you  right! 


LADIES'  MAN 

(Continued  from  page  31) 


romantic.  Grant  you,  it's  flattering, 
though." 

Sitting,  listening  to  Charles  Boyer,  we 
tried  to  analyze  his  charm.  Wearing  soft 
brown  moccasins,  he  seemed  shorter  than 
we'd  imagined.  His  clothes  were  rum- 
pled; his  movements,  slow;  his  face,  tired. 
But  listening  to  him,  we  became  aware 
of  his  manner— of  his  slow  glance  and 
quick  smile,  of  his  continental  savoir 
faire,  of  his  disarming  accent.  But  we 
realized  that  these  physical  items  weren't 
his  secret.  We  could  go  home  and  prac- 
tice making  our  eyes  look  dreamy,  ac- 
quire an  accent  and  learn  to  be  non- 
chalant, but  we  still  wouldn't  be  Boyer, 
and  girls  would  still  avoid  us  like  a 
plague. 

"JVTO,  Charles  Boyer's  secret  wasn't  tied 
up  with  appearance  and  manner.  It 
was  something  else,  certainly,  that  made 
him  a  Ladies'  Man.  It  was,  perhaps,  that 
he  understood  ladies.  It  was,  maybe,  that 
he  recognized  in  women  intangible  qual- 
ities, good  and  bad,  that  the  average  man 
couldn't  see. 

We  wondered  if  Monsieur  Boyer  would 
be  prone  to  discuss  such  matters.  We 
had  heard  he  was  as  gabby  as  a  clam 
on  the  subject  of  women  in  general. 
But  no  harm  trying — 

"You  want  to  know  what  criticism  I 
have  to  make  of  women?"  echoed  Boyer. 

He  rose  from  his  chair,  paced  nervously 
across  the  room,  debating  whether  or 
not  to  involve  himself  in  the  question. 
Finally,  as  he  walked,  he  talked: 

"I  am  much  too  fond  of  women  and 
respect  their  underlying  charm  too  much 
to  criticize  them.  For  example,  reporters 
always  want  me  to  compare  French  girls 
with  American  girls.  But  such  general- 
ities are  difficult.  Oh,  I  could  say  French 
girls  have  more  warmth  than  American 
girls,  that  they  wear  inexpensive  clothes 
better  and  that  they  are  not  quite  as 
good  looking.  I  could  say,  also,  that 
American  girls  are  much  more  attractive 
and  vital.  But  both  statements  would  be 
only  half  true — because  French  and 
American  ladies  both  have  good  points 
and  bad  points.  It  is  possible  to  criticize 
individuals,  but  not  nationalities." 

Boyer  paused,  came  to  roost  on  the 
arm  of  the  low-slung  sofa,  then  began 
speaking  again  in  his  throaty  accent. 

"But  this  I  think  I  can  tell  you — the 
thing  I  personally  do  not  like  in  ladies. 
I  do  not  like  a  woman  to  keep  reminding 
me  that  she  is  a  woman.  Do  you  under- 
stand? I  will  illustrate.  I  am  on  a 
date.   My  lady  drops  her  handkerchief. 


I  like  to  rush  and  pick  it  up  for  her. 
I  want  to  be  gentlemanly  and  do  her  that 
favor.  But  I  do  not  like  her  to  tell  me 
to  pick  it  up  or  to  expect  me  to.  That  is 
to  say,  I  do  not  care  for  the  attitude  of 
women  who  expect  things  done  for  them 
because  they  are  feminine.  You  see,  there 
is  just  no  kick  in  being  gallant  if  it's  in 
the  contract  that  you  have  to  be  so." 

Charles  Boyer's  wisdom  concerning  the 
feminine  sex  has  stood  him  in  good  stead 
with  Pat  Paterson,  his  blonde  English 
wife.  Boyer  went  with  Actress  Pat  only 
twelve  weeks.  Then  suddenly,  one  night 
at  a  preview,  he  broke  an  early  resolu- 
tion to  remain  a  bachelor,  proposed  to 
her — and  five  minutes  later  they  were 
on  their  way  to  a  spectacular  and  suc- 
cessful elopement. 

Boyer's  matrimonial  wisdom  extends  to 
the  knowledge  that  only  one  word  is  nec- 
essary to  wedded  bliss — "compromise." 
He  and  Pat  have  both  compromised:  She, 
in  giving  up  her  acting  career  because 
he  thinks  careers  and  matrimony  a  poor 
mixture;  and  he,  in  confining  his  bass 
warbling  to  the  bathroom  because  she 
doesn't  think  him  a  Caruso. 

We  wondered  if  his  love  scenes  had 
ever  been  a  matrimonial  issue.  We  won- 
dered what  Pat  Paterson  thought  of  her 
handsome  housband  holding  Glamour 
Girls  in  his  arms. 

DOYER  shrugged.  "Pat  has  never 
watched  me  make  love  in  the  studio. 
Though,  if  she  were  ever  on  hand,  she 
wouldn't  object,  because  she  knows  it  is 
all  nonsense  and  silly.  In  fact,  the  only 
time  she  comes  to  the  studio  is  to  have 
lunch  with  me.  She  prefers  not  to  watch 
my  pictures  in  production,  so  that  when 
she  sees  them  on  the  screen,  they  will 
be  fresh  to  her,  and  she  will  be  better 
able  to  judge  them.  Pat  is  very  critical  of 
my  work  and,  in  her  opinions,  is  always 
very  sincere,  very  frank,  and  very  right!" 

We  asked  Monsieur  Boyer,  since  it  was 
a  point  under  discussion,  whether  he 
himself  was  extremely  critical  of  his 
own  work  on  the  screen.  Indeed  he  was! 

"My  work  is  always  a  great  disap- 
pointment to  me.  What  I  see  is  so  far 
from  what  I  hoped  for.  Naturally,  it's 
difficult  to  perfect  a  movie  scene.  Every 
shot  is  a  first  night.  There's  never  time 
to  sleep  on  it  or  permit  it  to  grow  in 
your  mind.  The  work  is  usually  hasty 
and  superficial. 

"When  I  observe  myself,  I  see  error 
after  error,  and  I  say  to  myself,  ah! — 
that  scene — it  should  have  been  done 
this  way  or  that  way.    I  immediately 


86 


MODERN  SCREEN 


spend  an  hour  thinking  of  ten  ways  in 
which  I  could  have  improved  the  scene. 
That's  my  biggest  fault.  I  can't  forget 
my  mistakes  and  persist  in  enacting  them 
over  and  over  again  in  my  mind.  Very 
futile  and  a  bad  habit,  because  it  keeps 
me  in  the  past,  instead  of  looking  ahead. 

"However,  of  late,  I  have  stopped  view- 
ing rushes  of  myself  on  the  screen.  I  fall 
prey  to  the  habit  of  discovering  an  ef- 
fective smile  of  mine,  or  a  gesture  or 
posture  or  glance  which  appeals,  and 
unconsciously,  adopting  the  mannerism 
as  a  trick,  and  repeating  it  until  it 
becomes  a  cliche.  Today,  I  know  it  is 
bad  to  look  at  oneself  too  long." 

DURING  the  course  of  the  conversa- 
tion, as  Charles  Boyer  unburdened 
himself  and  informed  us  of  his  tastes  and 
habits,  we  became  aware  that  he  was 
an  intellectual  and  an  introvert.  His 
word  picture  of  his  personal  preferences 
did  not  add  up  to  the  usual  idea  of  a 
Ladies'  Man,  and  as  such,  his  personal 
preferences  were  news.  t 

"My  idea  of  an  excellent  evening,"  he 
admitted,  "is  a  nice  little  gathering  at 
home  or  at  a  friend's  home.  Not  that  I 
am  a  recluse  or  that  I  try  to  avoid 
people,  because  I  don't.  And  some- 
times I  do  enjoy  going  out  in  public 
and  mixing.  But  my  peace  exists  with 
a  small  friendly  group,  indulging  in  sen- 
sible talk  for  a  quiet  evening. 

"In  my  group,  my  best  friend  is  Ronald 
Colman.  We  see  each  other  three  times 
a  week.  His  wife,  Benita  Hume,  is  an 
old  friend  of  mine,  too.  Ronald  is  the 
best  company  possible.  As  an  actor,  he 
isn't  a  ham  but  an  artist  and,  as  a  man, 
he  is  cultured  and  doesn't  have  to  confine 
his  conversation  to  films. 

"Incidentally,  I  see  in  Colman  much 
that  I  believe.  For  I  believe  the  perfect 
actor  should  know  everything.  That  is, 
he  should  have  a  super  background,  be- 
cause a  real  actor  is  constantly  called 
upon  to  play  roles  varying  from  physi- 
cians and  murderers  to  politicians,  and 
he  must  understand  them  all.  Toward 
this  end,  I  read  books  like  mad — and 
I  enjoy  chatting  about  everything  under 
the  sun.  However,  I'm  not  one  of  those 
who  claim  they  never  talk  shop  because, 
since  movies  are  my  profession,  I  enjoy 
talking  about  them." 

Speaking  of  drawing-room  conversa- 
tion, Monsieur  Boyer  stated  that  along 
with  Ronald  Colman,  he  appreciated  the 
company  of  his  friends  Maurice  Che- 
valier, Philip  Heriat,  the  French  novelist, 
and  Anatole  Litvak,  who  was  directing 
him  at  Warner  Brothers. 

Intellectually,  there  were  four  women, 
besides  his  wife,  he  looked  forward  to 
spending  an  evening  with.  These  four 
women,  their  collective  brain  adding  up 
to  some  synonym  for  genius,  were:  Eve 
Curie,  lecturer,  writer  and  daughter  of 
the  discoverer  of  radium;  Natalie  Paley, 
part-time  actress;  Mrs.  Rubenstein,  wife 
of  the  concert  pianist;  and  Colette,  the 
French  novelist,  about  whom  Boyer  re- 
marked, "I  have  known  her  over  twenty 
years,  and  she's  always  been  exciting  and 
intelligent." 

Up  on  his  feet  again,  striding  back  and 
forth  within  the  confines  of  the  small 
room,  smoking  incessantly,  Charles 
Boyer  expounded  on  one  of  his  pet  topics 
— Hollywood. 

"Whenever  I  am  in  Paris,  I  frankly 
raise  hell  with  the  French  press  for  pic- 
turing Hollywood  as  a  home  of  unspeak- 
able orgies,  wild  parties,  irresponsible 
inhabitants  and  marble  palaces.  Holly- 
wood, I  inform  them,  is  badly  misjudged. 
The  people  I  know  in  the  film  colony 
work  hard,  are  up  at  six  in  the  morning 
and  not  through  witli  work  until  ten  at 


night.  And,  unless  they  wish  to  die  early, 
they  prefer  sleep  to  excessive  play. 

"Off  and  on,  I  have  been  in  Hollywood 
for  ten  years.  I  have  seen  the  intellec- 
tual level  rise  and  the  town's  standards 
grow.  Eventually,  every  great  talent 
comes  to  Hollywood.    It's  a  fine  place." 

From  Hollywood  itself,  Boyer  launched 
into  a  discussion  of  the  movies  and  his 
own  movie  ambitions.  He  spoke  of  his 
anxiety  for  good  scripts  and  his  desire  to 
portray  important  personalities  such  as 
Moliere.  He  spoke  further  of  the  kind 
of  movies  he  wanted  to  participate  in 
during  his  tomorrows. 

"The  more  I  observe  of  war,  of  labor 
troubles,  of  suffering  and  intolerance,  the 
more  I  want  to  do  motion  pictures  with 
a  message.  Of  course,  I  still  believe  en- 
tertainment is  the  most  important  factor, 
and  I  believe  light  comedies  are  essential 
and  necessary,  though  I'm  not  the  type 
to  play  them." 

Disclosing  the  hidden  workings  of  his 
system,  Boyer  revealed  he  had  learned 
most  of  his  histrionic  technique  from 
Lucien  Guitry.  "Lucien,  the  father  of 
Sacha  Guitry,  was  my  favorite  actor.  He 
was  a  genius.  There  aren't  sufficient 
adjectives  to  describe  his  genius.  Once, 
when  he  opened  in  a  new  play,  I  saw  him 
in  that  play  for  thirty  nights  in  succes- 
sion! And  I  learned  more  from  watching 
him  perform  than  from  all  my  fifteen 
years'  experience  on  the  legitimate  stage!" 

A NATIVE  of  Figeac,  France,  Charles 
made  love  to  his  school  teacher  when 
he  was  twelve.  Told  by  her  to  save  his 
talents  for  the  stage,  he  took  the  teacher's 
advice  and  went  on  the  boards  at  the 
age  of  nineteen. 

"Between  the  ages  of  eighteen  and 
twenty-six  most  humans  are  molded  and 
greatly  influenced,"  said  Boyer,  "and  it 
was  during  that  period  that  I  read  the 
stirring  novels,  philosophy  in  fiction,  of 
Francois  Mauriac.  His  works  did  the 
most  toward  influencing  my  future." 

From  his  initial  footlight  success  in 
Bernstein's  "Melo"  to  his  first  great 
Hollywood  film,  "Private  Worlds,"  Boyer 
retained  one  bit  of  advice  his  mother  had 
given  him.  "The  advice?  Very  simple. 
That  I  should  never  get  a  swelled  head, 
that  I  should  keep  my  sense  of  propor- 
tion— especially  in  the  business  of  act- 
ing, where  there  is  so  much  fan  mail 
praising  one  for  appearance  and  talent." 

Unbuttoning  his  costume,  to  change 
into  the  plain  gray  type  of  suit  he  likes 
to  wear,  Charles  Boyer  admitted  that  his 
recent  service  with  the  army  in  France 
had  affected  his  sensitive  nature.  "The 
war  made  me  more  serious,"  he  said. 

He  talked  of  music.  His  favorite  song 
is  "Lover"  by  Cole  Porter.  His  favorite 
popular  composer  is  Irving  Berlin.  He 
enjoys  watching  and  hearing  Toscanini 
conduct.  He  thinks  Chaliapin  the  best 
singer  he  has  ever  heard. 

He  mentioned,  also,  enjoying  Del  Monte, 
California  as  a  vacation  spot,  preferring 
the  tango  as  a  dance,  abhorring  tails  and 
top  hat,  desiring  to  one  day  become  a 
producer,  liking  to  stay  up  late  nights 
and  loving  a  good  game  of  poker. 

Before  we  left,  Charles  Boyer  rose  to 
his  full  five  feet  nine  and  stood  opposite 
us.  He  explained  that  he  wanted  one 
thing,  above  all  others,  made  clear.  His 
brown  eyes  were  sincere  and  his  manner 
convincing.  He  emphasized  one  thing: 
"Remember,  that  whatever  I  am,  well, 
I  am  certainly  not  a  Ladies'  Man!" 

We  weren't  sure.  Maybe  he  was  right 
about  himself.  Maybe,  after  all,  he  was 
just  quiet,  serious,  very  married  and 
domestic — but,  say!  listen!  We  still 
wouldn't  trust  our  girl  friend  to  get 
within  ten  feet  of  him!  No  sirree! 


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STRICTLY  PERSONAL 

{Continued  from  page  37) 


Deanna  Durbin's  face  is  a  headache  to 
the  make-up  man.  It's  too  healthy — her 
complexion  is  too  smooth,  her  pores  too 
fine  and  her  skin  too  taut — which  causes 
grease-paint  to  slide  off  her  forehead  and 
cheeks. 


Her  severest  critic  is  her  brother-in- 
law.  But  her  favorite  critic  is  sister, 
Edith — "though  she's  a  trifle  tender  with 
me."  Recently,  Deanna  sang  a  song  at  a 
house-party,  and  a  week  later  sang  it 
twice  as  well  on  the  radio.  Her  brother- 
in-law  bawled  her  out  for  that.  He  in- 
sisted she  should  have  been  as  good  at 
the  party  as  on  the  air. 


She  doesn't  see  Vaughn  Paul  at  the 
studio.  Before  they  were  in  love,  he 
worked  on  her  first  five  pictures  as 
second  assistant  director.  After  they  fell 
in  love,  he  was  promoted  to  first  assistant 
— and  out  of  her  pictures! 


Her  cameraman  claims  she  photographs 
75%  better  than  the  average  star.  One 
of  the  main  reasons  is  because  she  has 
good  ears!  Honestly!  Her  ears  lay  back, 
small,  flat  and  perfectly  shaped — enabling 
her  to  be  shot  sideways  and  from  over 
the  shoulders  without  her  ears  looking 
like  the  arms  of  a  loving  cup. 


The  only  make-up  corrections  neces- 
sary to  her  countenance  are  shadows  to 
make  her  round  face  appear  thinner,  and 
more  shadows  to  make  her  chin  sharper. 
Also,  her  lips  are  cut  down  by  paint, 
because  they  are  too  full  and  sensuous 
for  the  youthful  roles  she  plays. 


She  sighs  when  watching  Spencer 
Tracy  on  the  screen.  And  she  is  at  the 
opening  of  all  Margaret  Sullavan  pic- 
tures. Her  stage  preferences  go  to  Helen 
Hayes  and  Gertrude  Lawrence,  though 
she  wishes  she  had  seen  Katharine 
Cornell. 


Deanna  doesn't  take  a  weekly  allow- 
ance. "I'm  not  methodical  enough,"  she 
says.  She  goes  around  without  a  penny 
in  her  purse  and  puts  all  meals  and 
purchases  on  credit.  "But  someday,  on 
the  way  to  the  studio,  I'll  run  out  of  gas, 
and  then  I'll  be  sorry." 


Blue  is  her  pet  clothes  color,  because 
her  eyes  are  blue.  Six  different  shades 
of  blue  will  change  the  color  of  her  eyes 
six  times. 


Singing  does  to  Deanna  what  physical 
exercise  does  to  the  layman.  It  makes 
her  hungry.  She  developed  an  enormous 
appetite  while  recording  three  numbers 
for  her  next  picture,  the  nineteenth  cen- 
tury costume  piece,  "Spring  Parade." 


Deanna  still  takes  three-hour  singing 
lessons  from  her  first  teacher,  Andre  de 
Segurola.  She  goes  to  his  home  every 
day  for  the  lessons. 


The  two  men  in  the  world  she  would 
like  most  to  meet  are  Toscanini,  the 
great  Italian  conductor  who  can  study 
a  score  once  and  know  every  note  from 
memory,  and  Franklin  D.  Roosevelt  of 
Washington,  D.  C. 


She  claims  she  has  never  met  a  boy 
she  couldn't  get  along  with.  There  are 
no  male  traits  that  annoy  her,  and  she 
never  fights  with  fellows. 


She  doesn't  care  for  an  early  breakfast. 
If  she  could,  she  would  like  to  skip  it 
altogether  and  get  up  in  time  for  a  big  ] 
lunch — and  she  does,  during  vacations. 


If  she  weren't  a  singer,  Deanna  might 
be  a  music  teacher.  And  if  she  couldn't 
be  that,  "Why,  I'd  be  nothing.  I'd  just 
be  flopping  around." 


She  owns  miniature  prints  of  her  last 
eight  movies.  She  also  owns  a  small 
8  mm.  camera,  and  takes  amateur  motion 
pictures  of  other  players  at  work  on 
the  lot. 

When  a  picture  is  in  shooting,  she  ex- 
pects Joe  Valentine,  her  cameraman,  to 
bring  her  a  package  of  gum  after  every 
lunch  hour.  If  he  doesn't,  she's  unhappy. 
And  whenever  she's  unhappy,  Joe  Val- 
entine will  shout,  "Give  us  the  big  eyes! 
The  Durbin  smile!"  Then  she  will  grin. 


At  home,  she  sings  all  day  long,  and 
anything  that  comes  to  her  mind,  even 
swing  numbers.  She  never  sings  any- 
thing too  high  when  fooling  around. 


On  a  date,  Deanna  Durbin  likes  to  do 
something  different.  She  likes  the  boy 
friend  to  take  her  to  the  movies! 


She  has  her  screen  and  private  clothes 
made  at  the  studio.  She  favors  plain 
tailored  suits  and  sports  dresses.  The 
average  dress  she  wears  before  the  cam- 
era costs  $25,  and  after  the  picture  is 
over,  Deanna  buys  it  from  the  studio 
for  $12.50. 


The  biggest  crisis  in  Deanna's  career 
was  keeping  her  young  for  the  public, 
even  though  she  was  maturing.  Vera 
West,  Universal's  expert  clothes  designer, 
managed  this  illusion  by  giving  her  high- 
waisted  dresses,  full  sexless  skirts — and 
by  using  bolero  jackets  to  cover  her  bust. 


She  still  remembers  the  best  piece  of 
advice  ever  given  her.  It  was  at  the 
beginning  of  her  second  picture,  when 
Adolphe  Menjou  remarked,  "Deanna,  al- 
ways remember,  it  takes  as  much  effort 
to  make  a  bad  picture  as  it  does  to  make 
a  good  one,  so  why  not  always  make 
good  ones!" 


Upon  losing  her  temper,  she  never 
swears.  She  merely  exclaims,  "Aw,  bugs!" 
Or,  when  she  really  gets  sore,  she  shouts, 
"Phooey!" 


Her  church  is  Baptist.  She  can  do  the 
Lambeth  Walk.  She  laughs  constantly, 
but  never  giggles.  She  hasn't  ever  been 
late  for  a  dress  fitting.  Her  favorite 
author  is  W.  Somerset  Maugham. 

Over  a  hundred  pedigreed  dogs  have 
been  offered  her.  She  has  refused  them 
all,  remaining  loyal  to  her  black-haired 
mongrel,  Tippy.  She  purchased  Tippy 
some  years  ago  in  a  pet  shop  for  $2, 
choosing  him  because  he  liked  the  salted 
peanuts  she  was  eating. 


No  rituals  have  attached  themselves 
to  Deanna's  singing.  Where  the  average 
opera  star  avoids  starches  and  gulps  hot 
wine  before  tackling  the  high  notes, 
Deanna  will  calmly  consume  a  five  course 
lunch  and  then  toss  off  her  favorite 
operatic  selection,  "One  Fine  Day,"  from 
"Madame  Butterfly." 


88 


MODERN  SCREEN 


This  high-crowned  charmer  will  get 
around,  for  it's  one  hat  the  men  in 
your  life  will  heartily  approve. 


To  bring  out  the  clinging  vine  ". 
the  most  independent  career  gii 
we  give  you  this  bit  of  whims' 


On  the  sophisticated  side  is  th 
one  of  lacquered  black  crep 
paper  with  bright  red  streamer 


SO  YOU'VE  always  fancied  your: 
frustrated  Lilly  Dache!   Well,  here 
very  opportunity  you've  been  dyin 
Not  only  can  you  now  whip  up  an 
able  crepe  paper  hat  in  a  few  hour 
you  can  indulge  in  all  manner  of  ; 
of  fancy  in  the  trimming  line.  D 
it  sound  like  your  dream  come  tru 
And  that's  only  the  beginning! 
output  is  virtually  non-existent,  a 
whole  hat  will  come  to  only  twentj 
cents  plus  the  cost  of  your  trim, 
just  couldn't  spend  more  than  a  c 
on  one  if  you  went  hog-wild  in  e 
trimming  department  in  town.  W 
you  see  the  luscious  colors  the  c 
paper  comes  in.    Why,  even  if  the  . 
making    were    a    gruelling  task, 
wouldn't  be  able  to  resist,  but  believ 


august,  1940 


'ARDY  TAR 

The  Pirates'  Den"  is  the  most  popular  spot 
i  town  these  summer  nights.  Its  array  of 
'wners — among  them  Bing  Crosby,  Rudy 
/allee,  Fred  MacMurray,  Johnny  Weissmuller 
ind  Ken  Murray — was  bound  to  attract  the 
'ublic.  But  once  there,  it's  the  fun  that  holds 
;m.  Chief  attraction — with  all  due  credit  to 
ie  aforementioned  lads — is  the  iron  sailor, 
i  which  customers  can  throw  all  the  bottles 
ey  want  at  a  mere  nickel  apiece. 

'rOOD  THINGS  IN  SMALL 
ACKAGES! 

3t  those  who  will  scoff  at  the  Howard 
ughes-Ginger  Rogers  intentions.  But  we  pre- 
set it's  wedding  bells  for  sure — particularly 
ter  seeing  Howard's  fifty-two  birthday  pres- 
ts  delivered  to  Ginger  on  the  set  the  other 
y.    They   were   small   boxes   of  various 
ipes,  and  each  one  was  done  up  in  a 
?erent  color  scheme.  Ginger  was  trembling 
h  excitement  from  the  moment  she  opened 
first  box  and  found  a  beautiful  pearl, 
il   she   opened   the  last  little  box  and 
nd  a  fifty-second  beautiful  pearl.  Seems 
t  Ginger's  mother  had  told  Howard  just 
V  her  daughter  feels  about  presents — 
>'s  mad  about  opening  packages,  and  it 
Uy  doesn't  matter  to  her  what's  inside, 
e  her  quantity  to  quality  every  time, 
vever,  she's  not  objecting  a  bit  to  How- 
's ingenious  way  of  combining  both  ele- 
its,  and  don't  think  she's  not  proud  of 
elegant  pearl  necklace  she's  had  made! 

PENSIVE  HOBBY 

nia  Bruce  is  turning  into  one  of  Holly- 
's most  avid  art  collectors.  No  less  an 
rity  than  Edward  G.   Robinson  says 
ie  beauteous  blonde  has  an  apprecia- 
ir  fine  paintings  that  should  mean  an 
le   collection   in   the   future.   And  J. 
Ruben  has  faithfully  promised  not  to 
■>  much  as  one  star  sapphire  for  Vir- 
but  to  put  those  extra  pennies  toward 
ause." 

SE  AQUATIC  MacMURRAYS 

ay  wander  into  a  theatre  one  of  these 
and  be  surprised  to  see  Fred  Mac- 
7  grinning  at  you  from  a  sports  short. 

taken  on  extra-curricular  activity  late- 
1  has  made  several  short  features  for 
al  release.  It  all  came  about  because 
is  so  good  at  water  polo  that  various 
•nies  begged  him  to  show  on  the  screen 
t  really  should  be  done.  What  they 
know  is  that  lovely  Mrs.  MacMurray 

e  of  a  champ  at  the  sport  than  her 
nd! 

SO  FASTIDIOUS  AFTER  ALL 

3enny  makes  a  point  of  boasting  about 
istidious  tastes  in  cigars,  whenever  an 
.ion  arises.  But  his  secretary  at  the 
d  knows  the  boss  pretty  well  and,  in 
'er  to  a  query  about  what  kind  of  smoke 

really  prefers,  she  said  airily,  "Oh,  El 
;o,  Sub  Rosa,  or  any  other  kind  that 
es  as  a  gift."  So  he's  choosey,  eh? 


MODERN  SCREEN 


MEM  ALBUM 


PMIMIH  Of 


i 


100  PICTURES -1000  NEW  FACTS 


Your  favorite  screen  stars  live  for  you  on  the  pages 
of  the  Summer  issue  of  SCREEN  ALBUM.  The  beauti- 
fully printed,  entrancing  portraits,  ALL  of  them  auto- 
graphed, are  accompanied  by  thrilling  word  pictures 
—  intimate,  up-to-the-minute  details  you  have  always 
wanted  to  know. 

One  hundred  glamorous  pictures  of  Hollywood's 
most  popular  personalities  and  a  multitude  of  inside 
facts  on  each  is  now  yours  in  the  new  Summer  edition  of 
SCREEN  ALBUM.  It's  the  best  dime's  worth  on  the 
newsstands  —  get  your  copy  today! 


LUCKIES  FINER  TOBACCO 
MEANS  LESS  NICOTINE 

Authoritative  tests  reveal  that  Luckies'  finer  tobaccos 
contain  less  nicotine  than  any  other  leading  brand! 


Here's  the  natural  result  of  buying 
finer,  selected  cigarette  tobacco  for 
Lucky  Strike.  The  average  nicotine 
content  of  Luckies,  for  over  two  years, 
has  been  12%  less  than  the  average 
of  the  four  other  leading  brands^  — 
less  than  any  one  of  them. 

This  fact  is  proven  by  authorita- 
tive tests  and  confirmed,  from  time  to 
time,  by  independent  laboratories. 


You  see,  each  year  we  exhaustively 
analyze  tobaccos  before  purchase. 
Thus  our  buyers  can  select  the  leaf 
that  is  rich  and  mellow,  yet  mild 
and  low  in  nicotine  content — then 
buy  it  up. 

The  result  — a  cigarette  of  finer, 
rich  and  mellow  tobaccos  with  a 
naturally  lower  nicotine  content. 
Have  you  tried  a  Lucky  lately? 


With  men  who  know  tobacco  best -it's  luckies  2  TO  7 


ing  9. 8  2%  less  nicotine  content  than  Brand  A; 
21.09%  less  than  Brand  B;  15.48%  less  than 
Brand  C;  3.81%  less  than  Brand  D. 


Like 

KLOSSOMS  fio/r?  HEMEN 
V/t/s  NEW  COLOGNE 
THRILLS 

There  seems  to  be  heavenly  magic  in  the  new 
-Spicy  Apple  Blossom  Cologne.  Magic 
that  makes  you  seem  lovely  as  an  angel  —  like 
love's  young  dream !  For  the  fragrance 
of  apple  blossoms  recalls  the  golden  days  of  Spring 
—  when  love's  in  the  air  . . .  and  hearts 
draw  closer  in  Springtime  madness !  Yet  the  dash 
of  spice  in  this  exquisite  cologne 
hints  of  Oriental  mystery  . . .  makes  a  man  wonder 
—  are  you  siren  or  saint?  Use 
Spicy  Apple  Blossom  Cologne  like  a  precious  perfume 
—  a  few  drops  seductively.  Or,  at  its  amazing 
low  price,  thrill  to  the  luxury  of  a  glorious  body  rub 
with  this  glamorous  cologne ! 


You  can  enjoy  the  same  divine  fragrance  in 
Spicy  Apple  Blossom  Talc.  Or  try  any  one  of  the 
Lander's  Talcs  . . .  famous  for  their  flower 
fragrance  blends.  Cool  —  refreshing  — 
creamy- soft  on  your  skin. 


HIS  HEART  SANG: 


99 


UNTIL,  ALAS,  SHE  SMILED.1 


Take  no  chances  with  "Pink  Tooth  Brush" — help  protect 
your  own  bright  smile  with  Ipana  and  Massage! 


HER  HEART  TOLD  HER  the  moment  had 
come . . .  the  magic  moment  when  she 
would  hear  from  his  lips  what  she  had 
read  in  his  glance:  "You're  beautiful- 
beautiful." 

But  then,  alas,  her  lips  parted  in  a 
smile!  And  with  that  smile— so  dull,  so 
dingy,  so  lifeless— the  spell  of  her  beauty 
was  broken. 

HOW  TRAGIC  A  DULL  AND  DINGY  SMILE! 

Better  by  far  than 
beauty  is  the  glamour 
of  a  radiant  smile!  But 
—what  a  tragic  handi- 
cap to  any  woman  if 
she  lets  her  smile  be 
ruined  by  dull  teeth 
and  dingy  gums. 

Don't  run  this  need- 
less risk  yourself!  Give 


your  gums  as  well  as 
your  teeth  the  constant 
care  they  need.  And 
never— never  ignore 
the  warning  of  "pink 
tooth  brush!" 


WHAT  "PINK  TOOTH 
BRUSH"  MEANS.  That 
tinge  of  "pink"  may 
not  be  a  sign  of  serious 
trouble.  But  it's  a  warning  just  the  same. 
When  you  see  it,  see  your  dentist!  He  may 
simply  tell  you  that  today's  soft  foods  have 
robbed  your  gums  of  hard  chewing,  made 
them  weak,  tender.  And  frequently,  like 
many  dentists,  he  will  suggest  "the  health- 
ful stimulation  of  Ipana  and  massage." 

FOR  IPANA,  WITH  MASSAGE,  is  designed 
not  only  to  clean  teeth,  but  to  aid  the 


gums.  Each  time  you  brush  your  teeth, 
massage  a  little  Ipana  onto  your  gums. 
You'll  notice  a  delightful  "tang"— exclu- 
sive with  Ipana  and  massage.  It  means  that 
gum  circulation  is  improving . . .  helping 
gums  to  become  firmer,  healthier. 

GET  A  TUBE  OF  IPANA  TODAY!  Let  the  mod- 
ern dental  health  routine  of  Ipana  and 
massage  help  you  to  have  firmer  gums, 
brighter  teeth— a  love- 
lier, more  sparkling 
smile! 

And  while  you're  at 
your  druggist's  get  the 
new  D.D.  Tooth  Brush, 
too!  It's  specially  de- 
signed with  a  twisted 
handle  for  more  thor- 
oughcleaningandmore 
effective  gum  massage. 


IPANA  TOOTH  PASTE 


SEPTEMBER,  1940 


3 


Aub  16  1940 

©C1B  463970 


Pearl  H.  Finley 

Editor 

Zaila  Seguin 
Associate  Editor 

Althea  Rickert 

Fashion  Editor 


Vol.  21,  No.  4,  September,  1940.  Copyright,  1940, 
the  Dell  Publishing  Co.,  Inc.,  149  Madison  Ave.,  New 
York.  Published  monthly.  Printed  in  U.  S.  A.  Office 
of  publication  at  Washington  and  South  Aves., 
Dunellen,  N.  J.  Single  copy  price  10c  in  U.  S.  and 
Canada;  U.  S.  subscription  price  $1 .00  a  year;  Cana- 
dian subscription  $1.20  a  year,-  foreign  subscription 
$2.20  a  year.  Entered  as  second-class  matter,  Sept.  1 8, 
1930,  at  the  Postoffice,  Dunellen,  N.  J.,  under  Act  of 
March  3,  1879.  Additional  second  class  entries  at 
Seattle,  Wash;  San  Francisco.  Calif.;  Houston,  Texas; 
Savannah,  Ga.,  and  New  Orleans,  La.  The  publishers 
accept  no  responsibility  for  the  return  of  unsolicited 
material.  Names  of  characters  used  in  semi-fictional 
matter  are  fictitious.  If  the  name  of  any  living  person  is 
used  it  is  purely  a  coincidence.  Trademark  No.  301 773. 


STORIES 

Time  Out  for  Comedy 

Life  for  Roz  Russell  is  just  one  side-splitting  laugh  after  another!  22 

Under  All  Flags 

In    Hollywood,   there's   an   army-without-a-country   that   knows  no 

armistice   24 

Why  Did  I  Slip? 

Bob  Taylor's  bewildered — and  only  you  fans  can  straighten  him  out  26 

Temperament  At  Two 

Exposing  the   little  tricks  the  studio  uses  to   put  Sandy  through 

her  paces    28 

Joyce:  1940  Model 

Proving  that  the  Hollywood  shady  lady  is  as  obsolete  as  the  Model  T  32 

Is  Hollywood  Getting  Sensible  ? 

Those  famous  razzle  dazzle  parties  are  passe,  Elsa  Maxwell  would 

have  you  know     36 

Claudette  Colbert's  Forgotten  Legs 

Claudette  still  belongs  to  the  school  that  calls  a  leg  a  limb!   40 

Brent's  New  Design  for  Living 

Will  that  long-anticipated  vacation  turn  into  an  Hawaiian 

honeymoon?    42 

Headlines  From  Hollywood 

It's  easy  as  pie  to  change  "just  hair"  to  a  heavenly  halo!   44 

FASHIONS 

Going  Places? 

Suit  yourself  in  colorful  herringbone  if  you're  angling  for  a  return 

engagement   53 

Fabric  Sets  the  Stage 

For  dresses  that  are  as  pretty  and  practical  as  they  are  penny-wise  54 

Style  Scene 

Gay  colors,  straight  'n'  narrow  silhouettes,  classic  fabrics  and  young 

accessories    55 

Autumn  Stars 

An  all-season  Harris  type  tweed  coat  heads  this  four-star  lineup  of 

wardrobe    "musts"   56 

Close-Ups 

Lady-of-leisure  lingerie  at  a  mere  pittance!   57 

Prop  Shop 

Froth  and  frivolity  to  give  you  that  extra  sparkle  and  dash   58 

FEATURES 

Information  Desk 

Questions  answered    6 

Movie  Reviews 

Previews  and  ratings   10 

Cooling  Beverages 

It's  fun  to  be  thirsty  with  one  of  these  tall,  tinkling  thirst-quenchers 

nearby!    14 

Off  to  the  Races 

Take  a  peek  through  our  binoculars  at  your  favorites  at  play   30 

On  the  Set 

With  the  hilarious  cast  of  "Rhythm  on  the  River"   38 

Good  News 

Our  super-scooper  covers  the  Hollywood  front   49 


COVER   GIRL:   Claudette  Colbert,   now  working   in   Paramount's  "Arise 
My  Love;"  photograph  by  Eugene  Richee,  clothes  by  I.  Magnin, 
Hollywood,  Calif. 


4 


MODERN  SCREEN 


\MilGf]\[E  ! 

They're  all  in  one  picture  and  it's  a  sensation! 

CLARK  GABLE 
SPENCER  TRACY 
CLAUDETTE  COLBERT 
HEDY  LANARK 


C-\  Screen  Play  by  John  Lee  Mahin   •   Based  on  a  Story  by  James  Edward  Grant   •   Directed  by 
JACK  CONWAY  •  Produced  by  Sam  Zimbalist  •  A  METRO-GOLDWYN-MAYER  PICTURE 


SEPTEMBER,  1940 


5 


YOUR  PET  STAR'S  LIFE'S  AN  OPEN  BOOK  TO  US!  WRITE  FOR  DETAILS 


NOTE:  If  you  desire  a  reply  by  mail, 
send  a  stamped,  self-addressed  envelope 
to  Information  Desk,  Modern  Screen,  149 
Madison  Avenue,  New  York,  N.  Y. 

Patty  Todd,  York,  Nebraska.  Reed  Had- 
ley,  that  rough  and  ready  hero  of  the 
Zorro  serials,  was  born  in  Petrolia,  Texas, 
on  June  25,  1912,  and  his  real  name  is 
Reed  Herring.  He's  six  feet  two  and  one- 
half  inches  tall,  weighs  187  pounds  and 
has  brown  eyes  and  hair.  There  isn't  a 
Mrs.  Hadley  yet,  but  Reed  admits  he's  in 
the  marriage  market.  Here's  what  he's 
looking  for— a  good  sport  who's  out- 
doorsy  without  being  an  Amazon,  attrac- 
tive but  not  necessarily  beautiful,  who's 
crazy  about  animals  and  who  has  an 
extra-special  sense  of  humor.  Reed,  who 
used  to  be  a  radio  announcer  before  he 
was  "discovered,"  is  easy-going  most  of 
the  time,  but  he  gets  positively  violent 
on  the  subject  of  red  finger  nails,  Ha- 
waiian music  and  light  novels.  Things  he 
says  he  couldn't  do  without  are  good 
biographies,  Debussy's  music,  rare  steaks 
and  deep  sea  fishing. 

"Sorority  Girl,"  Kansas  City,  Missouri 
Yes,  you're  right.  That  was  a  sorority 
pin  you  spied  on  Brenda  Joyce.  She's  a 
Delta  Gamma  from  U.  C.  L.  A. 

Jeanette  Frenn.  Okmulgee,  Oklahoma.  You 
and  your  skyscraper  cronies  should  take 
heart,  for  there  are  loads  and  loads  of 
tall  actresses.  Hedy  Lamarr,  Lucille  Ball 
and  Gail  Patrick  are  all  over  five  feet 
seven.  Myrna  Loy,  Binnie  Barnes,  Rita 
Hayworth,  Ellen  Drew  and  dozens  of 
others  are  five  feet  six.  Miliza  Korjus, 
Cora  Witherspoon  and  Fanny  Brice  are 
nearly  five  feet  eight.  As  long  as  a  girl 
is  a  good  actress,  her  height  won't  hinder 
her,  unless,  of  course,  she's  so  tall  she'd 
dwarf  her  leading  men.  We've  never 
heard  that  large  feet  were  undesirable 
in  an  actress.  Hedy  Lamarr  and  Anita 
Louise  are  among  the  lassies  whose  feet 
are  on  the  large  side.  You  ask  what  a 
girl  should  have  in  order  to  get  into  the 
movies.  Well,  by  far  the  most  important 
thing  is  talent.  Looks  and  personality  are 
secondary.  Yes,  it's  a  help  to  be  able  to 
sing  and  dance,  but  not  by  any  means 
essential. 

Dorothy  M.,  Chicago,  Illinois.  Yes,  Miliza 
Korjus  is  being  dropped  by  Metro-Gold- 
wyn-Mayer.  She  certainly  has  had  a 
run  of  hard  luck,  between  that  terrific 
automobile  accident  and  a  long  siege  of 
illness.  She's  only  made  one  picture,  "The 
Great  Waltz."  Keep  on  writing  her  at 
M-G-M  with  a  notation  on  the  envelope 
to  "Please  forward." 

Jim  Shank,  East  St.  Louis,  111.  Helen 
Parrish  was  just  three  years  old  when 


WHAT'S  IN  A  NAME? 

It's  an  event  when  a  movie 
star  can  get  by  with  his  or  her 
own  name.  If  it's  not  too  stagey 
— like  Joan  Crawford's  and  Anne 
Shirley's  (they  were  Lucille  Le 
Sueur  and  Dawn  Paris,  respec- 
tively), it's  too  stodgy;  like  Cary 
Grant's  (Archibald  Leach).  Even 
our  four-footed  friends  have  their 
troubles.  Rin-Tin-Tin's  name  was 
too  lowbrow  (he  was  Fido),  and 
Mickey  Mouse's  was  too  high 
brow  (Michael  Mouseltoff).  In 
Hollywood  there's  lots  in  a  name! 

Charles  Edward  Pratt  is  a 
name  worthy  of  Britain's  most 
solid  citizen— and  the  studios 
wanted  to  ballyhoo  him  as  the 
screen's  No.  1  bogey  man!  Some- 
thing drastic  would  have  to  be 
done  about  that  confidence- 
inspiring  monicker.  Imagine 
cringing  at  a  monster  called 
Charlie!  The  studio  dreamed  up 
Boris  Karloff,  and  our  blood  pres- 
sure's never  been  quite  the  same. 

When  Frederic  Bickei  went  on 
the  stage,  his  dad's  side  of  the 
family  was  scandalized.  A  change 
of  name  was  in  order,  ana  Fred 
decided  to  take  his  mother's 
maiden  name.  No,  he  thought, 
looking  into  a  marquee-lighted 
future,  Frederic  Marcher's  too 
long.  He  shortened  the  last  name 
to  March  and  discovered  to  his 
horror  that  his  nom  de  stage  had 
thirteen  letters.  He  dropped  an 
"e"  and  emerged  Fredric  March; 

In  1^23,  a  slick-haired,  smoul- 
dering-eyed chap  was  signed  by 
Paramount.  A  hot-blooded  Latin 
if  there  ever  was  one,  and  his 
name — incredibly — was  Jack 
Krantz!  "That  won't  look  so 
hot  on  a  marquee,"  said  one  di- 
rector. He  pondered  a  minute, 
then  announced— "He's  got  a 
new  name!  The  only  Spanish  I 
know  is  what  I  read  on  my  cigar 
bands,  but  how's  this — Ricardo 
Cortez!"  He'd  combined  the 
names  of  his  two  favorite  smokes! 

We'll  print  more  stories  next 
month.  If  you'd  like  one  about 
your  favorite,  just  let  us  know. 


she  was  first  recognized  as  star  material. 
A  casting  director  saw  her  puttering 
around  his  office  one  day  and  took  an 
immediate  fancy  to  her.  It  seems  Mrs. 
Parrish  was  trying  to  get  Helen's  older 
sister  into  the  movies,  and  Helen  had  just 
come  along  for  the  ride,  so  to  speak. 
Sister  never  got  to  first  base,  but  Helen, 
fourteen  years  later,  is  still  going  strong. 
An  easy-going  and  fun-loving  person, 
Helen  nevertheless  has  very  definite 
likes  and  dislikes;  the  former  including 
roller  skating,  Frosty — her  white  Eskimo 
dog — New  York  City,  fried  chicken  and 
roller  coasters;  and  the  latter — spinach 
in  any  disguise  whatsoever  and  people 
who  leer  at  her.  She  is  seventeen  years 
old,  of  Irish-English  descent,  and  her 
one  pride  and  joy  is  her  long,  brown 
hair,  which  she  refuses  to  cut. 

Peg  Graham,  Worcester,  Mass.  George 
Ernest  is  the  Roger  you  fell  in  love  with 
in  the  Jones  Family  pictures.  You'll  be 
disappointed  to  hear  that  Twentieth  Cen- 
tury-Fox has  decided  to  discontinue  that 
series,,  but  don't  be  too  sad,  for  you'll  be 
seeing  George  in  "Four  Sons"  and  other 
pictures.  He's  eighteen  years  old,  and  his 
birthday  is  November  20.  His  real  name 
is  George  Ruud  Hjorth,  he's  from  Pitts- 
field,  Mass.,  and  his  hobbies  are  collecting 
baseball  stars'  pictures  and  making  model 
airplanes.  You  have  a  little  competition, 
we  are  sorry  to  report,  in  the  person  of 
Jane  Withers.  Write  to  George  at  Twen- 
tieth Century-Fox,  Box  900,  Beverly 
Hills,  Calif. 

Beverly  Parker,  Brookings,  S.  Dakota. 
The  1927-28  Academy  Awards  (the  first 
presented  by  the  Academy  of  Motion 
Picture  Arts  and  Sciences)  went  to  Janet 
Gaynor  and  Emil  Jannings.  The  1928-29 
awards  were  presented  to  Mary  Pickford 
and  Warner  Baxter.  Norma  Shearer  and 
George  Arliss  walked  off  with  the  1929- 
30  trophies,  and  in  1930-31  Marie  Dress- 
ier shared  honors  with  Lionel  Barry- 
more.  Singled  out  for  1931-22  awards 
were  Helen  Hayes,  Fredric  March  and 
Wallace  Beery.  Katharine  Hepburn  and 
Charles  Laughton  won  them  in  1932-33. 
1933-34  winners  were  Claudette  Colbert 
and  Clark  Gable — will  you  ever  forget 
them  in  "It  Happened  One  Night"9  Bette 
Davis  won  an  Oscar  in  1934-35,  as  did 
Victor  McLaglen.  1935-36's  committee 
named  Luise  Rainer  and  Paul  Muni  as 
the  year's  finest,  and  Luise  won  another 
award  in  1936-37,  the  year  in  which 
Spencer  Tracy  won  his  first.  Bette  Davis 
and  Spencer  carried  them  off  in  1937-38, 
and,  of  course,  you'll  remember  that 
Vivien  Leigh  and  Robert  Donat  were  this 
year's  citations. 

Rebecca  Biggerstoff.  Fallston,  N.  C.  You 
can  get  autographed  pictures  of  the  stars 


6 


MODERN  SCREEN 


Lovely  Brides  Thrilled  by  this  Great 

New  Improvement 

in  Beauty  Soaps ! 


Camay  now  Milder  than  other 
Leading  Beauty  Soaps! 

EVERYWHERE  women  are  talking  about  this  won- 
derful new  Camay .  . .  finding  in  new  Camay 
the  beauty  soap  to  help  them  in  their  search  for 
greater  loveliness! 

And  no  wonder— for  tests  against  six  of  the  best- 
selling  beauty  soaps  we  could  find  proved  that  new 
Camay  was  milder  than  any  of  them . . .  gave  more 
abundant  lather  in  a  short  time. 

If,  like  many  beautiful  women,  you  have  a  skin 
that  seems  rather  sensitive  try  this  wonderful  new 
Camay. . .  see  for  yourself  how  much  its  extra  mild- 
ness ...  its  more  gentle,  thorough  cleansing . . .  can 
help  you  in  your  search  for  a  lovelier  skin ! 


Mrs.  J.  H.  Richardson, 
Alameda,  Cal.  "New 
Camay  is  so  amazingly 
mild!"  says  Mrs.  Rich- 
ardson."My  skin  is  rather 
delicate— but  new  Camay 
is  so  gentle  that  it  ac- 
tually seems  to  soothe  as 
it  cleanses!" 


I  don't  know  what  delighted  me  most  about  new 
Camay— that  lovely  new  fragrance  or  its  wonder- 
ful mildness.  Every  woman  who  has  sensitive  skin 
ought  to  try  Camay!" 


Mrs.  A.  H.  Sherin,  Jr., 
Schenectady,  N.  Y. 


Mrs.  G.  Anderton  Burke,  Alexandria,  Va. 
"To  women  who  take  extra  care  with 
their  skin  as  I  do  its  amazing  mildness  is 
a  tremendous  help,"  writes  Mrs.  Burke. 
"And  that  enchanting  new  fragrance  is  so 
wonderful,  too." 


so*' 


r 


°ffs&%  \Ls  4  mO  tstk  jVL  Cxma^l 


At  your  dealer's  now — no  change  in  wrapper. 


SEPTEMBER,  1940 


7 


Summer  Charm 

starts  with  your 


HAIR 


if 


there  is  one  thing  that 
attracts  a  man  it  is  hair  that 
sparkles  with  life.  Be  the  cen- 
ter of  attraction  on  the  beach 
this  summer.  Glorify  your 
hair  with  Nestle  Colorinse. 
This  magic-like  rinse,  created 
by  Nestle  .  .  originators  of 
Permanent  Waving  .  .  gives 
your  hair  a  beautiful,  lustrous 
sheen,  substitutes  gleaming 
highlights  for  dull  drabness. 
And  if  you  want  to  see  what 
a  difference  SHEEN  makes  in 
the  appearance  of  hair  look 
at  the  hair  of  women  in  any 
gathering.  The  Nestle  color 
Chart . .  at  Beauty  counters . . 
shows  the  12  flattering  Colo- 
rinse  shades.  Choose  the  one 
that  matches  the  color  of 
your  hair.  Wake  up  your 
hair  with  Nestle  Colorinse. 

10*  for  package  of 1 
rinses  at  5  and  10$ 
stores. 


(Continued  jrom  'page  6) 


25 1  for  5  rinses 
at  drug  and 
department  stores. 


by  requesting  them  from  the  various 
studios.  When  you  write,  enclose  twenty- 
five  cents  to  cover  the  cost  of  mailing 
and  handling.  If  you  need  any  star's 
address,  why  not  drop  us  a  line,  enclos- 
ing a  stamped,  self-addressed  envelope. 
We'll  be  glad  to  send  you  our  free  ad- 
dress list. 

I.  M.  Wadding,  New  York,  N.  Y.  Rita 
Johnson  uses  her  own  name.  She  is 
twenty-five  years  old  and  was  born  in 
Worcester,  Mass.,  on  August  13.  Rita  has 
blue  eyes  and  hair  that  has  been  de- 
scribed as  "burnished  gold."  She's  five 
feet  four,  weighs  110  pounds  and  isn't 
married.  She's  been  personal-appearing 
in  the  East,  but  is  now  hard  at  work  on 
"Golden  Fleecing."  A  producer  has  noth- 
ing to  do  with  financing  a  picture — unless, 
as  in  the  case  of  Charlie  Chaplin — he  is 
an  independent  one.  The  usual  producer 
is  employed  by  a  studio  to  supervise  the 
entire  making  of  a  picture.  He  passes  on 
the  casting  choice,  the  costumes,  the 
budget — everything.  No,  his  duties  aren't 
the  same  as  a  director's.  The  latter  in- 
structs the  casi;  telis  them  how  to  play 
each  scene — frequently  having  been  pre- 
viously instructed  himself  by  the  pro- 
ducer. In  a  word,  the  producer  is  the 
power  behind  every  movie  you  see. 

Dottie  Mitchell,  Live  Oak,  Florida.  Just  as 
you  thought,  Bob  Livingston  and  Jack 
Randall  are  brothers.  Bob's  real  name  is 
Bob  Randall.  Jack's  real  one  is  Addison 
Randall.  Duncan  Renaldo  is  American- 
born  (he's  from  Camden,  N.  J.),  was 
educated  in  France  and  is  of  Spanish 
descent.  Bob,  who  collaborated  on  movie 
scripts  and  wrote  songs  before  going  into 
pictures,  has  appeared  in  the  following 
films:  "West  Point  of  the  Air,"  "Public 
Enemy  Number  2,"  "The  Band  Plays  On," 
"The  Winning  Ticket,"  "Baby  Face  Har- 
rington," "Murder  in  the  Fleet,"  "Three 
Godfathers,"  "Absolute  Quiet,"  "The 
Three  Mesquiteers,"  "The  Bold  Cabal- 
lero,"  "Larceny  on  the  Air,"  "Come  on 
Cowboys,"  "Range  Defenders,"  "Wild 
Horse  Rodeo,"  "The  Purple  Vigilantes," 
"Call  the  Mesquiteers,"  "Arson  Gang 
Busters,"  "Outlaws  of  Sonora,"  "Ladies 
in  Distress,"  "Riders  of  the  Black  Hills," 
"Heroes  of  the  Hills,"  "The  Night  Hawk," 
"Orphans  of  the  Street,"  "Federal  Man- 
hunt," "The  Kansas  Terrors"  and  "Cow- 
boys from  Texas." 

Mary  Powendki,  Lackawanna,  N.  Y.  We're 
afraid  we  have  a  bit  of  a  blow  for  you 
and  other  Roy  Rogers  fans.  It's  been 
kept  secret  for  some  time  by  the  studio, 
but  at  last  word  has  leaked  out.  Yes, 
Roy  is  very  happily  married!  Elsie  Lutz 
informs  us  that  she's  started  a  Roy  Rogers 
fan  club.  Write  her  at  114  Stephens  Street, 
Winnipeg,  Man.,  Canada.  Roy's  address 
is  Republic  Studios,  2024  Radford  Ave- 
nue, N.  Hollywood,  California.  He  prefers 
not  to  receive  fan  mail  at  home. 

Claire  F.  Wishbow,  Jersey  City,  N.  J.  Lew 
Ayres  was  born  on  December  28,  1908. 
At  thirty-one,  he  has  two  unsuccessful 
marriages  behind  him — one  to  Lola  Lane 
and  one  to  Ginger  Rogers.  Though  he 
looks  tall  and  slim  on  the  screen,  he's 
really  rather  short  and  stocky,  being  five 
feet  nine  in  height  and  weighing  155 
pounds.  His  latest  pictures  are  "These 
Glamour     Girls"    and    "Dr.  Kildare's 


Strange  Case."  You'll  next  be  seeing  him 
in  M-G-M's  "Golden  Fleecing"  with  Rita 
Johnson  and  Virginia  Grey. 

Vicente  Aguero,  Cotulla,  Texas.  Judy 
Garland's  next  picture  will  be  "Strike 
Up  The  Band."  Here  are  the  ten  best 
pictures  of  1939,  listed  in  order  of  their 
selection  by  the  542  representative 
American  critics  and  reviewers  from  448 
eligible  pictures.  "Goodbye  Mr.  Chips," 
"Mr.  Smith  Goes  to  Washington,"  "Pyg- 
malion," "Wuthering  Heights,"  "Dark 
Victory,"  "The  Women,"  "The  Wizard  of 
Oz,"  "Juarez,"  "Stanley  and  Livingstone" 
and  "The  Old  Maid." 

Olga  Sabat,  Perth  Amboy,  N.  J.  There's 
a  lot  of  talk  that  Freddie  Bartholomew 
may  renounce  the  screen  for  a  legal 
career,  but  his  plans  are  still  indefinite. 
In  any  case,  he'll  be  in  the  movies  for 
several  years  to  come,  for  he's  only  six- 
teen. 

Anna  Mae  Gilligan,  Brooklyn,  N.  Y.  Den- 
nis Morgan,  who's  popularity  has  grown 
to  colossal  proportions  ever  since  he 
changed  his  name  and  his  studio,  was 
corn  in  Prentice,  Wisconsin,  on  Decem- 
ber 20,  1910.  When  he  was  under  con- 
tract to  M-G-M,  he  used  his  real  name  of 
Stanley  Morner,  and  the  movie-going 
public  barely  knew  he  existed.  They 
know  now,  though,  and  his  fan  mail  is 
enormous.  No,  that  athletic  physique  is 
not  a  result  of  padded  suits  and  tricky 
camera  shots.  It's  a  bi-product  of  four 
college  years  of  star  baseball,  football  and 
basketball.  Now  Dennis,  who's  six  feet 
two  and  weighs  195  pounds,  keeps  fit  with 
strenuous  tennis.  He  married  at  twenty- 
two,  when  but  a  struggling  radio  crooner, 
and  Lillian  Vedder  is  the  lucky  girl.  As 
his  hobbies  Dennis  lists  his  small  son, 
Stanley,  and  playing  the  saxophone.  You 
can  write  him  at  Warner  Brothers 
Studios,  Burbank,  California.  All  studios 
permit  their  stars  to  have  fan  clubs,  but 
it  just  happens  that  Dennis  has  not  yet 
been  so  honored.  At  any  rate,  no  Dennis 
Morgan  fan  club  is  registered  with  us. 
If  you  feel  brave  enough  to  launch  one, 
drop  us  a  line  and  we'll  tell  you  how  to 
go  about  it. 

Priscilla  Morrison,  Lincoln,  Nebr.  John 
Payne  was  born  in  Roanoke,  Va.,  on  May 
28,  1912.  He's  six  feet  two — more  than 
a  foot  taller  than  his  tiny  wife,  Anne 
Shirley — weight  175  pounds  and  has  green 
eyes  and  brown  hair.  Yes,  he  really  sang 
in  "Kid  Nightingale."  You  see,  John 
started  out  to  be  a  singer  and  got  side- 
tracked into  the  movies.  His  mother  was 
an  opera  singer  whose  dream  was  that 
her  son  sing  in  the  Metropolitan.  John 
studied  hard  and  won  a  scholarship  to  the 
Juilliard  School  of  Music  in  New  York. 
He  left  before  his  two  years  were  up, 
though,  and  succumbed  to  the  lure  of 
radio.  Featured  singing  spots  brought  him 
to  Hollywood's  attention  and  in  1936  he 
landed  in  Hollywood  for  a  role  in  "Dods- 
worth."  Not  for  two  years  did  he  get  a 
chance  to  use  his  rich  baritone,  though. 
The  chance  came  in  "The  Garden  of  the 
Moon."  His  most  recent  picture  is  "Tom 
Brown's  School  Days."  No  star's  birthday 
coincides  exactly  with  yours,  but  Victor 
Moore  was  born  just  one  day  earlier — 
on  February  24,  and  Madeleine  Carroll 
one  day  later — on  the  26th. 


8 


MODERN  S2jvE2N 


ERROL 


in  the  thrill-swept  story  of  The 
Robin  Hood  of  the  Seas' 


A  New  WARNER  BROf  Success 
With  More  than  a  Thousand  Players,  including 

BRENDA  MARSHALL 
CLAUDE  RAINS 

DONALD  CRISP  •  FLORA  ROBSON 
ALAN  HALE 
Directed  by  MICHAEL  CURTIZ 

Screen  Play  by  Howard  Koch  and  Seton  I.  Millei 
Music  by  Erich  Wolfgang  Korngold 
A  Warner  Bros.-First  National  Picture 


Your  theatre  manager  will  tell  you  gladly  the  date  of  this  engagement 


Richard  > 


This, 


an 


en 


Too. 


★★★★THE  MORTAL 
STORM 

REVIEW — Hollywood  has  declared  war 
on  Germany.  Aimed  like  a  Stukas  dive- 
bomber  at  the  Brutalitarian  State,  this 
beautiful  anti-Nazi  tragedy  is  one  of  the 
most  powerful  indictments  I  have  ever 
seen.  It  minces  no  words,  pulls  no 
punches,  names  names  in  its  one  purpose — 
to  show  up  Naziism  as  the  great  enemy 
of  civilization. 

As  in  Phyllis  Bottome's  fine  novel,  the 
Bavarian  home  of  Professor  Roth  in  1933 
is  loving,  peaceful,  filled  with  old-fashioned 
German  gemutlichkeit.  But  it  is  non- 
Aryan.  Into  its  charming  domesticity 
stalks  the  Nazi  Movement,  and  step  by 
step  we  see  how  the  hobnailed,  murderous 
boots  of  the  Storm  Troopers  crush  down 
all  vestiges  of  human  tolerance  and  love. 
"In  the  service  of  your  country,"  a  Nazi 
officer  barks  at  Robert  Young  at  one  point, 
"there  are  no  human  relationships!"  And 
one's  heart  aches  as  one  watches  the  ruth- 
less building  of  the  great  mechanized  war 
spirit  at  the  expense  of  everything  normal 
beings  hold  precious.  In  the  end  the  Pro- 
fessor and  his  family  lie  wrecked  and  dead 
—the  victims  of  cold,  hysteric  inhumanity. 

No  one  can  accuse  the  film's  makers  of 
war  hysteria,  such  as  went  into  the  making 
of  such  biliously  war-mongering  screen 
atrocities  as  "The  Kaiser"  and  the  "Beast 
of  Berlin"  back  in  1916  or  so.  Hitler  is 
an  off-scene  menace  in  this,  and  Director 
Borzage  and  his  fine  cast  worked  hard  to 
keep  the  indictment  calm,  authentic  and 
restrained.     Fights,    in    which    a  dozen 


Young  SM^a\V- 
Steward 


Storm  Troopers  beat  up  an  old  Professor, 
are  all  off-stage,  and  not  once  do  actors 
beat  their  breasts  and  emote  heavily 
against  Hitler.  Even  James  Stewart,  when 
he  struggles  across  the  Austrian  border, 
carrying  the  dead  body  of  his  sweetheart, 
Margaret  Sullavan,  takes  it  with  the  dumb 
anguish  of  a  dog  who  has  been  beaten  for 
no  reason  he  understands.  Made  against 
the  beautiful  background  of  Alpine  snow, 
this  "escape"  into  Austria  is  a  tremendously 
moving  climax,  one  that  should  bring  tears 
of  hot  rage  to  the  adult  audience.  Holly- 
wood, I  feel,  has  won  its  first  encounter 
with  Germany.  Directed  by  Frank  Bor- 
zage.— Metro-Goldwyn-Mayer. 

PREVIEW  POSTSCRIPTS:  Nazi  5th 
Columnists  and  Consuls  will  try  to  hinder 
showing  of  this  in  South  and  Central 
America.  .  .  .  Margaret  (Hollywood's 
Littlest  Rebel)  Sullavan  knitted  for  the 
Allied  soldiers  throughout  this  and  read 
about  a  dozen  serious  political  books  when 
not  knitting.  She  works  very  hard  at  not 
being  a  "movie  star,"  really  hates  glamour 
roles  and  genuinely  enjoys  sitting  at  home 
listening  to  her  thousands  of  classical  rec- 
ords or  talking  to  serious-minded  friends. 
.  .  .  Frank  Morgan  was  born  a  Wupperman 
in  New  York.  .  .  .  James  Stewart  is  teach- 
ing Margaret  Sullavan  how  to  fly;  he's 
Hollywood's  best  movie  flier  and  has  just 
invented  a  new  airplane  wing  and  motor 
de-icer.  .  .  .  Robert  Young  is  very  happily 
married,  has  two  daughters,  saves  his 
money  and  has  moved  up  from  $40  a 
week  to  about  $2500.  .  .  .  Skiing  scenes 
were  made  in  the  "Alps"  of  Wash- 
ington mountains;  one  camera  toppled 
over  a  2000-foot  precipice,  was  recovered 
still  grinding,  holding  excellent  shots.  .  .  . 


★★★★ALL  THIS,  AND 
HEAVEN  TOO 

REVIEW— "All  This,  and  Heaven  Too" 
is  a  marvelously  made  and  directed  film. 
There  is  Mr.  Boyer,  surely  Hollywood's  ten- 
derest  lover,  giving  his  saddest,  expert  all; 
and  Miss  Davis,  the  little  governess  who  is 
wrongly  understood,  but  keeps  her  love 
for  Boyer  pure,  has  never  been  better — 
her  diction  and  every  gesture  crisp  and 
flawless.  Barbara  O'Neil,  the  voluptuous, 
jealous  wife  of  Boyer,  does  a  magnificent 
job,  too,  and  the  Praslin's  four  children, 
who  dominate  most  of  the  action,  are 
natural  and  charming,  especially  five-year- 
old  Richard  Nichols. 

For  the  benefit  of  those  who  haven't 
read  the  book,  the  story  revolves  around 
Bette  Davis,  who  becomes  a  governess  in 
the  unhappy,  sumptuous  household  of  the 
Praslins,  the  cream  of  Parisian  society  of 
the  1840's.  The  handsome  Duchess,  neu- 
rotically and  insanely  jealous  of  the  Due 
from  'way  back,  seizes  on  Miss  Davis'  inno- 
cent presence  to  become  even  more  emo- 
tionally disturbed.  And  to  further  com- 
plicate matters,  the  Due  falls  platonically 
in  love  with  the  governess,  murders  his 
wife  and  then  takes  poison. 

Though  this  should  make  for  nice,  clean 
fun  of  a  tragic  sort,  it  only  occasionally 
provides  a  heavy  tug  at  the  heartstrings. 
Maybe  it's  because  never  once  do  Boyer 
and  Davis  indulge  in  some  real  love- 
making;  the  story  is  kept  so  pure  that 
Boyer  confines  all  of  his  necking  to  Miss 
Davis'  hands.  But,  despite  this,  you'll  find 
"All  This,  and  Heaven  Too"  a  two-hour- 
and-twenty-minute-long  cinema  treat.  Di- 
rected by  Anatole  Litvak. — Warner  Bros. 

PREVIEW  POSTSCRIPTS:  Authoress 
Rachel  Field  sold  Warners  her  hit  novel 
in  galley  proofs  for  around  $20,000. 
.  .  .  Only  half  of  the  novel,  the  ex- 
citing half,  is  used  in  the  picture.  So 
impressed  was  she  by  the  sumptuous  plush 
background  of  picture,  Barbara  O'Neil 
moved  to  a  big  penthouse.  She's  married 
to  Stage  Director  Josh  Logan,  has  been  for 
all  of  two  months,  now.  .  .  .  Bette  Davis 
defied  the  "No  Visitors  on  Set"  rule  (which 
actually  barred  the  widespaced,  gamey  Elsa 
Maxwell)  by  greeting  set  crashers  effu- 
sively. She  ribbed  continuously  to  get 
solemnity  of  the  story  off  everyone's  mind 
and  nicknamed  the  solemn  Boyer  "Ducky." 
.  .  .  Beyer's  41,  still  terribly  happy  with 
Mrs.  Pat  Paterson  Boyer.  He  remained 
the  isolationist  throughout  the  picture,  go- 
ing off  by  himself  to  brood  over  the  war. 
.  .  .  Jeff  Lynn,  scared  to  death  at  the 
prospect  of  playing  near  Bette  Davis, 
had  to  have  his  hand  held  by  her  to 
put  him  at  ease.  Once  he  got  to  like 
the  idea,  he  grew  very  natural.  .  .  .  Five- 
year-old  Richard  Nichols,  playing  Beyer's 
youngest  son,  grew  so  interested  in  his 
death  scene  rites  in  film's  most  moving 
moment,  he  could  only  sit  up  and  watch  it 
— nor  act.  .  .  .  Expensive  cast,  glittering 
background  and  endless  takes  combined  to 
put  a  $2,000,000  strain  on  Warner 
Brothers'  exchequer. 

(Continued  on  page  12) 


10 


MODERN  SCREEN 


■ Win!-  W  M§® >--> M&@) ooo 
Where  People  are  Ruled  by  LOVE! 

Jon  ("Hurricane")  Hall  making  love  to  Shanghai  Ruby  (Frances  Farmer) 
beneath  those  South  Seas  stars... Lovely Malia  (Olympe  Bradna),  fighting 
for  her  man  .  .  .  Bucko  Larson  (Victor  McLaglen),  vicious  captain  of  a 
pearl-greedy  crew.  .  .  Island  girls  dancing  to  the  pulsing  throb  of 
native  drums.  It's  primitive!  It's  exciting!  It's  "South  of  Pago- Pago"! 


SEPTEMBER,  1940 


made 


the  loveliest 
thing  in  make-up 


It's  literally  meant  for  love 
— this  alluring  new  Chiffon 

Lipstick.  New,  smoother 
texture  that  lends  a  soft 
enchantment  to  your 
lips.  New,  costlier  perfume  that  adds  a 
rapturous  ecstasy  to  each  kiss. 
Stop  at  your  five-and-ten  for  one  of  these 
exciting  new  shades.  Your  choice,  only  10fS. 
Chiffon  Red,  Raspberry,  Medium,  True  Red 


&fu^ov  All-Purpose  Cream  10 


i 


A  new,  entirely  different  cream, 
the  only  cream  you  need 

apply  for  cleansing,  to  help 
clarify  and  soften  the  skin. 

A  fine  foundation.  You'll 
be  thrilled  with  the  silken  dewy 
texture  it  lends  to  your  face. 


MOVIE  REVIEWS 

{Continued  from  page  10) 


36jf*  Powder  10* 


'You'll  look  lovely  in  Chiffon" 
— the  face  powder  of  finer, 

longer -clinging  texture — shine- 
proof — cake-proof — in  seven 
high  fashion  shades: 

Rrunette  Naturai 
Dark  Tan         Rose  Pctaf         Rose  Reigc 
Reige  Rachet 


Susan  and  God 

Having  struggled  for  years  to  get  her- 
self loved  for  her  acting  ability  as  well 
as  her  good-looking  legs,  Joan  Crawford 
has  at  last  come  through  with  a  perfect 
performance  as  Susan,  the  rattle-brained, 
rattle-tongued,  religion-struck  wife  who 
dominates  this  richly-mounted,  high  so- 
ciety comedy.  Though  heavily  influenced 
by  Gertrude  Lawrence's  stage  version  of 
Susan,  Joan  has  never  been  better. 

Silly  Susan,  you  may  remember,  re- 
turns from  abroad,  laden  with  religious 
tracts  and  a  desire  to  straighten  out 
everyone's  life — all  in  the  name  of  God. 
That  is,  everyone's  except  her  husband's 
and  gangling  daughter's.  Utterly  selfish, 
she  has  driven  her  husband  to  drink,  and 
her  daughter  has  grown  to  weeds  with 
neglect.  The  story  tells  how  she  finally 
reforms  herself. 

Fredric  March,  back  from  the  Broad- 
way wars,  again  plays  the  drunk  part  he 
did  so  well  in  "A  Star  Is  Born";  you  can 
practically  smell  the  brandy  on  his  breath 
— and  it's  good  to  see  him  glower  roman- 
tically on  the  screen  again.  The  re- 
mainder of  the  cast  is  a  jewel:  Ruth 
Hussey,  Bruce  Cabot,  Nigel  Bruce,  Ruth 
Hobart,  Rita  Hayworth  and  that  sub- 
Gable,  John  Carroll,  act  exactly  as  the 
rich  would  like  to  act,  if  they  had  the 
money  again.  And  if  I  were  single  again, 
I'd  look  up  Ruth  Hussey.  She's  left  dan- 
gling at  flicker's  end,  having  given  a 
wonderful  performance — a  tragic,  lonely 
and  pretty  desirable  gal.  Directed  by 
George   Cukor. — Metro-Goldwyn-Mayer. 

PREVIEW  POSTSCRIPTS:  Susan  ran  on 
Broadway,  with  God  and  Gertrude  Law- 
rence's help,  for  almost  a  year  and  was 
bought  by  M-G-M  for  Miss  Crawford  for 
around  $125,000.  .  .  .  Joanie  was  deter- 
mined to  eschew  Glamour  in  this,  yet  she 


wears  ten  different  hair-dos,  about  $100,- 
000  of  her  personal  jewelry  and  more 
new  clothes  than  a  department  store 
model.  Piipchen  and  Stinky,  those  dachs- 
hunds she  drags  around  in  the  film,  are 
her  own.  They  were  hired  by  contract 
and  their  salary  donated  to  the  Actors' 
Relief.  Joan  directed  them  herself.  .  .  . 
This  is  Fredric  March  Bickel's  first  return 
to  the  screen  since  "The  American  Way" 
played  around  the  stages  of  the  country. 
His  salary,  formerly  $125,000  per  picture, 
shrank  about  $25,000.  He  has  refused  a 
contract,  wants  to  remain  a  free  lance  and 
may  co-star  with  the  ambitious  Miss 
Crawford  on  Broadway  this  fall.  .  .  . 
Plumpish,  eye-glassed  George  Cukor's 
unmarried,  gets  $375,000  per  three  pic- 
tures; last  made  "The  Women"  with  Miss 
Crawford  and  agonizes  throughout  every 
production.  Unbeknownst  to  him,  Joan 
Crawford  took  hundreds  of  candid  shots 
showing  him  waving  his  arms,  lying  down 
screaming,  clutching  hair,  registering 
grief,  agony,  despair,  remorse,  wild  de- 
light, renunciation  and  coyness.  The  al- 
bum would  bring  a  fortune  in  a  pic  mag, 
but  isn't  for  sale.  .  .  .  John  Carroll,  who 
is  really  Julian  Lafaye  of  New  Orleans, 
has  led  an  Errol  Flynnish  life.  Has  been 
steel  millhand,  newspaper  seller,  unwit- 
ting Mexican  border  gunrunner,  wiper  on 
a  freighter,  dirt  track  driver,  floorwalker, 
steeplejack,  etc.,  and  is  officially  married 
to  Steffi  Duna.  .  .  .  Rita  Quigley's  16, 
debuts  in  this,  and  is  the  sister  of  baby 
starlet  Juanita  Quigley.  .  .  .  Ruth  Hus- 
sey's  from  Providence,  R.  I.,  a  Bachelor  of 
Philosophy  from  Pembroke  College,  was 
talent-scouted  for  movies  from  road 
company  of  "Dead  End"  and  used  to  be  a 
radio  fashion  commentator.  She  hates 
early  rising,  lives  simply  in  a  Hollywood 
hotel,  is  pretty  highbrow  and  artistic,  too. 
.  .  .  Rita  Hayworth  used  to  dance  profes- 
sionally as  Rita  Cansino. 


In  "Susan  and  God,"  Joan  Crawford,  as  Susan,  tries  to  throw  Rita  Hayworth  and 
John  Carroll  together,  while  Rita's  screen  hubby,  Nigel  Bruce,  boils! 


12 


MODERN  SCREEN 


The  Ghost  Breakers 

If  you  want  to  get  away  from  the  head- 
lines and  have  your  pants  (or  panties) 
scared  off  you  in  a  nice  way,  by  all 
means  look  in  on  this  Zombie  Special. 
A  rib-tickling,  spine-tingling  spook- 
comedy,  it's  a  worthy  follow-up  to  "The 
Cat  and  the  Canary,"  and  is  done  in  the 
same  madcap  way — a  chill  and  a  laugh, 
a  laugh  and  a  chill,  and  where  the  chills 
interfere — laughs. 

As  in  "The  Cat  and  the  Canary,"  the 
snub-snouted  Mr.  Bob  Hope,  he  of  the 
smooth  face  and  smoother  gag,  ambles 
through  the  synthetic  spookiness  with  a 
bright  quip  on  his  tongue,  a  fine  disre- 
gard for  danger  and  an  eye  for  Miss 
Goddard's  loveliness,  generously  on  dis- 
play at  all  times,  in  and  out  of  drapes. 
Bob  plays  the  part  of  a  fast-talking  radio 
Winchell,  who  gets  himself  tangled  up 
in  Miss  Goddard's  life  when  she  inherits 
a  castle  off  the  coast  of  Cuba.  Handily, 
the  castle  is  filled  with  witches,  sliding 
doors,  a  monster,  a  lot  of  mystery  story 
gadgets  and  some  plain,  every  day,  union- 
ized spooks.  When  Mr.  Hope  and  his 
dangling-lipped,  coal-black,  jittery  valet 
(Willie  Best)  come  in  contact  with  this 
creaky,  blood-curdling  collection  of  Bad 
Dreams,  the  picture  grows  very  hilari- 
ous indeed,  if  not  terribly  jitter-making. 

But  it's  the  laughs  that  count  in  the 
end.  For  who  wants  to  be  scared  these 
days?  Mr.  Hope's  jokes  have  the  fresh- 
ness of  youth  in  place  of  the  whiskers  of 
age,  and  Willie  Best,  a  scared  version  of 
Stepin  Fetchit,  makes  a  wonderful  choco- 
late stooge.  In  the  scene  where  Mr.  Best 
gets  locked  in  with  the  Zombie,  he  al- 
most swipes  the  picture  from  Mr.  Hope's 
wit  and  Miss  Goddard's  beautiful  legs. 
And  the  line  which  Willie  cries  as  he 
knocks  on  a  door:  "Is  you  dare,  Zombie?" 
will  probably  become  a  national  pass- 
word. Directed  by  George  Marshall — 
Paramount. 

PREVIEW  POSTSCRIPTS:  Be  it  known 
that  Paulette  Goddard,  born  Paulette 
Levy  at  Whitestone  Landing,  N.  Y.,  hates 
being  dubbed  "glamorous."  She  wants 
to  be  known  for  her  acting,  not  for  the 
figure  she  displays  so  generously  in  this. 
She  has  size  3ViC  feet,  which,  a  psy- 
chologist says,  are  signs  of  a  large  brain. 
.  .  .  Bob  Hope  ad-libbed  his  entire  part, 
flanked  by  two  writers  and  two  secre- 
taries to  take  it  all  down,  so  that  no 
cracks  would  get  lost.  Hope  says  he 
dreams  jokes — in  double  feature  dreams; 
B  jokes  coming  in  B  dreams.  .  .  .  Paul 
Lukas  resents  being  congratulated  on  his 
"comeback."  Says  he's  been  busy  around 
London  since  1936;  made  "The  Lady 
Vanishes"  there  among  14  others.  Yet,  he 
adds,  he  grew  that  beard  to  change  his 
luck.  Calls  it  a  Fu  Manchuer.  .  .  .  Richard 
Carlson  got  his  first  movie  job  because 
of  his  beautiful  legs  and  knees.  Selznick 
fell  in  love  with  them  and  cast  Dick  for 
the  Scotsman's  part  in  "The  Young  in 
Heart!"  Willie  Best  rested  four  months 
prior  to  this,  then  slept  continuously  be- 
hind sets  throughout  it. 

***  Brother  Orchid 

Edward  G.  Robinson,  the  Eminent 
Public  Enemy,  keeps  threatening  to  re- 
form and  park  his  sub-machine  gun  for- 
ever and  play  only  high-minded  parts. 
After  looking  him  over  in  this  very 
funny  gangster  farce,  a  law  should  be 
passed  immediately,  restraining  him. 

Once  again,  Eddie  is  a  rasp-voiced,  I- 
loving,  command-barking  Mob  Bigshot. 
This  time  he  takes  a  trip  to  Europe  to 
get  himself  a  load  of  culture,  finds  him- 
(Continued  on  page  15) 


More  Women  prefer  Mum— 

Saves  Time  •  • .  Clothes  •  • .  Charm ! 


Mum  is  the  first  choice  with  Leading  favorite  with  busi-  Wives,  girls  in  love,  make 
nurses.  Quick  to  use,  on  duty  ness  girls,  gentle  Mum  won't  Mum  a  daily  habit.  Mum 
or  off.  Safe,  sure,  dependable!     harm  fabrics  or  irritate  skin,    guards  charm— popularity! 


Mum  Every  Day  Guards  Against  Underarm  Odor! 


TODAY,  when  there  are  so  many  de- 
odorants—how significant  to  every 
girl  that  more  women  choose  Mum!  In 
homes,  in  offices,  in  hospitals,  in  schools 
. . .  Mum  is  used  by  millions  of  women. 
For  nowadays,  it  isn't  enough  to  be 
pretty  and  smart.  A  girl  must  be  dainty, 
too . . .  nice  to  be  around  at  any  minute 
of  the  day  or  evening! 

Don't  expect  your  bath  alone  to  give 
you  that  lasting  charm!  A  bath  may  re- 
move past  perspiration,  but  Mum  after 
your  bath  prevents  risk  of  future  odor. 


Thousands  of  men,  too,  are  using  Mum 
. . .  it's  speedy,  safe,  dependable! 

QUICK!  Mum  takes  only  30  seconds- 
can  be  used  before  or  after  you're  dressed. 

SAFE!  Mum  has  the  American  Institute 
of  Laundering  Seal  as  being  harmless  to 
any  kind  of  fabric.  So  safe  that  it  can  be 
used  even  after  underarm  shaving! 

SURE!  If  you  want  to  be  popular— make 
a  daily  habit  of  Mum.  Get  Mum  at  your 
druggist's  today.  Long  after  your  bath 
has  ceased  to  be  effective,  Mum  will  go 
right  on  guarding  your  charm! 


MUM  FOR  SANITARY  NAPKINS— 

More  women  use  Mum  for  Sanitary  Napkins 
than  any  other  deodorant.  Mum  is  safe,  gentle 
. . .  guards  against  unpleasantness. 

Mum 

TAKES  THE  000R  OUT  OF  PERSPIRATION 


SEPTEMBER,  1940 


13 


MODERN   HOME  COLUMN 

EXCITING  SUMMER  SUGGESTIONS  by  MARJORIE  DEEN 


WHAT      TO  SERVE 


PEPSI  COOLERS:  Serve  Pepsi-Cola 
— that  marvelous  and  economical 
thirst  quencher — plain,  in  tall  glasses 
with  plenty  of  cracked  ice  or  ice  cubes. 
Vary  the  flavor,  occasionally,  by  plac- 
ing one  or  two  tablespoons  of  fruit 
juice  (either  lime,  orange  or  pine- 
apple) in  each  glass  before  adding 
Pepsi-Cola;  or  add  two  tablespoons  of 
some  fruit  syrup  if  you  enjoy  a  sweet- 
er drink. 

COLA  QUENCHER  — Combine  2 
cups  canned  pineapple  juice,  1  cup 
orange  juice,  cup  lemon  juice,  V3 
cup  powdered  sugar.  Chill  in  refrig- 
erator. Just  before  serving  place  mix- 
ture in  pitcher  with  plenty  of  ice.  Add 
4  bottles  ice  cold  Pepsi-Cola  and  stii 
well.    Serves  ten. 


FROSTED  COLA — For  each  person 
tc  be  served,  add  V4  pint  vanilla  ice 
cream  to  %  cup  rich  milk.  Beat  until 
creamy  with  egg  beater  or  in  beverage 
mixer.  Pour  into  tall  glass,  add  ice 
cold  Pepsi-Cola  to  fill  glass,  stir  with 
long-handled  spoon  and  serve  imme- 
diately. Can  be  prepared  at  home  01 
made  at  soda  fountains. 


BEER:  Among  the  most  popular  of 
hot  weather  thirst  quenchers,  and  just 
about  tops  with  the  men,  is  a  foam- 
topped  glass  of  good,  cold  beer.  Rules 
for  chilling  and  serving  are  few,  but 
important.  Remember,  first,  not  to 
over  chill.  This  means,  primarily, 
that  beer  should  never  be  placed  di- 
rectly on  ice,  nor  in  the  coldest  parts 
of  an  automatic  refrigerator.  The  reg- 
ular storage  section  of  the  average 
modern  refrigerator  produces  the  de- 
sired temperature. 

(Continued  on  page  76) 


HOW     TO  SERVE 


The  degree  of  welcome  accorded  these  cooling 
beverages  depends  upon  these  three  factors: 
fine  flavor,  pleasing  appearance  and  plenty  of 
ice!  The  first  of  these  is  taken  up  in  the 
adjoining  column.  Let's  see,  then,  what  can 
be  done  about  the  other  two! 

Appearance,  for  instance,  doesn't  mean  that 
your  cold  beverage  service  need  be  expensive; 
but  in  order  to  have  real  eye-appeal  it  should 
be  appropriate  and,  in  most  instances,  colorful. 
So  start  out  armed  with  a  little  imagination 
and  with  a  determination  to  give  real  thought 
to  your  purchases.  And  you'll  find  you  can 
now  have  a  complete  and  gay  appearing  bev- 
erage service  in  perfect  taste  and  at  surpris- 
ingly small  cost — thanks  to  the  well-stocked 
counters  of  your  local  variety  chain  stores, 
from  which  source  all  the  following  sugges- 
tions were  collected. 

Start  off  by  deciding  which  color  scheme  will 
go  best  with  the  place  where  your  summer 
beverages  are  generally  served.  If  it  is  in 
the  dining-room,  then  the  beverage  set  should 
harmonize  with  your  table  decorations  and 
china.  But  if  you  frequently  serve  in  living- 
room,  on  porch,  in  patio  or  garden,  how  much 
nicer  it  would  be  to  match  your  beverage  set 
to  those  surroundings!  What  if  they  won't  go 
well  with  your  dinner  table  appointments! 
Have  other  glassware  at  meals,  since  at  nickel 
and  dime  prices  you  can  "match  'em  up"  for 
both  purposes  without  feeling  that  you  are 
unduly  extravagant! 

With  color  scheme  in  mind,  match  or  contrast 
your  beverage  set,  but  never  allow  it  to  clash 
Why  not  be  original  and  artistic  as  well  when 
it  costs  so  little?  Here  are  some  suggestions 
for  choosing  the  things  you  really  should  have 

GLASSES :  For  most  summer  iced  drinks  the_\ 
should  be  both  long  and  large.  Straight  sided 
glasses  decorated  with  fish,  balloons,  flowers, 
scotties  and  the  like  are  gay  and  can  be  used 
{Continued  on  page  76) 


14 


MODERN  SCREEN 


I: ! 


(Continued  from  page  13) 
self  neatly  "con-manned"  by  some  slick 
foreigners  and  returns  to  America  to 
find  his  position  as  the  Mob's  Capone 
usurped  by  Humph  Bogart,  the  "Opposi- 
tion." Wounded  in  a  gang  fight,  Eddie 
takes  refuge  in  a  monastery,  where  hide- 
out facilities  are  so  perfect  he  decides 
to  stay — in  monk's  clothing. 

The  self-denying  lives  of  the  monks 
puzzle  him  at  first,  and  he  cannot  under- 
stand what  their  racket  is.  Then  he, 
himself,  begins  to  perform  miracles.  By 
inserting  a  hose  in  the  milk  cans,  he 
makes  more  milk  appear — much  to  the 
monks'  amazement.  Placed  in  charge  of 
the  monastery  zinnia  beds,  and  named 
"Brother  Orchid,"  he  snoozes  while  he 
pays  a  garden  expert  to  grow  miracu- 
lously large  zinnias. 

It  all  sounds  pretty  irreverent  and 
might  be,  except  it's  all  so  anti-gang, 
good-natured  and  funny  no  possible 
offense  could  be  taken. 

Since  Mr.  Robinson  can  teach  gang- 
sters how  to  act  like  gangsters,  his  per- 
formance as  the  culture-struck  killer  is 
beyond  criticism  and  very  laugh-pro- 
voking at  all  times.  Ralph  Bellamy,  as 
the  rich,  dumb  cowman  is  Ralph  Bell- 
amy all  over;  Bogart  is  as  hateful  as 
only  Bogart  can  be;  Ann  Sothern,  a 
bright  gal  off-screen,  has  never  been 
more  blonde-minded;  while  Allen  Jen- 
kins, as  the  mobster  who  hides  out  in 
an  insane  asylum,  is  his  well-known 
sour  self.  And  what  more  can  you  want? 
Directed  by  Lloyd  Bacon. — Warner 
Brothers. 

PREVIEW  POSTSCRIPTS:  Despite  his 
screen  Capone-ism,  Robinson  is  Holly- 
wood's biggest  highbrow.  .  .  .  His  cigar 
consumption  is  about  4  an  hour;  he's 
been  a  chain  cigar  smoker  for  20  years, 
yet  his  nerves  and  digestion  are  still 
intact.  He  makes  around  $75,000  per 
picture,  but  he's  no  spendthrift.  .  .  .  Bad- 
man  Humph  Bogart  says  he's  happily 
married  to  Mayo  Methot  because  his 
screen  roles  take  most  of  the  meanness 
out  of  him.  Earned  $200  a  week  first 
movie  year,  now  earns  near  $2000.  He's 
nuts  about  golf,  shoots  in  the  low  80s, 
likes  music  and  political  talk,  lives  mod- 
estly, sleeps  in  the  raw,  doesn't  want  to 
own  yachts,  polo  ponies  or  miles  of  or- 
ange groves — just  act  well.  .  .  .  Ann 
(Veddy  Blonde)  Sothern' s  really  Harriet 
Lake  of  Valley  City,  N.  D.,  and  is  happily 
married  to  Roger  Pryor,  maestro  son 
of  the  maestro  bandleader.  She  loves 
dogs,  light  comedy,  goat's  milk  for  diet- 
ing, music,  tennis,  backgammon  and  tell- 
ing a  long,  good,  life-of-the-party  anec- 
dote. .  .  .  Scarface  Allen  Jenkins,  born 
Allen  McGonigal  in  New  York's  hard  guy 
belt,  changed  it  to  Jenkins  because  he 
couldn't  learn  to  spell  McGonigal  in  New 
York's  excellent  schools.  He  hopes  to 
be  a  Glamour  Boy,  he  says,  "even  if  he 
gets  tryped!" 

Four  Sons 

"Four  Sons"  is  a  picture  that  is  at 
once  tenderly  poignant  and  brutally 
frank.  Laid  against  the  sombre  back- 
ground of  Czechoslovakia  in  1936,  it 
minces  no  words  in  its  portrayal  of  war. 
There  are  no  gory  battle  scenes  to  turn 
your  stomach,  no  mass  murders  of  the 
young  to  shock  you.  There  is  only  the 
deeply  moving  story  of  a  mother  and  her 
four  sons,  caught  in  a  war-torn,  crazy 
world  ruled  by  storm  troopers  and  ruth- 
less dictators. 

The  story  takes  you  into  the  simple 
household  of  Frau  Bernle  near  the  border 
of  Germany.  Her  husband  is  dead,  killed  in 
(Continued  on  page  17) 


"I  lived  in  a  haunted  house . . ." 


It  was  just  like  seeing  a  horrible  ghost 
— everytime  I  opened  that  linen  closet. 
There  were  my  clothes  all  washed  and 
ironed — and  there  was  that  dingy  shadow 
of  tattle-tale  gray.  It  simply  haunted  me. 
I  never  dreamed  my  weak-kneed  soap 
was  to  blame  until . . . 


The  lady  next  door  asked  me  to  wash 
the  Fels-Naptha  way.  "Try  the  golden  bar 
or  the  golden  chips,"  she  told  me.  "Either 
way,  Fels-Naptha  Soap  brings  you  richer, 
golden  soap  teamed  with  gentle  dirt-loosen- 
ing  naptha.  And  those  two  busy  cleaners 
get  the  grimiest,  tattle-tale  gray  dirt." 


Well,  I  was  so  frantic  I  rushed  to  the 
grocer's  for  that  big,  golden  bar  of 
Fels-Naptha  Soap.  And  do  I  thank  my 
lucky  stars!  My  washes  now  look  like  a 
million — so  sunny -white  and  sweet-smell- 


ing! I'm  so  proud  of  my  curtains  and 
clothes  and  linens,  I  just  love  to  have  folks 
come  into  the  house.  And,  Jim . .  .well ...  if 
you  could  see  how  he  hugged  me  last 
night,  you'd  know  he's  proud  of  me! 


Golden  bar  or  golden  chips 

FELS-NAPTHA  BANISHES 
"TATTLE-TALE  GRAY" 


P.  S.  Use  the  Fels-Naptha  bar  for  bar-soap  jobs.  Use  Fels-Naptha  Soap  Chips  for  box- 
soap  jobs.  The  crinkly  flakes  made  of  richer,  golden  soap  and  naptha.  They're  HUSKIER 
— not  puffed  up  with  air  like  flimsy,  sneezy  powders.  Wonderfully  sudsy,  too — thanks 
to  a  new  added  suds-builder!  copyrieht,  1940.  Peis&co. 


SEPTEMBER,  1940 


15 


OUR    PUZZLE  PAGE 


15 


63 


88 


Puzzle  Solution  on  Page  89 


ACROSS 


DOWN 


i  & 

16. 

17. 

18. 
19. 

20. 
21. 
22. 
23. 

24. 
25. 

27. 
28. 

30. 

32. 

34. 

35. 
37. 

38. 

40. 
41 

43. 

46. 

47. 
48, 
50, 

51, 

53. 


8.  Glamorous  actress 
Heroine    of  "The 
Mortal  Storm" 
One  of  "Too  Many 
Husbands" 
Epoch 

South  sea  canoe 

"  Woman" 

"Dr.  Cycl  -  -  ■". 
Lady  of  "Rio":  init. 
Lupe  Velez'  com- 
edy co-star 
Janet  Gay  -  -  - 
"A  Call  on  the 
Presi  -  -  -  -" 
"Mo  -  -  ceo" 
Eldest  boy  in  The 
Jones  Family  series 
Russian  actress  in 
"Waterloo  Bridge" 
Actor  in  "Life  of 
Knute  Rockne" 
Rita  Hay  worth's 
former  name: 
C  -  -  -  ino 
Star  of  "House 
Across  the  Bay" 
Studio  that  gives 
March  of  Time 

"The  from 

Syracuse" 
Mrs.  Rex  Bell 
Male  lead  of 
"Sandy  Is  a  Lady" 

 Rhodes 

Mystery   man  in 
"Strange  Cargo" 
Eye 

Mr.  La  Rocque 
Wife  of  Louis  Hay- 
ward 

Hero  of  "I  Was  an 
Adventuress" 
Star  of  "Andy 
Hardy  Meets  Debu- 
tante" 


90. 

92. 
93. 
94. 

95. 

97. 

99. 
100. 
101. 

103. 

105. 
106. 


Comedian  Blue's 
first  name 
Stage  and  screen 
beatity 

Girl  with  seven  film 
successes 
A  Fairbanks-Car- 
roll film 
Miss  Muhson 
Boy 

A  studio's  territory 
Actor  in  "One  Mil- 
lion B.  C." 
Rival  of  83  down 
National  Education 
Association:  abbr. 
Write 

Old  time  comic: 

Hank  

Soak 

With   1   across  in 

"Garden  of  Allah" 

Obstruct 

Husband  of  our 

star 

Gibe 

What  Stewart  is  in 
"The  Mortal 
Storm" 

Father  in  "Satur- 
day's Children": 
init. 

"...  -  White  and 
Seven  Dwarfs" 
Turn  right 
Hero  in  27  across 
"Road  to  Singa- 
-  -  re" 

Above:  poet. 
Spiked  down 

"  of  Chicago" 

In  behalf  of 
Studio  that  brought 
back  our  star 
Star  of  "Brother 
Orchid" 
Revokes 

Dilute  solution  of 
nitro-glycerin 


1. 


Femme  in  "Miracle 
on  Main  Street" 

2.  "Spring  P  de" 

3.  John  in  "The  Dr. 
Takes  a  Wife": 
init. 

4.  Folds  of  a  coat 

5.  Star  of  "The  Sea 
Hawk" 

6.  Kind  of  electric 
light 

7.  Greek  letter 

8.  Linda  nell 

9.  Frosted 

10.  Arabian  military 
ruler:  var. 

11.  She's  in  "Two  Girls 
on  Broadway" 

12.  Young  Buffalo  Bill: 
init. 

13.  Hollywood  gather- 
ing place :  C  's 

14.  Famous  director 

15.  Variety  of  green 
tea 

16.  Network 

17.  Comedienne  with  a 
baby  stare 

20.  Cereal  grain 

23.  Part  of  a  camera 

24.  Girl  in  "House  of 
Seven  Gables" 

26.  Filming  of  a  scene 

29.  Jane's  b.  f.  in 
"Flight  Angels" 

30.  Cat's  cry 

31.  Elizabeth  P  -  -  -  er- 
son 

33.  Singer:  Igor  

35.  Star  of  "The  Ghost 
Breakers" 

36.  Craggy  hill 
Large 


Scull 
Actor 
land" 
Beauty  in 
tamed" 
"Destry  R  -  - 
Again" 
-  -  -  Aldridge 


Mary- 
"Un- 


47. 


49. 


99. 
100. 
102. 
104. 


Duchess  in  "All 
This,  and  Heaven 
Too" 

Male  lead  in 

"Knight  Without 

Armor" 

"-  -  -  Tide" 

Simpleton 

Animal  in  "The 

Biscuit  Eater" 

Fights  our  star  in 

44  down 

Lift 

Scare 

—  aid  Colman 
"Seven    S  -  -  -  ers" 
Birth  month  of  1 
across:  abbr. 

"  Miserables" 

Tennis  strokes 
Words  of  wonder 
Through 
Girl's  name 
Comedian  in  38 
across 

"Blue  " 

Martha  Raye's  real 
name 

Boy  in  "The  Bis- 
cuit Eater" 
Birthplace  of  our 
star 
Scrub 

Star  of  "My  Favor- 
ite Wife" 

What  Leo  does  for 

M-G-M 

"Ninotchka" 

Protective  garment 

Midday 

Clever 

Prison 

"P  ate  Lives  of 

Elizabeth  and  Es- 
sex" 

"  t  of  the  Mo- 
hicans" 
Unit  of  work 
Greek  letter 

-  -  rree  Teasdale 
Negative  answer 


16 


MODERN  SCREEN 


the  last  war,  and  she  lives  peacefully  and 
contentedly  with  her  sons — Chris,  Karl, 
Fritz  and  Joseph.  Then,  suddenly,  there 
are  rumblings  of  what  is  to  come.  Karl 
joins  a  German  social  club  and  becomes 
a  Nazi.  Hitler  moves  into  the  land  of 
the  Czechs  with  a  lightning-like  thrust 
in  one  of  his  first  blitzkriegs.  Chris  goes 
off  to  defend  his  country,  returning  after 
a  quick  and  humiliating  defeat.  Caught 
in  a  swamp  by  swastika-uniformed 
troops  while  warning  friends  of  the  Ger- 
man purge,  Chris  shoots  his  way  out, 
unknowingly  killing  Karl,  his  own 
brother.  But  the  Nazis  take  a  life  for 
a  life,  and  Chris  is  mercilessly  shot  down 
in  front  of  his  mother's  home.  Then 
comes  the  Polish  blitzkrieg,  and  Fritz 
Bernle,  at  eighteen,  must  go  off  to  fight 
for  a  Germany  he  hates.  Frau  Bernle's 
only  hope  of  happiness  now  lies  in  build- 
ing a  new  life  in  America  with  her  one 
remaining  son,  Joseph. 

The  entire  cast  gives  superb  char- 
acterizations. Eugenie  Leontovich,  as 
Frau  Bernle,  might  well  be  the  recipient 
of  an  Academy  Award  for  her  inspired 
performance.  Don  Ameche,  Alan  Curtis, 
George  Ernest  and  Robert  Lowery  are 
excellent  as  the  sons,  and  Mary  Beth 
Hughes,  as  Karl's  wife,  is  outstanding, 
too.  Directed  by  Archie  Mayo. — Twen- 
tieth Century-Fox. 

PREVIEW  POSTSCRIPTS:  Six  actresses 
were  tested  for  the  role  of  Frau  Bernle 
before  Eugenie  Leontovich,  Gregory  Rat- 
ofj's  wife,  was  signed  for  the  part.  .  .  . 
Before  Czechoslovakia  was  blitzkrieged, 
studio  representatives  bought  $50,000 
worth  of  furniture,  bric-a-brac,  lamps 
and  chandeliers  typical  of  the  country. 
Later,  with  the  help  of  various  Czech 
societies,    Twentieth    Century-Fox  was 


{Continued  from  page  15) 
also  able  to  salvage  authentic  mobiliza- 
tion posters  and  other  articles  used  in 
the  picture.  .  .  .  The  highest  paid  players 
in  the  film  were  not  the  stars,  but  the 
twin  babies  who  portray  little  Karl 
Bernle.  Since  they  are  not  yet  six  months 
old,  they  were  permitted  to  work  only 
twenty  minutes  a  day  and  not  more  than 
twenty  seconds  consecutively.  The  in- 
fants— Carlo  and  Georgia  Clarke — re- 
ceived $150  a  day,  for  twenty  minutes 
of  work! 

k^k^k  Tom  Brown's  School  Days 

Though  it's  as  English  as  Yorkshire 
pudding,  "Tom  Brown's  School  Days" 
will  bring  back  with  a  rush  memories  of 
the  days  when  you,  too,  were  a  kid  in 
short  pants  (or  pigtails). 

The  picture  is  built  around  a  school- 
boy and  a  revolutionary  educator  who 
are  both  new  to  Rugby  and  hope  to 
make  good  there.  Though  one  is  a 
student  and  one  a  professor,  both  must 
put  up  with  dishonesty,  cheating  and 
lying.  Tom,  of  course,  gets  much  the 
worst  of  the  deal,  for  he  must  endure 
beatings  by  the  school  bully  without 
whimpering  or  snitching.  The  professor, 
on  the  other  hand,  must  rid  the  school  of 
corruption  and  vice  and  make,  he  hopes, 
"honest,  God-fearing  English  gentlemen" 


Read  the  complete  story  of 
"The  Letter,"  starring 

BETTE  DAVIS 

in  October  Modern  Screen 


out  of  his  pupils. 

You'll  be  more  than  likely  to  relive 
your  own  school  days  while  Tom  Brown 
goes  about  trying  to  be  a  true  Rugby-ite 
■ — and  therein  lies  the  charm  of  the  pic- 
ture. Jimmy  Lydon,  as  Tom,  and  Sir 
Cedric  Hardwicke,  as  Dr.  Arnold,  give 
fine  performances.  Freddie  Bartholomew, 
as  Tom's  snooty  chum,  and  Billy  Halop, 
as  the  bully,  are  very  convincing.  Jose- 
phine Hutchinson,  Polly  Moran,  Hughie 
Green,  Alec  Craig,  Ernest  Cossart  and 
Ian  Fulton,  are  all  good,  too. — Directed 
by  Robert  Stevenson — RKO-Radio. 

PREVIEW  POSTSCRIPTS:  To  insure  co- 
operation of  the  school,  the  producers 
hired  two  Rugby  graduates  as  technical 
advisers,  cast  Britain's  knighted  Sir 
Cedric  Hardwicke  as  Dr.  Arnold,  and 
handed  the  directorial  reins  to  Robert 
Stevenson,  English  director.  .  .  .  Every 
book  known  to  have  mentioned  Eng- 
land's famed  Rugby  school  was  used  by 
the  research  department  during  the  film- 
ing of  the  picture,  and  forty  different 
editions  of  "Tom  Brown"  formed  the 
basis  for  the  sets  and  decorations.  .  .  . 
In  this  production  Billy  Halop  goes  Eng- 
lish, wearing  an  Eton  collar,  pin  striped 
trousers  and  a  black  silk  topper.  The 
first  day  on  the  set,  he  received  a  tele- 
gram. It  read,  "Traitor,"  and  was  signed 
by  the  other  "Dead  End"  toughies.  .  .  . 
The  fight  sequence  between  Billy  and 
Jimmy  Lyd:  n  was  Billy's  27th  screen 
fight  .  .  .  13-year-old  Paul  Mattl\2ws, 
who  portrays  one  of  the  Rugby-ites  in 
the  picture,  bore  such  a  remarkable 
resemblance  to  Charles  Laughton,  that  a 
meeting  of  the  two  was  arranged.  Laugh- 
ton  admitted  the  boy  looked  like  him, 
and  added,  "Homely  little  blighter,  isn't 
he?"  (Continued  on  page  75) 


I   BOUGHT   HIS  LOVE 


"h^  |OT  for  love  or  money!"  I  heard  him  say.  No— Joe  would  never  take  a  girl 
with  dandruff  to  the  party,  and  I  had  the  worst  case  of  dandruff  in  town. 
Yet,  the  very  next  day,  he  actually  begged  me  to  go  with  him!  My  white- 
flecked  hair  was  transformed  into  a  silken  glory  overnight.  Joe  saw  me  as  a  new 
and  radiantly  lovely  person,  all  because  I  purchased  a  bottle  of  Fitch  Shampoo  at 
my  favorite  toilet  goods  counter. 

I  discovered  that  Fitch's  Shampoo  removes  dandruff  instantly,  in  one  application. 
Its  rich  lather  rinses  out  completely,  leaving  my  hair  shining  clean.  Actually,  it 
penetrates  tiny  hair  openings,  helping  to  keep  my  scalp  in  normal,  trouble-free 
condition.  At  the  beauty  shop  or  at  home,  I  now  insist  on  my  weekly  Fitch  shampoo 
to  keep  my  hair  lovely  and  free  of  dandruff,  the  way  Joe  likes  it.  When  I  bought 
Fitch  Shampoo,  I  bought  his  love! 

WRITE  TODAY  to  the  F.  W.  Fitch  Company,  Dept.  M55,  Des  Moines,  Iowa  for 
a  generous  FREE  sample  of  Fitch's  Dandruff  Remover  Shampoo. 


Filch 
Shampoo 


GOODBYE 

t  This  photograph 
shows  germs  ana- 
dandruff  scored 
but  not  removed,  bY 
ordinary  soap 
shampoo. 

2  AH  germs,  d°"' 
druff  and  other  for- 
eign matter  com- 
pletely destroyed 
and  removed  by 
fitch  Shampoo 


DANDRUFF 


Fitch 
Shamv00 


notoral  luster  of  ho'r- 

,    „x,er  Fitch 
4-  Td  hair  rinsed 

Shampoo  an  sharnpoo 

,«ice.  H°,e..TondrUff  and 
removes  all  dan  and 

und',SS°W0ut  the  natural 

Copr.  1940  F.  W.  Fitch  Co. 


DANDRUFF  REMOVER 
SHAMPOO 


SEPTEMBER,  1940 


17 


Jesse  James  was  shot  in 
the  back!  If  the  law  won't 
take  care  of  his  murderers, 
I  will — or  my  name's  not 
Frank  James!'* 


THE  SPECTACULAR 
CLIMAX  TO  THE 
DARING  EXPLOITS  OF 
THE  WORLD'S  MOST 
FAMOUS  OUTLAWS! 


FRANK  JAMES 


with 


GENE 


JACKIE 


HENRY 


TIERNEY  •  COOPER  •  HULL 

bhn  Carradine    •   L  Edward  Bromberg 
nald  Meek  •  Eddie  Collins  •  George  Barbier 

Produced  by  Darryl  F.  Zanuck 
Associate  Producer  Kenneth  Macgowan 
Directed  by  Fritz  Lang 

Original  Screen  Play  by  Sara  Hellman 

A  20th  Century-Fox  Picture 


MORE  EXCITING  AND  COLORFUL  THAN  THE  UNFORGETTABLE  "JESSE  JAMES"! 


18 


MODERN  SCREEN 


Judy    Garland.  ..who    sparkles    as    never  tr 

C 


SEPTEMBER,  1940 


1" 


makes   his   debut   in   Korda's    The  Thief 


Bagdad 


PARAMOUNT  PRESENTS 

THE  SHOW  IMMENSE  . . . 

Captain  Crosby  and  his  Colossal  Crew 
of  Comely  Ladies  and  Comic  Lads  in  a 
Streamlined  Musical  Entertainment  featuring 
Seven  (count  'em,  folks)  Hit  Tunes  to  make  September 
a  Month  you'll  Remember! 


BING  (Th.  On.  and 
Only)  CROSBY 


>       UUIAN  (Wow,  I 
0)  SW.IDCORNEU 


BASH  (F»9>'«  fnm 


RATHBONE 


CROSBY  •  MARTIN  •  RATHBONE 

with 

Oscar  Levant  •  Lillian  Cornell  •  Oscar  Shaw  •  Charley  Grapewin 
Jean  Cagney  •  William  Frawley  •  John  Scott  Trotter 

Directed  by  Victor  Schertzinger  •  Screen  Play  by  Dwight  Taylor  •  Based 
on  a  story  by  Billy  Wilder  and  Jacques  Thery     •     A  Paramount  Picture 


SEPTEMBER,  1940 


THE  OTHER  night  in  Hollywood  Rosalind  Russell  had  a 
dinner  date  with  a  visiting  gentleman  friend  of  her  family's. 
He  was  an  Eastern  man,  he  was  dignified  and  proper— and 
he  was  very  late. 

She  awaited  him  with  the  best  intentions,  decorously 
clad  in  a  black  evening  gown  with  the  most  conservative 
jewelry  and  accessories. 

But  as  the  minutes  ticked  off,  instead  of  Rosalind  drum- 
ming her  fingernails  daintily  on  the  chair,  her  big,  round 
eyes  began  to  twinkle.  She  picked  some  glass  grapes  off  the 
table  and  stuck  them  on  her  shoulder.  She  found  some 
more  artificial  fruit  that  looked  swell  on  her  hat.  She  lost 
control.  She  rummaged  recklessly  around  snatching  bits 
of  this  and  that  from  the  room's  decor  and  draping  it  in 
odd  places  over  her  respectably  gowned  figure. 

When  the  tardy  escort  arrived,  immaculate  in  white  tie 
and  tails,   Rosalind  looked  something  like  a  surrealist 


Christmas  tree  designed  by  Dali.  As  she  jingled  out  the 
door  with  her  ornaments,  noting  her  escort's  rifted  eye- 
brows, Russell  thought  an  explanation  might  help.  "You 
know,"  she  confessed,  "it's  dangerous  to  leave  me  with 
time  on  my  hands.  Heaven  only  knows  what  I'll  do!" 

Maybe  only  Heaven  really  knows,  but  by  now  Holly- 
wood has  a  pretty  good  idea.  After  six  years'  exposure  to 
Mrs.  Russell's  acting  daughter,  Rosalind,  they  know  it'll  be 
something  funny. 

No  comedienne  has  ever  had  such  a  real  laugh  out  of  a 
star's  daily  life,  public  and  private,  as  Rosalind  Russell. 
From  the  start,  her  cinema  saga  has  been  one  long  run  of 
gorgeous  gags,  sly  slapstick  and  merry  monkey  business, 
and  there's  no  letup  in  sight.  All  of  which  makes  "No 
Time  For  Comedy,"  the  title  of  the  picture  sl-e  has  just 
finished  at  Warner  Brothers,  a  gross  bit  of  cinema  libel. 
Time  for  comedy,  I  maintain,  is  what  Rosalind  has  nothing 


12 


MODERN  SCREEN 


Miss  R  ± 

Q  'h  Nearer    ™0  c<^e 

Coup/e  °Kho? 

_  pn°nies! 


SHE'S  A  SCREWBALL  TO  END  ALL  SCREWBALLS,  BUT  OH  HOW  WE  LOVE  OUR  ROZ! 


else  but.  Sometimes  she  sobers  down  when  she's  on  the 
job) — not  often,  of  course,  just  sometimes.  But  when  she's 
on  the  loose — well,  the  Russell  record  of  comedy,  from 
Mexico  to  Manhattan  and  across  the  seas,  is  not  likely  to 
be  cracked  in  the  near  future.  The  last  time  Hollywood 
let  Rpz  slip  away  from  her  make-up  kit  for  any  length 
of  time,  she  even  got  tangled  up  between  the  Siegfried  and 
Maginot  lines — honest! 

"I  am  a  complete  screwball,"  Russell  herself  admits,  quite 
unashamed.  But  you  don't  have  to  take  her  word  for  it; 
it's  obvious.  As  a  guy  who  knows  her  better  than  I  do, 
Reginald  Gardiner,  has  stated  shrewdly,  "Rosalind  Russell 
is  really  a  serious  girl  afflicted  with  an  uncontrollable 
impulse  to  clown." 

She  proved  that  years  ago  when  she  arrived  in  Holly- 
wood. They  let  her  sit  around  with  time  on  her  hands 
tor  a  couple  of  weeks  at  Universal  Studios  and  the  results 


were  pretty  terrifying.  There  was  one  gag  after  another. 

One  day  Rosalind  got  one  of  those  command  studio 
memos.  It  said  the  boss,  then  Junior  Laemmle,  wanted  to 
see  her.  "He  shall  see  me,"  declared  Rosalind,  "and  how!" 

She  delved  into  her  trunk  and  dragged  out  a  fright  dress 
she  used  to  wear  to  tacky  parties  back  home.  She  took  a 
lead  pencil  and  traced  every  line  in  her  face  into  dark, 
mossy  wrinkles.  She  smeared  lipstick  around  until  she 
looked  like  strawberry  jam.  She  wrinkled  her  stockings. 
She  saturated  her  naturally  curly  tresses  with  vaseline 
until  they  hung  in  greasy  strings  about  her  neck.  She  even 
daubed  a  little  dirt  on  her  face.  Then,  rolling  a  wad  of 
gum  around  her  tongue,  she  ambled  in  to  see  Junior. 

The  resulting  apparition,  itself,  was  enough  to  make  a 
strong  man  quail.  But  when  Rosalind  drooped  in  the  chair, 
stared  moronically  at  the  floor  and,  talking  through  her 
nose,  repeated,  "I  am  very  unhappy,"  {Cont'd  on  page  77) 


SEPTEMBER,  1940 


When  Voss  was  an  extra  in  "The  Big 
Parade,"  he  never  dreamed  he'd  some- 
day be  heading  the  strangest  army 
in  the  world! 


MEET  CARL  VOSS,  EX- 
ARMY  MAN— AND  HIS 
AMAZING  BAND  OF  PRO- 
FESSIONAL  SOLDIERS 

By  Reginald  Taviner 


IT  WAS  a  motley  army  indeed.  The  troopers  wore  French  pants, 
Russian  tunics,  German  helmets;  they  marched  with  an  exaggerated 
goose  step  and  hauled  a  very,  very  big  gun.  A  little  guy  with  a 
padded  chest  covered  with  decorations  stood  reviewing  the  parade 
and  inadvertently  pulled  the  lanyard  of  the  cannon.  There  was  a 
deafening  boom  and  the  soldiers  fell  dead  in  all  directions. 

You  may  never  see  that  scene  upon  the  screen  because,  currently, 
Charlie  Chaplin  is  a  bit  up  in  the  air  about  his  "The  Dictator."  Late 
events  in  Europe  have  made  him  feel  that  his  facetious  slant  may 
not  be  quite  the  thing  just  now.  In  that  case  he  will  shelve  a  cool 
million  dollars  and  probably  the  funniest  picture  he  has  ever  made. 

But  it  wasn't  all  fun  for  Carl  Voss  .  .  . 

Carl  Voss  is  the  man  who  staged  the  battle  stuff  in  the  Chaplin 
film  just  as  he  has  staged  most  of  the  battles  in  most  of  the  films 
made  since  "The  Big  Parade."  Voss  is  Hollywood's  military 
generalissimo,  and  he  has  fought  upwards  of  two  hundred  wars 
without  losing  a  man.  He  has  fought  them  in  every  known  uniform 
and  under  all  flags,  and  he  has  many  times  performed  the  incon- 
ceivable feat  of  fighting  on  both  sides  at  once,  thus  being  both  victor 
and  vanquished. 

His  "army"  holds  the  record  of  having  fought  as  many  as  five 
major  engagements  in  one  day,  changing  uniforms  for  each  en- 
counter and  running  the  gamut  of  shot  and  shell  from  Bull  Run  to 
Belleau  Wood  between  sunrise  and  sunset.  The  men  were  equally 
at  home  as  backwoods  frontiersmen  in  "Northwest  Passage,"  as 
Foreign  Legionnaires  in  "Beau  Geste"  or  as  British  guardsmen  in 
"Gunga  Din."  They  were  Russians  in  "The  Cossacks,"  Italians  in 
"White  Sister,"  Swedes  in  "Queen  Christiana,"  Turks  in  "Stamboul 
Quest"  and  so  on;  they  know  the  correct  manuals  of  arms  for  every 
period  of  every  country  in  the  world.  They  will  fight  any  pro- 
ducer's battles  for  $8.25  a  day,  and  they  are  the  only  enlisted  men 
on  earth  who  get  steaks  and  chicken  for  lunch.  They  march  through 
Hollywood,  not  Georgia,  and  to  them  war  is  swell,  not  hell. 

They  have  just  finished  being  Nazi  troopers  in  "Four  Sons"  and 
"The  Man  I  Married,"  and  they  know  exactly  how  a  real  invader 
feels  from  the  way  the  rest  of  the  studio  population  looked  at  their 
uniforms  when  they  stormed  the  commissary  at  noon  each  day. 
Some  of  the  more  imaginative  stenographers  actually  thought  it  was 
a  real  Hollywood  blitzkrieg  and  that  the  tablecloths  were  para- 
chutes! But  even  Hitler's  mechanized  columns  are  slow  compared 
with  the  speed  Carl  Voss  sometimes  has  to  show. 

"Battle  scenes  cost  the  studios  at  least  $1000  an  hour,"  he  ex- 
plained, "so  naturally  they're  in  a  hurry.  Many  a  time  I've  had  to 
get  an  army  all  equipped  and  in  the  field  in  fifteen  minutes." 

It  was  during  "The  Man  I  Married,"  incidentally,  that  Voss  had  to 
train  his  only  feminine  army.  They  were  little  girls,  from  six  to 
ten  years  old,  who  impersonated  a  platoon  of  Hitler  Youth.  There 
was  a  platoon  of  little  boys,  too,  of  the  same  ages,  and  now  nobody 
can  tell  Voss  that  girls  don't  make  far  better  soldiers  than  boys. 

"Those  little  girls  got  the  steps  and  the  gestures  right  off,"  he  said. 
"They  had  everything  down  pat  in  ten  minutes,  but  the  boys  took 
two  hours  before  they  were  good  enough  for  the  cameras.  Even 
then,  they  weren't  half  as  snappy  as  the  girls." 

Like  so  many  things  that  happen  in  Hollywood,  Voss'  becoming  a 
movie  general  was  the  result  of  a  trifling  incident.  He  is  a  regular 
American  Army  man  who  served  in  the  14th  Infantry  and,  upon  his 
discharge  as  sergeant,  drifted  into  extra  work.  One  day  he  got  a  call 
to  shoulder  a  gun  in  "The  Big  Parade"  and  when  he  arrived  on  the 
set  he  found  800  other  veterans  milling  around  with  nobody  to  tell 
them  what  to  do. 

All  of  Voss'  instincts  as  a  drill  sergeant  immediately  rebelled  at 
that.    He  went  to  the  assistant  director 

"Can  I  help?"  he  asked 

"If  you  know  how  to  get  these  men  lined  up,  you  certainly  can," 
he  was  told. 

Voss  stepped  out  in  front  of  the  men  and  clicked  his  heels. 
"  'Shun!"  he  yelled. 

The  men  fell  in  automatically.  They  heard  a  drill  sergeant's  voice 
and  became  soldiers  again  on  the  spot.  For  the  duration  of  the 
picture,  Voss  remained  in  charge  of  military  operations,  and  during 
the  film  he  organized  the  nucleus  of  the  movie  army  which  has 
appeared  as  a  unit  in  practically  all  war  pictures  since.  Voss  has 
kept  the  unit  intact,  found  work  and  made  (Continued  on  page  85) 


24 


MODERN  SCREEN 


SEPTEMBER,  1940 


25 


BV  ROBERT  TAYLOR 

AS  TOLD  TO  GLADYS  HALL 

ACTING  is  the  most  unstable  of  the  professions.  It  and 
politics  are  the  only  two  pursuits  of  man  which  depend 
solely  upon  public  favor.  In  other  lines  of  work,,  you  fail 
or  are  fired  because  you  are  not  efficient  at  your  job.  An 
actor  may  be  completely  efficient  at  his  job  but,  if  public 
favor  veers  away  from  him,  that  efficiency  counts  for 
nothing. 

The  question  I  want  to  ask  my  fans  is  this:  What  makes 
a  star  slip?  What  are  the  contributing  factors  that  cause 
a  star  to  fall?  Do  you  get  tired  of  his  face?  Is  it  a 
question  of  bad  stories?  How  much  does  adverse  publicity 
have  to  do  with  it?  How  great  an  influence  is  the  star's 
private  life?  In  other  words,  just  what  is  it  that  makes 
a  star  and  just  what  is  it  that  breaks  him"' 

Because  I  know  my  own  case  history  best,  I  feel  that  if 
I  can  get  the  clue  to  my  own  toboggan,  I  can  get  the 
answer  to  the  whole  question.  I  don't  know  why  I  slipped. 
I  know  there  are  a  dozen  routine  answers,  but  I'm  not 
satisfied  that  they  are  the  real  ones 

I  do  know  just  when  it  all  began.    "They"  said  I  was 


slipping  before  1  went  to  England  to  make  "A  Yank  at 
Oxford."  The  bad  publicity  I  got  in  New  York  before  1 
sailed,  the  "pretty  boy"  shrapnel  they  let  me  have  was 
"they"  said,  my  death-knell.  But  curfew  did  not  ring 
that  night.  Because,  if  I'd  started  to  slip  then  as  disas- 
trously as  was  predicted,  "A  Yank  at  Oxford"  wouldn't 
have  done  the  business  it  did 

No,  I  skidded  when  I  made  "Stand  Up  and  Fight,"  and 
well  I  knew  it.  Don't  think  we  stars  don't  realize  when 
we  begin  to  wobble.  We  don't  soar  around  with  our  heads 
blandly  in  the  blue  while  our  feet  are  walking  the  plank. 
Why  I  slipped  with  this  picture  is  one  of  the  things  that 
confuses  me.  It  was  a  good  picture  and  brought  in  the 
shekels,  yejt  it  was  not  good  for  me.  Which  seems  to 
indicate  that,  for  the  individual  actor,  the  play's  not  always 
"the  thing."  You  can  slip  even  when  you  have  a  good 
picture 

Now  it  may  be  argued  that  the  picture  was  no  good  for 
me  because  I  played  a  tough  guy  in  it — fighting  with  Beery, 
biting  the  dust  and  all  that.    I  bet  some  of  you  said,  "It's 


2< 


MODERN  SCREEN 


too  obvious  that  the  studio  is  trying  to  disprove  the 
'pretty  boy'  publicity  by  giving  Taylor  a  part  where  he 
can  exhibit  some  beef  and  brawn."  I  thought  of  that,  too, 
but  it  isn't  a  good  enough  reason,  because  "The  Crowd 
Roars"  was  made  before  "Stand  Up  and  Fight"  and  in 
that,  if  anyone  remembers,  I  was  a  pugilist  who  was  no 
palooka  in  the  ring.  If  any  of  you  had  wanted  to  give  it 
the  "Hee  -  haw  -  they're  -  trying-to-prove-that-Tay  lor-can- 
take-it,"  that  was  your  chance.  You  didn't  take  it.  That 
picture  was  both  good  Box  Office  and  good  for  me. 

So,  to  a  certain  extent,  my  pictures  have  kept  me  on  a 
see-saw,  now  up,  now  down.  "Three  Comrades"  was  a  good 
picture  for  me.    "Stand  Up  and  Fight,"  "Lucky  Night," 


"Lady  of  the  Tropics"  and  "Remember"  were  bad  for  me. 
"Waterloo  Bridge"  gave  me  a  swing  up  again  and  now  I 
have  hopes  that  "Escape"  will  put  me  on  the  up-end  of 
the  teeter-totter  once  again.  But  it's  the  why  of  the  ups 
and  downs  that  I'm  trying  to  get  at. 

In  my  case  it  may  well  be  said  that  I  skidded  because 
I'm  not  a  fine  actor.  I  know  I'm  not.  I  had  no  experience 
behind  me  when  I  came  to  Hollywood.  I  still  haven't  had 
enough  training — it  takes  study  and  time  to  perfect  any 
art  or  craft.  I  have  a  whale  of  a  lot  to  learn. 

Yet,  you  can't  say  an  actor  loses  public  favor  just  because 
he's  not  a  fine  actor.  Naming  no  names,  for  courtesy's  sake, 
we  all  know  actors  who  make  no  (Continued  on  page  68) 


SEPTEMBER,  1940 


27 


THAT   DUSE  IN   DIDIES,   SANDY   HENVILLE,   IS   NO  ANGEL! 


THE  BIG  baby  hunt  at 
Universal  studios  had  sim- 
mered down  from  three 
hundred  hopeful  infants  to 
one,  when  Sandra  Lee 
Henville  was  introduced  to 
the  harried  group  of  men  in  the  studio  testing  room. 

The  lucky  survivor  was  an  angel-faced  cherub  with 
golden  ringlets — too  beautiful  for  words.  Sandra  Lee  was 
puny,  straight-haired  and  plain. 

The  beautiful  baby  sat  before  the  camera  and  bawled. 
When  anyone  came  near  her  she  bawled  louder.  Bing 
Crosby  and  Director  Dave  Butler  shook  their  heads  sadly 
and  sighed.    "Let's  have  the  other  one,"  said  Butler. 

They  put  Sandra  Lee  on  the  chair  and  handed  her  a 
rattle.  The  camera  rolled.  So  did  Sandra's  eyes.  Her 
mouth  opened,  and  her  voice  gurgled.  She  grabbed  the 
rattle  and  cracked  Dave  Butler  between  the  eyes.  That's 
all  there  was  to  it. 

"That  kid,"  said  Bing  Crosby,  "is  dynamite  in  didies. 
She'll  take  the  picture  like  Grant  took  Richmond!" 

He  wasn't  kidding.  Because  all  this  happened  over  a 
year  ago,  when  Bing  was  hunting  for  the  cutest  kid  in 
Hollywood  for  his  picture,  "East  Side  of  Heaven."  There 
used  to  be  an  old  movie-making  maxim  kicking  around 
Hollywood  that  went  like  this:  "When  the  picture  drags, 
cut  to  a  cat  or  a  baby."  That's  what  Bing  Crosby  had  in 
mind  originally.  He  didn't  know  he  would  discover  a  new 
star.  But  he  certainly  did. 

Sandra  Lee  Henville — now  Baby  Sandy  to  an  adoring 
world — was  only  eleven  months  old  when  fate  lifted  her 
out  of  her  crib  and  made  her  a  Hollywood  star.  Today, 
she's  only  a  little  over  two  years  old.  But  already  Baby 
Sandy  has  starred  in  three  of  her  own  pictures,  besides 
the  one  she  swiped  from  Bing.  Yes,  Sandy  is  Santa  Claus 
to  theatre  owners  all  over  the  land  and  the  pet  of  the 
nation.  In  fact,  she  stacks  up  as  the  greatest  baby  star 
Hollywood  has  ever  had. 

According  to  her  studio,  Universal,  all  of  that  is  only 
the  beginning.  Sandy,  at  two,  instead  of  being  washed 
up  as  her  burp-and-gurgle  days  pass,  is  just  getting  set 
to  toddle  to  bigger  and  better  things  in  expensive  A  pictures. 
She's  going  to  be  Hollywood's  next  Shirley  Temple,  the 
big  shots  say,  or  else. 

The  success  story  of  Baby  Sandra  Henville  is  one  of  those 
incredible  tales  that  happen  only  in  Hollywood.  Where 
else,  for  instance,  would  a  multi-million-dollar  company 
spend  weeks  hunting  a  boy  baby  and  end  up  picking  a  girl 
to  play  a  boy?  Where  else  would  a  milkman's  baby  daugh- 
ter leave  her  trundle  bed  and  end  up  making  $1,000  a  week? 


By  Kirllcy  Baskette 

Roy  Henville  and  his  pretty  young  wife,  Eleanor,  had 
a  baby,  like  millions  of  other  American  couples.  Their 
baby  wasn't  particularly  beautiful  or  different  from  any 
other  baby,  except  that  she  arrived  in  seven  months  and 
weighed  only  four  pounds  and  twelve  ounces  when  the 
stork  brought  her.  Of  course,  they  thought  she  was  the 
most  wonderful  baby  ever  born,  but  they  were  modest 
enough  about  it  not  to  bore  their  friends  and  neighbors. 

They  lived  quietly,  too,  in  a  tiny  bungalow  in  the  low 
rent  district  between  Glendale  and  Hollywood.  They  had 
to,  because  Roy  was  a  milkman — and  still  is — and  that's 
no  quick  road  to  riches,  as  everyone  knows.  Neither  of 
them  had  ever  been  inside  a  movie  studio  or  thought 
much  about  it.  Roy  was  too  busy  getting  up  at  the  crack 
of  dawn  to  peddle  his  milk.  Eleanor  was  too  busy  around 
the  house. 

Then,  one  day,  the  Los  Angeles  papers  printed  a  story 
like  this:  "Universal  is  looking  for  a  blonde  baby  to  play 
in  Bing  Crosby's  picture,  'East  Side  of  Heaven.'  They  want 
a  six-month-old  boy  with  curly  hair  who  likes  music. 
He  has  to  listen  to  Bing  sing  and  look  happy  about  it." 

Eleanor  read  it  to  Roy  and  laughed.  "They  certainly 
don't  want  Sandra,"  she  chuckled.  "The  only  thing  that 
fits  her  is  the  blonde  hair." 

"Well,  she  likes  to  listen  to  the  radio,"  said  Roy.  "Say, 
I've  got  a  customer  who  works  at  Universal.  He's  a  musical 
director  or  something.  Where  are  those  snapshots  we  took 
last  Sunday?  I  think  I'll  show  him  what  a  cute  baby  really 
looks  like — just  for  fun!" 

The  story  has  already  been  told.  When  he  left  the  two 
quarts  of  certified  and  the  coffee  cream  next  morning, 
Roy  pulled  out  the  tiny  2x3  inch  snapshots  of  Sandra. 
When  the  musical  director  took  them  to  Butler  and  Bing, 
already  cross-eyed  from  looking  at  cute  kids,  they  said 
they'd  look  at  just  one  more. 

One  more  was  enough.  Sandy  got  the  job.  But  why? 
What  does  Baby  Sandy  have  that  thousands  of  other  babies 
scattered  through  Hollywood  pictures  for  the  past  thirty 
years  don't  have? 

Sandy  has  temperament.  "She,"  as  Gil  Vallee,  her  fa- 
vorite assistant  director,  puts  it,  "reacts!"  And  how!  It's 
bad  enough,  the  Lord  knows,  if  a  grown-up  star  doesn't 
sparkle  naturally.  But  for  a  baby  to  be  relaxed  is  pure 
poison.  Sandy  isn't  troubled  that  way.  Instead,  the  trouble 
is  often  the  other  way  round.  She  reacts  too  much. 

Mischa  Auer  has  played  in  every  Baby  Sandy  picture 
except  one.  You'd  think  by  now  Sandy  would  be  as 
familiar  with  Mischa's  lugubrious  personality  as  she  is 
with  her  dollie  stand-in. 

Nothing  of  the  sort.  To  this  day  (Continued  on  page  82) 


-'8 


\10DFRN  SfREEN 


SLAP  THE  geeters  on  Hysterical  in  the  fourth  to  show"  isn't 
exactly  poetic.  Escaping  the  soft  lips  of  Virginia  Bruce,  it's 
enough  to  make  a  man  bury  his  eyebrows  in  his  hair.  But  to 
J.  Walter  Ruben  those  words  are  music.  They  mean  that  the 
bars  are  down  again  at  Hollywood  Park,  that  his  wife's  right  in 
there  "picking  "em"  and  that  the  day's  going  to  be  a  great  one! 

Currently,  Hollywood  Park  is  Movietown's  pet  betting  ground. 
A  sleek,  streamlined  race  track,  located  at  Inglewood,  ten  miles 
outside  of  Hollywood  proper,  it  is  the  $3,000,000  magnet  that 
acts  as  an  almost  daily  lure  to  the  Rubens,  Claudette  Colbert, 
Sonja  Henie,  Irene  Dunne  and  50,000  others  in  whom  the  sport- 
ing blood  flows  free.  It  is  the  place  where  Don  Ameche  and 
Mickey  Rooney  race  their  own  horses,  where  Marlene  Dietrich 
and  Constance  Bennett  come  to  lead  the  fashion  parade,  and 
where  Bing  Crosby  and  George  Raft  may  bet  between  $2,000 
and  $3,000  in  a  single  afternoon! 

Like  Santa  Anita,  whose  season  precedes  it,  and  Del  Mar, 
whose  season  will  follow,  Hollywood  Park  is  divided  into  three 
sections:  the  grandstand,  the  regular  club  house  and  the 
exclusive  hangout  for  people  with  money.  In  Inglewood,  this 
"hangout"  is  known  as  the  Turf  Club — and  the  Turf  Club,  you 
guessed  it,  is  where  the  movie  stars  gather.  Here  they  sit  in 
$220  boxes,  which  they  may  purchase  only  after  paying  a  $220 
membership  fee.  They  ore  always  dressed  to  the  hilt  and  on 
their  best  behavior,  for  the  club's  standards,  like  its  rates,  are 
high.  Slacks  are  taboo,  and  men  in  polo  shirts  or  without  ties 
are  given  an  immediate  heave-ho. 

However,  neither  the  stars  that  appear  nor  the  horses  that 
run  are  as  colorful  as  the  famous  Goose  Girl  in  the  center  of 
the  track.  Two  years  ago,  when  Hollywood  Park  was  built, 
an  imaginative  landscape  artist  plunked  a  goose  pond  right 
in  the  middle  of  the  oval,  without  realizing  that  the  uninhibited 
birds  might  fly  into  the  teeth  of  the  horses  and  menace  the 
jockeys.  Hence  the  Goose  Girl.  Dressed  in  a  costume  fur- 
nished by  the  Warner  Bros.  Wardrobe  Department,  she  is  a 
perfectly  incongruous  figure,  spending  her  afternoons  keeping 
her  silly  charges  in  line.  But  you  can  save  your  pity  for  Mr. 
Crosby,  whose  horse  is  still  running,  and  not  worry  about  the 
Goose  Girl.  Her  predecessor  wound  up  in  Earl  Carroll's  chorus! 


When  George  Raft,  a  plunger,  wins — he  hands 
over  that  loot  to  Bodyguard  Killer  Grey. 


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33 


IS  HOM.YWDO0 


IT  SEEMS  like  ages  since  the  flamboyant  days  when  such 
social  pace-setters  as  Mabel  Normand,  Mary  Pickford  and 
Marion  Davies  queened  it  with  regal  extravagance  on  the 
Coast.  The  riotous  good  humor  of  Mabel  established  Holly- 
wood's reputation  as  a  madly  irresponsible  place.  Remem- 
ber when  she  spent  five  months  and  $250,000  leading  her 
pals  a  merry  chase  through  Europe? 

Then  Hollywood  grew  terribly  formal  and  dignified 
when  Mary  Pickford  and  Douglas  Fairbanks  turned  Pick- 
fair  into  a  fascinating  spot  for  titled  visitors  and  a  select 
group  of  stars  who  were  correct  enough  to  associate  with 
them.  And  the  lavish,  huge  balls  given  by  Marion  Davies 
wrote  another  spectacular  chapter  into  Hollywood's  per- 
sonal history.  But  now,  those  days  are  over. 

Even  last  year's  most  noted  party -thrower,  Mrs.  Basil 
Rathbone,  is  no  longer  giving  her  famous  elaborate  affairs. 
She  is  devoting  all  of  her  energies  to  war  relief.  Now, 
Kay  Francis  wouldn't  dream  of  renting  a  cafe  for  a  big 
party  as  she  has  done  in  the  past.  The  other  night  at 
Ciro's  she  went  from  table  to  table,  collecting  $10  apiece 
for  a  war  charity.  At  Lamaze's  they  are  having  a  series 
of  benefit  nights  for  the  Red  Cross  and  Allied  war  relief. 
Stars  like  Marlene  Dietrich,  Dorothy  Lamour,  Edgar  Ber- 
gen, Alice  Faye  and  Richard  Greene  donate  their  services 
as  entertainers. 

"Yes,  Hollywood  society  isn't  what  it  used  to  be.  You 
would  be  more  than  surprised  if  you  tried  to  crash  the 
movie  elite  these  days,"  says  Elsa  Maxwell. 

Because  Elsa  Maxwell  has  created  an  international  name 
for  herself  as  the  foremost  authority  on  parties,  her  opin- 
ions on  the  manner  in  which  Hollywood's  social  scene  has 
altered  are  invaluable.  It  was  she  who  made  Monte 
Carlo,  Cannes  and  Biarritz  so  popular  with  the  gay,  con- 
tinental set  of  a  decade  ago.   Assorted  celebrities,  ranging 


from  the  Duke  of  Windsor,  Queen  Marie  of  Roumania,  j 
the  former  king   of  Spain,   to  all  sorts   of  fun-loving  , 
folk  with  cash,  eagerly  attended  the  parties  Elsa  man- 
euvered. The  scavenger  and  treasure  hunts  were  her  bright 
ideas,  to  say  nothing  of  her  come-as-someone-you-admire- 
or-hate  invention.     Returning  to  her  native  land,  she  I 
pepped  up  New  York's  languishing  society.    No  one  has 
ever  shown  a  better  flair  for  amusing  people  than  this 
short,  fat  dynamo  of  a  woman  who  has  never  hesitated  | 
to  say  what  she  thinks. 

"People  who  are  not  in  Hollywood  society  are  apt  to  j 
have  a  false  notion  of  what  it  takes  to  be  among  those 
present,"  she  says.   "First  of  all,  you  don't  need  a  number  '• 
of  the  things  you  might  suppose  are  elementary.    To  be 
a  social  success  in  Hollywood  you  don't  have  to  be  beauti- 
ful or  handsome.    Most  of  the  stars  are  distinguished  in 
appearance,  and  they  are  not  overwhelmed  with  what  na-  j 
ture  or  a  kind  camera  can  do  for  a  person.    You  don't  j 
have  to  be  young  and  alluring.   Look  at  me!   I've  always 
had  a  distressingly  plain  face.    I  tip  the  scales  at  two 
hundred  pounds,  so  the  less  mention  made  of  my  figure 
the  better.    I  began  my  own  picture  career  a  year  ago, 
and  I  was  beyond  the  finishing-school  phase — I'm  even 
seven  years  beyond  fifty! 

"You  don't  have  to  possess  a  wonderful  wardrobe. 
They've  never  described  me  as  one  of  the  best  dressed 
women,  but  I  have  managed  to  get  around  just  the  same. 
You  don't  have  to  have  money.  Not  very  much,  anyway. 
The  social  leaders  here  are  so  well  fixed  themselves  i 
that  they  don't  have  to  worry  about  how  much  others  \ 
have  in  the  way  of  material  wealth." 

She  isn't  given  to  stalling  on  any  point.  "You  don't  need 
any  background  to  click,  either.  Background  is  an  im- 
pediment in  Hollywood,  thank  God!  Everyone  is  on  his 
own  here.  Family  names  don't  impress.  There  is  no  such 
thing  as  inherited  position.  Only  what  you  are  and  do 
makes  you  shine  in  this  set-up.  But  there  are  no  longer 
"magic"  names  anywhere,  socially  speaking.  In  New  York 
the  Vanderbilts  and  the  Astors  are  still  important  be- 
cause the  present  generation  amounts  to  something.  A 
lot  of  their  ancestral  rivals  are  extinct  because  the  mem- 
bers of  the  families  no  longer  stand  for  anything  significant. 

"You  don't  have  to  be  a  splendid  dancer  to  be  popular 
in  Hollywood.  Dancing  is  rather  silly  when  you  can  share 
an  evening  of  vivid  mental  contact.  If  you  were  to  join 
us,  you  would  discover  that  you  couldn't  just  sit  and 
wait  to  be  entertained.  You'd  find  that  we  are  sensitive 
people,  and  that  we  all  talk  our  heads  off.  We  do  not 
try  for  effects,  no  matter  what  the  Hollywood  of  yesterday 
may  have  been.  We're  much  too  busy.  We  have  jobs 
which  we  must  do  well  to  hold  on  to,  and  we  cannot  sit 
by  and  just  watch  the  suffering  of  those  in  Europe.  Nine 
out  of  ten  of  us  have  survived  bad  times  ourselves;  we 
know  what  they  mean. 

"The  first  social  commandment  now  is:  Be  amusing. 
The  fundamental  object  of  entertainment  is  a  good  time. 
Fascinate  with  your  conversation,  and  your  adaptability, 
and  you  are  very  likely  to  be  sought  after  here. 

"The  second  social  commandment  is:  Serve  superb  food. 
Hollywood  women  pay  a  great  deal  of  attention  to  food. 
Hostesses  here  know  more  about  food  than  all  the  current 
New  York  hostesses  put  together.  And  believe  it  or  not, 
most  of  the  top-notch  hostesses  can  cook  marvelously 
themselves! 

"Most  dining  here  is  buffet   (Continued  on  page  73) 

MODERN  SCREEN 


GETTING  SENSIBLE  ? 


A  FEW  weeks  ago,  Bing  Crosby  put  aside  his  golf  game 
and  his  daily  trips  to  the  race  track  and  made  a  picture. 
It  won't  further  the  progress  of  the  American  cinema  and 
it  won't  be  sealed  in  a  time  capsule  to  represent  the  genius 
of  our  generation.  Nonetheless,  it's  slated  to  be  one  of  the 
smash  hits  of  the  year.  The  reason?  It's  a  daffy-dilly 
tale,  acted  out  on  cheerful  stages  by  a  gang  of  players  who 
don't  mind  working  for  a  living. 

The  story,  called  vaguely,  "Rhythm  on  the  River,"  busies 
itself  chiefly  with  a  bright-looking  pair  of  lovers  (Bing 
and  Mary  Martin)  who,  unbeknown  to  each  other,  are 
ghost-writing  songs  for  the  same  creatively-exhausted 
composer  (Basil  Rathbone).  Opening  in  a  whirling  New 
York  City  snowstorm  (flaked  ice  blown  about  the  set  by 
huge  electric  fans),  the  action  hops  like  a  jack  rabbit  from 
one  lively  background  to  the  next,  pausing  briefly  at  a 
snow-blanketed  (bleached  cornflakes)  farmhouse  known 
as  "Nobody's  Inn,"  and  skipping  on  to  a  pawnshop,  a 
$200,000  night  club  set,  and  a  dilapidated  ferry  boat  which 
has  bogged  down  on  the  ice-choked  Hudson  River  (painted 
canvas,  ridged  and  furrowed  by  the  prop  department). 


But,  however  interesting  they  are,  the  sets  and  the  story 
are  not  the  biggest  news  of  the  picture.  Neither  is  the  fact 
that  for  the  first  time  a  sizzling  "jam"  session  will  be  brought 
to  the  screen.  Nor  the  fact  that  Ouida  Rathbone  was  hired 
as  technical  adviser  for  party  sequences,  nor  that  Oscar, 
the  Paramount  bootblack,  makes  his  debut  in  a  Grand 
Central  Station  scene.  The  real  sensation  of  "Rhythm  on 
the  River"  is  the  most  amazing  assortment  of  human  curios 
ever  collected  by  a  studio. 

The  first  human  curio  is  the  pugnacious,  precocious  star 
of  radio's  "Information,  Please,"  Oscar  Levant,  the  man 
who  spent  three  and  one-half  weeks  in  Hollywood  and  left 
a  memory  the  town  will  never  forget.  Pouting,  churlish  and 
rude  to  anyone  who  crosses  his  path,  Levant  plays  his 
unusual  self  and,  incidentally,  turns  in  the  best  performance 
in  the  picture!  Curio  No.  2  is  Wingy  Mannone,  the  one- 
armed  sultan  of  swing  who  blows  a  hot  trumpet,  chews  gum 
endlessly  and  can't  even  spell  his  own  name.  And  com- 
pleting this  oddity  aggregation  is  200  lb.  John  Scott  Trotter, 
the  band  leader  recruited  from  Bing's  air  show  to  supply 
the  background  for  the  Crosby -Martin  warblings. 


38 


MODERN  SCREEN 


Syrocuf  ^  ge5W 

r00m'  ™an  because  she« .  t  &+ 
for  "ourS 


YOU'LL  GET  A  MILLION  LAUGHS  FROM  PARA- 


MOUNT'S  NEW  MUSICAL,  BUT  THE  MERRY  CREW 


THAT  MADE  IT  WILL  BE  A  COUPLE  UP  ON  YOU 


SOONER  or  later — usually  sooner — every  Hollywood  party 
gets  around  to  the  subject  of  sex.  This  one  had  arrived 
at  the  topic  of  legs.  There  was  a  lively  debate  about 
who  owned  the  prettiest  pair  in  Filmdom.  Marlene  Die- 
trich had  her  defenders.  Ann  Sheridan  had  hers.  Lana 
Turner  had  hers.  Betty  Grable,  someone  insisted,  deserved 
the  honor. 

Up  spoke  a  visitor  from  New  York,  "I  remember  a  girl 
who  came  out  here  with  the  reputation  of  having  the 
prettiest  legs  on  Broadway.  But  no  one  out  here  seems  a 
bit  conscious  of  her  very  shapely  pins." 

"What's  her  name?"  asked  a  chorus  of  disbelievers.. 

"Claudette  Colbert,"  said  the  visitor  from  New  York. 

For  a  moment  there  was  silence. 

"I  remember  when  Claudette  arrived  in  Hollywood," 
conceded  a  director.  "There  was  a  bit  of  hullabaloo  about 
her  legs." 

"What  made  it  die  down?"  asked  a  newly-arrived  blonde. 
"I  didn't  know  press  agents  ever  let  anybody  forget  that 
a  girl  had  legs."  She  crossed  her  own  self-consciously. 

"You  certainly  never  see  any  Colbert  bathing-suit  art," 
commented  a  drama-page  editor. 

"Maybe  she  doesn't  swim,"  someone  cracked. 

"Say,"  said  the  blonde,  indignantly,  "I  don't  swim,  but  I 
spend  my  life  posing  for  bathing-suit  art." 

From  a  discussion  of  Hollywood  legs  in  general,  the 
conversation  turned  into  a  discussion  of  the  Colbert  legs 
in  particular.  Why  had  they  been  forgotten? 

Here  was  a  titillating  mystery.  This  sort  of  thing  just 
didn't  happen  in  Hollywood.  Either  a  girl  showed  her  legs 
and  people  said  she  had  sex  appeal,  or  she  didn't  show  her 
legs  and  people  said  she  didn't  have  sex  appeal.  Claudette 
didn't  go  in  for  self-exposure,  yet  nobody  said  she  lacked 
sex  appeal. 

The  party  didn't  solve  the  mystery.  Apparently  only 
Claudette  could  explain  it.  So  we  went  to  Claudette. 

We  found  her  in  the  Guest  Star  dressing-room  at 
M-G-M,  where  at  the  moment  she  was  co-starring  with 
Clark  Gable,  Spencer  Tracy  and  Hedy  Lamarr  in  a  super- 
special  entitled  "Boom  Town."  One  entire  corner  of  the 
room  was  window-glass,  with  a  right-angle  divan  built 
into  the  corner.  Sitting  diagonally  across  from  us  on  the 
divan,  she  looked  trim  and  pert  in  a  blue  skirt,  white  blouse 
and  checkered  sports  jacket. 

Claudette  laughed  when  told  of  the  mystery  we  were 
there  to  solve. 

"Come,  come!"  she  said  chidingly.  "Don't  make  me  out 


an  oddity.  Don't  tell  me  I'm  the  only  actress  in  Hollywood 
who  has  refrained  from  leg  art." 

We  challenged  her  to  name  any  other  actress  who  had 
refrained  as  she  had. 

"Well,  there's  Greta  Garbo,  for  one,"  said  Claudette, 
tentatively. 

But  Garbo,  when  she  first  came  to  Hollywood,  posed 
smilingly  in  bathing  suits  and,  believe  it  or  not,  in  running 
trunks. 

"There's  Norma  Shearer,"  said  Claudette,  hopefully. 

But  M-G-M  has  a  whole  file  of  early  photos  of  Norma  in 
a  bathing  suit — some  of  them  even  showing  her  poised  on 
a  diving  tower. 

She  named  several  other  actresses  who,  she  thought,  had 
avoided  art  beside  a  swimming  pool.  Every  case  she  cited 
could  be  refuted,  with  the  single  exception  of  Luise  Rainer. 
And  Luise  didn't  come  to  Hollywood  with  the  reputation 
of  having  "the  most  beautiful  legs  on  Broadway." 

"No,"  said  Claudette,  with  mock  ruefulness,  "she  was 
spared  that  embarrassment.  And  don't  think  I  wasn't 
embarrassed  about  it." 

Why? 

Claudette  temporarily  dodged  the  question.  She  said, 
"You  know  how  it  all  started,  don't  you?  Walter  Winchell 
started  it.  I  opened  in  the  play  called  'The  Barker.'  It  was 
the  first  big  thing  I  had  done,  and  Winchell  was  there, 
opening  night,  reviewing  it.  After  the  second  act,  my 
brother  went  to  the  men's  lounge  and  bumped  into  Win- 
chell, who  didn't  know  that  he  was  my  brother. 

"Charles  said  to  Winchell,  'What  do  you  think  of  the 
play?' 

"Winchell  said,  'I  can't  keep  my  mind  on  the  play.  I 
can't  take  my  eyes  off  that  doll's  legs.' 

"Charles  waxed  a  bit  huffy  and  said,  "That  doll,  as  you 
call  her,  happens  to  be  my  sister!' 

"Winchell  harrumphed  and  said,  'Now  don't  take  it  that 
way,  Charlie.  I  meant  it  as  a  compliment,'  and  so  forth, 
and  eased  out. 

"If  it  hadn't  been  for  that  incident,  probably  he  would 
never  have  printed  anything  about  my  legs.  It  amused  him 
that  he  had  almost  stepped  into  something,  wise-cracking 
about  them.  So  he  printed  in  his  column  that  I  had  'the 
prettiest  legs  on  Broadway,'  or  some  such  thing.  Whatever 
made  him  notice  them  in  the  first  place  has  always  been 
a  puzzle  to  me." 

(That's  easily  explained.  At  the  time  that  Claudette 
made  her  hit  in  "The  Barker,"  (Continued  on  page  64) 

BY  JAMES  REID 


TE 


S 


N 


They  drew  raves  in  the  Broadway  columns- 
still  Hollywood  apparently  ignores  them.  Why' 


40 


MODERN  SCREEN 


By  Irving  Wallace 


THE  FIRST  impression  you  get  of  George  Brent  is  that 
he's  awfully  tired.  And  we  don't  mean  anything  as  prosaic 
as  suffering  from  lack  of  sleep. 

We  mean  the  tiredness  that  comes  upon  a  person  who 
has,  for  twenty  solid  years,  made  moon  faces  at  an  emotion- 
less camera,  who  for  two  decades  has  blinked  and  grimaced 
at  bright-white  klieg  lights,  had  the  lipstick  of  various 
leading  ladies  smeared  on  his  kisser  and  heard  the  garlic  - 
seasoned  wail  of  three  dozen  different  directors. 

Frankly,  in  confronting  him,  we  expected  a  different 
Brent  and  a  different  story.  Realizing  that  he  has  been 
living  in  a  monotone  of  work,  we  expected  him  to  be,  well, 
a  trifle  dull  and  ordinary — and  we  decided  in  advance  to 
write  the  usual  run-of-the-mill  story  about  Brent  the 
Lone  Wolf,  Brent  the  Escapist,  Brent  the  Recluse. 

But  instead,  we  got  a  pleasant  surprise,  for  George  Brent 
is  not  dull  copy  at  all.  Properly  prompted,  he  will  indulge 
in  the  best  poolroom  tirades  on  what  he  thinks  is  wrong 
with  Hollywood,  what's  wrong  with  the  state  of  the  nation, 
and  what's  wrong  with  himself. 

He  will  say,  candidly,  as  he  said  to  us,  "Here's  what's 
wrong  with  the  stuff  printed  about  me.  Too  much  of  that 
hermit  nonsense." 

As  a  result,  there  will  be  no  hermit  nonsense  in  this 
opus.  There  will  be  only  the  truth  and  the  news  about 
George  Brent. 

Next  March,  Mr.  Brent,  of  the  famed  Dublin  and  County 
Galway  Brents,  will  celebrate  his  thirty-seventh  birthday. 
And  shortly  thereafter,  he  will  forsake  the  dubious  honor 
he  holds  of  possessing  the  Burbank  non-stop  record  for 
acting  in  the  greatest  quantity  of  unimportant  pictures 
made  on  "A"  budgets.  His  contract  with  Warners  will  be 
up.  And  on  that  morning,  when  his  contract  expires,  Brent 
expects,  walking  under  his  own  power,  to  remove  his 
person — and  his  soul — from  the  Warner  lot,  from  Holly- 
wood and  from  California,  for  a  much-needed  vacation. 


In  brief,  George  Brent  will  transplant  his  person  to 
Hawaii. 

He  will  purchase  acres  and  a  house — and  do  the  things 
that  twenty  years  before  the  camera  have  kept  him  from 
doing.  Nothing  dramatic.  He'll  lie  in  the  sun.  Just  relax 
in  the  sun.  A  poor  man's  pleasure,  but  he  will  enjoy  it  as 
much  as  a  miner  who  has  been  two  decades  under  the 
black  earth.  George  Brent  will  read  books.  No  comic 
sections.  No  zippy  stories.  No  quick  glances  at  headlines 
on  the  way  to  the  studio.  He'll  read  good  honest  fiction. 

And  no  hermit  stuff,  either,  mind  you.  He'll  meet  people, 
all  colors,  all  kinds.  And  without  autograph  signing.  He'll 
be  with  women  and  won't  have  a  fear  of  gossip  columnists. 
He'll  talk  and  argue  and  debate  on  the  subjects  closest  to 
his  heart — -the  kind  of  talk  that's  more  interesting  to  him 
than  the  usual  movieland  chatter  about  who's  going  out 
with  whose  wife. 

"I  want  to  buy  a  home  in  Hawaii,"  Brent  explained. 
"And  I  want  to  stay  there  six  months  out  of  the  year.  The 
other  six  months  I  hope  to  go  back  to  Hollywood  to  do 
two  pictures.  It'll  be  a  relief  making  only  two  pictures  a 
year  after  all  these  seasons  of  rushing  from  one  camera 
to  another,  with  no  time  to  dress,  study,  relax,  think.  And 
as  a  result,  in  the  future  I  think  I'll  do  better  work.  I'll 
have  the  time  to  select  important,  well-constructed  stories. 
No  more  fantasies  hacked  out  in  limited  time!" 

Then,  Brent,  with  that  travel  pamphlet  look  gleaming 
from  his  big  hazel-colored  eyes,  elaborated  on  his  Pacific 
and  tropical  Shangri-La. 

"Hawaii  is  really  a  convenient  paradise — only  an  over- 
night airplane  trip  from  Hollywood.  Many  of  our  folks 
are  now  buying  homes  there.  John  Halliday,  for  one.  And 
Janet  Gaynor  and  Jimmie  Fidler.  Of  course,  except  for  a 
green  shack  on  the  beach,  it's  expensive.  The  islands  are 
small,  and  land  is  at  a  premium.  But  I  have  my  eye  on 
one  large  property,  twenty-six  (Continued  on  page  66) 


SEPTEMBER,  1940 


43 


FROM 


YOU  CAN  HAVE  COIFFURES  AS  SMART  AND 


GLAMOROUS  AS  THE  STARS'  —  IF  YOU'LL 


GIVE  YOUR  HAIR  THE  SAME  CARE  AND 


GROOMING.  HERE'S  THE  WAY  THEY  DO  IT 


By   Carol  Carter 


OUT  HOLLYWOOD  way,  pompa- 
dours— "broken,"  "split,"  halo,  sculp- 
tured, a  la  Lillian  Russell  or  just  plain 
Gibson  Girl — are  sweeping  the  waves 
right  up  under  those  pert,  new  off- 
the-forehead  hats  that  make  girls  look 
so  wide-eyed  one  minute  and  so  so- 
phisticated the  next. 

But  the  1940  versions  aren't  the 
round,  bulging  rolls  that  grandma 
used  to  wear.  Oh  no,  the  new  pompa- 
dours are  full  in  effect,  but  infinitely 
smarter  and  more  becoming.  Some 
have  upswept,  sculptured  lines.  In 
others  one  side  boasts  a  full  puffed 
contour  while  the  other  side  is  done 
in  flat  curls  or  smooth  outline  waves. 
They  are  really  not  a  bit  stiff,  as  were 
their  predecessors,  but  soft  and  quite 
simple  to  manage.  Remember  Alice 
Faye  as  Lillian  Russell?  She  did  a 
great  deal  to  launch  this  interesting 
hair  fashion. 

Another  hair-do  originated  in  the 
movies  and  apparently  destined  for 
popularity  has  a  word  for  the  Greek 
influence.  Shaped  waves  flow  back- 
ward from  the  face,  round  ringlets 
soften  the  temples  over  the  ears  and 
long  curls  hang  from  a  back  knot 
which  balances  the  nose  in  profile. 
Irene'  Hervey  wears  such  a  coiffure  in 
Universal's  picture,  "The  Boys  from 
Syracuse." 

One  famous  hair  stylist  has  created 


Florence  Rice,  whose  fame  and  popularity 
are  increasing  with  every  new  role,  arranges 
her  lustrous  locks  in  soft  simplicity  with 
upswept  sides  and  broken  forehead  lines. 


44 


MODERN  SCKJitCN 


many  light,  feathery,  rounded  and  ar- 
tistic looking  coiffures  with  not  a 
vestige  of  that  long  sleek  look.  His 
hair-dos  all  look  as  if  they  had  been 
shaken  rather  than  combed  out.  An- 
other creator  of  hair  fashions  insists 
on  height  over  the  brow,  emphasized 
by  clusters  of  tiny  curls  surrounding 
a  crown  left  as  sleek  and  smooth  as 
possible.  Still  another  stylist  sings  the 
praises  of  a  front  and  side  pompadour 
balanced  by  a  medium  low  back  ar- 
rangement. And  so  it  goes. 

There  are  as  many  "correct"  and 
charming  hair-dos  as  there  are  types 
of  girls  to  wear  them.  The  secret  is 
to  find  a  style  becoming  to  your  face 
and  suitable  to  your  way  of  living. 
For  example,  if  your  forehead  is  over- 
high or  bulgy,  don't  take  your  hair 
straight  back  off  your  face.  Wear  it 
flat  on  top  with  an  "up"  treatment 
beneath  a  low  side  part.  A  high  part 
or  one  just  off-center  makes  a  high 
forehead  look  positively  endless.  A 
low  part  shortens  the  entire  facial 
contour.  Hair  clustered  low  empha- 
sizes the  lower  half  of  the  face.  If 
that  half  is  best  in  your  case — with  a 
flawless  chin  and  throat  fine — all  well 
and  good,  but  if  it's  not,  beware.  An 
"up"  hair  line  at  both  sides  emphasizes 
and  dramatizes  fine  eyes,  brows  and 
forehead  and  puts  emphasis  on  the 
most  important  half  of  your  face. 


We  could  talk  on  and  on  about 
coiffures,  but  don't  forget  that  the 
condition  of  your  hair  is  even  more 
important  than  the  style  in  which  you 
wear  it.  Neglected,  unhealthy  hair  can 
not  be  arranged  attractively  no  matter 
how  long  you  fuss  over  it  or  how  deft 
you  may  be  with  hair  pins,  bob  pins, 
combs  or  any  other  similar  gadgets. 
A  beautiful,  smart  and  becoming  hair- 
do depends  upon  the  quality  and 
health  of  your  hair  and  there  is  no 
substitute  for  these. 

Even  if  you  now  have  stringy,  life- 
less hair,  with  a  little  patient,  regular 
care  you  can  do  wonders  to  strengthen 
and  revive  its  body  and  lustre  and  im- 
prove its  "arrangeability."  Your  hair 
is  very  sensitive  to  your  general  phys- 
ical and  nervous  health  and  will  show 
ill  effects  from  upsets  so  slight  as 
to  have  gone  otherwise  unnoticed. 
"Complexes"  involving  nervous  or 
mental  strain,  fear,  worry,  jealousy, 
frustration  or  shock  will  actually  play 
havoc  with  your  hair.  So  if  you  would 
have  really  beautiful  tresses,  guard 
your  health  from  undermining  dis- 
turbances. Sufficient  sleep,  a  well 
balanced  diet  and  fresh  air  are  also 
important. 

But,  supposing  that  all  these  are  as 
they  should  be,  you  must  still  treat 
your  hair  to  the  local  care  it  deserves. 
Stimulation,  cleanliness  and  grooming 


are  your  first  watchwords.  Stimula- 
tion in  the  form  of  massage,  combing 
and  brushing  are  continuous  "musts." 
How  can  a  tight,  thin,  rigid  scalp  be 
expected  to  produce  lustrous,  luxu- 
rious locks?  It  can't — and  it  won't. 
Massage  it  regularly  with  a  deep  firm 
rotary  motion  of  the  balls  of  your 
fingers.  Five  minutes  a  day  for  this  is 
ideal.  Let  go  of  that  tense,  nervous 
attitude  of  yours.  That  alone  will 
keep  your  scalp  as  tight  as  a  drum. 

Brush  and  comb  your  hair  regularly, 
too.  One  hundred  strokes  a  day  take 
two  or  three  minutes — but  what  a 
difference  they  make  in  its  sheen  and 
vitality!  Brushing  and  combing  not 
only  polishes  and  cleans  but  also  ex- 
ercises every  hair  shaft,  strengthening 
and  beautifying  as  it  goes.  Brushing 
has  a  mysterious  way  of  normalizing 
the  flow  of  natural  hair  oils,  too.  Oil 
glands  that  have  either  dried  up  or 
become  over  active  are  helped  back  to 
normal  functioning  under  the  invig- 
orating influence  of  a  good,  firm,  long 
bristled  brush. 

Shampoo  your  hair  as  often  as  it 
gets  dirty — whether  that's  every  three 
days  or  every  three  weeks.  Much 
depends  upon  the  locality  in  which 
you  live — whether  it  is  a  clean  or 
sooty  community — also  upon  the  kind 
of  work  you  do,  etc.  Oily  hair  needs 
more  frequent  (Continued  on  page  81) 


IHHBH9N 


Lucile  Fairbanks,  Warner's  promising 
young  starlet,  combines  back  curls  with 
charmingly  youthful  front  ringlets  and  "up" 
side  lines  for  this  fetching  formal  coiffure. 


Mary  Beth  Hughes,  whose  blonde  beauty 
would  shine  in  any  picture,  wears  just  the 
suggestion  of  a  front  pompadour  with  flat 
curls  on  top  and  a  modified  page-boy  roll. 


SEPTEMBER,  1940 


45 


Some  new  shots  in 
the  Hollywood  dark  — 
by  that  quick-clicking 
stay-out,  Jules  Buck 


Alan  Curtis,  who  looks  every  inch 
a  collar  ad  and  once  was  just  that, 
wants  to  make  lovely  Ilona  Massey 
Mrs.  C.  as  soon  as  his  divorce  is  final. 


Home  from  Hawaii  but  still  in  the 
torrid  zone  are  Betie  Davis  and  Bob 
Taplinger.  Both  whipped  off  their 
specs  when  they  saw  the  cameraman! 


It's  work  all  day  tor  crack  producer, 
Garson  Kanin,  then  party-party  till 
the  wee  hours.  It's  Betty  Field 
who's  keeping  him  up  late  this  time. 


Seems  as  if  the  curfew  never  rings 
for  Bill  Powell  and  his  child  bride, 
Diana  Lewis,  who's  each  night  a-glit- 
ter  with  a  new  trinket  from  Hubby. 


Lee  Bowman — he  of  the  Eddie  Cantor- 
Mischa  Auer  expression — is  peeved 
'cause  Maggie  Lindsay  and  Bill  Lun- 
digan  are  cutting  his  coffee  rations. 


Newlyweds  Mary  Martin  and  Dick 
Halliday  have  a  terrific  case  of  stars- 
in-the-eyes.  Here,  they're  discus- 
sing plans  for  their  brand  new  home. 


Simone  Simon,  Maureen  O'Sullivan 
and  John  Loder  make  merry  at  Ciro's. 
S.  S.,  escorted  by  Multimillionaire 
Bob  Oliver,  wants  a  new  contract. 


Perc  Westmore  helps  Priscilla  Lane 
celebrate  her  divorce  from  the  hus- 
band nobody  even  knew  she  had — 
Assistant-director,     Oren  Haglund. 


No  one  gets  around  like  Kay  Francis, 
who  has  a  new  dress  and  beau  every 
night.  This  time  it's  a  small  print 
and  a  top  designer,  Bernard  Newman. 


Bob  Wilcox  and  Florence  Rice  couldn't 
have  looked  more  happily  married 
the  other  night.  However,  since  he's 
gone    East,    'tis    said    it's   all  off. 


Bubbles  Schinasi's  recent  return  to 
home,  fireside  and  Wayne  Morris 
after  some  N.  Y.  gadding  amazed  but 
didn't  quiet  those  divorce  mongers. 


46 


MODERN  SCREEN 


Betty  Furness  is  visiting  Hollywood, 
but  not  unchaperoned!  Her  baby  girl 
okayed  this  date,  for  Cesar  Romero's 
a   pal   of   Daddy,    Johnny  Green. 


Oh  for  a  meal  ticket  like  Gail  Patrick's 
husband,  Bob  Cobb,  .who's  manager 
of  the  Brown  Derby!  Steak  seven 
nights  a  week,  and  nary  a  dish  to  wash ! 


Rog  Pryor  takes  Wife  Ann  Sothern  to 
see  herself  in  the  movies.  Ann,  who's 
now  making  20  times  her  original  sal- 
ary, adores  her  husky  screen  voice. 


If  appearances  mean  a  thing,  the 
honeymoon's  far  from  over  for  this 
pair.  Bart  Marshall's  his  gay  self 
again  since  he  married  Lee  Russell. 


Ann  Rutherford  does  he-loves-me-he- 
loves-me-not  at  a  party  at  the  Roach 
mansion,  while  the  John  Hubbards 
and  Rand  Brooks   look  on,  agog. 


Bill  Holden  and  Brenda  Marshall,  who 
have  one  foot  at  the  altar,  arrive  at 
a  preview  early  to  get  the  choicest 
seats — two  in   the   very  last  row! 


Recently-divorced  Liz  WI 
rumored-divorced  Randy  £> 
been  doing  the  town.  Liz  wc 
part  in  "When  the  Daltons  R. 


th 

V 


This  is  really  a  scoop  picture,  so  sel- 
dom do  Rita  Hayworth  and  Ed  Judson 
sit  one  out.  Daughter  of  a  famous 
dancer,  Rita's  a  wicked  Conga-er! 


I  I 


Dottie  Lamour  and  Greg  Bautzer,  both 
of  whom  were  done  wrong  by  Cupid, 
forget  it  all  with  steak  and  onions 
at  the  Beverly  Hills  Brown  Derby. 


They're  not  in  love,  they  insist,  but 
Jackie  Cooper  and  Bonita  Granville 
have  more  fun  than  anybody  on  their 
weekly   movies -and -snack  dates. 


Gay  divorcee,  Carole  Landis,  who 
made  "Turnabout"  more  than  a  fair 
(photo)play,  shows  her  playboy 
husband,  Bill  Hunt,  a  trick  or  two. 


SEPTEMBER,  1940 


47 


IN  THE  old  days  of  grim  daguerreotypes,  self-conscious 
actors  stood  slightly  petrified  with  a  limp  hand  on  a 
prop  vase  and  a  vacuous  Oh-I-see-the-birdie  stare. 
Today,  your  favorite  stars,  veterans  of  countless  clicking 
shutters,  don't  get  a  chance  to  pose.  The  candid  camera 
is  too  fast.  But  never  so  fast  that  the  stars  don't  find 
time,  that  split  second  before  becoming  shadows  on 
negatives,  to  indulge  in  a  pet  photo  phobia,  a  protective 
gesture  or  a  physical  doodle. 

To  give  you  an  idea  .  .  .  when  they  get  the  flash 
bulbs  in  their  eyes  .  .  .  Alice  Faye  remembers  that  mole 
on  the  right  side  of  her  face  and  turns  the  other  cheek 
.  .  .  Loretta  Young  ducks  her  cigarette  (it's  a  scoop  to 
catch  her  with  one  in  hand).  And,  if  she  has  time,  she 
yanks  off  her  teeth  braces  or  closes  her  mouth  .  .  . 
Errol  Flynn  attempts  an  ingratiating  smile,  but  always 
winds  up  smirking  .  .  .  Marlene  Dietrich,  who  never 
dates  one  man  at  a  time,  tries  to  get  all  her  escorts  into 
her  pictures,  afraid  one  will  be  slighted  .  .  .  Barbara 
Stanwyck  and  Gracie  Allen  will  casually  lift  their  jewel- 
bedecked  arms  and  get  them  directly  in  line  of  the  lens 
.  .  .  Bing  Crosby,  caught  without  his  toupee,  hastily 
covers  his  receding  forehead  with  his  hand. 

Ray  Milland,  who  wears  horn-rimmed  glasses  almost 
constantly,  quickly  removes  them  before  the  cameramen 
have  a  chance  to  say,  "Look  this  way,  please"  .  .  . 
When  the  bulbs  start  popping  near  Olivia  de  Havilland, 
she  makes  a  hurried  move  to  get  her  cocktail  glass  out 
of  focus  .  .  .  The  same  goes  for  Laurence  Olivier,  Joan 
Bennett  and  Hedy  Lamarr,  but  W.  C.  Fields  wants  to  be 
shot  surrounded  by  bottles  .  .  .  Since  Bob  Taylor's  grown 
his  lip  adornment,  he  pats  it  self-consciously  whenever 
a  camera  is  in  sight  .  .  .  Ann  Sothern,  who  prefers  re- 
vealing formals,  clutches  the  front  of  her  dress  every 
time  a  photographer  looks  her  way  .  .  .  Mischa  Auer 
likes  to  clown  in  his  stocking  feet  but  doesn't  like  to 
face  the  birdie  without  his  shoes  .  .  .  Mrs.  George 
Murphy  sees  to  it  that  George's  tie  is  properly  arranged 
before  she'll  let  him  pose  .  .  .  Joan  Fontaine  does  her 
best  to  make  Brian  Aherne  smile  and  look  his  prettiest 
before  being  snapped. 

James  Cagney  is  a  habitual  thumb-sucker  and  Henry 
Fonda  and  Gary  Cooper  are  notorious  teeth-pickers,  but 
they  all  become  dignified  at  the  drop  of  a  shutter.  It's 
often  their  better  halves  who  give  them  the  warning  .  .  . 
Norma  Shearer  nervously  pats  a  powder  puff  on  hei/ 
nose  when  she  sees  the  little  black  box  start  her  wo 
.  .  .  Margaret  Sullavan,  who  likes  to  punish  a  wad' 
gum  and  then  bubble  and  snap  it,  always  tries  / 
swallow  same  .  .  .  And  the  reason  Deanna  Durbin  / 
dom  smiles  out  of  her  photos  is  not  because  of  chr/ 
indigestion,  but  because  smiling  makes  her  small  , 
appear  even  smaller. 

But  the  oldest  and  perhaps  the  most  interesting 
phobia  was  that  of  the  late  Douglas  Fairbank' 
in  a  group  picture,  always  stood  at  the  right  sr 
newspaper  captions  his  name  would  be  fir; 
familiar,  "Reading  from  left  to  right.  .  .  .". 

/ 

We'd  have  no  illusio 

\ 

stars  weren't  fast  thinkers! 


48 


MODERN  SCREEN 


whispering  off-screen  pleasantries  into  Roz 
Russell's  ears,  and  on  Sundays  has  left  both 
girls  flat  in  favor  of  his  greatest  love — his 
canary-yellow  Stinson  plane.  That  Jimmy 
is  head  man  in  Olivia's  world,  there  isn't  a 
bit  of  doubt.  She's  proved  it  time  and  again, 
and  most  recently  when  she  visited  the  set 
of  Brian  Aherne's  "It  Happened  In  Paris." 
In  that  opus  Brian  wears  John  L.  Lewis  eye- 
brows, a  walrus  mustache  and  a  business 
man's  paunch.  At  the  sight  of  them,  Olivia 
howled  and  then  asked  if  she  couldn't  have 
the  get-up  when  the  picture  was  completed. 
"For  Jimmy,"  she  said.  "I  think  they'd  do 
something  for  him."  We  know  what  that 
"something"  is.  Miss  Liwie.  They'd  make 
Mr.  Stewart  less  attractive  to  other  women! 

TROUBLE  IN  PARADISE 

From  the  inside  we  learn  that  George  Raft 
and  Norma  Shearer  are  at  the  hair-pulling 
stage.  Sweet  romance  has  apparently  flown 
through  the  window,  and  they  now  date  on 
Saturday  nights  only,  figuring  there's  no 
point  in  having  seven  small  fights  a  week 
when  one  big  one  can  be  just  as  awful. 


THE  CRADLE  WILL  ROCK 

Joan  Crawford's  adoption  of  an  infant  daugh- 
ter was  a  powerful  blow  to  the  stagline. 
While  the  boys  have  no  violent  objections 
to  Baby  Christina,  they  do  feel  they'd  rather 
join  Joan  in  a  rhumba  than  a  lullaby.  The 
idea  of  increasing  her  family  was  suggested 
to  Joan  several  years  ago  by  Miriam  Hopkins' 
adoption  of  her  son,  Michael,  and  since 
motherhood  never  scared  men  away  from 
Miriam,  we're  sure  that  Joan  isn't  headed 
down  the  lane  of  forgotten  faces,  either.  Of 
course,  it's  no  cinch  visualizing  Cesar  Romero 
rocking  a  cradle  and  Reggie  Gardiner  pin- 
ning a  tricom,  but  perhaps,  when  the  first 
shock  has  worn  off,  both  may  be  willing  to 
desert  the  supper  clubs  and  theatres  for  the 
talcum-scented  nursery — and  Joan. 

THE  BEAUTY  CORNER 

A  visit  to  one  of  the  plushier  beauty  salons 
on  the  Sunset  Strip  left  us  a  bit  flabbergasted 
and  disillusioned,  but  it  did  prove  that  even 
a  mere  man  can  be  a  thing  of  beauty.  What 
we   saw   there   was'   certainly  Hollywood 


Phenomenon  No.  1,  for  what  else  would  you 
call  the  vision  of  Bill  Boyd  (Hopalong  Cas- 
sidy  to  his  fans)  seated  in  a  gadget-lined 
booth,  all  wound  up  in  a  permanent  wave 
machine!  We  blushed  for  him,  but  learned 
that  we  did  so  unnecessarily.  Seems  that 
Bill's  thinning  hair  can  be  made  to  look 
twice  as  luxurious  if  it's  done  up  a  la  Shirley 
Temple,  and  though  he  used  to  have  the 
decency  to  sneak  in  a  rear  door,  crawl  into 
a  secluded  booth  and  barricade  the  door, 
that  shyness  has  long  departed.  He  now 
marches  boldly  through  the  front  entrance, 
plunks  down  in  an  exposed  cubbyhole,  and 
like  the  rest  of  the  girls,  chats  over  the  par- 
tition top  with  John  Barrymore,  another  cutie 
who  submits  to  the  lotions,  curlers  and  dryers 
once  every  three  months. 

HOW  TO  HOLD  A  MAN 

Even  if  Jimmy  Stewart  and  Olivia  de  Havil- 
land  have  risked  the  Great  Plunge  by  the 
time  you  read  this,  it  is  certain  that  at  the 
present  writing  the  Stewart  heartbeats  are 
not  all  for  lovely  Livvie.  Since  "No  Time 
For  Comedy"  started  rolling,  Jimmy's  been 


SEPTEMBER,  1940 


t 


49 


<MXUD  BINTS 


On-the-lot  teacher,  Gladys  Hoene,  shows 
Gloria  Jean,  her  sister  Lois  and  their  small 
classmate  how  to  make  scale  models  of  the 
California  missions  and  pueblos  they've  been 
visiting  during  the  past  few  weeks. 


That  pocket-edition  Galli-Curci,  little 


CONSIDERATE  MR.  FLYNN 

Though  Errol  Flynn  and  wife,  Lili,  are  al- 
ways off  in  opposite  directions,  Errol  never 
travels  alone.  On  his  boating  trips,  espe- 
cially, he  has  two  constant  companions,  one, 
his  best  friend,  Johnny  Meyer,  the  other,  his 
Schnauzer  dog,  Arno.  Being  both  kind- 
hearted  and  thoughtful,  Mr.  Flynn  has  de- 
vised the  following  methods  for  keeping  the 
pair  happy.  For  31-year-old  Johnny,  there's 
an  introduction  as  his  wealthy  father  so  that 
girls  won't  give  him  the  go-by  in  favor  of 
the  handsome  Errol,  and  for  Arno  there  are 
three  imitation  trees  on  the  deck  of  the  beau- 
tiful yacht,  Sirocco! 

FUGITIVE  FROM  INJUSTICE 

Paulette  Goddard's  father  had  no  difficulty 
slapping  a  suit  for  non-support  on  his  attrac- 
tive daughter,  but  getting  her  into  court  is 
another  matter.  For  two  months  a  process 
server  has  been  pursuing  her,  but  Paulette, 
fleet  as  Garbo,  has  successfully  eluded  him 
and  his  unwelcome  summons.  He  thought 
he  had  her  one  night  when  a  friend  tipped 
him  off  that  she  was  going  to  attend  a  local 
preview  and  a  supper  party  at  Ciro's. 
Choking  in  his  full  dress  clothes,  he  planted 
himself  in  the  theatre  lobby — but  no  Paulette. 
Deciding  he'd  missed  her,  he  moved  on  to 
the  night  spot  and  sat  there  long  enough  to 
be  stuck  with  the  cover  charge — but  still  no 
Paulette.  Finally,  sleepy  and  mad,  he 
dragged  himself  home  only  to  discover  the 
next  morning  that  his  beautiful  quarry  had 
pulled  out  of  town  two  days  earlier  for  an 
extended  Mexican  vacation! 

SEQUEL 

When  Paulette  returned  from  Mexico,  the  law 
was  still  at  her  heels.  This  time  the  process 
server  was  a  man  new  to  his  job — so  new  in 
fact  that  he  didn't  even  recognize  Paulette. 
Spotting  Dolores  Del  Rio  entering  the  Chap- 
lin house  one  day,  he  handed  her  the  sum- 
mons. Dolores  didn't  want  the  hateful  thing 
so  she  graciously  invited  the  man  in  and 


went  to  call  her  hostess.  After  five  minutes 
of  lonesome  waiting,  the  servant  of  the  law 
heard  footsteps  approaching.  Expecting  to 
see  Paulette,  he  wheeled  eagerly  toward  the 
door — but  shriveled  almost  to  nothing  when 
he  faced  the  irate  Mr.  Chaplin,  flanked  by 
a  pair  of'  fire-breathing,  strong-arm  men! 
Three  seconds  later  he  was  seen  picking 
himself  out  of  a  flower  bed,  dusting  off  the 
seat  of  his  blue  serge  and  stumbling  through 
the  front  gate,  vows  of  revenge  spilling  from 
his  lips — and  the  yet-unserved  summons  still 
locked  in  his  hand. 

ATTENTION:  ROBERT  TAYLOR 

Oscar  Levant's  recent  trip  to  Hollywood  re- 
minds us  that  he  was  once  expected  to  marry 
Barbara  Stanwyck!  The  rumor  started  away 
back  when,  prior  to  her  marriage  to  Frank 
Fay,  Barbara  began  to  be  seen  everywhere 
with  the  funny-faced  pianist.  Columnists 
linked  their  names  and  "know-it-alls"  fore- 
cast their  wedding.  But  the  story  behind  the 
news  was  this:  Barbara  loved  Fay  but 
couldn't  keep  track  of  him.  Oscar  was 
Frank's  closest  friend  and  always  knew 
where  to  find  him.  So  Barbara  tagged  Oscar, 
Oscar  tagged  Fay,  and  everyone  was  happy. 

PUBLICITY  IN  REVERSE 

This  corner  was  set  aside  for  news  about 
Ronald  Colman.  We  have  this  to  report:  Mr. 
Colman  pays  a  press  agent  a  handsome 
piece  of  change  to  see  to  it  that  corners  like 
this  one  contain  no  news  about  Ronald 
Colman. 

INTERNAL  TRIANGLE 

Priscilla  Lane's  divorce  from  Oren  Haglund 
was  a  surprise  to  a  town  which  didn't  even 
know  she  was  married.  Oren  and  Priscilla 
eloped  to  Las  Vegas,  a  year  ago  and,  being 
fast-moving  folk,  decided  after  a  single  day 
of  wedded  life  that  it  was  wonderful — for 
other  people.  The  topper  to  the  story  is  that 
Oren  is  rejoicing  in  his  freedom  by  going  in 
hot  pursuit  of  Pat's  older  sister,  Lola! 


GLORIA  JEAN-IUS 

Having  buttoned  an  acting  career  securely 
under  her  belt,  Gloria  Jean  is  now  cutting 
in  on  the  realm  of  Frank  Lloyd  Wright, 
Michelangelo  and  Pablo  Picasso.  Under  the 
supervision  of  Gladys  Hoene,  her  on-the-lot 
teacher,  Gloria,  her  sister  Lois,  and  two  of 
her  classmates,  Butch  and  Buddy,  are  tour- 
ing ancient  California  missions,  and  out  of 
wood  and  cardboard  are  creating  scale 
models  of  each  after  their  visits.  Another  of 
their  projects  is  the  building  of  miniature 
pueblos,  the  clay  forerunners  of  modern 
apartment  houses  which  were  once  the 
homes  of  the  Indians  who  now  live  in  Holly- 
wood and  supply  the  background  for 
DeMille  epics.  Los  Angeles  school  officials 
saw  Gloria's  work  not  long  ago  and  invited 
her  to  exhibit  it  in  the  local  Chamber  of  Com- 
merce building.  She's  hopping  with  excite- 
ment over  this  for,  once  her  models  are  set 
up  for  all  the  world  to  see,  she  can  be 
classed  with  the  most  arty  artists  of  our  day 
— and  with  that  great  surrealist  painter,  Miss 
Gracie  Allen. 

OLD  MAID  DURBIN 

All  chatter  about  Deanna  Durbin's  plans  for 
her  romantic  future  must  lead  off  with  a  giant 
question  mark.  The  young  lady  appears 
ripe  and  ready  for  marriage  and  has  a 
willing  and  able  fiance,  but  whisperers  about 
the  studio  say  that  connubial  bliss  for 
Deanna  is  still  a  thing  of  the  distant  future. 
In  fact,  only  the  other  day  one  of  her  bosom 
buddies  was  caught  flashing  a  $10  check 
which  he  had  collected  on  a  year-old  bet 
that  Deanna  would  be  unwed  come  this 
summertime.  He  says  he'll  wager  one  hun- 
dred times  that  amount  that  next  year  will 
still  find  her  single — but  he  won't  see  a  cent 
of  our  dough! 

EPISODE 

Because  of  the  nature  of  the  story,  we  can't 
divulge  the  hero's  name.  We  can  say  only 
that  he  is  one  of  the  biggest  stars  in  Holly- 


50 


MODERN  SCREEN 


twelve-year-old  Gloria  Jean,  is  now  developing  artistic  tendencies,  too! 


wood,  that  he  is  young,  dark-eyed,  attrac- 
tive— and  married.  The  other  day  his  wife 
came  down  to  the  set  to  visit  him.  Since 
their  wedded  life  has  long,  been  a  turbulent 
one,  it  was  just  a  matter  of  minutes  before 
they  were  engaged  in  a  noisy  row.  She 
stood  at  one  end  of  the  set,  he  stood  at  the 
other  and  between  them  flew  angry  accu- 
sations and  retorts.  Finally,  goaded  beyond 
endurance,  the  handsome  star  gave  out  with 
a  wild  shriek.  Then  he  committed  the  amaz- 
ing deed  he  has  rued  ever  since.  Blinded 
by  fury  and  unmindful  of  the  thunderstruck 
cast  and  crew,  he  plunged  his  fingers  into 
his  open  mouth,  ripped  out  his  false  teeth 
and  sent  them  skimming  across  the  room 
where  they  landed  at  the  feet  of  his  loudly- 
laughing  spousel 

WE.  TOO.  HAVE  OUR  TROUBLES 
DEPT. 

Cary  Grant  is  a  nice  fellow.  He  seldom 
gripes  and  always  laughs  off  inconveniences. 
But  one  thing  makes  him  sore.  That's  hav- 
ing strangers  stare  at  him  when  he  eats  in 
a  public  place.  Fumes  he,  "What  goes  on 
between  a  man  and  his  knife  and  fork  should 
be  his  own  business.  I  get  so  mad  I  could 
roar  when  people  fix  their  eyes  on  me  and 
watch  my  Adam's  apple  bounce  with  every 
gulp."  .  .  .  And  from  Ray  Milland:  "I  love 
my  home  but  sightseers  have  nearly  fright- 
ened me  off  the  place!  I've  had  to  build  a 
14-foot  barbed  wire  fence  around  all  sixty  of 
my  acres  in  order  to  keep  my  privacy  in  and  • 
my  picture  fans  out!" 

Dorry  shakes  'em  off 

This  has  been  a  veritable  moulting  season 
for  Dorothy  Lamour.  First  she  gave  Bob 
Preston  the  brush-off,  and  now  her  forty-inch 
raven  tresses  have  gone  under  the  knife. 
Battling  Lamour  had  a  year-long  tussle  with 
her  studio  bosses  before  they'd  let  her  climb 
into  the  barber's  chair.  They  felt  that  her 
hair,  together  with  that  certain  garment,  was 
what  made  customers  shell  out.  But  ac- 
cording to  Connoisseur  Greg  Bautzer,  Dotty's 


shearing  has  stripped  her  of  none  of  her 
allure.  Greg  has  recently  taken  her  to  Ciro's, 
the  Brown  Derby  and  Lamaze's — and  boasts 
that  the  boys  at  the  next  table  still  whistle 
and  wink  when  she  slithers  by. 

JUDY  AND  THE  GENTS 

Judy  Garland  has  her  boy  friends  sorted  out 
like  Grade  A  and  Grade  B  eggs.  In  the 
week-day  basket  sits  Mr.  Mick  Rooney  who, 
from  Monday  to  Friday,  may  beau  her  to  the 
corner  drugstore,  a  neighborhood  movie  or 
a  local  bowling  alley,  provided  he  quits  her 
doorstep  by  ten.  On  Saturdays,  though, 
Mickey's  expected  to  bow  out.  That's  Judy's 
night  for  her  "special"  date — and  he  just 
ain't  it.  Satisfied  that  even  as  great  a  lover 
as  he  must  sometimes  make  way  for  a  better 
man,  Mickey  gallantly  yields  his  lady  to 
Robert  Stack — and  bounces  up  smiling  the 
following  Monday,  ready  to  continue  his 
washday-to-fishday  romance. 

LANA  OVERWORKED?  P-SHAW! 

News  reports  claim  that  Lana  Turner's  re- 
cent session  with  a  hospital  bed  was  caused 
by  overwork.  But  the  news  behind  the  news  , 
has  it  that  Artie  Shaw  was  the  man  who 
wrote  the  ticket.  Biggest  Question  of  the 
Month:  Was  Lana's  "overwork"  just  a  syno- 
nym for  tongue-lashings  administered  by 
Husband  Shaw  because  she  wandered  in 
with  the  dawn  one  time  too  many? 

SOLDIER  BOB 

Bob  Montgomery's  entrance  into  the  war  as 
an  ambulance  driver  drew  forth  varied  and 
interesting  reactions  about  town.  His  studio 
naturally  felt  he  was  too  valuable  a  piece 
of  property  to  be  shot  at.  His  wife,  back  on 
these  shores,  was  worried  and  unhappy,  and 
his  friends,  quipsters  to  the  last,  were  over- 
heard dropping  the  following  jewels  of  wit. 
Said  one:  "Bob's  going  to  get  an  awful  shock 
when  5  o'clock  rolls  around  and  he  yells 
'Cut!'  and  the  war  goes  right  on!"  Volun- 
teered another:  "Someone  ought  to  warn  the 


British  and  French  about  his  driving.  He 
hasn't  a  single  friend  who'll  get  into  a  car 
when  he's  at  the  wheel!"  And  from  a  third 
came  the  question:  "Why  doesn't  Mont- 
gomery return  to  Hollywood,  earn  his  $4,000 
a  week  and  send  $3,000  to  the  Allies  for 
medical  aid  if  he  really  wants  to  be  helpful?" 
Came  the  answer:  "Bob  would  rather  die 
than  give  up  a  week's  salary!" 

CLOSED  SHOP  FOR  '40 

Take  it  from  us — for  the  next  six  months  you 
can  pish-tush  all  items  linking  Martha  Scott 
with  any  "Mr.-So-and-Sos."  Martha  admits 
she  believes  in  one  engagement  a  year,  but 
says  she  had  hers  for  1940  when  Perc  West* 
more  was  the  lucky — or  unlucky — man.  Line 
forms  on  the  right  for  '41! 

CHIPS  THAT  PASS  IN  THE  NIGHT 

Constance  Bennett  is  the  best  poker  player 
in  Hollywood  and  even  tobacco-chewing, 
card-wise  strong  men  tremble  when  she  cuts 
the  deck.  Her  talent  is  the  result  of  count- 
less years  of  indulgence,  and  Connie  isn't 
wasting,  it.  We  just  learned  that  the  other 
evening  she  invited  Darryl  Zanuck,  Elsa 
Maxwell  and  a  few  other  cronies  to  her 
home  for  a  quick  game,  and  the  party  didn't 
break  up  for  32  hours!  From  Friday  evening 
to  Sunday  morning  the  group  played  on, 
stopping  only  for  a  snack — and  Connie  took 
them  over  the  hurdles  all  the  way! 

WRONG  NUMBER 

It  happened  at  Ciro's.  A  semi-soused  movie 
favorite,  noted  for  his  caper-cutting  while  in 
"a  state,"  called  for  a  phone  and  dialed 
B-R-O-T-H-E-L.  It  was  only  a  gag,  but  he 
rolled  off  his  seat  when  a  man's  voice  an- 
swered with  "Earl  Carroll's  residence.  Who's 
calling,  please?" 

HOLLYWOOD  BOOKWORMS 

Do  they  actually  read  books?  Listen:  Bar- 
bara  Stanwyck  buys  a  fabulous  amount 


To  Hubby  Leland  Hayward's 
disgust,  Peg  Sullavan  shooed 
off  none  of  the  cameramen. 


No  longer  a  one-man  woman, 
Lucille  Ball  steps  out  with  a 
handsome  Cuban, Desni  Arnaz. 


Takes  Joan  Valerie  to  lure 
Ed  Bergen  away  from  his 
motorcycle.    Must  be  love! 


of  books  when  she  isn't 
working  at  the  studio.  She 
is  frequently  seen  emerg- 
ing from  her  favorite  Bever- 
ly Hills  library  staggering 
under  the  weight  of  thirty 
f£T^H'  volumes,  the  number  she'll 

i^^B  gather  at  a  single  clip  and 

will  stay  up  half  the  night 
reading.  We  wonder  what 
Mr.  Taylor  does  while  his 
wife's  buried  in  the  printed 
page  .  .  .  Connie  Bennett's  been  known  to 
lay  cash  on  the  line  for  as  many  as  fifty 
books  at  a  time  .  .  .  Hollywood's  business 
glamour  girl,  Marlene  Dietrich,  does  an 
amazing  amount  of  reading  for  one  who  dates 
so  constantly.  She  prefers  delving  into  trans- 
lations of  foreign  books  but  is  also  a  great 
admirer  of  down-to-earth  American  novels 
.  .  .  Herbert  Marshall  and  Nigel  Bruce  are 
two  of  this  country's  most  ardent  admirers 
and  heartily  dislike  anyone  who  uses  the 
written  word  to  take  a  crack  at  the  U.S.A. 
However,  there's  still  some  tea  and  crumpets 
left  in  their  blood,  because  there's  nothing 
they  like  better  than  a  rousing  book  about 
the  British  Empire  .  .  .  Now  we  know  what 
Greta  Garbo  does  when  she  isn't  dodging 
magazine  and  news  photographers  or  drink- 
ing spinach  under  the  watchful  eye  of  Dr. 
Hauser.  She  keeps  in  touch  with  her  former 
homeland  by  reading  every  book  that  deals 
with  Sweden  .  .  .  Gracie  Allen,  who  won't 
be  our  next  president,  buys  countless  juvenile 
books.  No  one  has  yet  determined  whether 
she  buys  them  for  herself,  her  children  or 
George  .  .  .  Gary  Cooper  devours  the  blood- 
iness and  realism  of  Ernest  Hemingway  and 
arm-chair  travels  with  the  latest  in  adventure 
books,  too.  But  if  you  ever  want  to  send  him 
a  book  we  advise  that  you  select  only  the 
best,  because  Gary  reads  all  reviews  of  the 
newest  literature  with  an  eagle  eye  .  .  . 
Should  you  ever  see  Ronald  Colman's  enor- 
mous library  of  sports  stories,  you  may  be 
certain  that  he  didn't  stock  it  himself.  Ronnie 
acquired  his  collection  by  subtly  hinting,  his 
reading  preferences  to  friends  and  now  has 
the  finest  aggregation  of  he-man  tomes  in  all 
Hollywood  .  .  .  Cary  Grant,  on  the  other 
hand,  sees  to  it  that  his  pals  receive  all  the 
best-sellers  as  gifts  .  .  .  Errol  Flynn  equips 
himself  with  piles  of  political  books  when  he 
sets  out  on  a  Sirocco  cruise.  When  his  own 
novel,  "Beam's  End,"  was  published,  he  sent 
autographed  copies  to  his  friends  in  England, 
almost  buying  out  the  edition  to  do  so.  On 
the  flyleaf  he  wrote,  "Of  course,  it's  all 
boloney,  but  it  was  fun  writing  anyway!" 

ON  THE  POLITICAL  FRONT 

Word  has  come  to  us  from  Gracie  Allen,  the 
Surprise  Party's  Presidential  candidate,  that 
she  has  completed  reading  the  proof  on  her 
literary  masterpiece,  "How  to  Become  Presi- 
dent," which  is  to  be  published  shortly. 
Says  Candidate  Gracie:  "Those  proofs  proved 
something  to  me.  They  proved  I  can  really 
write.  Why,  all  by  myself  I  removed  two 
semicolons,  nine  commas  and  an  exclama- 
tion point — and  requested  another  advance 
from  my  publisher!" 

MUSIC  HATH  (NO)  CHARMS 

Greta  Garbo's  neighbors  refer  to  her  as  the 
"Scandinavian  Bullfrog."  The  appellation 
was  pinned  on  Greta  when  she  began  to 
take  singing  lessons.    The  miserable  folks 


next  door  claim  that,  while  trying  to  become 
another  Swedish  nightingale,  she's  begin- 
ning to  sound  more  and  more  like  a  basso 
profundo  and  now  it's  they  who  want  to  be 
alone ! 

SHORT  SHOTS 

Gene  Raymond's  hair  was  darkened  daily  for 
his  role  in  "Cross  Country  Romance"  by  hav- 
ing it  rubbed  for  two  complete  hours  with  a 
brown  eyebrow  pencil  .  .  .  Rita  Hayworth 
has  the  air-conditioning  system  in  her  car 
filled  with  perfume  .  .  .  The  off-screen  scrap- 
ping of  Ann  Sheridan  and  Ida  Lupino  who 
both  appear  in  "They  Drive  By  Night"  had 
the  studio  plenty  upset  .  .  .  Claudette  Colbert 
has  shelled  nuts  in  every  room  of  her  home 
...  A  fuzz  will  adorn  the  fizz  of  Gary  Cooper 
in  "The  Life  of  John  Doe"  or,  in  plainer 
language,  Gary  will  wear  a  mustache  in  the 
new  Frank  Capra  production  .  .  .  Dolores 
Del  Rio  has  no  electric  lights  in  her  living 
or  dining  rooms.  The  two  rooms  are  illumi- 
nated by  forty-four  candles  ...  J.  Carrol 
Naish  and  William  Holden  used  to  sing  in 
a  choir  .  .  .  Stand-ins  have,  adopted  a  new 
resolution  declaring  that  they  are  henceforth 
to  be  known  as  "assistant  stars"  .  .  .  Jea- 
nette  MacDonald  has  taken  ninety-six  allergy 
tests  to  date  to  discover  why  she  has  a 
perpetual  case  of  "sniffles"  .  .  .  And,  lend- 
ing a  whimsical  note  to  these  trying  times, 
is  the  news  that  Orson  Welles  has  engaged 
a  secretary  in  New  York  to  clip  comic  strips 
out  of  the  local  papers  and  mail  them  to  him 
every  day. 

NOTHING  VENTURED.  NOTHING 
GAINED 

Whenever  a  Hollywood  cameraman  gets  an 
order  for  candid  shots  of  Garbo,  he  groans 
and  wonders  just  how  he  is  going  to  accom- 
plish the  impossible.  For  every  last  man  of 
them  knows  that  it's  about  as  easy  as  finding 
a  needle  in  a  haystack  and  requires  more 
strategy  than  lies  within  the  ken  of  a  dozen 
military  leaders.  Fact  of  the  matter  is, 
cameramen  in  Movietown  have  gotten  to- 
gether and  decided  to  try  entirely  different 
tactics  from  now  on.  Instead  of  frantically 
trying  to  get  pictures  of  the  elusive  star,  the 
next  time  she  makes  one  of  her  infrequent 
public  appearances,  they  plan  to  line  up, 
lay  down  their  cameras,  fold  their  arms  and 
say  in  unison:  "Hello,  Miss  Garbo."  They 
figure  the  surprise  "attack"  may  turn  the 
trick! 

DIDJA  KNOW 

That  Arthur  "Dagwood"  Lake's  sailing  boat 
is  the  largest  in  the  movie  colony,  with  the 
exception  of  Errol  Flynn's  much-publicized 
"Sirocco"  .  .  .  That  Bing  Crosby  can't  reach 
the  high  notes  in  the  middle  of  the  "Star 
Spangled  Banner"  .  .  .  That  Jackie  Cooper 
may  soon  ask  his  fans  to  help  him  choose  a 
new  name  better  suited  to  character  parts 
.  .  .  That  Charlie  Ruggles  now  furnishes  his 
guests  with  his  latest  invention,  a  dough- 
nut dunking  clamp  .  .  .  That  Guy  Kibbee's 
foot  is  so  small  he  buys  his  shoes  in  boys' 
departments  .  .  .  That  in  Hollywood  it's 
illegal  to  bathe  two  children  in  the  scan© 
bathtub  at  the  same  time,  and  to  shoot  rab- 
bits from  a  street  car  platform  .  .  .  That  not 
very  long  ago  every  other  picture  had  the 
word  "love"  in  its  title  and  now  the  word  is 
taboo  at  all  studios?  (Cont'd  on  page,  89) 


52 


MODERN  SCREEN 


SETS  THE  STAGE  .  .  . 

That's  almost  the  biggest  news  in  the  whole  fashion 
picture.     The  only  thing  that  is  bigger  is  the 

announcement  of  the  New  Fashion  Section  which 
starts  with  this  issue  of  Modern  Screen.  This  New 
Section  belongs  to  YOU,  and  every  effort  will  always  be 

made  to  make  it  really  valuable  to  you.    In  this  issue  and 
in  every  one  to  follow,  the  pages  will  be  filled  to  the 

brim  with  last-minute  news  and  latest  fashion  scoops. 
We  want  to  keep  it  young.    We  want  every- 
thing we  choose  to  be  practical  and  penny-wise 
as  well  as  pretty.    We  want  you  to  know  when 

you  look  through  these  pages  that  Your  Fashion 
Editor  was  thinking  of  you  every  minute  she  was 
combing  the  market.    Her  okay  will  go  only  on 
those  clothes,  accessories  and  fabrics  that  she 

knows  are  topnotch,  hard-to-find  values  worthy  of 

your  approval.    Now,  back  to  the  very  beginning! 

Fabric  sets  the  stage  with  real  Curtain-Call  Clothes! 


mmmimnm 


LET'S  TALK  ABOUT  COLOR  ""First  there  is  black,  that 
go-anywhere-at-any-time.  choice  which  is  right  but  not  rampant 
for  fall.  Keep  it  forward  in  your  mind,  however,  as  a  smart 
fashion  slant  on  how  to  make  one  dress  do  the  job  of  many  by 
the  quick  change  of  accessories.  For  colors  that  are  young 
and  glamorous  and,  by  the  way,  will  continue  to  be  so  way  past 
turkey-time,  Modern  Screen  forecasts:  Greens  .  .  .  blue-green 
for  blondes,  gray-green  for  titians,  yellow-green  for  brunettes. 
"There  is  truly  a  new-looking  1940  green  for  every  age,  every 
type!  Browns  .  .  .  from  heart-warming  beaver  brown  to  rich- 
as-gravy  rust.  Blues,  gone  military  .  .  .  grayish  cadet  blue, 
medium  soldier  blue,  navy  and  union  blue.  For  sophistication 
choose  gray  .  .  .  for  gaiety  and  accent  choose  red. 


ABOUT  SILHOUETTE— The  slim  silhouette  is  the  smart 
surprise  on  the  fall  fashion  horizon.  Our  sport  clothes  may 
still  have  width,  but  the  flares  should  be  less  flarey,  the  pleats 
more  pressed  and  the  fullness  more  concentrated.  Where 
fullness  appears,  it  is  drawn  to  the  front  or  draped  at  the  side. 
As  for  daytime  and  evening,  in  dresses  and  coats  you  will  want 
to  have  that  "straight-up-and-down  look."  Necklines  are  high 
with  more  attention  to  collars;  shoulders  are  less  padded, 
appearing  narrower.  Yokes  are  prominent  .  .  .  the  Moused 
back  important.  The  waistline  is  defined,  slightly  lower;  hips 
are  smooth  and  skirts,  remaining  short,  are  moving  toward 
sliraness.  The  fall  shirtwaist  dress  and  the  casual  two-piece 
are  going  to  be  fashion  pets. 


MODERN  SCRFF.N 


CURTAIN-CALL  CORDUROY  (far  left)  a  gem  of 

a  four-pocket  dress  that  ideally  adapts  itself  to 
any  and  every  occasion  and  for  any  and  every 

hour.    Its  flat  back,  full  front  and  trick  self 
belt  have  all  the  earmarks  of  a  dress  that's  bound  far 
compliments  and  applause,  for  sizes  9-17.  $14.95. 

B.  Altman  and  Co.,  New  York. 
CURTAIN-CALL  FLANNEL    (right)  a  Pacific  weave 

that  bears  a  tag  that  bares  the  facts  on  wear  and 
care  and  facts  that  help  you  spend  wisely.    For  all  the 
sauciness  of  its  soft  kid  belt,  it  has  the  asset  of  looking 
competent.    $10.95.    Sizes  10-20.    Russeks,  New  York. 
GOING-PLACES  SUIT  v(Page  53)  and  per- 
fectly suited  for  the  task!    A  regiment  of  buttons 
and  a  quartet  of  pockets  smartly  accent  fine  tailor- 
ing.   The  suit  comes  in  a  monotone  herringbone 

and  in  a  black,  dressy  fabric.   $17.75.    Sizes  10-20. 
Oppenheim  Collins,   New  York.   For  other  stores 

carrying  these  fashions  see  page  62. 


vmmmmmm 


ABOUT  FABRICS— s  ince  the  slick  and  slim  silhouette 
needs  smooth  and  plain  weaves  .  .  .  presto  .  .  .  smooth  and 
plain  weaves  become  news.  New  fabrics  are  simple,  casual  and 
classic  but,  more  important,  they  create  a  lot  of  flattery  for 
the  figure.  Being  simple,  they  show  up  our  fine  yarns  and  fine 
weaving.  They  seem  luxurious  and  very  American.  Remember 
smooth,  napped  and  soft  types.  There  are  examples  to  fit 
every  pocketbook,  in  silk,  rayon,  cotton  and  wool.  For  instance, 
there  is  wool  flannel,  cotton  flannel,  spun  rayon  flannel  .  .  .  silk 
jersey,  wool  jersey,  rayon  jersey.  All  yarns  adapt  themselves 
to  our  new  fabrics  and  all  yarns  are  employed.  Other  fashion 
favorites  for  the  first  slim  clothes  are  velveteens  and  corduroys, 
serges  and  gabardines,  mossy  and  soft-ribbed  crepes. 


ABOUT  ACCESSORIES—  Smart-up  your  new  clothes  .  .  . 
pep-up  your  old  clothes  .  .  .  fool  everyone  into  believing  you 
have  twice  as  many  and  paid  twice  as  much.  You  can  have 
fun  with  this  year's  gay  accessories.  Hats  are  younger,  because 
they  cover  the  back  of  the  head.  Cute  extra  collars  on  dresses 
make  you  look  like  ingenue  stars.  Belts,  smartest  narrow,  help 
you  look  slim.  Bags  are  getting  longer  and  narrower.  Jewelry 
is  either  metal  in  two  or  three  tones  or  grand  stylized  floral 
designs  that  are  sweet  and  feminine,  in  enamel  and  stones. 
Shoes,  thank  fortune,  are  saner  and  not  tricky  .  .  .  many  are 
of  elasticized  leathers  and  are  cut  higher.  Wedges  continue. 
New  gloves  come  in  felt  hat  colors  .  .  .  Match  them. 
Hankies  are  gay  and  bordered. 


SEPTEMBER,  1940 


55 


AUTUMN  STARS 


COMBINE  TO  CREATE  A 
COMPLETE  WARDROBE 


1.  Actually  a  fall,  winter,  spring  coat! 
Harris  type  tweed  with  quilted  taffeta 
interlining  that  zips  out.  Sizes  10-20. 
$22.50.  Oppenheim  Collins,  New  York. 

2.  Gold  kid  baby  shoe  buttons  dec- 
orate a  tucked  baby  bib  bosom  on  this 
Celanese  rayon  mossy  crepe  dress. 
Sizes  10-20.  $10.95.  Saks  at  34th  St., 
New  York. 

3.  Collegienne  slip-on  $1.95,  match- 
ing Shetland  cardigan  $2.95.  Sizes 
11-17  and  32-40.  Match  or  contrast 
the  wool  skirt,  $2.95.  John  Wana- 
maker,  New  York. 

4.  Velveteen  skirt,  checked  wool  top 
jacket  dress  (that  can  do  double  duty 
as  a  suit  by  adding  an  extra  blouse). 
Sizes  10-20.  $10.95.  Franklin  Simon, 
New  York. 


stores  carrying  merchand 
pages,  see  Shopping  List  on  page  62 


UNMENTIONABLES?  ANYTHING  BUT!  YOU'LL  SHOUT 
THEIR  PRAISE 


1.  Polka  dots,  blue  ones  on  pink  in  a  raschel  weave  two-way  stretch 
girdle  with  curved  seams.  $1.  Sizes  11-15.  James  McCreery, 
New  York.  2.  Daintiest  of  dainties,  an  adorable  nightie  in  printed 
rayon  crepe  plus  matching  full-length  negligee.  $3.95.  Sizes 
32-40.  Oppenheim  Collins,  New  York.  3.  "Straighter"  slip  with 
bias  bodice  and  straight  skirt  that  will  not  ride  up;  rip-resisting 
side  seams  sewed  with  the  new  resilient  nylon  thread.  $2.  Sizes 
32-40.  Oppenheim  Collins,  New  York.  4.  As  a  dress-up  slip  choose 
this  youth-mode  cut  in  Corticelli  rayon  Crepe  Seance;  lace  bottom 
with  ribbon  beading.  $2.  Sizes  32-44.  Gimbel  Brothers,  New  York. 
5.  Snuggle  pup  bedjacket,  in  brushed  rayon,  the  kind  that  seems 
woolly  and  feminine  and  cosy.  $2.  Small,  medium,  large.  Lord  & 
Taylor,  New  York.  6.  To  lounge,  to  primp,  to  sleep!  A  many- 
duty  pajama  with  butcher  boy  jacket  trimmed  with  multicolored 
Swiss  embroidery.  $2.98.  Gimbel  Brothers,  New  York.  7.  A  quilted 
robe  by  Kamore.  Printed  rayon  satin  to  make  you  feel  very  grand. 
Lined  throughout.  $6.95.  Sizes  14-42.  Arnold  Constable,  New  York. 


6 

SEPTEMBER,  1940 


Your  Extra  Extra  Corner! 
Extra  Accent  .  .  .  Extra  Lifts 
Extra    Values    .   .    .    Extra  Gifts 


■  You  loved  the  Bulky 
Fur  Coats,  you'll  love  the 
new  Bulky  Sweaters. 
Longer,  broader,  squarer, 
warmer,  with  a  cable  stitch 
that  absolutely  looks  hand- 
made. About  $3.  Sizes  32- 
40.  B.  Altman,  New  York. 


■  Here's  a  flight  of  fancy 
for  a  down-to-earth  budget. 
Accessory  ensemble  in 
bright  matched  kid  and 
capeskin.  Hat,  Bag,  Mit- 
tens $1.95  each.  Belt  $1. 
James  McCreery  and 
Franklin  Simon,  New  York. 


■  Deanna  Durbin's  sports 
shawl  may  recall  the  days 
of  Grandma,  but  it's 
mighty  modern.  Crown 
Tested  Spun  Rayon  makes 
it  woolly  looking.  25c.  At 
all  McLellan,  McCrory 
and  G.  C.  Murphy  Stores. 


■  Just  a  blouse?  Nay, 
nay,  Pauline!  It's  a  Joan 
Kenley,  full  of  wit  and 
sparkle.  It  buttons  up  the 
back  and  can  be  worn 
backwards  under  sweat- 
ers. $2.  Sizes  32-38.  James 
McCreery  &  Co.,  New  York. 


■  Frosting  for  the  cake! 
Flower-strewn  initial  Bloch 
Freres  Hankie.  25c.  at  B. 
Altman.  Lisanda  Topaz- 
center  posy  'n  'pearl  neck- 
lace $3  .  .  .  bracelet  $2. 
Bloomingdale's.Nosegay 
$1.  57th  Street  Florist. 


■  Handing  you  two  final 
finds.  Beautifully  made 
Wilder  bag  of  golden  cord 
$2.95.  Best  &  Co.  Kayser's 
Milosuede  glove  designed 
by  Natascha  and  dubbed 
"Domino."  $1.  Sold  at 
Stern    Bros.,    New  York. 


For  other  stores  carrying  these  items,  see  Shopping  List  on  page  62. 


I  NEVER  NEGLECT  MY 

ACTIVE-LATHER  FACIAL 

with  Lux  Soap  ! 


Lux  Soap  does  a 

WONDERFUL  JOB ! 

FIRST  PAT  ITS 
ACTIVE  LATHER 
GENTLY  INTO 
YOUR  SKIN 


Try  ALICE  FAYE'S  Beauty  Care 
for  30  days! 

FOR  30  DAYS  give  your  skin  this  gentle 
ACTIVE-lather  care.  If  you've  seen 
little  blemishes — enlarged  pores,  now  is  the 
time  to  begin.  Use  cosmetics  all  you  like, 
but  remove  stale  cosmetics,  dust  and  dirt 
thoroughly  with  Lux  Toilet  Soap.  You'll 
find  this  care  helps  you  keep  skin  smooth 
—lovely  to  look  at,  soft  to  touch. 


WITH  LIGHT,  QUICK 
PATS. YOUR  SKIN 
FEELS  SMOOTHER 
—LOOKS  fresher! 


TWENTIETH  CENTURY-FOX  STAR 


9  out  of  10  Screen  Stars  use  Lux  Toilet  Soap 


SEPTEMBER,  1940 


59 


This  is  Jane's  Contemporary  Regency  living-room,  done 
in  blue,  rose  and  white.    It's  a  bit  too  formal  for  her, 
though,  and  she  uses  it  only  for  piano  practising. 


900  yards  of  chiffon  went  into  the  ivory  and  pink  bed- 
room! The  bed  is  seven  feet  square;  the  rug,  two  inches 
thick;   and   a   perfume   vault   is   hidden   in   the  wall. 


The  beauty  parlor,  done  in  cheery  yellow  and  red,  is  com-  The  soda  bar  is  stocked  with  all  flavors  of  ice  cream,  and 

pletely  equipped.     To  date,  Jane's  gone  through   19  behind  the  counter — upon  which  guests  inscribe  their 

bottles  of  nail  polish  giving  her  friends  manicures!  names  with  a  special  stylus — is  a  kitchenette. 


WON'T  YOU  STEP  INTO  MY  PARLOR? 


That's  an  invitation  every  kid  is  clam- 
oring for!  Jane  Withers'  $30,000 
apartment  is  the  place  this  season 


Paneled  in  pine,  the  playroom  couldn't  be  gayer — 
with  its  red,  white  and  blue  color  scheme.  Within 
its  insulated  walls,  Jane  and  her  cronies  can  raise 
an  unholy  racket — jitterbugging  to  the  radio  or 
phonograph,  banging  the  piano  and  making  records 
of  their  voices  for  immediate  playbacks. 


60 


Jane  Withers'  apartment  designed  by  Duncan  Crame 


MODERN  SCREEN 


ake  the  own 


NEWEST  SHADES 
BY 

CUTEX 


The  liveliest,  most  flattering  nail  polish  pair  in  many  a  moon!  RIOT  RED, 
so  clear  and  bright  itself,  is  right  in  the  spirit  of  the  clear,  vivid  trend  in 
fashion  colors — greens,  gold,  reds,  royal  blue  and  turquoise  ...  A  bright 
accent  with  brown,  black  and  coverts.  RUMPUS  —  the  gayest,  loveliest 
blue-red  to  date — marvelous  with  the  new  amethysts,  wines,  evergreen 
greens,  blue  of  every  hue — with  conga  brown  and  somber  neutrals.  Get 
Riot  Red  or  Rumpus  today  and  take  the  town!  Other  popular  Cutex  shades: 
Old  Rose,  Cedarwood,  Laurel,  Clover,  Cameo  and  Tulip.  Guaranteed  to  wear 
longer  ...  or  your  money  back!  Simply  return  the  bottle  to  us  (ivith  at  least 
three-fourths  of  its  contents)  during  1940. 

NORTH  AM  WARREN,  NEW  YORK,  MONTREAL,  PARIS,  LONDON 


SEPTEMBER,  1940 


61 


The  Budgeteer  Fashions  shown  on  pages 
53-58  are  sold  in  the  following  stores. 
Space  prevents  our  giving  a  complete 
list.  For  the  store  nearest  you  carry- 
ing your  favorites,  drop  a  card  to 
Fashion  Editor,  Modern  Screen,  149 
Madison  Avenue,  New  York,  New  York. 


Page     Colors:    Indian  Earth, 
53        Rocky  Blue,  Rancho  Red, 
Vernon  Green. 

Aberdeen,  Miss.,  James  Pryor 
Aberdeen,  Wash.,  Brower's 
Abilene,  Tex.,  Ernest  Grissom 
Albany,  N.  Y.,  USian's 
Albemarle,  N.  C,  Riffs  Dept.  Store 
Alton,  III.,  A.  J.  Plessner 
Altoona,  Pa.,  Simmond's 
Alexandria,  La.,  Weiss  &  Goldring 
Amarillo,  Tex.,  White  &  Kirk 
Arkansas  City,  Kan.,  Bess  Keiser 
Asbury  Park,  N.  J.,  Abrams  Apparel 
Atlanta,  Ga.,  J.  P.  Allen 
Augusta,  Ga.,  Frank  Goldberg 
Augusta,  Me.,  Chernowsky's 
Austin,  Minn.,  Peggy  Ann  Shop 
Austin,  Tex.,  Marie  Antoinette 
Baltimore,  Md.,  Hutzler  Bros.  Co. 
Bangor,  Me.,  Burdell's 
Baton  Rouge,  La.,  Rosenfield 
Beaver  Falls,  Pa.,  William  H.  Benson 
Bellingham,  Wash.,  Mallahan's 
Beloit,  Wis.,  E.  L.  Chester  Co. 
Berkeley,  Calif.,  Berliner's 
Binghamton,  N.  Y.,  Hills,  McLean  & 

Haskins 
Birmingham,  Ala.,  Kessler's 
Bismarck,  N.  D. ,  Sarah  Gold  Shop 
Bluefield,  W.  Va.,  The  Vogue 
Boise,  Idaho,  Brookover's 
Boston,  Mass.,  Chandler  &  Co. 
Braddock,  Pa.,  The  White  Store 
Brainard,  Minn.,  O'Brien  Merc.  Co. 
Bridgeport,  Conn.,  The  Bon  Ton 
Brockton,  Mass.,  Storey  &  Co. 
Brownwood,  Tex.,  Knobler's 
Buffalo,  N.  Y.,  Oppenheim  Collins 
Burlington,  Vt.,  W.  G.  Reynolds  Co. 
Butler,  Pa.,  Rosenblum's 
Butte,  Mont.,  Joe  Rose 
Camden,  Ark.,  Lide's 
Canton,  Ohio,  Bon  Marche 
Cedar  Rapids,  Iowa,  Craemer's 
Champaign,  III.,  W.  D.  Kennedy  Co. 
Charlotte,  N.  C,  J.  B.  Ivey  &  Co. 
Chattanooga,  Tenn.,  The  Vogue 
Chester,  Pa.,  Speare  Bros. 
Chicago,  III.,  Mandel  Bros. 
Chillicothe,  Mo.,  Lewis  Anderson 
Cincinnati,  Ohio,  Mabley  &  Carew 
Clarksburg,  W.Va.,  Watts-Sartor-Lear 
Clarksdale,  Miss.,  Powers  &  Co. 
Cleveland,  Ohio,  The  Higbee  Co. 
Clinton,  Mo.,  Nagel's 
Clovis,  N.  M.,  Mandell's 
Columbia,  Mo.,  Suzanne's  Inc. 
Columbia,  Pa.,  Heineman's 
Columbus,  Ga.,  J.  A.  Kirvin 
Columbus,  Miss.,  James  Pryor  Co. 
Columbus,  Ohio,  The  Fashion 
Cordele,  Ga.,  Roobin's 
Corning,  N.  Y.,  Cain's 
Dallas,  Tex.,  Dreyfuss  &  Son 
Dallas,  Tex.,  Titche-Goettinger  Co. 
Danville,  Va.,  L.  Herman 
Dayton,  Ohio,  Thai's 
Decatur,  III.,  Field's 
Denton,  Tex.,  H.  M.  Russell  &  Sons 
Denver,  Colo.,  Denver  D.  G.  Co. 
Des  Moines,  Iowa,  Wolf's 
Detroit,  Mich.,  J.  L.  Hudson  Co. 
Dover,  Del.,  Emanuel's 
Durham,  N.  C,  Ellis  Stone  &  Co. 


Dyersburg,  Tenn.,  The  Style  Shop 
Eau  Claire,  Wis.,  The  Band  Box 
East  Orange,  N.  J.,  Franklin  Simon 
Elgin,  III.,  Joseph  Spiess  Co. 
Elkhart,  Ind.,  Ziesel  Bros. 
Elkins,  W.  Va.,  Watts-Sartor-Lear  Co. 
Ellwood  City,  Pa.,  Wilkoff's 
Erie,   Pa.,  Trask,   Prescott  &  Rich- 
ardson Co. 
Evansville,  Ind.,  Kaiser's 
Everett,  Wash.,  Chaffee's 
Fairmont,  W.  Va.,  J.  M.  Hartley 
Fall  River,  Mass.,  Cherry  &  Webb 
Fayetteville,  N.  C,  The  Capitol 
Findlay,  Ohio,  Kessel's 
Flint,  Mich.,  Ferris  Bros. 
Ft.  Smith,  Ark.,  Tilles,  Inc. 
Fort  Wayne,  Ind.,  Wolf  &  Dessauer 
Fort  Worth,  Tex.,  The  Fair 
Fostoria,  Ohio,  The  Preis  Store 
Franklin,  N.  H.,  Holmes  &  Nelson 
Franklin,  Pa.,  J.  T.  Campbell  Co. 
Frederick,  Okla.,  The  Julia  Shop 
Gary,  Ind.,  Hudson's 
Gary,  W.  Va.,  United  Supply  Co. 
Goldsboro,  N  C,  Neil  Joseph 
Grand  Forks,  N.  D.,  Bray's 
Grand  Rapids,  Mich.,  Bon  Marche 
Greensboro,  N.  C,  Ellis  Stone  &  Co. 
Greenville,  Miss.,  The  Nelms  &  Blum 
Greenville,  S.  C„  Meyers  Arnold  Co. 
Greenwich,    Conn.,   Franklin  Simon 
Greenwood,  Miss.,  DeLoach's 
Guthrie,  Okla.,  Larson's 
Hagerstown,  Md.,  Fleishers,  Inc. 
Hammond,  Ind.,  David's 
Hannibal,  Mo.,  Suzanne's  Inc. 
Harrisburg,  Pa.,  Feller's 
Hartford,  Conn.,  Sage  Allen  Co.,  Inc. 
Hazleton,  Pa.,  The  Leader  Store 
Henryetta,  Okla.,  Herrin  D.  G. 
Hibbing,  Minn.,  Sapero  Bros. 
Hollywood,  Calif.,  Nancy's 
Hot  Springs,  Ark.,  Eleanor  Harris 
Huntington,  W.  Va.,  Anderson,  New- 
comb  Co. 
Huron,  S.  D.,  The  Fashion  Shop 
Hyannis,  Mass.,  Buttner's 
Indianapolis,  Ind.,  H.  P.  Wasson 
Jacksonville,  Fla.,  Levy's 
Jackson,  Mich.,  The  Style  Shop 
Jackson,  Miss.,  The  Vogue 
Jacksonville,  Tex.,  Rix  Shoppe 
Jamestown,  N.  D.,  Dee  Jay's 
Jefferson  City,  Mo.,  The  Purple  Shop 
Joplin,  Mo.,  The  Oriental  Shop 
Kalamazoo,  Mich.,  The  Style  Shop 
Kansas  City,  Mo.,  John  Taylor's 
Kenosha,  Wis.,  Lepp  &  Co. 
Keyser,  W.  Va.,  Shapiro's  Store 
Knoxville,  Tenn.,  Miller's,  Inc. 
Lancaster,  Pa.,  Watt  &  Shand 
Lansing,  Mich.,  The  Vogue 
Lawrence,  Mass.,  Cherry  &  Webb 
Lebanon,  Pa.,  Rose  Singer 
Lewiston,  Me.,  Ward's 
Lewistown,  Pa.,  Danks  &  Co. 
Lexington,  Ky.,  John  Perkins 
Lexington,  Mo.,  Connor-Wagoner  Inc. 
Little  Rock,  Ark.,  Pfeifer  Bros. 
Lockport.  N.  Y..  Hall's 
Long  Beach,  Calif.,  Dinel's 
Longview,  Tex.,  Palais  Royal 
Louisville,  Ky.,  H.  P.  Selman  &  Co. 
Lowell,  Mass.,  Cherry  &  Webb  Co. 
Los  Angeles,  Calif.,  May  Co. 


Lynchburg,  Va.,  C.  M.  Gugenheimer 
Lynch,  Ky.,  United  Supply  Co. 
Lynn,  Mass.,  A.  Spiller  Co. 
Madison,  Wis.,  Cinderella  Frocks 
Memphis,  Tenn.,  Levy's 
Miami,  Fla.,  Burdine's 
Macon,  Ga.,  Union  D.  G.  Co. 
Magnolia,  Ark.,  May's 
Manchester,  N.  H. ,  Pariseau's,  Inc. 
Marion,  Ohio,  Sutton  &  Lightner 
Marshall,  Minn.,  Ekberg's 
Marshalltown,    Iowa,  Brintnall's 
McKeesport,  Pa.,  Cox's 
McKinney,  Tex.,  Carr's 
Meadville,  Pa.,  The  Crawford  Store 
Median,  N.  Y.,  Curry's 
Meridian,  Miss.,  The  Liberty  Shops 
Mexico,  Mo.,  Connor-Wagoner  Inc. 
Middletown,  Conn.,  Wrubel's,  Inc. 
Middletown,  Ohio,  The  John  Ross  Co. 
Milwaukee,  Wis.,  Fritzel's 
Minneapolis,  Minn.,  Harold's,  Inc. 
Minot,  N.  D.,  Ellison's 
Mobile,  Ala.,  C.  J.  Gayfer  &  Co. 
Monessen,  Pa.,  Friedland's 
Monett,  Mo.,  Milsap  Bros. 
Montgomery,  Ala.,  A.  Nachman 
Monroe,  La.,  Bella  Scherck  Davidson 
Monticello,  Ark.,  McDaniel  Shop 
Mount  Vernon.  N.  Y.,  Schiller  United 
Muncie,  Ind.,  Ball  Stores 
Muskegon,  Mich.,  Grossman's 
Muskogee,  Okla.,  Susman's 
Nashua,  N.  H.,  The  Smart  Shop 
Newark,  N.  J.,  L.  Bamberger  &  Co. 
Newark,  Ohio,  The  J.  J.  Carroll  Co. 
New  Bedford,  Mass.,  Cherry  &  Co. 
New  Britain,  Conn.,  Morris  Birnbaum 
Newburyport,  Mass.,  Kray's  Boston 
Store 

New    Castle,    Pa.,    The  Strouss- 

Hirshberg  Co. 
New  Haven,  Conn.,  Edward  Malley 
New  Kensington,  Pa.,  Silverman's 
New  Ulm,  Minn.,  Pink's  Store 
Niagara  Falls,  N.  Y.,  Beir  Bros. 
Norfolk,  Va.,  Alexander's 
Norristown,  Pa.,  B.  E.  Block  &  Bros. 
Norwalk,  Ohio,  L.  M.  Preis 
Norwich,  Conn.,  Simon  Mandell 
Oakland,  Calif.,  Kahn's 
Ogden,  Utah,  Wolfer's,  Inc. 
Oklahoma  City,  Okla.,  Rothschild's 
Olympia,  Wash.,  M.  M.  Morris  Co. 
Omaha,  Neb.,  Herzberg's 
Oneonta,  N.  Y.,  B.  F.  Sisson  Co. 
Orlando,  Fla.,  Zimmerman 
Oswego,  N.  Y.,  M.  J.  McDonald 
Owensboro,  Ky.,  S.  W.  Anderson 
Paducah,  Ky.,  Watkins 
Parsons,  Kans.,  The  Jarboe  Shop 
Pasadena,  Calif.,  Draper  Studio 
Pensacola,  Fla.,  Bon  Marche 
Peoria,  III.,  Block  &  Kuhl  Co. 
Pine  Bluff,  Ark.,  The  Froug  Stores 
Pittsburg,  Kans.,  Ramsay  D.  G.  Co. 
Pittsburgh,  Pa.,  Frank  &  Seder 
Plymouth,  Mass.,  Buttner's 
Pontiac,  Mich.,  Arthur's 
Port  Huron,  Mich.,  Winkelman's 
Portland,  Me.,  Smiley's 
Portland,  Ore.,  Charles  F.  Berg 
Portsmouth,  N.  H.,  The  Fashion  Shop 
Portsmouth,  Ohio,  Atlas'  Fashion 
Pottsdam,  N.  Y.,  J.  M.  McCarthy 
Poughkeepsie,  N.  Y.,  Up-To-Date 


Providence,  R.  I.,  Cherry  &  Webb 
Provo,  Utah,  Lewis  Ladies'  Store 
Raleigh,  N.  C,  Ellisberg's 
Rapid  City,  S.  D.,  Baron  Bros.  Co. 
Reading,  Pa.,  Parisian 
Red  Wing,  Minn.,  Grondahl  Bros. 
Ridgeway,  Pa.,  Kay  Fashion 
Roanoke,  Va.,  S.  H.  Heironimus  Co. 
Rochester,  N.  Y.,  B.  Forman  Co. 
Rockford,  III.,  D.  J.  Stewart  &  Co. 
Rome,  N.  Y..  Mark's 
Rutland,  Vt.,  The  Fashion  Shop 
Richmond,  Va.,  Thalhimer  Bros. 
Saginaw,  Mich.,  Winkelman's 
Saint  Louis,  Mo.,  Famous-Barr  Co. 
San    Francisco,    Calif.,  O'Connor- 

Moffatt  Co. 
Syracuse,  N.  Y.,  Addis  Co. 
Saint  Cloud,  Minn.,  Herberger's 
Saint  Joseph,  Mo.,  Hirsch  Bros. 
Saint  Paul,  Minn.,  Husch  Bros.,  Inc. 
Salem,  Mass.,  Royal  Skirt  Co. 
Salem,  Ohio,  G.  K.  Schwartz 
Salisbury,  Md.,  Benjamin's 
Salisbury,  N.  C,  Purcell's 
Salt  Lake  City,  Utah,  Z.  C.  M.  I. 
San  Antonio,  Tex.,  Joske  Bros. 
Sapulpa,  Okla.,  Katz  Dept.  Store 
Schenectady,  N.  Y.,  Lady  Lee-Evelyn 
Scranton,  Pa.,  Morris  Israel 
Seattle,  Wash.,  Best's  Apparel 
Seminole,  Okla.,  Herrin's 
Shreveport,  La.,  The  Hearne  D.  G. 
Sioux  Falls,  S.  D.,  H.  A.  Aaronson 
Southbridge,  Mass.,  Edwards  Corp. 
Spartanburg,  S.  C,  August  W.  Smith 
Spencer,  Iowa,  Poole's  Fashion  Shop 
Springfield,  III.,  Myers  Bros. 
Springfield,  Mass.,  Steiger's 
Springfield,  Mo.,  Savage-Juliette 
Stamford,  Conn.,  Mantell  &  Martin 
Stamford,  Tex.,  L.  Schwarz  &  Co. 
Starkville,  Miss.,  James  Pryor  Co. 
Stephenville,  Tex.,  The  Ladies'  Store 
Steubenville,  Ohio,  Reiner's 
Stillwater,  Minn.,  Louis  Janda  Co. 
Stillwater,  Okla.,  O.  V.  Mullendore 
Stockton,  Calif.,  Katten  and  Marengo 
Stormlake,  Iowa,  Dumbaugh's 
Stroudsburg,  Pa.,  Seguine's 
Tacoma,  Wash.,  Rhodes  Bros. 
Tallahassee,  Fla.,  Mae's  Shop 
Tampa,  Fla.,  Maas  Bros. 
Terre  Haute,  Ind.,  Silver's 
Texarkana,  Ark.,  The  Criterion 
Topeka,  Kans.,  Nightingale's 
Trenton,  N.  J.,  S.  P.  Dunham  &  Co. 
Troy,  N.  Y.,  W.  P.  Herbert 
Tulsa,  Okla.,  Vandever  D.  G.  Co. 
Tyler,  Tex.,  Mayer  &  Schmidt's 
Utica,  N.  Y.,  Doyle-Knower  Co. 
Vineennes,  Ind.,  Joseph's 
Virginia,  Minn.,  Ketola  &  Co. 
Walla  Walla,  Wash.,  Val  Jensen's 
Warrensburg,  Mo.,  Connor-Wagoner 
Warren,  Ohio,  Howard  Shield's,  Inc. 
Washington,  D.  C,  Lansburgh's 
Waterloo,  Iowa,  Ward  S.  Williams 
Watertown,  N.  Y.,  Frank  A.  Empsall 
Waukegan,  III.,  Hein's 
Wenatchee,  Wash.,  The  Fashion  Shop 
West  Point,  Miss.,  James  Pryor  Co. 
Wichita,  Kan.,  Lewin's  Fashion  Shop 
Wichita  Falls,  Tex.,  W.  B.  McClurkan 
Wilkes-Barre,  Pa.,  Isaac  Long 
(Continued  on  page  881 


62 


MODERN  SCREEN 


SEE  ANNABELLA,  FAMOUS  SCREEN  STAR,  IN   HER  COMING  PICTURE.   NOTE  HOW  PETAL -SMOOTH  HER  SKIN  IS 


ANNABELLA 

explains  to  a 
French  Countess 
her 

Woodbury 
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I.  We  were  lolling  on  my  terrace  when 
Annabella  related  this  incident.  On  her 
last  trip  to  Paris,  Annabella  took  tea  with 
a  lady  of  fashion  who  has  begun  to  show 
her  years.  "Tell  me,"  said  the  Countess, 
"the  secret  of  American  women's  beauty. ' ' 


2.  Annabella  graciously  outlined  the 
Woodbury  Beauty  Nightcap,  so  popu- 
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at  bedtime.  Then  leave  on  a  thin  film 
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3.  Later,  Annabella  received  a  gorgeous 
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gift  came  a  lovely  photograph  of  her 
titled  friend.  The  inscription  read,  "To 
a  beautiful  actress  who  gave  me  the 
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-  State- 


SEPTEMBER,  1940 


63 


CLAUDETTE  COLBERT'S  FORGOTTEN  LEGS 

(Continued  from  page  41) 


the  leading  feminine  lights  of  the  drama- 
tic stage  were  Helen  Hayes,  Katharine 
Cornell,  Alice  Brady  and  Jane  Cowl, 
none  of  whom  had  educated  critics  to 
expect  shapely  legs  on  dramatic  ac- 
tresses. When  a  dramatic  actress  who  had 
them  came  along,  it  was  an  event.  And 
Winchell  couldn't  help  seeing  Claudette's. 
(As  a  critic,  he  sat  close  to  the  stage,  and 
dresses  were  short  that  year.) 

''Every  few  weeks,  he  would  mention 
them  again,"  Claudette  continued,  "and 
my  embarrassment  kept  mounting.  I 
never  knew  I  had  legs  till  Winchell  called 
attention  to  them.  Really,  I'm  serious. 
When  I  was  little,  my  brother  Charles 
was  always  saying,  'Gosh,  you're  a  skinny 
kid!'  When  I  started  growing  up,  he  kept 
saying,  'When  are  you  going  to  stop  look- 
ing like  a  boy?'  Like  all  younger  sisters, 
I  was  conscious  of  my  brother's  male 
friends.  But  they  never  looked  at  me. 
I  grew  up  with  the  definite  conviction 
that  I  had  a  punk  figure.  I  wasn't  pre- 
pared to  have  anybody  say  I  had  pretty 
legs  and  was  very  embarrassed  about  the 
whole  thing. 

I COULDN'T  see  how  it  was  going  to 
help  me  as  an  actress,  to  have  atten- 
tion called  to  my  legs.  I  was  doing  drama, 
not  musical  comedy. 

"When  I  came  to  Hollywood,  where 
beautiful  girls  with  beautiful  figures  were 
a  dime  a  dozen,  still  less  could  I  see  how 
it  would  help  me  to  have  attention  at- 
tracted to  my  legs,  even  if  I  could  get 
up  the  nerve  to  pose  in  a  bathing  suit. 
Which  I  couldn't." 

But  didn't  she  have  a  battle  on  her 
hands,  keeping  away  from  leg  art,  with 
press  agents  insisting  on  it? 

Claudette  clearly  heard  the  hopefulness 
in  our  voice.  "It  would  make  a  more 
dramatic  story  if  I  had  had  a  battle  pre- 
serving my  modesty,"  she  admitted.  "But 
let's  stick  to  the  cold,  hard  facts.  The 
press  agents  didn't  insist — that  is,  not  im- 
mediately. 

"You  see,  my  Winchell  publicity  didn't 
precede  me  to  Hollywood;  it  sort  of 
tagged  along  after  me.  When  I  arrived, 
I  was  'another  dramatic  actress  from 
Broadway.'  As  such,  I  wasn't  expected 
to  have  legs.  I  went  immediately  into 
some  awfully  heavy  roles.  When  the 
press  agents  heard  what  Winchell  had 
said  about  me  and  came  around  to  sug- 
gest bathing-suit  art,  I  suggested  that  it 
might  be  more  appropriate  some  other 
time.  I  was  only  kidding;  I  never  in- 
tended to  make  any." 

How  had  she  escaped  without  the  repu- 
tation of  being  "difficult?" 

Claudette's  eloquent  brown  eyes 
danced.  She  gestured  airily.  "I  just 
kidded  them  out  of  the  idea,"  she  said. 
"You'd  be  surprised  how  often  you  can 
say  'No,'  if  you're  good-natured  about  it. 

"There  was  a  time,"  Claudette  smiled, 
"when  I  wondered  if  maybe  I  had  made 
a  tactical  error.  That  was  when  Dietrich 
came  along  and  created  such  a  sensation, 
first  by  revealing  her  legs,  then  by  con- 
cealing them.  'Maybe  I  should  have 
thought  of  that,'  I  said  to  myself.  I  had 
kept  mine  undercover  from  the  begin- 
ning. But  if  I  had  thought  of  doing  any- 
thing else,  I  couldn't  have  gone  through 
with  it.  Embarrassment  would  have 
thrown  me." 

This  embarrassment  she  spoke  of  didn't 
seem  natural  in  a  French  girl. 

"Heaven  knows  I'm  not  a  prude,"  said 
Claudette.  "But  I  am  French.  And  that 


helps  to  explain  a  lot.  The  average 
American  doesn't  know  anything  about 
the  average  French  girl.  When  he  thinks 
of  'a  typical  French  girl,'  he  thinks  of  a 
girlie-girlie  show  in  Paris  and  those  racy 
drawings  in  La  Vie  Parisienne.  He  gets 
the  vague  impression  that  all  French  girls 
are  uninhibited.  Little  does  he  know! 

"No  girl  on  earth  has  less  chance  to  be 
worldly  than  the  average  middle -class 
French  girl.  If  her  family  can  afford  it, 
she  is  brought  up  in  the  seclusion  of  a 
convent.  If  her  family  can't  afford  a 
convent,  she  is  brought  up  at  home  in 
as  much  seclusion  as  possible.  She  is 
completely  surrounded  by  chaperons, 
who  supervise  everything  she  does, 
everything  she  wears.  Anything  sensual 
is  taboo.  If  her  upbringing  is  really  thor- 
ough, she  grows  up  with  a  horror  of 
letting  anyone  know  what  her  boudoir 
mirror  knows. 

"I  may  have  grown  up  in  the  heart  of 
New  York  City,  but  my  upbringing  was 


M-G-M's  "Boom  Town"  co-stars  Clau- 
dette Colbert  and  Clark  Sable  for  the 
first  time  since  "It  Happened  One 
Night,"  for  which  both  won  Oscars. 


in  the  best  French  bourgeoisie  tradition. 
My  feminine  modesty  was  carefully  pre- 
served. When  I  first  started  going  out 
with  boys,  the  whole  family  went  along 
to  chaperon  us.  When  I  went  on  the 
stage,  my  mother  was  always  backstage. 
And  I  do  mean  always.  I  didn't  resent 
that.  I  expected  it  and  accepted  it.  And 
it  did  discourage  unwelcome  advances,  if 
you  know  what  I  mean. 

"I  couldn't  pose  in  a  one-piece  bathing 
suit  without  having  the  uncomfortable 
feeling  that  my  grandmother  was  turning 
over  in  her  grave!" 

But  how  did  she  reconcile  that  with 
her  appearances  in  "Sign  of  the  Cross" 
and  "Cleopatra,"  both  of  which  called  for 
large  amounts  of  epidermal  exposure,  not 
to  mention  sensuality? 

"Ah,"  said  Claudette,  smiling  and  rais- 
ing one  eyebrow,  "there's  a  subtle  differ- 
ence between  being  undraped  in  a  still 
picture  and  being  undraped  in  a  motion 
picture.  On  the  screen,  I'm  not  myself; 
I'm  a  character.  On  the  screen,  the  un- 
drapery  is  'costume' — which  fact  takes 


the  curse  off  it.  And  any  sensuality  is 
mere  acting.  I'll  do  anything  on  the 
screen  that's  in  character — except  be  seen 
in  lingerie.  I  draw  the  line  there.  If  a 
character  has  to  be  seen  in  a  state  of 
undress,  I'll  get  around  that  with  a  slip 
or  a  robe. 

"The  first  time  I  was  supposed  to  show 
my  legs  on  the  screen  was  really  funny. 
That  was  in  'The  Smiling  Lieutenant.' 
Ernst  Lubitsch,  who  was  directing,  said 
he  wanted  a  close-up  of  them — but  way 
up.  I  refused;  whereupon  Lubitsch  went 
hysterical.  Still  I  refused.  So  he  double- 
crossed  me.  He  photographed  another 
girl's  legs,  which  the  audiences  would 
assume  were  mine.  When  I  saw  the  pre- 
view, on  came  this  shot  of  legs,  and  I 
practically  catapulted  out  of  my  seat  in 
my  consternation,  jabbering,  'But  when? 
How  did  he  photograph  me  like  that 
without  my  knowing  it?'  Then  I  realized 
he  had  dubbed  in  some  other  girl's  legs. 
I  must  admit  they  were  very  nice  legs. 
Lubitsch  has  very  good  taste. 

"A  few  years  later,  he  came  on  the  set 
of  'Sign  of  the  Cross,'  on  one  of  the  days 
when  my  costume  was  approximately 
three  beads.  He  said,  'So!!!'  That  was  all 
he  said— 'So!!!' 

"He  was  the  one  who  was  responsible 
for  my  finally  being  seen  in  a  bathing 
suit.  I  arrived  in  Hollywood  in  1930, 
and  I  was  here  eight  years  before  I  was 
photographed  in  a  bathing  suit  for  the 
first — and  only — time.  It  happened  then 
because  I  made  'Bluebeard's  Eighth  Wife' 
for  Lubitsch.  There  was  a  scene  that 
called  for  me  to  go  swimming.  The  day 
I  was  to  do  that  scene,  the  publicity  de- 
partment descended  on  me  en  masse. 
Wouldn't  I  please  pose  for  a  few  off-stage 
shots?  I  was  going  to  be  seen  on  the 
screen  in  a  bathing  suit,  so  why  couldn't 
they  photograph  me  in  it?  I  was  cor- 
nered. So  I  posed.  I  felt  so  ridiculous, 
I  vowed,  'Never  again.' " 

If  her  off-screen  clothes  are  any  index, 
Claudette  doesn't  have  the  well-known 
Hollywood  urge  to  attract  figure-apprais- 
ing glances.  She  is  addicted  to  skirts  and 
jackets,  which  aren't  the  most  figure-re- 
vealing attire.  She  owns  almost  nothing 
except  evening  dresses,  and  evening 
dresses  haven't  been  figure-revealing 
from  the  waist  down  for  the  past  ten 
years.  For  this  afternoon's  scene,  they 
had  asked  her  to  put  on  something  that 
looked  well-worn  from  her  own  ward- 
robe. Hence  the  skirt,  blouse  and  jacket. 


THE  last  time  Claudette  co-starred 
with  Clark  Gable  was  in  "It  Hap- 
pened One  Night."  It  gave  both  of  them 
Academy  Awards,  made  both  of  them 
famous.  The  most  memorable  scene  was 
the  one  in  which,  after  Clark  unsuccess- 
fully tried  to  thumb  a  ride  from  passing 
motorists,  Claudette  stepped  to  the  side 
of  the  road  and  stopped  the  first  motorist 
who  came  along  by  showing  a  super- 
generous  expanse  of  leg.  We  asked 
Claudette  how  she  felt  about  that  being 
her  best-remembered  scene. 

She  laughed.  "It  was  a  nice  little  joke 
on  me  that  the  thing  I  had  fought  against 
all  my  life — showing  my  legs — was  the 
thing  that  got  me  an  Academy  Award. 

"That  was  a  very  funny  scene.  I  par- 
ticularly liked  the  tag  to  it — which  might 
well  be  the  tag  for  this  story.  Remember 
when  the  motorist  stopped,  how  furious 
Clark  was?  He  said  to  me,  'Why  didn't 
you  take  off  all  your  clothes?' 

"And  I  answered,  'It  wasn't  necessary.'  " 


64 


MODERN  SCREEN 


She  doesn't  know  that  her  ruining  her  marriage  .  . . 

"LYSOL"  could  have  prevented  this 


Friends  call  her  husband  "the  luckiest 
man  in  the  world".  But  despite  all  her 
charm — and  all  her  talents  as  home-maker, 
helpmate  and  mother — love,  somehow, 
flew  out  the  window.  "Lysol"  might  have 
saved  her  happiness. 

When  a  husband  grows  indifferent  and 
neglectful,  the  cause  is  often  the  woman's 
neglect  of  feminine  hygiene.  Do  you  use 
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Thousands  of  women  have  solved  the 
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with  the  help  of  "Lysol"  disinfectant. 
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used  for  this  purpose. 


"Lysol"  enjoys  world-wide  acceptance 
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FOR  FEMININE  HYGIENE 


ganic  matter  (dirt,  mucus,  serum,  etc.). 
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Copyright,  1940.  by  Lehn  &  Fink  Products  Corp. 


SEPTEMBER,  1940 


65 


BRENT'S  NEW  DESIGN  FOR  LIVING 

(Continued  from  page  43) 


acres,  on  Oahu,  in  the  hills  outside 
Honolulu. 

"I  really  like  Hawaii.  I've  been  there 
several  times,  and  each  time  I  find  it 
more  difficult  to  leave  the  place.  As 
recently  as  two  months  ago  I  visited  the 
islands.  Had  a  helluva  time.  Plenty  of 
swimming,  fishing,  tennis,  hiking,  reading, 
bull  sessions.  It's  the  only  life  worth 
living. 

"Another  thing,  I  love  the  Hawaiian 
people,  their  attitude  toward  life,  their 
charm.  For  example,  I've  always  hated 
being  stared  at.  And  the  Hawaiians 
aren't  curious.  They  don't  bother  or  pes- 
ter you  just  because  you're  an  actor 
who's  gotten  a  lot  of  publicity.  They're 
romantic-minded,  too,  and  have  an  im- 
mense capacity  for  amusements." 

Only  one  item  clouded  Brent's  tropical 
dream.  He  spoke  of  it  grimly. 

"The  war,"  he  said.  "Hawaii  is  in  a 
bad  geographical  position  in  the  event 
of  extended  warfare.  Lately,  many  of  the 
isles  have  become  ammunition  dumps 
and,  under  the  worst  circumstances,  this 
base  could  become  another  Belgium.  Let's 
pray  that  doesn't  ever  happen." 

Of  course,  George  Brent's  whole  his- 
tory, every  single  word  in  his  biography, 
tells  the  same  tale — that  of  a  man  who 
wanted  success  and  security  only  as  a 
stepping  stone  to  peace  and  relaxation. 

Brent  won  his  security,  but  never  real- 
ized peace.  His  work  became  a  sort  of 
celluloid  Frankenstein.  It  turned  on  him 
and,  to  put  it  dramatically,  partially  en- 
slaved him. 

To  understand  the  pattern  of  his  life, 
his  so-called  monastic  existence,  his  pub- 
licized role  of  super-hermit,  his  three 
fantastic  marriages,  his  airplane  and  his 
boat,  his  curious  habits,  you  need  only 
realize  that  these  have  been  his  weapons 
in  a  combat  against  frustration. 

The  lone  wolf  nonsense,  for  example. 
Well,  while  Brent's  close  friends  wouldn't 
exactly  fill  the  Union  Depot,  there  are 
still  more  than  you'd  expect  of  a  hermit. 

But,  after  all,  why  did  he  buy  that 
retreat  in  the  desert?  Why  did  he  hide 
himself  in  that  hill-top  home?  Why  has 
he  avoided  Hollywood  parties  and  movie 
night  clubs  as  one  avoids  a  leper  colony? 

Well,  the  real  answer  isn't  as  anti- 
social as  the  hermit  idea,  and  not  half 
as  interesting.  But  it's  twice  as  true. 

WHEN  Brent  is  through  with  the 
day's  work,  he  wants  to  relax.  And 
usually,  by  himself.  He's  too  tired  to 
think,  let  alone  be  with  others. 

He  avoids  cocktail  bars  because  he 
doesn't  like  to  become  involved  in  any- 
thing physical;  night  clubs,  because  they 
are  boring;  parties,  because  the  conver- 
sation has  as  much  variety  as  a  victrola 
record  played  ten  times  over,  and 
public  gatherings,  because  he  hates  being 
gaped  at. 

Here's  the  way  he  puts  it: 
"The  important  actors  are  usually  too 
busy  to  go  out.  Extras  are  perhaps  too 
poor.  It's  only  the  in-betweens  who  have 
the  time,  the  funds  and  the  energy  to  be 
everywhere  all  the  time. 

"You  have  to  be  an  animated  guinea 
pig  to  live  the  right  life  in  Hollywood. 
The  only  way  a  hard-working  actor  can 
have  peace  and  a  private  life  is  by  re- 
maining home.  And  the  only  way  he  can 
have  wholesome  fun  is  by  having  it  in 
private,  without  publicity. 

"It's  a  tough  set-up.  For  instance,  as- 
sume I  want  to  go  out  and  have  a  cock- 


tail. I  go  to  a  public  bar,  and  you  can 
be  sure  there'll  always  be  some  wise 
guy,  half  drunk,  who  wants  to  take  a  poke 
at  me.  He  gets  smart-alecky,  insulting. 
If  I  dust  him  off,  hit  him  on  the  snoot, 
the  studio  won't  like  the  scandal.  And 
if  I  don't  punch  him,  he'll  punch  me. 
Of  course,  all  he  wants  is  the  pleasure  of 
telling  his  lady  friends  that  he  socked 
George  Brent  on  the  kisser,  or  Gable  or 
anyone  in  the  business. 

"Why,  you  heard  about  the  incident  in 
Newark  a  short  time  ago,  didn't  you?  A 
few  tough  guys  found  a  little  fellow  they 
thought  was  Jim  Cagney.  They  beat  him 
to  a  pulp,  just  so  they  could  brag  to  their 
friends  Cagney  wasn't  great  shakes. 

"Public  drinking  for  me?  No,  thanks!" 

However,  for  the  record  we  must  add 
that  lack  of  pugilistic  ability  has  never 
kept  Brent  from  public  spots.  The  man 
can  handle  his  dukes.  For  years  he  has 
traded  left  jabs  with  Mushy  Callahan, 
former  welter  champ,  in  the  Warner  gym. 

As  for  night  clubs  and  parties,  here's 
the  way  Brent  polishes  them  off: 

"Parties?  It's  the  regular  routine. 
Smoke.  Stale  drinks.  Stale  jokes.  Same 
faces.  Same  chatter.  Movie  talk  and 
more  movie  talk.  Once  a  year  is  enough 
for  me.  It's  always  the  same.  Outsiders 
would  be  amazed  at  how  dull  Hollywood 
parties  actually  are.  They  only  hear  of 
the  tricky  ones.  Most  are  sedate.  I've 
never  seen  a  wild  party  in  Hollywood. 
But  I've  seen  plenty  in  small  towns  else- 
where. 

"Of  course,  I  realize  all  of  this  is  good 
grounds  for  calling  me  a  hermit.  Maybe 
much  of  the  fault  is  within  me.  You 
see,  I  have  a  terrible  capacity  for  meeting 
people  and  mixing  freely.  Perhaps  I  have 
some  strange  crowd-phobia.  But  it  knots 
me  up  inside,  and  it  becomes  labor  to 
meet  strangers.  .  .  .  And  yet,  I  want  to 
know  interesting  people." 

George  Brent's  best  and  most  trusted 
friend  in  the  film  colony  is  Ralph  Forbes. 
Their  friendship  is  really  a  curious  thing 
— because  they  have  one  item  in  common 
— they're    both    ex-husbands    of  Ruth 


In  her  third  picture,  "Strike  Up  The 
Band,"  June  Preisser  again  tries  her 
wiles  on  that  guy  Rooney  to  no  avail. 
What's  the  matter  with  him,  anyway? 


Chatterton.  Three-act  plays  have  been 
written  about  such  a  friendship,  so  in 
this  case  life  imitates  art. 

We  might  say,  in  passing,  that  Ruth 
Chatterton  was  Brent's  second  wife.  He 
married  her  when  she  was  a  big  star 
and  he  was  just  getting  a  foothold.  His 
first  marriage  was  in  1922.  He  was  nine- 
teen. She  was  a  kid  actress.  It  lasted  a 
month.  And  his  third  trip  to  the  altar, 
of  more  recent  date,  was  with  Constance 
Worth,  the  Australian  girl — a  mistake 
which,  after  she  tore  up  his  pilot's  license, 
wound  up  in  a  settlement. 

THESE  matrimonial  adventures — all 
impulsive  efforts  in  search  of  peace — 
become  added  proof  that  the  Brent  men- 
tality does  not  run  along  lone  wolf  lines. 

For  a  long  spell  he  had  things  in  com- 
mon with  Bette  Davis.  He  used  to  have 
Greta  Garbo  over  to  his  ranch  in  the 
Valley.  They  would  pull  on  gloves  and 
box  for  the  exercise.  And  now  he  dates 
Ann  Sheridan. 

About  the  Brent-Sheridan  deal,  it's  an 
interesting  set-up.  When  we  were  lunch- 
ing with  George,  Ann  Sheridan  breezed 
in,  came  over  to  the  table  and  put  on  the 
feed  bag  with  us.  Brent  and  Sheridan 
were  nice  to  each  other.  No  goo,  though. 
He  was  the  more  reserved,  as  usual, 
and  slow  to  see  the  joke.  She  was  her 
regular  bright-cracking,  laughing,  excit- 
ing self.  She  called  him  "Georgie"  and 
"Mr.  B."  and  ribbed  him  when  he  ate 
two  pieces  of  wholewheat  bread  out  of 
reverence  to  his  waistline. 

They  may  be  married  by  the  time  you 
read  this.  They  probably  won't.  But  it's 
a  flip-up. 

"Sure  I  might  marry  again,"  Brent  ad- 
mitted. "There's  a  good  chance.  But  it 
certainly  will  not  happen  soon." 

He  thought  he  would  like  a  girl  who 
was  intelligent,  reasonably  ethical  and — 
in  his  words— "all  human  being."  He 
thought  he  would  not  like  a  girl  who 
talked  too  much  about  nothing,  had  un- 
tidy habits  and  wore  too  much  lipstick. 

But  marriage  or  no  marriage,  Sheridan 
or  no  Sheridan,  the  Hawaiian  deal  for 
1941  was  still  the  big  issue  in  his  mind. 
Alone,  or  with  a  bride,  he  was  going. 

Now,  look,  we've  come  almost  to  the 
end  of  our  story.  And  we  haven't  told 
you  anything  about  George  Brent's  life. 
We  haven't  told  you  how  he  played  soc- 
cer in  a  Dublin  college,  or  how  he  carried 
secret  dispatches  for  Michael  Collins  in 
the  Irish  Rebellion — or  that  his  first  big 
role  on  Broadway  was  playing  Abie  in 
"Abie's  Irish  Rose!"  We  haven't  told  you 
that  he  takes  four  showers  a  day,  plays 
polo  and  chess,  sleeps  on  two  pillows 
with  his  pet  dog  beside  him,  saves  his 
money,  owns  a  grocery  market  on  Pico 
Boulevard  and  thinks  planes  will  win  the 
new  war  by  terrifying  civilian  populations. 

We  haven't  gone  into  detail  about  such 
things,  because  today  we  know  of  only 
one  interesting  story  about  George  Brent. 

It's  the  story  of  a  man  who  just  bought 
a  boat  called  the  "South  Wind,"  a  canvas 
bagful  of  first  editions,  a  few  novels  by 
George  Moore,  some  new  razors,  a  pair  of 
swimming  trunks — and  a  colored  map  of 
the  Hawaiian  Islands. 

And  just  in  case  you  want  to  find 
George  Brent,  he'll  be  the  fellow  under 
that  big  palm  tree.  You  know,  the  big, 
green  one  just  outside  Honolulu.  He'll 
be  sitting  in  the  sun,  drowsy-like,  getting 
a  tan  and  reading  a  book.  That's  all. 
Except  this — he  won't  appear  very  tired. 


66 


MODERN  SCREEN 


Test  your  Hollywood  Knowledge . . . 


She  can't  sit  down  I  Movie  stars  rest  by  reclining  against 
padded  leaning-boards  ...  to  avoid  wrinkled  skirts.  And  to  avoid 
"tell-tale"  bulges,  glamorous  women  of  Hollywood  do  just  what 
most  American  women  do  .  .  .  choose  Kotex  sanitary  napkins! 
For  Kotex  has  flat,  form  -  fitting  ends  that  never  show  .  .  .  the 
way  stubby-end  napkins  do. 


It's  nip  and  tuck  to  make  the  stars  look  slim  .  .  .  for  the 
camera  adds  pounds  to  their  appearance!  So  costume  designers 
use  folds  instead  of  bunchy  gathers.  To  avoid  bunchiness  — 
Kotex  also  is  made  in  soft  folds,  (with  more  absorbent  material 
where  needed  .  .  .  less  where  it  isn't).  This  explains  why  Kotex 
is  less  bulky  than  pads  having  loose,  wadded  fillers! 


Save  your  sympathy  I  That  skyline  is  a  painted  backdrop 
.  .  .  that  parapet  only  thirty  inches  off  the  studio  floor!  For 
safety  of  the  stars  is  of  major  importance  to  movie  makers.  And 
your  safety  is  of  major  importance  to  the  makers  of  Kotex! 
That's  why  a  moisture  -  resistant  "protection -panel"  is  placed 
between  the  soft  folds  of  every  Kotex  pad. 


In  Hollywood  —  as  elsewhere  —  stockings  come  in  3  different 
lengths  .  .  .  And  Kotex  in  3  different  sizes:  Junior— Regular— 
Super!  So  you  can  get  a  size  that's  exactly  right  for  you!  (Ox 
you  can  vary  the  pad  to  suit  different  days!)  Get  Kotex  in  all 
3  sizes  this  month  .  .  .  and  treat  yourself  to  honest-to-goodness 
comfort!  Why  not?  All  3  sizes  sell  for  the  same  low  price! 


"You  scarcely  know  you're  wearing  Kotex" 

V  %J  ri     Trade  Mark  Hog.  O.  S.  Pat.  Off. 

•  FEEL  ITS  NEW  SOFTNESS  .  .  .  PROVE  ITS  NEW  SAFETY  .  .  .  COMPARE  ITS  NEW  FLATTER  ENDS 
SEPTEMBER,   1940  67 


The  Sun  now  demands 
that  you  change  your 

POWDER! 

Yes,  you  need  a  new  shade  to  match 
your  Summer  Complexion! 

7 


ARE  YOU  MAKING  the  most  of  the  lovely 
-  new  complexion  that  Nature  and  the 
Sun  have  given  you?  Or  are  you  using 
your  old  winter  shade  of  powder  and  risking 
the  chance  of  looking  older  than  you  are? 

For  today,  you  have  a  new  summer 
complexion  that  demands  a  new  shade  of 
powder— -one  that  will  bring  out  all  the 
richer,  younger-looking  tones  of  your  skin! 

Yes,  right  now  the  SHADE  of  your  powder 
can  be  of  tremendous  importance.  But  .  .  .  the 
QUALITY  of  your  powder  can  count  even  MORE! 

For  in  summer,  you  need  a  grit- free 
powder  that  helps  hide  tiny  wrinkles— a 
powder  that  will  cling  to  your  skin  for  4 
long  hours!  Why,  you  can  put  my  powder 
on  say  after  dinner  at  8... and  at  midnight 
it  will  still  be  bringing  you  compliments! 

Lady  Esther  asks— Won't  you  please  try 
my  powder?  I  offer  you  10  glorious  new 
summer  shades.  Mail  the  coupon— find  the 
one  and  only  shade  for  your  summer  skin! 

Y  YVYYYWWYY  VYYYYVWYYWY  VY'VYYYWWYIAYYY'IW  V  \\A  VY\  VWl\  YY  VYYWYV 

|  (  You  can  paste  this  on  a  penny  postcard)  § 

I  Lady  Esther,  7110  West  65th  St.,  Chicago,  111.  * 

i  "C  T)  TO  TJ  Please  send  me  postpaid  your 

I  rXvEJCl  10  new  shades  of  face  pow- 

I  der,  also  a  tube  of  your  Four  Purpose  Face 

I  Cream.  (59) 


Name- 


Address. 


City_ 


_State_ 


(If you  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont. ) 


WHY  DID  I  SLIP? 

(Continued  from  page  27) 


pretensions  at  being  Booths  or  Barry- 
mores  and  yet  are  very  popular.  On  the 
other  hand,  I  know  one  of  the  finest 
actors  of  the  stage  and  screen  who  can't 
get  a  job  in  pictures  today.  He  has  every- 
thing in  his  favor,  seemingly,  and  yet 
you  fans  won't  go  to  see  him. 

Take  someone  like  one  of  our  outstand- 
ing feminine  stars  of  the  theatre  who  can 
act  but  isn't  pretty.  She  can't  get  a  job 
in  pictures.  Take  someone  who  is  pretty 
but  can't  act.  She  can't  get  a  job  in  the 
movies.  But  it's  a  combination  of  the 
two,  you  say — acting  and  looks.  But  that 
doesn't  answer  the  question  either,  be- 
cause the  Hollywood  "graveyard"  is  stud- 
ded with  the  headstones  of  men  who 
were  handsome  and  talented,  and  girls 
who  were  pretty  and  gifted.  Somehow, 
they  didn't  have  that  "thing." 

Maybe  sex  appeal  is  the  common  de- 
nominator? Well,  maybe,  but  one  of  the 
most  consistently  popular  men  on  the 
screen  is  Wally  Beery,  and  Wally  would 
be  the  last  to  stake  his  claim  to  box 
office  favor  on  his  sex  appeal!  On  the 
other  hand,  there  are  the  Lamarrs, 
Gables,  Boyers  and  Crawfords  who  have 
sex  appeal  plus,  and  they're  doing  right 
smart  for  themselves,  too. 

It's  all  very  confusing,  you  see.  You 
may  slip  if  you  aren't  a  fine  actor,  but 
you  may  also  slip  if  you  are.  You  may 
slip  if  you  have  sex  appeal;  you  may  be 
signally  successful  if  you  haven't. 

WAY  back  when  I  made  "Broadway 
Melody  of  1937"  Barbara  said  to 
me,  "It's  coming,  young  man,  and  you 
won't  like  it.  It's  coming,  but  it  will  pass." 
What  she  meant  was  that  it  comes  to  all 
of  us,  in  some  measure,  sooner  or  later. 
Public  favor,  asking  your  pardons,  is 
fickle. 

Often,  the  reasons  for  our  slipping  are 
none  of  our  doing.  Some  crack-pot  will 
sue  a  star  on  some  false  charge.  Or 
some  critic  will  lampoon  us  with  a  poi- 
soned barb  directed  at  our  appearance  for 
which,  after  all,  we  are  not  responsible. 
We  can't  help  our  looks.  I  certainly  never 
thought  my  looks  would  be  any  problem 
to  me.  I  worried  about  my  stories,  my 
parts  and  my  acting.  If  I  thought  about 
my  looks  at  all,  it  was  that  maybe  I'd 
better  have  my  nose  straightened  or  my 
ears  pinned  back.  It  simply  didn't  occur 
to  me  that  something  for  which  I  was 
not  responsible  could  be  used  as  a  weapon 
against  me. 

Now,  how  much,  I'd  like  to  know,  does 
publicity  like  that  affect  a  player  in  the 
estimation  of  you,  his  fans?  When  he 
gets  blasts  like  that,  do  you  think  he 
should  ignore  them  or  do  you  think  he 
should  do  something  about  them?  For 
myself,  I  did  nothing.  It  seems  to  me 
that  the  actor  who  is  the  target  for  per- 
sonal criticism  can  do  nothing.  A  man 
can't  very  well  stand  up  and  protest  "I'm 
not  a  Pretty  Boy!"  without  making  a 
pretty  fool  of  himself.  So,  I  skipped  it. 
I  never  went  out  of  my  way  to  muss 
myself  up,  break  my  nose,  make  myself 
look  worse  than  necessary.  Was  that  a 
mistake  or  wasn't  it? 

I  don't  know  what  your  answer  will  be 
but,  personally,  I  really  don't  think  looks 
have  anything  to  do  with  it,  one  way  or 
the  other.  Rudolph  Valentino  was  cer- 
tainly an  extraordinarily  handsome  man, 
but  it  didn't  seem  to  hurt  him  any.  Wal- 
lace Reid  was  a  handsome  chap  and  was 
tops  till  the  day  he  died.  Ty  Power  has  all 
the  looks  he  can  do  with,  and  he's  a  reg- 


ular Fourth  of  July  conflagration  at  the 
box  office;  he's  that  "hot."  On  the  other 
hand,  a  very  good-looking  boy  went 
down  to  defeat  a  few  years  ago  just  be- 
cause he  was  branded  as  "too  good-look- 
ing." Wally  Beery,  again,  is  no  Greek 
god,  and  yet  he's  as  big  box  office  as  he 
ever  was.  So,  for  my  money,  appearance 
one  way  or  the  other,  is  not  the  answer 
I'm  seeking. 

Perhaps  it's  that  bad  publicity  can  only 
do  you  harm  in  proportion  to  how  much 
people  are  ready  to  believe.  Maybe  it's 
not  so  much  what  you  have  that's  good 
as  how  little  you  have  that's  wrong.  Take 
Tracy  and  Gable,  for  instance.  I  don't 
believe  anything  could  be  said  about 
them  that  would  affect  their  popularity. 
People  believe  what  they  want  to  believe, 
and  they  want  to  believe  only  the  best 
of  Tracy  and  Gable.  I  like  to  think  that 
maybe  people  were  inclined  to  believe 
all  that  twaddle  handed  out  about  me  be- 
fore I  went  to  England,  because  they 
didn't  know  me  very  well  then.  They 
were  on  the  fence  as  far  as  I  was  con- 
cerned and  so  were  ready  to  believe  any- 
thing. I  like  to  hope  that,  with  the  pass- 
ing of  time,  they've  come  to  know  me 
better  and  to  accept  me  as  a  friend. 

But  even  the  premise  that,  when  you 
slip  as  a  human  being,  you  slip  as  a  star 
is  open  to  question.  Because,  regular 
fellows  though  Gable  and  Tracy  are, 
there  are  other  -  regular  fellows  in  this 
business  of  whom  people  are  ready  to 
believe  the  worst  at  the  drop  of  a  poison- 
ous paragraph.  And,  too,  there  are  some 
men  and  women  in  this  business,  as  in 
any  other,  who  are  not  regular  at  all  and 
yet  occupy  choice  sites  on  the  Movie 
Milky  Way.    Why?    You  tell  me, 

YES,  my  personal  guess  is  that  a  play- 
er's private  life  has  little  or  nothing 
to  do  with  his  popularity.  Not  anymore. 
It  used  to  be  said  that  marriage  hurt 
young  players  of  both  sexes.  Well,  most 
of  the  ranking  stars  of  today  are  married 
and  it  hasn't  affected  their  box  office. 
When  Barbara  and  I  married,  we  didn't 
get  any  unfavorable  reaction.  Or  if  we 
did,  we  didn't  know  about  it.  Clark  and 
Carole  married  and  are  bigger  than  ever. 
Ty  Power  married,  and  it  certainly  hasn't 
hurt  him.  Boyer's  marriage  hasn't  de- 
stroyed his  attraction  in  any  way. 

Some  of  the  actors  have  scandals  break 
over  their  heads.  But  their  heads  and 
their  box  office  value  remain  intact.  In 
fact,  I  rather  believe  that  the  public  likes 
a  dash  of  scandal  with  its  stars  now  and 
then.  Though  it  may  be  a  sad  commen- 
tary on  us  humans,  it's  true  that  most  of 
us  get  more  of  a  kick  out  of  hearing  that 
Mr.  X  eloped  with  his  stenographer  or 
that  Mrs.  X  murdered  her  paramour  than 
that  Mr.  and  Mrs.  X  sit  quietly  at  home 
playing  pinochle. 

Then  I  ask  myself  how  much  tempera- 
ment has  to  do  with  it?  Maybe  tempera- 
ment is  the  trick  that  captures  the  public 
imagination.  Should  an  actor  be  erratic 
and  difficult,  or  should  he  be  business- 
like, stable  and  quiet?  That's  a  tangled 
question,  too.  Because  it  seems  if  you're 
too  "colorful,"  people  resent  you;  if 
you're  too  tame,  they're  bored. 

Me,  I  haven't  much  of  the  stuff.  I've 
been  criticized  at  times  for  being  "too 
dignified,  too  reserved."  It's  been  said 
that  I  never  let  myself  go,  never  seem  to 
show  any  emotion  over  things.  Maybe 
I  should  put  on  an  act.  Yet  I  can't  quite 
believe  that.    Gable  and  Tracy  are  not 


68 


MODERN  SCREEN 


temperamental,  and  they  do  all  right. 
Ronald  Colman  is  a  monument  of  reserve, 
and  the  same  goes  for  Bill  Powell. 

Some  say  it's  a  matter  of  how  hard  you 
work,  how  seriously  you  take  your  work. 
Muni  would  seem  to  prove  that  this  is  so. 
Yet  one  of  the  biggest,  longest  established 
stars  in  this  business  says,  openly,  that  he 
ce^siders  his  work  a  "racket,"  that  he 
never  even  reads  his  script  until  ten  min- 
utes before  he  steps  on  a  set.  And  I  must 
say  that  in  spite  of  the  nice  things  said 
about  me  in  "Waterloo  Bridge,"  I  didn't 
work  any  harder,  didn't  take  the  part  any 
more  seriously  than  I  did  in,  say,  "Lucky 
Night"  which  was,  for  me,  a  flop-pola. 

Some  people  say  that  when  you're 
"tops"  too  long,  you  wear  out  your  wel- 
come. That  when  your  name  is  on  every- 
body's tongue,  you're  like  a  book  fans 
hear  too  much  about  and  so  don't  bother 
to  read.  But  that  doesn't  satisfy  me, 
either,  because  men  like  Gable,  Boyer, 
Tracy  and  girls  like  Bette  Davis  and 
Vivien  Leigh  confound  that  argument. 

It's  been  said  that  it's  a  matter  of 
"cycles."  That  when  comedy  pictures 
are  having  a  run,  you're  out  of  the  race, 
at  least  temporarily,  unless  you're  doing 
crazy  comedies.  But,  during  a  comedy 
cycle,  I've  seen  a  tasty  tragedy  come 
along  and  be  a  big  hit! 

SPENCER  TRACY,  more  than  anyone 
or  anything  else,  confuses  me  when 
I  try  to  answer  the  question  I'm  passing 
on  to  you.  There's  nothing  about  Tracy 
that  anyone  can  pick  on.  He's  not  too 
good-looking,  he  isn't  "difficult,"  he  never 
gives  a  bad  performance.  Yet,  before  he 
came  to  Metro-Goldwyn-Mayer,  he  was 
skidding!  And  not  because  he  hadn't  had 
good  pictures. 

Don't  think  that  an  actor  doesn't  worry 
about  this  matter  of  slipping.  He  worries 
just  as  much  as  the  little  grocery  clerk 
who  fears  for  his  job.  And  for  much  the 
same  reasons.  Money,  for  instance.  If  I 
get  fired,  I  can't  maintain  my  present 
standard  of  living.  "So  what!"  do  I 
hear?  "You'd  still  be  living  cushy  on  the 
street  called  Easy,  wouldn't  you?"  The 
answer  is  "Yes."  But  everything  is  com- 
parative. Every  man  gets  geared  to  a 
certain  way  of  life,  and  it  hurts  when 
that  way  of  life  is  no  more. 

But  it's  not  so  much  the  money  angle 
that  makes  a  star  dread  a  skid;  it's  pride. 
It's  the  fear  of  having  so  big  an  audience 
witness  his  debacle.  When  the  little 
grocery  clerk  loses  his  job,  his  fellow- 
workers  know  about  it,  his  family,  his 
personal  friends — that's  all.  But  when  a 
star  gets  fired,  the  whole  world  knows  it. 

There  is  another  thing  the  grocery  clerk 
has  over  the  picture  star.  If  he  loses  his 
job,  he  can,  reasonably  enough,  hope  for 
a  better  job.  If  a  star  slips,  he  may  get 
another  job,  but  you  can  bet  it  won't  be 
a  better  one.  A  "dead"  star  is  the  deadest 
thing  on  this  earth — and  least  liable  to 
resurrection. 

What  brings  some  stars  to  this  tragedy 
of  early  entombment?  What  gives  other 
stars  comparative  immortality?  What 
makes  them  slip?  What  made  me  slip? 
That's  what  I  want  you  fans  to  tell  me. 


INFORMATION  DESK 
MODERN  SCREEN 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  your  newly  revised  chart  listing 
the  heights,  ages,  birthdays  and  marriages  of 
all  the  important  stars.  I  enclose  5c  (stamps 
or  coin)  to  cover  cost  ot  mailing. 

Name  

Street   

City  State  


The  spanking 


I  never  forgot 

m 


1.  I  don't  believe  in  spanking  children.  But 
darn  it  all,  sometimes  a  youngster  can  sure 
drive  a  grownup  wild.  Like  mine  did  me— 
yesterday. 


2.  It  all  started  innocently  when  Billy 
wouldn't  take  his  laxative.  At  first  I  tried 
coaxing.  But  that  didn't  work.  Then  when  I 
started  to  force  it  on  him,  he  sent  the  spoon 
flying  out  of  my  hand.  So  I  lost  my  temper 
and  gave  him  an  unmerciful  spanking. 


3.  I  felt  awful  all  day.  Mrs.  Saunders,  our 
new  next-door  neighbor,  saw  me  moping  in 
the  back  yard,  and  asked  what  was  wrong. 
I  told  her  the  whole  story.  When  I  got 
through,  she  shook  her  head  and  said  I  had 
made  a  terrible  mistake. 


4.  She  said  it  was  old-fashioned  to  force  a 
child  to  take  a  nasty-tasting  medicine.  And 
worse  still,  it  could  shock  his  delicate  ner- 
vous system.  She  said  that  when  a  child 
needed  a  laxative  he  should  get  a  nice-tast- 
ing one— made  especially  for  children— like 
Fletcher's  Castoria. 


5.  Mrs.  Saunders  said  she  had  given  Fletch- 
er's Castoria  to  her  two  children.  And  that 
I  could  take  her  word  it's  always  mild  and 
thorough.  It  works  mostly  in  the  lower  bowel 
so  it  isn't  likely  to  bring  on  cramping  pains. 
She  said  she'd  never  given  her  youngsters 
a  safer,  better- working  laxative. 


6.  Well,  you  can  be  sure  I  bought  a  bottle 
of  Fletcher's  Castoria  right  away.  And  I 
found  it  as  effective  as  Mrs.  Saunders  said. 
But  what  tickled  me  was  the  neat  way  it 
solved  my  laxative  problem.  Honestly,  I 
never  saw  a  child  go  for  a  medicine  like 
mine  goes  for  Fletcher's  Castoria. 


gL^/h^^Z  castoria 

The  modern  —  SAFE  —  laxative  made  especially  for  children 


SEPTEMBER,  1940 


69 


New  under-arm 

Cream  Deodorant 

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1.  Does  not  harm  dresses  — does  not 
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2.  No  waiting  to  dry.  Can  be  used 
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3.  Instantly  checks  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  white,  greaseless,  stainless 
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5.  Arrid  has  been  awarded  the 
Approval  Seal  of  the  American 
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More  than  25  MILLION 
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sold... Try  a  jar  today. 


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AT  ALL  STORES  WHICH  SELL  TOILET  GOODS 
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Wrap  cotton  around 
the  end  of  an  or- 
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Saturate  with  Trim- 
al  and  apply  it  to 
cuticle.  Watch  dead 
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away  with  a  towel.  You 
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RIMAL 


JOYCE:  1940  MODEL 

{Continued  from  page  33) 


other  times  when  Brenda  attends  parties 
under  like  circumstances,  "But,"  she'll  tell 
you,  "although  all  the  fellows  are  swell 
to  me,  I  just  can't  help  feeling  closer  and 
closer  to  Owen  after  each  date  with  a 
chap  who's  "stuck"  with  me  for  the  eve- 
ning, just  so  we'll  both  make  good  copy." 

As  far  as  possible,  Brenda's  private  ac- 
tivities are  much  the  same  as  those  she 
enjoyed  during  her  pre-picture  days.  And 
she  has  not  forgotten  them  or  how  to 
enjoy  them.  She'll  talk  of  that  period  in 
her  life  at  the  slightest  provocation.  And 
why  wouldn't  anyone  who'd  been  lifted 
from  a  university  campus  and  smacked 
right  into  pictures? 

'  I  VHAT  day  at  lunch — it  was  while  they 
were  shooting  "Public  Deb  No.  1" — 
Brenda  enthusiastically  recounted  the 
blow-by-blow  story  of  her  debut  in  pic- 
tures. "Slightly  more  than  a  year  ago," 
she  told  us  between  jabs  at  a  slab  of  roast 
beef,  "I  had  about  as  much  idea  I'd  be 
facing  an  audience  rather  than  sitting 
with  one,  as  Lana  Turner  had  that  she'd 
marry  Artie  Shaw,  or  Diana  Lewis  that 
she'd  wed  William  Powell.  I  was  having 
one  whale  of  a  time  at  school  with  my 
studies,  Owen  and  my  sorority  sisters. 
I'd  been  in  a  number  of  school  plays  both 
at  high  school  and  at  college,  but  never 
thought  of  myself  as  an  actress.  I  wanted 
awfully  hard  to  be  on  the  stage  and  felt 
that  with  long  enough  training  I'd  per- 
haps one  day  make  the  grade.  I  knew, 
at  least,  that  the  years  of  training  could 
be  put  to  no  better  advantage  even  though 
it'd  be  ages  before  I'd  get  results." 

Brenda  had  won  a  scholarship  for 
speech  to  the  University  of  California, 
but  because  her  mother  was  employed 
as  a  house-mother  at  U.C.L.A.,  she 
switched  to  the  latter  campus  after  a 
semester  at  U.  of  C.  "And  I'm  darned 
glad  I  did,"  she  sparkled,  "for  it  was  there 
that  I  met  Owen's  sister,  Janet.  We  were 
both  Delta  Gammas  and  roomed  together, 
you  know.  It  was  there,  too,  that  I  met 
Owen  at  a  party."  She  put  down  her  fork 
to  really  get  her  next  point  over.  "Now 
please  don't  you  believe  those  stories 
about  my  meeting  Owen  on  a  date  his 
sister  fixed.  It  didn't  happen  that  way 
at  all.  It  wasn't  until  I'd  returned  to  the 
sorority  house  after  that  particular  party 
and  told  Janet  whom  I'd  met  that  she 
told  me  he  was  her  brother." 

Constant  campus  companionship  made 
Brenda  and  Owen  deeply  interested  in 
each  other.  Long  walks,  talks,  exchange 
of  opinions  on  varied  subjects  and  the 
subsequent  cementing  of  mutual  thoughts 
decided  them  for  each  other.  They  set 
no  date  for  their  marriage,  just  left  it 
with  "as  soon  after  school  as  it  would  be 
practical."  "You  understand,"  Brenda 
went  on,  "I  needed  money  then,  too,  prob- 
ably more  than  Owen  did,  and  I  tried 
my  hand  at  commercial  modeling." 

It  was  while  Brenda  was  seeking 
modeling  assignments  that  she  ran  into 
her  great  break  in  the  person  of  an  agent 
named  Frances  Bailie.  "Miss  Bailie,"  ac- 
cording to  Brenda,  "for  some  crazy  rea- 
son, thought  I'd  make  good  screen  ma- 
terial. When  she  asked  whether  she  might 
represent  me,  it  was  with  a  tongue-in- 
the-cheek  'yes'  that  I  consented.  The 
whole  idea  sounded  so  remote  that  I  dis- 
missed it  without  further  thought,  figur- 
ing that  Miss  Bailie  was  just  enjoying  her 
own  peculiar  idea  of  a  joke." 

But  Miss  Bailie  wasn't  joking.  She 
nabbed  Ivan  Kahn,  Twentieth  Century- 


Fox  talent  scout  and  had  him  interview 
Brenda.  Kahn  was  immediately  enthusi- 
astic about  Brenda's  beauty  and  apparent 
ability  and  lost  no  time  getting  Tom 
Moore,  the  studio's  dramatic  coach,  to  go 
to  work  on  the  girl  and  whip  her  into 
shape  for  a  screen  test. 

Brenda  tells  of  that  period  with  remi- 
niscent trepidation.  "Boy,  it  was  hectic! 
I  went  from  talent  scout  to  dramatic  coach 
to  casting  director  to  Darryl  Zanuck  in 
more  plays  than  the  U.C.L.A.  varsity 
eleven  uses  in  four  years  of  inter-collegi- 
ate scrimmage.  Weeks  whizzed  by  without 
my  hearing  a  word.  While  I  was  doing 
everything  Tom  Moore  suggested  in  the 
line  of  study  and  practise,  I  felt  all  along 
that  even  the  lowliest  stock  contract  was 
beyond  my  reach.  And  I  was  that  con- 
vinced of  it,  I  simply  hated  to  take  time 
to  rehearse  with  Tom  because  it  meant 
losing  assured  income  from  modeling  as- 
signments— and  I  needed  money  so-o-o 
badly! 

"Then  Tom  had  me  practically  glued  to 
the  studio  for  four  days  while  he  coached 
me  for  one  particular  screen  test."  Brenda 
didn't  know  then  that  Tom  had  gone  to 
bat  for  her  with  Darryl  Zanuck,  that 
Zanuck,  impressed  with  her  portraits,  had 
ordered  her  tested  for  the  role  of  Fern 
Simon  in  "The  Rains  Came."  And  when 
the  thrilling  results  of  the  test  were  told 
her,  she  phoned  Owen  and  in  her  dis- 
belief, said,  "Someone  has  gone  to  a 
helluva  lot  of  trouble  to  plant  such  a 
pointless  college  rib!" 

SO  it  was  into  a  strange,  vast,  new 
setting  that  Brenda  was  tossed.  It  was 
like  stepping  from  land  into  water,  and 
it  was  sink  or  swim.  The  publicity  bar- 
rage got  going:  Here  was  the  new  Holly- 
wood find,  a  fresh-from-the-campus 
beauty  who  enjoyed  only  the  simple 
things  in  life.  Here  was  the  girl  not  made 
for  Hollywood  wolves  in  wolves'  clothing. 
Yet,  the  one  girl  who  was  sure  to  take 
Hollywood  and  not  be  taken  by  it.  And 
by  heck,  the  most  surprised  people  in  the 
world  were  the  Twentieth  Century-Fox 
press  agents  who  later  learned  that  all 
the  stuff  they'd  been  spending  days 
dreaming  up,  was  true! 

"Do  you  know,"  Brenda  proffered, 
downing  more  beef,  "my  one  great  con- 
cern about  reporting  to  the  studio  that 
first  day  for  "The  Rains  Came"  was  a 
fear  that  the  people  in  it  wouldn't  be  real. 
But  once  George  Brent  and  Myrna  Loy 
took  me  in  hand,  it  was  wonderful.  I 
knew,  too,  that  Owen  was  outside  some- 
where, backing  me  all  the  way  down  the 
line.  I  could  never  feel  lost  in  a  studio 
now.  Owen's  a  great  balance,  and  I 
always  think  that  I  have  one  foot  in  the 
studio,  the  other  outside.  It's  a  great 
help  to  feel  that,  because  you  never  lose 
your  balance  or  sense  of  proportion." 

At  this  writing,  Owen  has  a  new  job 
somewhere  in  the  Imperial  Valley  where 
he's  just  beginning  his  business  career 
as  an  accountant.  The  two  speak  with 
each  other,  via  long  distance,  almost 
nightly  with  Brenda  invariably  putting 
the  calls  through.  Owen  isn't  yet  in  a 
position  where  his  pocket  can  stand  the 
strain  of  nightly  toll  calls. 

Since  Brenda's  mother  is  out  of  town, 
she  and  Owen's  sister  are  living  together 
again  in  an  apartment  near  the  U.C.L.A. 
campus  where  Janet  is  still  at  school. 
While  Brenda  spends  her  days  at  the 
studio,  she  keeps  in  close  touch  evenings 
and  week-ends  with  her  college  chums 


70 


MODERN  SCREEN 


who  are  still  studious  undergraduates. 

In  Hollywood,  everyone  in  one  salary 
bracket  tries  to  know  folks  in  the  next 
higher  bracket,  up  to  the  top  producer 
who  seeks  to  be  friendly  only  with  God. 
But  Brenda  doesn't  follow  that  formula. 
She  has  very  few  friends  in  the  industry 
itself,  again  because  she  and  Owen  shun 
night  life.  On  the  lot,  her  best  friends 
are  the  hairdressers  and  make-up  girls, 

'  and  save  for  an  occasional  evening  at 

I  Nancy  Kelly's  or  Arleen  Whelan's  home, 
Brenda  sees  less  of  stars  than  tourists  do. 

When  Ouida  Rathbone,  Elsa  Maxwell, 
Joan  Crawford  or  any  other  celebrity  has 

I  a  Sunday  cocktail  party  and  you're  in 
your  car  en  route  to  it,  you  can  be  pretty 

!  sure  those  two  people  you  see  hiking  over 
the  hill  in  the  opposite   direction  are 

|   Brenda  and  Owen. 

The  future  Mrs.  Owen  Ward  is  careful 
to  save  money  for  the  day  the  rains  may 
come  again.  When  she  went  to  Washing- 
ton for  the  President's  Ball,  she  was  frantic 
for  want  of  a  fur  coat.  Until  that  time,  she 

|  had  had  none  of  her  own,  and  whenever 
she  had  had  to  "dress"  for  premieres  or 
swank  parties,  the  studio  always  had  ar- 
ranged to  have  one  lent  her  by  the  ward- 
robe department.   Something  went  hay- 


wire on  the  Washington  junket,  and 
Brenda  wound  up  at  a  furrier's,  buying  a 
new  coat.  (You  understand  that  although 
Brenda  is  in  pictures,  she  is  a  newcomer, 
and  her  salary  is  not  proportionate  with 
her  fame.)  At  the  furrier's  she  nearly 
went  mad  trying  to  make  a  practical 
choice.    She  ended  up  with  kolinsky! 

BRENDA'S  thrift  is  not  confined  to 
clothes.  She  wanted  a  new  automo- 
bile this  year,  "but  Owen  wouldn't  let  me 
trade  in  my  old  one.  He's  superstitious 
about  it  for  one  thing,  since  that's  the  car 
I  had  when  I  started."  And  that's  true. 
Looking  at  the  jalopy  she  drives  around 
in,  you'd  think  she  were  a  $20-a-week 
errand  girl.  "But  I  don't  care,"  she  says, 
"I'll  drive  that  thing  until  it  falls  apart!" 

We  asked  her  if  Owen  didn't  think 
she'd  changed  since  she  started  to  work 
•at  the  studio.  "Yes,  Owen  thinks  I  have, 
but  he  doesn't  think  it's  enough  to  hurt 
yet.  The  minute  I  change  that  much,  I'll 
quit  pictures.  Nothing  is  as  important  to 
me  as  Owen.  I'm  going  to  marry  him  the 
moment  he  starts  making  real  money, 
and  we  can  afford  marriage." 

Darryl  Zanuck  has  frequently  asked 
Brenda  to  bring  Owen  down  for  a  screen 


test.  "He  looks  like  Lew  Ayres  and  is 
really  handsome,"  she  boasts.  But  Owen 
won't  have  any  part  of  it.  And  Brenda's 
not  keen  on  the  idea,  either.  She  feels  a 
man  can  change  much  more  easily  in 
Hollywood  than  a  woman. 

Hollywood  thinks  Brenda's  a  beautiful 
girl.  Owen  doesn't.  He  says  she's  not  any 
more  beautiful  than  the  rest  of  them,  but 
"she's  certainly  attractive  and  intelligent." 

Local  playboys  persist  in  their  attempts 
to  date  her.  Most  stars  keep  their  phone 
numbers  private,  but  since  Brenda  lives 
with  Janet,  and  the  boys  know  it,  they 
can  easily  get  her  number  from  the  Uni- 
versity. And  in  the  last  two  months 
Brenda's  changed  her  number  six  times! 
She  doesn't  mean  to  be  snobbish,  but  feels 
she'd  hurt  her  Hollywood  friends  if  she 
persistently  refused  them  appointments. 
And  except  for  those  necessary,  studio- 
arranged  dates,  the  only  boys  she'll  go  out 
with  while  Owen's  away  are  those  of  his 
fraternity  brothers  of  whom  he  approves. 

Because  she  lives  sanely,  because  she's 
intelligent  and  not  moved  by  the  glitter 
and  glamour  of  Hollywood,  Brenda  will 
go  places.  There's  no  question  about  it, 
Brenda  Joyce  is  Zanuck's  choice — for 
going  to  the  top! 


EYE    BEAUTY  AIDS 


lOood  Housekeeping/ 
•  Bureau 


SEE  WHAT 

they'll  do  for  you 

Just  as  Betty  Grable's  does  here,  your  expression 
takes  on  new  meaning.  Your  face  has  perfect  color- 
balance.  And  your  eyes  are  glorious !  For  they  look 
larger,  more  luminous.  The  long,  sweeping  loveliness 
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SEPTEMBER,  1940 


71 


NOW 
k  LASTS 
I  HOURS 


A  mazing 
suppositories 
continuous  in 

action  for  hours. 

SAFE  in  action! 


•Wherever  you  go  you  hear  women  willing  to 
rave  about  a  wonderfully  advanced  method  of 
feminine  hygiene.  A  dainty  method  that  is  safe 
— gives  continuous  action  for  hours  without  the 
use  of  poison — yet  kills  germs  at  contact. 

Called  Zonitors — these  dainty,  snow  white 
suppositories  spread  a  greaseless  protective 
coating.  To  kill  germs,  bacteria  on  contact.  To 
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Zonitors  are  most  powerful  continuous-ac- 
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Don't  burn.  Even  help  promote  healing. 

Greaseless,  Zonitors  are  completely  remov- 
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in  glass  bottles.  Get  Zonitors  at  druggists.  Fol- 
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women  are  raving  about. 


FREE 


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I  Street  -  ---  

I  City      State  

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FARR'S  FOR  GRAY  HAIR 


MOVIE  SCOREBOARD 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.  means  very  good;  3^,  good;  fair;  l~Jr.  poor. 

C  denotes  that  the  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Picture  General 

Rating 

Abe  Lincoln  in  Illinois  (RKO)  C  4* 

Adventure  in  Diamonds  (Paramount)   2  + 

Alias  the  Deacon  (Universal)  2V2-ilr 

All  This,  and  Heaven  Too  (Warners)   A-k 

And  One  Was  Beautiful  (M-G-M)  2V2-k 

Angel  From  Texas,  An  (Warners)  :   2  T*r 

Babies  For  Sale  (Columbia)  IVik 

Bad  Men  of  Carson  City  (Universal)   2k 

Balalaika  (M-G-M)   3* 

*Bill  of  Divorcement,  A  (RKO)   3* 

Biscuit  Eater,  The  (Paramount)   3  -A" 

Black  Friday  (Universal)  2V2* 

Blondie  on  a  Budget  (Columbia)   2  + 

Blue  Bird,  The  (20th  Century-Fox)  C  3* 

Broadway  Melody  of  1940  (M-G-M)   3* 

Brother  Orchid  (Warners)   3* 

Brother  Rat  and  a  Baby  (Warners)   2* 

Buck  Benny  Rides  Again  (Paramount)  3Vi^ 

Calling  Philo  Vance  (Warners)  2V2* 

Castle  on  the  Hudson  (Warners)  SVzif 

Charlie  Chan  in  Panama  (20th  Century-Fox)   2  * 

Charlie  Chan's  Murder  Cruise  (20th  Century-Fox).  3-k 

Child  Is  Born,  A  (Warners)   3* 

Chump  at  Oxford,  A  (United  Artists)  2V2* 

Congo  Maisie  (M-G-M)   3* 

Courageous  Dr.  Christian,  The  (RKO)   2* 

Cowboy  From  Texas  (Republic)   2-k 

*Cross  Country  Romance  (RKO)  2V2* 

Curtain  Call  (RKO)  2V2* 

Dark  Command  (Republic)   3-k 

Destry  Rides  Again  (Universal)   3-k 

Double  Alibi  (Universal)  2,/2* 

Dr.  Cyclops  (Paramount)  C     3  + 

Dr.  Ehrlich's  Magic  Bullet  (Warners)  3y2* 

Dr.  Kildare's  Strange  Case  (M-G-M)  2V2* 

Doctor  Takes  A  Wife,  The  (Columbia)   3* 

Earl  of  Chicago,  The  (M-G-M)  4* 

Earthbound  (20th  Century-Fox)   2* 

Edison,  the  Man  (M-G-M)  3V2* 

Emergency  Squad  (Paramount)  2Vik 

Farmer's  Daughter,  The  (Paramount)  iVzk 

Fighting  69th,  The  (Warners)   3* 

Five  Little  Peppers  at  Home  (Columbia)  C  1Vz~k 

Flight  Angels  (Warners)  2V2* 

Florian  (M-G-M)  2  y2k 

Forty  Little  Mothers  (M-G-M)  2V2* 

Four  Sons  (20th  Century-Fox)   3* 

Four  Wives  (Warners)   3  -A" 

Free,  Blonde  and  21  (20th  Century-Fox)   2-fr 

French  Without  Tears  (Paramount)  iVz-k 

*Ghost  Breakers,  The  (Paramount)   3  k 

Girl  in  313  (20th  Century-Fox)  2V2-k 

Gone  With  the  Wind  (M-G-M)   4* 

Grapes  of  Wrath,  The  (20th  Century-Fox)   4* 

*Great  Me  Ginty,  The  (Paramount)   3-k 

Green  Hell  (Universal)   2* 

Half  A  Sinner  (Universal)   2* 

He  Married  His  Wife  (20th  Century-Fox)   2 ★ 

Hidden  Gold  (Paramount)  2Vz* 

High  School  (20th  Century-Fox)  C  3* 

His  Girl  Friday  (Columbia)   3-k 

Honeymoon  Deferred  (Universal)  2Vfk 

House  Across  the  Bay,  The  (United  Artists)   2* 

House  of  Seven  Gables  (Universal)  iVz-k 

If  I  Had  My  Way  (Universal)  C  3-k 

Invisible  Man  Returns,  The  (Universal)   2* 

Invisible  Stripes  (Warners)   2-k 

Irene  (RKO)   3* 

Island  of  Doomed  Men  (Columbia)   2* 

Isle  of  Destiny  (RKO)   2* 

I  Take  This  Woman  (M-G-M)   2* 

It  All  Came  True  (Warners)  2V2* 

It's  a  Date  (Universal)  3V2* 

I  Was  an  Adventuress  (20th  Century-Fox)  iVz-k 

Johnny  Apollo  (20th  Century-Fox)   3* 

La  Conga  Nights  (Universal)   2k 

Lillian  Russell  (20th  Century-Fox)   3* 

Little  Old  New  York  (20th  Century-Fox)   2* 

Llano  Kid,  The  (Paramount)  2V2-k 

Lone  Wolf  Meets  A  Lady.  The  (Columbia)   2* 

Lone  Wolf  Strikes,  The  (Columbia)   2* 

Lucky  Cisco  Kid  (20th  Century-Fox)   3* 

Ma!  He's  Making  Eyes  At  Me  (Universal)  2y2*- 

Man  From  Dakota,  The  (M-G-M)   2* 

Man  From  Montreal  (Universal)  IVzk 

Man  Who  Talked  Too  Much,  The  (Warners). ..  .2V2* 
Man  Who  Wouldn't  Talk,  The  (20th  Century-Fox).2V2* 

Man  With  Nine  Lives,  The  (Columbia)   2* 

Marines  Fly  High,  The  (RKO)   2* 

Men  Without  Souls  (Columbia)   2* 

Mid night  (Paramount)   3* 


Picture  Genera! 

Rating 

Millionaire  Playboy  (RKO)   2* 

Mr.  Smith  Goes  to  Washington  (Columbia)   4k 

Mortal  Storm,  The  (M-G-M)   4* 

Music  in  My  Heart  (Columbia)   2  + 

My  Favorite  Wife  (RKO)   3* 

My  Little  Chickadee  (Universal)  2V2-k 

My  Son,  My  Son  (United  Artists)  3V2* 

*New  Moon  (M-G-M)   3* 

Nick  Canter,  Master  Detective  (M-G-M)   3* 

Night  of  Nights,  The  (Paramount)  2V2* 

Ninotchka  (M-G-M)   4* 

Northwest  Passage  (M-G-M)   4* 

Of  Mice  and  Men  (United  Artists)   4* 

Oklahoma  Kid,  The  (Warners)   3* 

On  Dress  Parade  (Warners)  C  2* 

One  Hour  to  Live  (Universal)   2  + 

One  Million  B.  C.  (United  Artists)  C     3  k 

$1,000  a  Touchdown  (Paramount)   2* 

On  Your  Toes  (Warners)  2V2-k 

Our  Neighbors — The  Carters  (Paramount)  2V2-k 

Our  Town  (United  Artists)   4-k 

Outside  3-Mile  Limit  (Columbia)  2V2* 

Pack  Up  Your  Troubles  (20th  Century-Fox). .  .C  2y2* 

Parole  Fixer  (Paramount)  2V2k 

Passport  to  Alcatraz  (Columbia)   2 -it- 
Phantom  Raiders  (M-G-M)   2* 

Pinocchio  (RKO)  C  4* 

Pioneers  of  the  Frontier  (Columbia)   2  + 

Primrose  Path,  The  (RKO)  3V2* 

*Private  Affairs  (Universal)   2V2k 

Queen  of  the  Mob  (Paramount)   3-k 

Raffles  (United  Artists)   2* 

Rebecca  (United  Artists)   4* 

Remember?  (M-G-M)  2y2* 

Remember  the  Night  (Paramount)   3-jlr 

Rio   (Universal)  2V2* 

Road  to  Singapore,  The  (Paramount)  2V2-k 

Roaring  Twenties,  The  (Warners)   3  + 

Safari  (Paramount)  2V2-k 

Sailor's  Lady  (20th  Century-Fox)   2* 

Saint's  Double  Trouble.  The  (RKO)  2V2* 

Saint  Takes  Over,  The  (RKO)  2V2* 

Sandy  Is  a  Lady  (Universal)  C  2'%-Ar 

Saturday's  Children  (Warners)  2V2* 

Secret  of  Dr.  Kildare,  The  (M-G-M)   3  ★ 

Seventeen  (Paramount)  C     3  + 

Shooting  High  (20th  Century-Fox)  C  2V2* 

Shop  Around  the  Corner,  The  (M-G-M)   3-*- 

Sidewalks  of  London  (Paramount  Release)   3  + 

Slightly  Honorable  (United  Artists)   3* 

Smashing  the  Money  Ring  (Warners)  1xhk 

Son  of  the  Navy  (Monogram)  2V2-k 

Spirit  of  Culver,  The  (Universal)  C  2V2-k 

Stanley  and  Livingstone  (20th  Century-Fox)  "hVik 

Star  Dust  (20th  Century-Fox)  2V2* 

Star  Maker,  The  (Paramount)  C  2V2k 

Strange  Cargo  (M-G-M)   3^ 

Stronger  Than  Desire  (M-G-M)  2V2* 

*Susan  and  God  (M-G-M)  3V2* 

Swanee  River  (20th  Century-Fox)  C  3  it- 
Swiss  Family  Robinson  (RKO)  C  3-jlr 

Tear  Gas  Squad  (Warners)   2-k 

That's  Right,  You're  Wrong  (RKO)  C  3* 

Three  Cheers  for  the  Irish  (Warners)   3  k 

Three  Smart  Girls  Grow  Up  (Universal)  C  3k 

Three  Sons  (RKO)   3* 

'Til  We  Meet  Again  (Warners)   3* 

Tom  Brown's  School  Days  (RKO)   3* 

Too  Busy  to  Work  (20th  Century-Fox)  C  2 

Too  Many  Husbands  (Columbia)   3  + 

Torchy  Plays  With  Dynamite  (Warners)  2V2* 

Torrid  Zone  (Warners)   3-k 

Tower  of  London  (Universal)   2  + 

*Turnabout  (United  Artists)   3* 

Twenty-Mule  Team  (M-G-M)   3* 

Twenty-One  Days  Together  (Columbia)   3-k 

Two  Girls  on  Broadway  (M-G-M)  2V2-k 

Typhoon  (Paramount)   3-k 

Underpup,  The  (Universal)  C  3-k 

Untamed  (Paramount)   2* 

Vigil  in  the  Night  (RKO)   3* 

Virginia  City  (Warners)   3k 

Viva  Cisco  Kid  (20th  Century-Fox)   2  ★ 

Waterloo  Bridge  (M-G-M)  3V2* 

Way  of  All  Flesh,  The  (Paramount)   3* 

We  Are  Not  Alone  (Warners)  3V2* 

Women  in  War  (Republic)  2V2-* 

Women  Without  Names  (Paramount)  2*2* 

You  Can't  Fool  Your  Wife  (RKO)   2* 

Young  As  You  Feel  (20th  Century-Fox)   2* 

Young  Tom  Edison  (M-G-M)  C  4^ 


72 


MODERN  SCREEN 


IS  HOLLYWOOD  GETTING 
SENSIBLE? 

(Continued  jrom  page  36) 


style,  but  the  food  isn't  cold  because 
a  clever  hostess  anticipates  the  delays 
that  often  occur.  Mrs.  Darryl  Zanuck 
cares  so  much  about  Darryl's  food  that 
she  frequently  sends  her  chef  to  the  lot. 
She  admitted  to  me  this  week,  'I  wish 
I  could  invite  you  to  dinner  tonight, 
but  the  chef  has  been  away  for  nine 
days.'  Nowhere  is  food  served  more 
attractively  than  in  Hollywood. 

"Mrs.  Jack  Warner,  our  leading 
hostess,  with  the  most  beautiful  house 
in  the  film  colony,  indicates  calories  in 
each  dish  on  menus  at  her  dinner.  That 
is  very  considerate  in  these  dietary  days. 
George  Cukor,  another  of  our  epicures, 
lost  sixty-seven  pounds  on  his  own 
special  diet  and  took  his  own  food  with 
him  whenever  he  arrived  as  a  guest. 
That's  another  little  insight  into  Holly- 
wood behavior.  Yes,  food  is  really  im- 
portant to  people  here. 

npHE  third  rule  Hollywood  hosts  and 
-1  hostesses  follow  is:  Serve  good  drinks. 
Of  course,  you  don't  have  to  drink  to 
be  asked  back  here.  How  can  I  speak 
so  authoritatively?  Experience!  I've  never 
taken  a  drink  myself.  What's  more,  I 
hardly  ever  see  anyone  drunk  in  Holly- 
wood. Cocktails  are  acquiring  a  differ- 
ent flavor  lately,  incidentally.  The  South 
Sea  Island  drinks  are  coming  in.  Old 
Fashioneds  have  gone  out.  The  new 
rum  drinks,  including  a  Shark's  Tooth, 
a  Tahitian,  a  Dr.  Fung,  are  in  vogue. 
They're  not  dry;  they're  more  acid. 

"You  won't  have  many  cocktail  parties 
inflicted  upon  you.  We're  too  busy  work- 
ing to  take  half  the  afternoon  off.  I've 
never  given  a  cocktail  party  myself,  ex- 
cept in  my  first  film.  I  won't  have  any- 
thing to  do  with  them.  To  me  they  are 
sad  substitutes.  If  you  want  to  entertain 
someone,  why  not  do  it  well?  I  don't 
think  anyone  actually  can  get  much  fun 
out  of  standing  around  with  a  diluted 
drink  and  hors  d'oeuvres  in  a  crowded 
room.  If  you  insist  upon  serving  cock- 
tails, shake  each  one  separately  imme- 
diately before  it  is  to  be  drunk.  You'll 
note  special  bartenders  here.  Most  big 
homes  have  bars  in  their  playrooms. 

"The  fourth  precept  is:  Be  an  in- 
dividual. Hollywood  has  been  so  sur- 
feited with  yes-men  that  you  stand  out 
when  it  is  established  that  you  say  what 
you  honestly  think.  You  never  hear  pic- 
tures discussed  at  our  best  parties.  One 
star  does  not  greet  another  with,  'I'll 
tell  you  about  the  woe  on  my  new  pic- 
ture and  thfen  you  tell  me  your  story!' 
If  you  are  an  amusing,  original,  sincere 
man  or  woman  you  are  qualified  to  crash 
out  here.  Clinging  vines  are  out.  I've 
lived  a  long  time,  and  I've  been  very 
independent,  and  I  get  along  because  I 
talk  so  amusingly  and  sympathetically 
with  the  celebrities  I  like.  I  argue  when- 
ever I  feel  like  it.  Nor  do  they  limit 
themselves  to  the  stock  exchange  or  the 
latest  polo  match.  All  the  outstanding 
books  are  bought  by  the  studios  for  films, 
so  they're  discussed. 

"The  host  or  hostess  in  Hollywood  is 
extremely  thoughtful  of  the  guests.  Jack 
Warner  is  an  example  of  what  I  mean. 
You  couldn't  have  more  than  he  has  in 
his  home,  yet  he  makes  you  feel  per- 
fectly at  ease.  Many  an  eastern  million- 
aire is  a  stuffy,  impossible  person  be- 
cause he  makes  no  effort  to  please.  Jack 
came  from  a  small  town,  started  from 


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Name  


Street  Address  

City  State. 

Dealer's  Name  


SEPTEMBER,  1940 


73 


Enhance  the  "come  hither"  of  your 
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I  emphasized  with 


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these  new  amazing  shoe  styles. 
Largest  in  direct-selling  shoe  line 
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scratch  in  vaudeville.  Darryl  Zanuck, 
who's  equally  thoughtful,  once  sold  books 
at  $16  a  week.  It's  a  fact  that  only  wage- 
earners  who've  been  through  struggle 
and  precarious  conditions  are  liberal 
spenders. 

"All  big  parties  in  Hollywood  are  now 
given  for  fun  plus  a  cause.  Emphasize 
the  plus!  Today,  Hollywood's  social  lead- 
ers give  parties  primarily  for  a  purpose — 
to  preserve  civilization.  If  I  were  to  toss 
a  party  simply  for  fun  alone,  I  would 
feel  like  a  criminal.  A  party  must  be 
useful.  If  you  can  amuse  your  guests 
and  make  them  pay  for  it,  you  devote 
the  returns  to  one  of  the  war  charities. 
Partying,  with  such  dreadful  times 
abroad,  would  be  too  terrible  otherwise. 

BUT  because  all  Hollywood  entertain- 
ment has  become  constructive,  is  no 
reason  to  put  on  a  tragic,  sombre  face. 
I  asked  an  audience  at  a  Y.  W.  C.  A.  lec- 
ture the  other  day,  'Why  be  gloomy?' 
You  can  be  gay  under  any  circumstances, 
securing  a  release  from  your  worries  or 
grief  by  searching  for  something  at  which 
to  laugh.  I'm  interested  in  human  psy- 
chology and  I  know  that  adopting  a 
funereal  air  won't  help  the  unfortunate. 
We  must  boost  their  courage  by  doing 
what  we  can  to  uphold  their  morale. 

"I  don't  see  why  so  much  nonsense  has 
been  printed  about  Hollywood  idiosyn- 
crasies. What  eastern  host  with  back- 
ground would  offer  his  guests  such  an 
array  of  fine  painters  and  leading  art 
critics  as  Walter  Wanger  gathered  for 
us  not  long  ago?  In  how  many  homes — 
outside  of  home  museums — can  you  see 
the  Renoirs,  Gauguins,  Van  Goghs  and 
the  great  paintings  that  Eddie  Robinson 
has  in  his? 

"When  they  discuss  Constance  Bennett, 
why  don't  they  do  her  justice?  She  is 
astounding.  The  best-dressed  woman  in 
Hollywood,  she's  had  fantastic  success 


with  her  cosmetics.  Besides  her  rare 
acumen  in  business,  her  savoir  jaire 
marks  her  as  a  woman  of  the  world.  But 
she  rarely  uses  her  drawing-room.  She 
has  an  informal,  wood-panelled  room  with 
deep  couches,  a  bar  with  an  adjoining 
kitchenette  and  that's  where  we  gather 
to  have  fun  at  her  house.  She  also  has  a 
six-pack  bezique  card  room  with  special 
noise-proof  walls. 

"Why  don't  reporters  tell  you  that  what 
you  need  is  vitality  rather  than  front? 
If  they  don't  like  you  here  for  what  you 
basically  are,  you  might  as  well  give  up. 
It  is  absurd  to  imagine  that  you  can 
adopt  any  superficial  line.  Perhaps  that 
was  possible  years  ago,  but  it  isn't  in  the 
Hollywood  society  I  know.  There's  no 
bunko,  because  there's  nothing  synthetic 
about  these  people. 

"Hollywood  society  isn't  as  selfish  as 
New  York  society  because  here  everyone 
is  a  worker.  It  has  nothing  in  common 
with  cafe  society.  I  loathe  cafe  society, 
by  the  way.  It  is  made  up  of  people  with 
no  place  to  go,  with  no  homes,  who  don't 
need  anything  so  they  infest  night  clubs. 

"Society  is  your  immediate  circle  of 
friends.  It  is  entirely  relative,  and  your 
own  is  every  bit  as  important  as  mine. 
You  shouldn't  attempt  to  make  yourself 
over  to  suit  a  circle  you  would  not  en- 
joy. Why  should  Hollywood  want  to 
know  bluebloods?  It  doesn't,  and  Miss 
Susan  Snooks  realizes  she  has  little  in 
common  with  Mrs.  Vanderbilt! 

"I  am  very  honored  to  be  a  member 
of  the  Hollywood  community.  I'm  start- 
ing my  next  picture,  'Legacy'  at  Columbia 
with  Warner  Baxter,  and  a  twenty-nine- 
year-old  makes  his  production  bow  at 
the  helm.  Isn't  that  stimulating?  But 
I'm  not  going  to  stay  in  Hollywood  all 
the  time.  I  like  to  change  my  residence." 

So  speaks  this  unusual  personality  who 
by  her  own  efforts  alone  has  made  herself 
an  indispensable  part  of  the  social  world. 


Appropriate  that 
gorgeous  Alaine 
Brandes  should 
play  the  role  of 
a  photographer's 
model  in  her  first 
film,  "Turn- 
about." She's 
just  been  voted 
"Glamour  Girl  of 
1940"  by  the 
Motion  Picture 
Still  Cameramen. 


74 


MODERN  SCREEN 


"Looka  here,  young  lady— stop  kicking  and  let  me  get  this  shoe  off!  You're  going  to 
have  a  perfectly  lovely  bath  and  nobody's  going  to  tickle  you  .  .  .What's  that?  You 
don't  want  a  lovely  bath?  Well,  that's  silly—" 


"See?  Now  isn't  this  nice?. . .  Oh,  dolly,  you're  impossible!  I  am  not  smothering  you 
—I'm  washing  your  face.  Come  on;  pretend  you  like  it  even  if  you  don't  and  maybe 
Mother  will  give  us  some  Johnson's  Baby  Powder!" 


"Hello,  Mother— guess  what?  Dolly  says  the  water's  fine  and  she  can  hardly  wait  for 
a  Johnson's  rubdown.  I've  been  telling  her  what  lovely  soft  powder  it  is  and,  come 
to  think  of  it— better  make  that  two  rubdowns!" 


MOVIE  REVIEWS 

(Continued  from  page  17) 


**'/2  Private  Affairs 

The  story  of  "Private  Affairs"  con- 
cerns the  Boston  Bullertons,  as  strait- 
laced  a  family  as  ever  graced  the  annals 
of  "Who's  Who."  That  is,  with  the  ex- 
ception of  Amos  Bullerton  (Roland 
Young)  who  had  been  turned  out  of 
the  house  twenty  years  earlier  for  dis- 
agreeing with  the  principles  of  his  father. 
Amos  had  been  forced  to  leave  his 
daughter  in  Boston  with  his  short-tem- 
pered parent,  Noble  Bullerton,  who  is 
determined  that  she  never  see  Amos 
again.  But  the  daughter  (Nancy  Kelly) 
has  ideas  of  her  own,  and  when  her 
grandfather  disapproves  of  her  romance 
with  a  poverty-stricken  young  attorney 
(Robert  Cummings),  she  leaves  for  New 
York  to  secure  her  father's  consent. 

The  ensuing  complications  and  their 
attempts  to  win  old  Noble  Bullerton — 
and  Boston — over  to  their  side  of  the 
fence  provoke  most  of  the  laughs.  Not 
much  can  be  said  for  Nancy  Kelly's  por- 
trayal of  a  debutante  glamour  girl,  but 
the  remainder  of  the  cast  is  excellent. 
Roland  Young  and  Hugh  Herbert  make 
an  especially  funny  team.  Directed  by 
Albert  S.  Rogell. — Universal. 

PREVIEW  POSTSCRIPTS:  Albert  Rogell 
is  one  of  Hollywood's  youngest  veterans 
in  the  business.  He's  been  handling  a 
megaphone  for  the  past  twenty  years, 
and  recently  celebrated  his  38th  birthday. 
.  .  .  Roland  Young,  who  plays  a  true  Bos- 
tonian,  set  foot  on  Universal's  "New  Eng- 
land Street"  for  the  first  time  in  ten 
years.  The  last  time  was  when  he  worked 
with  Pola  Negri  in  "The  Woman  Com- 
mands.". .  .  Bob  Cummings  is  one  of 
California's  crack  fliers,  having  piloted 
his  own  plane  for  thirteen  years.  He 
celebrated  the  finish  of  "Private  Affairs" 
by  purchasing  a  new  airplane  the  very 
same  day. 

Cross  Country  Romance 

Wendy  Barrie  and  Gene  Raymond  are 
the  gay,  young  couple  who  dash  about 
with  the  pep  of  presidential  candidates 
just  to  give  you  a  lot  of  laughs  in  "Cross 
Country  Romance."  The  fun  begins 
when,  on  the  day  of  her  wedding  to  a 
society  playboy,  Wendy,  a  millionaire's 
daughter,  pulls  the  disappearance  gag. 
She  manages  to  hide  in  a  parked  trailer 
which  is  about  to  be  driven  off  by  Gene 
Raymond,  a  young  doctor  on  his  way  to 
San  Francisco.  Once  she's  in  his  trailer, 
Wendy  decides  to  make  herself  at  home. 
She  slips  into  a  suit  of  Raymond's  and 
boils  herself  some  coffee,  but  is  discov- 
ered a  few  minutes  later  when  she  sets 
the  auto  on  fire  with  her  cooking.  The 
young  medico,  who  is  anxious  to  get  to 
the  West  Coast  to  catch  a  boat  for  China, 
tries  to  dump  her,  insisting  she'll  only 
be  a  nuisance  to  him.  However,  just 
how  much  trouble  she's  going  to  be  not 
even  Gene  realizes.  There  are  arrests 
by  the  Oklahoma  City  police  for  petty 
theft  and  kidnapping,  and  there's  even 
a  marriage  ceremony  by  a  sleepy  justice 
of  the  peace! 

Gene  Raymond  and  Wendy  Barrie  are 
a  likable,  laughable  couple  and,  though 
there  have  been  funnier  and  screwier 
comedies,  this  one  definitely  has  its  mo- 
ments. Billy  Gilbert  has  a  short,  but 
uproarious  scene — the  kind  he  thrives 
upon,  and  Hedda  Hopper  and  George  P. 
Huntley  are  excellent  in  small  parts. 
Director:  Frank  Woodruff. — RKO-Radio. 


"Babies  have  more  fun  than  anybody 
'cause  they're  always  getting  sprinkles  of 
downy,  velvety  Johnson's  Baby  Powder! 
It's  so  soothing  and  cooling  — really  fine 
for  prickly  heat  and  chafes.  And  John- 
son's is  inexpensive." 

JOHNSON'S 
BABY  POWDER 

Johnson  &  Johnson,  New  Brunswick,  N.  J. 


SEPTEMBER,  1940 


75 


NAILS 


AT  A  MOMENTS  NOTICE 


MODERN  HOME  COIUMN  COOLING  BEVERAGES 

S     (Continued  jrom  page  14) 


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WHAT  TO  SERVE 


Glasses  for  serving  beer  should  not 
be  washed  with  soap,  but  instead 
rinsed  in  hot  water,  then  in  cold — 
and  dried  on  the  outside  only.  Any 
excess  moisture  should  be  shaken 
out,  leaving  the  inside  of  the  glass 
moist.  When  pouring  in  the  beer, 
hold  the  bottle  or  can  in  one  hand 
and  the  glass  at  an  angle  in  the 
other,  so  that  the  stream  of  liquid 
hits  against  the  side  of  the  glass. 
These  few  rules,  plus  a  good  quality 
brew,  assure  the  "sparkle"  and  the 
"collar"  which  both 
Jsl  add  so  much  to  the 

full  enjoyment  of 
this    fine  beverage. 


ICED  COFFEE, 
ICED  TEA:  The 
same  general  rules 
apply  to  both.  Pour  a  freshly 
made  brew,  while  still  hot,  di- 
rectly onto  the  ice.  Since  allow- 
ance must  be  made  for  ice  dilution, 
make  both  coffee  and  tea  double 
strength.  However  when  ice  cubes 
are  made  of  the  beverage  itself. 
This  produces  a  drink  of  the  right 
strength  without  any  increase  in 
the  regular  proportions.  By  pro- 
viding a  sugar  syrup  any  wasteful 
residue  of  unmelted  sugar,  in  the 
bottom  of  the  glass,  is  avoided. 

For  a  fine  COFFEE  COOLER 
place  a  scoop  of  ice  cream  in  each 
glass  of  iced  coffee  and  top  with 
whipped  cream  .  .  .  vanilla  ice 
cream  as  a  usual  thing,  coffee  ice 
cream  for  the  more  pronounced 
coffee  enthusiasts,  chocolate  ice 
cream  for  a  pleasing  mocha  flavor. 
Remember,  TEA  is  a  fine  base 
for  fruit  drinks  and  serves  to  "ex- 
tend" them  economically. 

SYRUPS:    It  is  a 
I  HI    great  convenience 
'  W>a  having  jars  of  plain 
—  t||iyrup  and  chocolate 


f.-;V-;S»  .1-'  syrup  in  the  refrig 
tv™  era  tor,  the  former 
to  sweeten  all  drinks 
quickly  and  econom- 
ically, the  latter  to  add  to  home 
made  sodas,  floats  and  milk  shakes. 
Fruit  syrups  are  also  a  fine  sweet- 
ening to  have  on  hand. 

PLAIN  SUGAR  SYRUP— Com- 
bine 1  cup  sugar  with  V2  cup  wa- 
ter. Stir  until  sugar  has  dissolved. 
Bring  to  a  boil,  cover  and  continue 
boiling  5  minutes.  Cool  and  store. 

FANCY  ICE  CUBES— Fill  trays 
of  automatic  refrigerator  with 
COFFEE  or  TEA  after  it  has 
cooled  but  while  it  is  still  fresh. 
You  can  also  make  colored  cubes 
by  adding  pure  food  coloring. 

FRUIT  BEVERAGES:  Citrus 
fruits  are  real  body  coolers  be- 
cause their  high  Vitamin  C  con- 
tent serves  to  dispel  "that  tired 
feeling"  and  to  mitigate  the  effects 
of  the  heat  on  our  systems.  In 
making  lemonade,  be  generous 
with  lemons  for  a  sourer  drink  is 
a  better  thirst  quencher. 


HOW  TO  SERVE 


to  tie  in  with  surroundings  or  to 
proclaim  your  hobbies. 

But  beer  should  be  served  in  col- 
orless glasses.  Light  beer  in  a 
long  and  tapering  glass,  with  a 
short  stem  and  a  round  base;  dark 
beer,  in  a  rounder  glass  with  some- 
what more  stem;  and  the  heavier 
brews,  such  as  stout,  ale  and  porter, 
in  a  straight  glass. 

COASTERS:  The  choice  is- tre- 
mendous and  their  use  as  well  as 
the  general  color  scheme  should 
guide  your  selection. 

TRAYS:  Here,  too,  there  is  a  wide 
choice,  in  color,  type  and  shape. 
They  should  be  washable,  imper- 
vious to  fruit  and  liquor  stains. 

PAPER  DOILIES:  Can  be  used 
on  trays,  under  glasses  and  pitchers, 
to  absorb  moisture.  Who  wants  to 
wash  table  linen  in  summer! 

PAPER  NAPKINS:  Cocktail  size, 
and  should  match  glassware  in 
color  and  design  wherever  possible. 

LONG  HANDLED  SPOONS:  An 
absolute  necessity.  Nice  to  be  able 
to  have  plenty  of  them  at  dime 
store  prices. 

SIPPERS:  Gaily  colored  cello- 
phane, to  match  or  to  contrast. 
However,  when  sippers  are  to  be 
used  to  stir  the  beverage,  the  glass 
kind  should  be  used.  Use  the  glass 
ones,  also,  for  gay  "Fruit  Sticks" 
made  by  spearing  two  pineapple 
gems,  with  a  maraschino  cherry  be- 
tween  them    for   a    fine  garnish. 

ICE  AIDS:  You'll  want  ice — 
plenty  of  it — right  where  you  can 
get  at  it  without  constantly  jump- 
ing up  and  rushing  out  to  the  re- 
frigerator. Now,  little  ice  buckets 
— formerly  a  de  luxe  item — are 
available  in  variety  stores.  With 
them  you  get  little  ice  tongs. 

IDEAS  ON  ICE:  Keeping  up  with 
the  ice  demands  on  warm  days 
requires  some  thought  and  action. 
If  you  have  an  automatic  refrig- 
erator, store  an  extra  supply  of 
cubes  in  the  tray  under  the  freez- 
ing unit.  And  if  your  trays  have 
rubber  molds,  freeze  a  set  of  cubes, 
remove  them  right  in  the  rubber, 
and  refill  the  metal  part.  Keep  a 
refrigerator  bottle  of  water  on  a 
shelf  in  the  refrigerator  and  use 
this  chilled  water  to  replenish  trays 
— which  assures  quicker  freezing 
than  when  tap  water  is  used. 

Remember,  too,  your  local  ice 
company  will  always  deliver  an 
extra  supply  of  ice  cubes  in  water 
proof  containers  or  in  a  tub.  You 
can  get  as  little  as  24  cubes — and 
of  course  as  many  as  you  want. 
They  will  also  deliver  "sized"  ice 
for  various  special  purposes — 
shaved,  chopped,  or  in  a  big  chunk 
for  a  punch  bowl. 


76 


MODERN  SCREEN 


TIME  OUT  FOR  COMEDY 

(Continued  from  page  23) 


young  Laemmle  wondered  if  his  talent 
scouts  had  lost  their  grip  or  just  stumbled 
onto  this  crow  somewhere  in  a  cornfield. 
"I  am  ve-ry  unhappy,"  chanted  Russell 
dolefully,  popping  her  gum  at  the  same 
time,  "I  want  to  go." 

"Certainly!"  cried  Laemmle.  "Maybe 
you  had  better  hurry!"  He  scribbled  her 
contract  release  with  a  palsied  hand. 

"Thanks,"  said  Rosalind.  A  few  hours 
later — minus  the  scarecrow  get-up — she 
was  signing  a  contract  with  M-G-M. 

The  point  is,  to  be  nuts  is  natural  with 
Russell,  but  to  be  nuts  with  a  motive  can 
be  arranged,  too.  For  instance,  consider 
the  education  of  her  family.  For  a  long 
time  after  Rosalind  had  cracked  the 
movies,  her  folks  back  East  regarded  her 
excursion  into  Horrible  Hollywood  as 
some  sort  of  a  mental  aberration  which 
had  seized  a  member  of  their  tribe.  They 
pictured  Roz  as  a  lost  sheep  who  had 
strayed  into  a  den  of  wolves.  They  know 
better  now,  of  course.  But  Roz  herself 
had  to  break  it  up — and,  as  usual,  she 
resorted  to  laughs. 

I  might  interpose  here  that  Miss  Rus- 
sell stems  from  a  very  nice  New  England 
family,  whose  tree,  so  far  as  she  knows, 
has  never  before  been  nicked  by  an 
actress.  The  Russell  males  are  all  law- 
yers, doctors,  business  men  and  respect- 
able people.  The  girls  settle  down  and 
get  married  or  pursue  lady-like  careers. 
Rosalind's  mamma  always  pictured  ac- 
tresses vaguely  as  people  who  lolled  in 
dressing-rooms,  surrounded  by  cigarette 
butts  and  half  empty  gin  bottles.  But  the 
Russell  family  was  also  a  big  one,  and 


pere  Russell  believed  in  his  children  be- 
ing individualistic.  In  their  big  house  at 
Waterbury,  Connecticut,  they  could  do 
anything  they  wanted — play  poker,  dance 
or  whoop  it  up  in  general — so  long  as 
they  did  it  at  home. 

Still,  sister  Rosalind's  jump  from  a 
finishing  school  to  Broadway,  though 
individualistic,  was  a  bit  startling!  And 
her  later  decision  to  invade  that  incred- 
ible Hollywood  place  was  something  the 
family  had  never  considered  in  their 
wildest  dreams.  They  worried. 

DOSALIND  wickedly  fed  their  fears 
J-^-  for  months  by  subtly  hinting  she 
was  secretly  married  to  this  and  that 
notorious  person.  When  she  was  cast  in 
a  picture  with  a  gangster  star,  early 
in  her  career,  the  family  wrote  shocked 
letters,  firmly  believing  the  man  was  a 
killer,  as  they'd  read  in  the  papers. 
Rosalind,  I  am  ashamed  to  say,  replied 
he  was  indeed  a  ruthless  mob  torpedo, 
and  that  furthermore  she  was  considering 
being  his  moll! 

It  wasn't  long,  therefore,  until  an  emis- 
sary of  the  Russell  clan  came  scurrying 
out  to  Hollywood  to  see  what  was  really 
what.  It  was  her  older  sister,  the  one 
Rosalind  calls  "The  Duchess."  Rosalind 
adores  the  Duchess,  but  she  couldn't  help 
sensing  that  big  sister  was  snooping 
around  a  little  and  needed  a  good  lesson. 

She  took  the  matter  up  with  some  of 
her  fun-loving  boy  friends.  To  the 
Duchess  she  announced  that  some  guests 
might  drop  around  for  dinner.  Expect- 
ing dinner  jackets  at  least,  her  sister 


slipped  into  a  formal  dress.  Then  the 
mob  arrived. 

They  came  in  sports  coats  looking  like 
horse-blankets,  with  gaucho  shirts  and 
silk  bandannas.  They  wore  berets,  violent 
colored  slacks,  suede  shoes.  They  were 
more  Hollywood  than  Vine  Street.  Not 
one  knocked.  To  the  Duchess'  horror,  all 
the  men  let  themselves  in  with  private 
keys.  They  yelled,  "Hello,  Roz  darling," 
patted  her  knee  and  cried,  "Where's  the 
gin?"  They  stretched  out  on  the  divan, 
sprawled  on  the  floor.  One  merely  said 
"Hi"  and  walked  upstairs. 

At  dinner  the  guests  wolfed  their  food 
noisily,  spilled  drinks,  put  their  feet  on 
the  table  and  tipped  big  cigar  ashes  on 
the  rug.  They  spouted  exaggerated  Holly- 
wood chatter,  told  lurid  studio  tales,  got 
in  fights  and,  all  in  all,  gave  the  Duchess 
probably  the  most  terrifying  dinner 
ordeal  of  her  life.  When  Rosalind  thought 
big  sister  had  had  enough,  she  called  off 
the  act.  From  then  on,  the  Russell  fam- 
ily hasn't  worried  about  Rosalind.  They 
have  been  too  busy  laughing. 

There  was  a  time,  though,  when  the 
family  might  have  had  some  ground  for 
their  fears.  For  instance,  at  the  begin- 
ning of  her  career  when  assignments 
were  slack,  Rosalind's  idea  of  a  swell 
lark  was  to  hop  into  a  rattle-trap  auto- 
mobile she  had  and  set  out  on  the  high- 
ways. The  idea  was  to  pick  some  inter- 
esting looking  car  and  follow  it.  Wherever 
the  chosen  automobile  and  passenger 
went,  Rosalind  chugged  along  behind. 
Wherever  they  stopped,  she  stopped.  To 
her  peculiar  sense  of  humor,  this  loomed 


w 


And  this  is  the  big,  new,  streamlined 
bottle  of  Peps  i -Cola,  favorite  with  mil- 
lions. . .  because  it's  bigger  and  belter  1 


And  today,  after  more  than  ^  y  {aVorite 

with  millions- and  8  Jom  th 

Pepsi-Cola  is  itt  ^ 

swmg  to  P^-Col%  2  S  ounces  of  this  ^re 
taste  and  fine  flavor.  UfuU  {orUttle. 

thirst  quencherjor^^  


SEPTEMBER,  1940 


77 


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ITS  A  BIG  HELP 

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sanitary 


as  high  adventure.  Why,  I  couldn't  say. 
Of  course,  she  met  a  lot  of  nice  people 
that  way.  However,  that  merry  pas- 
time came  to  an  abrupt  end  one  day 
when  a  car  reversed  the  process  on 
roamin'  Rosalind.  She  had  wandered 
south  of  the  border,  down  Mexico  way, 
and  a  car  full  of  fierce  moustached  cabal- 
leros  started  chasing  Roz  for  a  change. 
She  got  back  over  the  border  just  in 
the  nick  of  time! 

Another  favorite  early  Russell  escapade 
was  putting  on  old  clothes  and  invading 
the  cow  towns  on  the  desert  near  Holly- 
wood, riding  range  with  the  cowboys  and 
being  the  belle  of  their  rootin'  tootin' 
dances  on  Saturday  nights.  All  strictly 
incognito,  of  course.  To  the  cowpokes, 
Rosalind  posed  as  "Ruth,  the  prune 
picker,"  a  sort  of  a  migrant  feminine 
Okie.  She  can't  get  away  with  that  any 
more,  of  course,  since  she's  so  well- 
known.    It  burns  her  up,  too. 

BUT  today,  even  with  her  dignity  as  a 
screen  star,  Russell  still  manages  to 
get  in  some  sort  of  comical  jam  the  min- 
ute she  checks  out  of  Hollywood  on  her 
own.  She's  the  kind  of  person  things  hap- 
pen to.  If  they  don't,  she  happens  to  them. 
And  even  if  events  start  out  to  be  serious, 
something  funny  is  bound  to  happen. 

A  while  back'  she  was  visiting  her 
sister  in  Palm  Beach,  Florida,  on  her  way 
to  New  York.  A  tropical  second-story 
man,  visioning  a  Hollywood  star  drip- 
ping with  jewels,  burglarized  the  house 
one  night.  He  didn't  get  any  jewels  but 
managed  to  lift  Rosalind's  brand  new  set 
of  expensive  Viton  luggage.  Undaunted, 
Roz  wrapped  up  her  things  in  old  news- 
papers, suit  boxes  and  brown  paper  sacks 
and  arrived  in  the  Pennsylvania  Station 
looking  as  though  she  had  just  been  to 
market.  "Is  this  the  way  you  usually 
travel,  Miss  Russell?"  inquired  a  smart- 
aleck  reporter.  "No,"  said  Rosalind,  "I 
usually  carry  a  birdcage,  too!" 

In  Manhattan,  someone  she  didn't  know 
very  well  gave  a  party  for  her  one  after- 
noon, announcing  on  the  invitations,  that 
"Miss  Rosalind  Russell  of  Hollywood" 
would  be  present.  The  headliner  billing 
irked  Roz  a  little,  but  she  went.  In  spite 
of  the  advertising,  she  found  half  the 
guests  didn't  know  who  she  was.  "I 
work  in  the  bargain  basement  of  the 
Broadway  Hollywood  department  store," 
explained  Roz.  She's  not  sure  her  hostess 
quite  approved. 

But  the  maddest  mix-up  Rosalind  has 
managed  to  encounter  occurred  a  year  or 
so  ago  in  Europe.  After  making  "The 
Citadel"  in  England,  she  and  her  younger 
sister,  Mary  Jane,  set  out  for  a  Conti- 
nental binge.  They  did  Switzerland  and 
the  ski  resorts,  then  ended  up  in  Czecho- 
slovakia, about  when  Hitler  was  putting 
on  the  pressure  for  the  Sudetenland 
squeeze. 

Well,  Rosalind  or  Mary  Jane  or  some- 
one talked  out  of  turn  about  political 
matters,  and  the  local  gestapo  called.  It 
cost  five  hundred  good  U.  S.  dollars  to 
bribe  their  way  on  a  train  to  clear  out 
of  there.  In  Germany,  the  train  turned 
out  to  be  a  troop  train.  They  were  the 
only  girls  on  a  string  of  cars  which  imme- 
diately swarmed  with  thousands  of  sol- 
diers on  the  way  to  the  front.  Everyone, 
including  Rosalind  and  Mary  Jane,  was 
dumped  out  on  the  Siegfried  Line.  The 
soldiers  stayed.  But  the  two  Russells 
had  other  ideas.  They  dodged  around 
pillboxes  and  tank  traps  through  the 
Maginot  Line  to  France.  Looking  back, 
Rosalind  is  pretty  proud  of  that.  There 
aren't  many  Hollywood  stars,  she  main- 
tains, who  have  blitzkrieged  both  Hitler's 
West  Wall  and  the  Maginot  Line  in  one 
afternoon — or,  for  that  matter,  had  a  per- 


sonal escort  of  ten  thousand  men  to  keep 
them  amused  on  a  train. 

Men,  by  the  way,  figure  prominently  in 
all  Rosalind's  fun,  although  people  are 
always  hanging  the  tag  "bachelor  girl" 
on  her  and  inferring  that  she  has  little 
time  for  the  dominant  sex.  On  the  con- 
trary, the  maid  Russell  is  very  popular 
and  has  a  courtly  crew  hanging  around 
her  at  odd  hours  of  the  day  and  night. 
The  main  qualifications  for  a  Russell 
suitor  are  wit  and  an  indestructible  sense 
of  humor.  "I'm  always  surrounding  my- 
self with  clowns,"  sighs  Rosalind  when 
pressed  on  the  subject. 

Absurdly  enough,  Roz  never  met  the 
first  man  in  her  Hollywood  life.  He  used 
to  call  her  up  every  dawn  around  4: 30 
and  make  thick-tongued  love  to  her  over 
the  phone.  He  always  called  from  some 
beer  parlor  or  other  and,  in  his  confused 
state,  thought  he  was  talking  to  his  sweet- 
heart. It  was  strictly  a  wrong  number 
romance.  Rosalind  was  living  alone  in  a 
hill-top  house  then,  and  she  got  a  little 
tired  of  being  rousted  out  of  her  bed 
nightly  at  the  wee  hour.  She  decided  the 
only  way  to  stop  the  annoyance  was  to 
reform  the  guy.  So  one  night  when  he 
called,  she  launched  into  a  sentimental 
temperance  talk  and  ended  up  with  her 
unknown  pal  sobbing  a  pledge  never  to 
touch  the  stuff  again.  As  far  as  she 
knows,  he  never  has.  At  least,  after  that 
he  stopped  calling. 

Roz's  more  tangible  masculine  admirers 
never  wane,  however,  for  Roz's  sense  of 
humor  appeals  to  the  male  mind.  She's  a 
good  sport.  She'll  do  anything  within 
reason  without  a  complaint.  They're 
always  trying  to  dare  her  down — without 
much  success.  What's  more,  she  can  give 
most  of  them  as  much  as  she  can  take. 

For  quite  a  time  she  had  an  outlandish 
reputation  for  sporting  extremely  bizarre 
clothes  in  public.  Most  outsiders  still 
think  that  Rosalind's  taste  is  simply  a 
little  on  the  screwy  side.  The  truth  is — 
most  of  her  absurd  hats  and  harnesses 
have  been  daring  deliveries  on  some  bet 
or  other  with  a  challenging  male.  She 
would  wear  a  dishpan,  setting  hen  or 
coffee  pot  headgear  to  any  swell  event, 
if  some  teasing  Tom  dared  her  to — and 
put  a  little  money  on  the  line. 

ONCE,  she  showed  up  at  the  smart  Los 
Angeles  Tennis  Club  matches,  where 
the  stadium  is  small  and  everyone  can 
easily  ogle  everybody  else,  wearing  a 
tall,  silk  coachman's  hat!  Furthermore, 
she  never  batted  an  eyelash  as  the  gal- 
lery stared.  Why  should  she?  She  had  a 
bet  up  with  a  pal  of  hers.  Fifty  dollars, 
wagered  the  rash  young  man,  Roz  would 
not  wear  the  stove-pipe  to  the  tennis 
matches.  He  didn't  know  Russell  very 
well.  It  cost  him  the  fifty  bucks  to  get 
better  acquainted! 

The  other  night  Rosalind  and  Cary 
Grant  stepped  out  to  the  Beverly-Wil- 
shire  to  dance.  Cary  can  be  quite  as 
crazy  as  Rosalind  when  he's  in  the  mood. 
They  took  a  cab,  and  he  dared  her  to 
sit  up  in  the  front  with  the  driver.  Rosa- 
lind not  only  hopped  up  in  front,  but 
drove  the  cab  up  to  the  startled  hotel 
doorman,  jumped  out  and  helped  the 
blushing  Cary  alight — then  demanded  a 
tip.  She  got  it,  too. 

Sometimes,  though,  her  boy  friends 
gang  up  on  her,  tap  a  known  weak  spot 
and  get  her  goat.  A  few  weeks  ago, 
Rosalind  planned  one  of  her  hurry-up 
trips  East,  and  as  she  didn't  have  much 
time,  decided  to  fly.  She's  terrified  of 
planes  anyway,  and  the  particular  night 
she  was  scheduled  to  take  off  across  the 
mountains,  a  pouring  rain  and  a  high 
wind  set  in.  As  she  packed  with  a  sink- 
ing stomach,  a  bevy  of  her  boy  friends 


78 


MODERN  SCREEN 


arrived  to  tell  her  good-bye.  Sitting  like 
buzzards  around  the  room,  they  mourn- 
fully recalled  all  the  horrible  air  acci- 
dents of  history  and  with  long  faces 
speculated  on  whether  or  not  Roz  had  a 
chance  to  get  through  alive.  "All  the 
good  pilots  have  gone  to  war,"  croaked 
one.  "The  transcontinental  planes  now 
are  all  second  rate  and  ready  to  fall 
apart,"  sighed  another.  "This  is  Friday, 
the  thirteenth,"  observed  a  third. 

Before  long  Rosalind  was  in  such  a 
state  of  nerves  that  she  called  up  the 
airport   and   cancelled  the  reservation! 

However,  such  dark  moments  of  de- 
feat are  few  and  far  between  in  the  life 
of  Roz.  Even  workaday  moments,  consid- 
ered tedious,  boring  and  bothersome  by 
a  lot  of  our  movie  queens,  amuse  her. 
For  instance,  while  letters  from  a  public 
anxious  to  sell  something  or  put  over 
deals  are  a  continual  annoyance  to  most 
stars,  to  Russell  they're  a  never-ending 
source  of  fun.  She  reads  them  all,  and 
there's  nothing  she  would  rather  do  than 
get  together  with  her  secretary  and  shoot 
out  rollicking  replies. 

The  other  day  she  got  a  letter  from  a 
firm  which  insisted  on  loaning  her  money. 
"You  need  money!"  shouted  the  letter. 
"You  must  have  it!"  Rosalind  wrote  right 
back.  "All  right,  if  I  must,  I  suppose  I 
must.  Please  send  me  $4,000,000  at  once. 
There's  just  one  thing.  You  pay  me  the 
interest!"  She  hasn't  had  a  reply  to  that 
one  yet. 

Ely  Culbertson,  the  bridge  expert, 
penned  Rosalind  a  persuasive  note  not 
long  ago,  too,  and  with  it  sent  a  copy  of 
his  newly  published  autobiography.  The 
letter  asked  Miss  Russell  to  read  the  book 
carefully,  because  he  was  convinced  she 
was  the  one  actress  to  play  the  leading 
feminine  role  on  the  screen.  Rosalind 
took  it  seriously,  for  a  change,  and  was 
into  the  third  chapter  when  she  found 
out  that  ten  other  actresses  in  Hollywood 
had  received  the  same  book  and  essen- 
tially the  same  letter.  Promptly  she  wrote 
Culbertson.  She  suggested  that  since  so 
many  actresses  were  the  only  one  for 
the  part,  the  Music  Hall  Rockette  chorus 
would  be  much  better! 

On  the  set,  just  where  work  begins 


You'll  next  be  roaring  over  Roz  Russell 
in  Universal's  "Hired  Wife."  That  hat 
looks  very  much  like  one  of  her  "dare" 
numbers,  but  one  can't  be  positive! 


'There's  Charm  in  Soft  HANDS" 

^  Martha 

Scotf 


(Lovely 
Hollywood  Star) 


A  few  seconds'  care  a  day 
helps  prevent 
unalluring  rough  hands 

Exposure  to  weather  and  use  of 
water  tend  to  dry  nature's  sof- 
tening moisture  out  of  your  hand 
skin.  But  apply  Jergens  Lotion.  It 
furnishes  new  refreshing  moisture 
for  your  skin.  And— remember— in 
Jergens  you  apply  2  ingredients 
many  doctors  use  to  help  soften  and 
smooth  harsh  skin.  No  stickiness! 
Quick  and  easy!  Thousands  of 
women  keep  the  allure  of  soft, 
smooth  hands  by  regular  use  of  this 
famous  Jergens  Lotion.  Get  it  today. 


ffiEE/  YOUR  START  TOWARD  SOFT  HANDS 


MAIL  THIS  COUPON  NOW 
(Paste  on  penny  postcard,  if  you  wish) 
The  Andrew  Jergens  Company 
3715  Alfred  St.,  Cincinnati,  Ohio 
I  want  to  see  how  Jergens  Lotion  helps  me  have 
charming,  soft  hands.  Please  send  my  free  purse- 
size  bottle. 


Name 


\      Address  - 


SEPTEMBER,  1940 


79 


*pE  SANG  BEFORE  SEVEN 


BUTCMED  BEFORE 
ELEVEN/ 


NOW-  NO  BAD  BREATH  BEHIND  HER  SPARKLING  SMILE  / 


and  fun  lets  up  is  never  quite  clear 
when  Roz  is  making  a  picture.  All  pic- 
ture jobs  are  fun  to  her;  some  are  just 
more  fun  than  others.  She  carries  her 
good  humor  and  gaiety  into  her  scenes, 
too,  which  fact  may  account  substan- 
tially for  the  fun  it  is  to  watch  her  on 
the  screen.  Her  first  hit  role  in  "Rendez- 
vous" was  written  straight,  but  Roz  had 
seen  so  many  New  York  debutantes  and 
thought  them  so  silly  that  she  merrily 
"loused  up  the  part,"  as  she  says — and 
that  made  her  a  star. 

A  while  ago,  work  on  "No  Time  for 
Comedy"  was  suspended  when  a  twenty- 
five  piece  band  broke  past  the  sound 
stage  doors  and  paraded  through  the  set, 
blaring  "It's  Somebody's  Birthday."  It 
was  followed  by  a  French  chef  wheeling 
in  an  enormous,  phony  birthday  cake, 
and  a  stunt  man  dressed  like  a  baby 
sucking  a  milk  bottle  and  bawling.  This 
was  to  celebrate  Rosalind  Russell's  birth- 
day Ashe's  just  on  the  sunny  side  of 
thirty),  and  it  was  in  retaliation  for  a 
gag  she  had  pulled  on  Jimmy  Stewart's 
natal  day  a  week  before. 

The  first  day  Bette  Davis  worked  on 
"All  This,  and  Heaven  Too,"  she  found 
a  black  funeral  wreath  in  her  dressing- 
room,  with  a  note  saying,  "Condolences, 
Dear  Bette.  They  really  bought  the  book 
for  me,  you  know.  But  I  turned  it  down." 
Bette  replied  with  a  dead  bouquet  of 
onions,  garlic  and  other  smelly  vegetables 
when  she  learned  Rosalind  was  about 
to  have  a  birthday. 

The  nice  part  about  Rosalind  Russell's 
funnybone  is  that  she's  always  much 
happier  laughing  at  herself  than  at  any- 
one else.  The  funniest  thing  that  ever 
happened  to  her,  she  thinks,  was  during 
her  terrific  free-for-all  fight  with  Paul- 
ette  Goddard  in  "The  Women."  She  told 
Paulette  to  go  ahead  and  swing  hard — 


and  Roz  got  knocked  out  on  her  feet! 
In  "His  Girl  Friday,"  Cary  Grant  and 
Ralph  Bellamy  nailed  down  a  prop  tele- 
phone she  was  supposed  to  jerk  out  of  a 
desk.  When  the  desk  came  tumbling 
over  on  her,  Rosalind  arose  bruised  but 
shrieking  with  laughter. 

Right  now  she's  writing  a  play  pok- 
ing fun  at  herself.  It's  called  "Here 
We  Are."  Two  good  friends  of  hers,  Ned- 
da  Harrigan  and  Charlotte  Winters,  are 
collaborating,  and  Rosalind  insists  it 
won't  be  any  fun  at  all  unless  they  all 
play  themselves  and  get  thoroughly 
laughed  at  in  public. 

Charlotte  Winters  is  a  red-headed 
beauty  who  for  years  has  been  about 
Rosalind's  best  friend  in  Hollywood.  Both 
were  "bachelor  girls"  (the  term  Russell 
hates  with  such  a  passion)  until  last  fall. 
Then,  the  day  before  last  Thanksgiving, 
Charlotte  called  up  Rosalind  on  the  set 
of  "His  Girl  Friday"  and  announced  she 
was  getting  married  the  next  day. 

I HAVE  three  invitations  to  turkey  din- 
ners tomorrow,  and  I  can't  possibly 
make  it!"  declared  Rosalind. 

"But,"  protested  Miss  Winters,  "I'm 
getting  married — not  you!" 

"That's  right,"  agreed  Rosalind.  "But 
you're  not  getting  married  tomorrow; 
you're  getting  married  tonight  at  my 
house.  I'm  not  missing  the  wedding." 

It  was  seven-thirty  then — and  Rosalind 
Russell  was  still  working.  The  wedding 
was  at  ten,  complete  with  flowers,  one 
hundred  and  fifty  guests,  rice,  champagne 
and  everything.  Roz  did  it  all  over  the 
phone  in  a  couple  of  hours. 

When  she  thinks  of  that  wedding  she 
sighs  a  little  wistfully.  Charlotte  made 
such  a  pretty  bride.  Sometimes,  Rosalind 
Russell  even  pictures  herself  tripping 
down  the  middle  aisle  with  a  bridal  bou- 


quet. But  usually  she  ends  up  chuckling 
at  the  thought. 

When  Roz  isn't  busy  with  acting,  one 
of  those  hectic  trips,  a  party  or  some 
benefit,  she  starts  ripping  up  and  fran- 
tically redecorating  her  Beverly  Hills 
house,  where  she  lives  in  more  or  less 
splendid  isolation  with  her  colored  maid, 
Hazel  Washington  (whom  she  stole  orig- 
inally from  Garbo)  and  a  very  spoiled 
poodle  named  "Cracker"  who,  occasion- 
ally, as  Roz  admits,  "has  crumbs." 

Rosalind  is  firmly  convinced  she  leads 
the  only  life  worth  while — a  merry  one. 
"I  haven't  a  complaint.  I'm  having  a 
wonderful  time.  Life  doesn't  owe  me  a 
thing,  but  I  owe  it  plenty." 

Lately  the  dark  clouds  over  the  world 
have  dampened  her  spirit  a  little.  But 
she's  thinking  of  organizing  a  funnybone 
club  to  stop  all  the  gloom  and  fear  talk. 
Anyone  who  can't  crack  a  grin,  says  Roz, 
will  get  fined  plenty — and  the  money 
will  help  out  some  war  charity. 

She  figures  the  best  way  she  can  settle 
her  particular  bill  with  life  is  to  pay  off 
in  laughs.  That's  why  she's  still  planning 
on  plenty  of  time  out  for  comedy. 


UP-TO-DATE  ADDRESS  LIST! 

Send  today  for  the  new,  up-to-date  list  of 
Hollywood  stars  with  their  correct  studio 
addresses.  It  is  a  convenient  size  to 
handle  or  keep  in  a  scrap-book.  To  re- 
ceive' a  list,  all  you  have  to  do  is  write 
to  us  and  ask  for  it,  enclosing  a  large, 
self-addressed  and  stamped  envelope. 
Don't  forget  that  last  item,  as  no  request 
can  be  complied  with  otherwise.  Please 
send  request  to  Information  Desk,  Mod- 
ern Screen,  149  Madison  Ave.,  New 
York,  N  Y. 


80 


MODERN  SCREEN 


HEADLINES  FROM  HOLLYWOOD 

(Continued  from  page  45) 


shampooing  than  dry  because  oil  and 
perspiration  cling  to  it  more  readily. 

If  your  hair  is  dry  or  brittle,  it  should 
have  frequent  oil  shampoos.  Heat  a 
bottle  of  oil,  saturate  a  small  ball  of  cot- 
ton with  it,  then  divide  your  hair  into 
inch  square  patches  by  parting  it  in  both 
directions  and  rub  the  oil  well  into  your 
scalp.  Let  it  stay  there  as  long  as  pos- 
sible. Half  an  hour  is  good — all  night  is 
excellent.  Just  before  your  soap  sham- 
poo, wring  out  a  clean  towel  in  hot  water, 
wrap  it  around  your  head  and  let  it 
steam  for  five  or  ten  minutes. 

Soft  water  and  a  mild  liquid  shampoo 
are  most  effective.  Wet  the  hair  thor- 
oughly with  plenty  of  warm  water  and 
apply  plenty  of  shampoo.  Use  the  cush- 
ions of  all  ten  fingers  to  loosen  the  dirt 
thoroughly.  Rinse  that  off;  then  apply 
more  shampoo.  The  second  time  be  sure 
to  rub  the  hair  ends  well  between  your 
fingers.  Oily  hair  may  need  three  soap- 
ings.  Two  are  usually  enough  for  dry  or 
normal  tresses.  The  last  rinse  is  most 
important,  though.  Lift  your  hair,  spray 
the  water  through  it  in  every  direction 
until  it's  clean  enough  to  "whistle"  be- 
tween your  fingers. 

A  good  vegetable  rinse  at  this  point 
will  give  sheen,  highlights  and  a  delight- 
ful softness  to  tired  or  lifeless  hair.  There 
are  any  number  of  splendid,  harmless 
rinses  available  everywhere  and,  though 
they  last  only  from  one  shampoo  to  the 
next,  they  are  well  worth  using. 

If,  for  any  reason,  you  feel  you  want 
to  dye  or  bleach  your  hair,  you  need 
have  little  or  no  worry  about  results. 


Thousands  of  girls  and  women  have  be- 
come quite  expert  at  doing  their  own 
hair  regularly. 

When  you  start,  it  will  be  best  to  let 
a  skillful  salon  operator  do  the  job,  if 
for  no  other  reason  than  to  help  you 
choose  the  correct  color  and  to  see  that 
it  is  applied  evenly.  After  the  first  or 
second  treatment,  though,  there  is  no 
reason  why  you  can't  learn  to  do  the 
work  at  home.  Of  course,  you  know  that 
once  you  begin,  you  have  to  keep  it  up 
indefinitely,  for  new  growths  of  hair 
must  be  constantly  retouched.  Follow-up 
jobs  will  be  the  real  test  of  your  skill. 
Retouch  only  the  new  hair,  not  the  full 
length  of  the  strands. 

REMEMBER  that  the  glamour  girls  in 
Hollywood,  whose  shining  manes  are 
the  joy  of  every  one  who  sees  them,  have 
achieved  their  lustrous  locks  by  simple, 
continuous,  every  day  care.  No  miracles 
brought  them  about,  even  in  that  mecca 
of  magic.  Florence  Rice,  Lucile  Fair- 
banks, Mary  Beth  Hughes,  Ann  Ruther- 
ford, Rita  Hayworth  and  Vivien  Leigh 
take  better  care  of  their  locks  than  many 
a  girl  who  was  born  with  far  more  beau- 
tiful tresses.  That's  why  theirs  are 
lovely  when  yours  are  sometimes  drab 
and  dejected  looking.  Give  your  hair 
the  same  break  that  Hollywood  girls 
give  theirs,  and  yours  will  be  every  bit 
as  lovely. 

Here's  a  little  check-up  chart.  Ask 
yourself  these  questions:  1.  Does  my  hair 
look  soft  and  bright  and  "living?"  2. 
Does  it  frame  my  face  charmingly,  or 


does  it  leave  my  features  harsh  and 
bare?  3.  Is  my  coiffure  suitable  for  my 
age,  my  physical  proportions  and  my 
occupation?  4.  Is  it  appropriate  for  the 
clothes  I  wear?  5.  Does  it  "do  something 
for  me"  either  with  or  without  a  hat? 
6.  Is  my  hair  gleaming,  smart  and  man- 
ageable between  hairdresser  visits? 

We  needn't  tell  you  the  answers  to 
these  questions — you  know  them  all  too 
well  yourself!    The  important  thing  is: 
What  are  you  doing  about  them? 
*     *  # 

We  are  that  excited  about  a  brand  new 
kind  of  hair  curler  which  practically 
revolutionizes  the  great  home  hair  wav- 
ing industry!  It's  the  tiniest,  simplest 
looking  little  gadget  you  ever  saw — fact 
is,  it's  invisible,  in  the  same  way  that 
some  hair  pins  are  invisible.  It  even 
looks  something  like  two  fine  wire  hair 
pins  ingeniously  slide-locked  together. 
But  the  best  thing  about  these  new  curl- 
ing devices  is  that  you  can  play,  work, 
sleep,  swim  or  even  dance  in  ten,  twenty 
or  thirty  of  them  and  still  not  feel  them! 
And  no  one  else  need  ever  see  them. 
You  can  even  wear  a  bathing  cap  over 
them  without  any  bulges  or  ridges,  and 
of  course,  there  are  no  sharp  ends  or 
edges  to  pierce  the  rubber.  No  more 
sleepless  nights  tossing  over  stiff,  un- 
comfortable curlers  and  no  more  big, 
bulky  exposed  curlers  to  embarrass  you 
by  day  either.  These  light,  comfortable 
invisible  curlers  will  eliminate  all  of  that. 
Do  you  wonder  we're  enthusiastic!  Send 
us  your  name  on  a  penny  post  card  and 
we'll  let  you  in  on  the  big  news. 


SUZANNE  SOMMERS,  SENIOR  AT  DUKE  UNIVERSITY,  SAYS: 


MEN  LIKE 


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Jk/k  They're  learn- 

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powder  that  matches  your  own  coloring  .  .  . 
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So,  whether  your  eyes  are  blue,  gray,  brown 
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Marvelous  Face  Powder  goes  on  so  smoothly 
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TEMPERAMENT  AT  TWO 

(Continued  from  page  28) 


Mischa  brings  howls  of  despair  from  the 
Babe,  often  so  long  and  violent  that  the 
company  has  to  let  up  shooting  and 
soothe  Sandy  with  something  important, 
like  a  cookie,  before  there's  a  chance  to 
get  a  scene.  Then  Mischa  stands  help- 
lessly, but  ruefully,  beside  his  private 
wailing  wall  and  shakes  his  head.  "She's 
just  allergic  to  me,"  he  confesses.  But  it 
isn't  that  at  all. 

The  truth  is  that  the  very  first  scene 
Baby  Sandy  ever  had  in  a  movie  was 
with  Mischa.  It  happened  to  be  a  pretty 
terrifying  scene,  too,  for  an  eleven- 
month-old,  sensitive  artiste.  They  sat  on 
a  bed  in  the  middle  of  a  set  blazing  with 
giant  lights.  All  sorts  of  strange,  rough 
men  were  staring  at  her  and  grinning. 
Mommy  was  far,  far  away,  across  the 
room,  and  all  in  all  Baby  Sandy  must 
have  felt  like  she'd  lost  her  last  friend. 
Then  this  tall,  strange  man  with  the 
great,  dark  eyes  beside  her  began  going 
noisily  insane,  or  so  it  must  have  seemed 
to  Sandy.  He  hopped  around  like  a 
monkey,  barked  like  a  dog,  wiggled  his 
hands  by  his  ears  and  made  a  pretty 
terrifying  ass  of  himself.  And  all  this 
for  ten  long  takes. 

SANDY  bawled.  Who  wouldn't?  It  was 
a  very  funny  scene  on  the  screen.  But 
it  certainly  didn't  have  Sandra  Lee  in 
stitches.  In  fact,  she's  never  forgotten  it. 
In  her  young  life,  Mischa  Auer  is  still 
Bogie  Man  Number  One,  although  she 
has  run  up  against  him,  as  I  said,  in 
practically  every  picture  since.  But  she 
still  bawls  and  tries  to  scram  every  time 
she  sees  the  dour  Auer. 

That,  of  course,  is  a  form  of  tempera- 
ment. But  if  Sandy  didn't  have  it,  she 
would  never  be  piling  up  her  trust  fund 
today. 

Nobody  knew  how  best  to  handle  Baby 
Sandy  when  she  crashed  the  movies 
overnight.  Consequently,  all  the  old 
movie  directing  tricks  had  to  be  tried 
on  her  before  they  figured  out  how  to 
get  results  a  little  more  painlessly. 

As  a  matter  of  fact,  the  action  in 
Sandy's  early  pictures  was  rough  and 
tumble  enough  to  load  any  year-old  lady 
with  a  mess  of  fright  complexes.  She 
was  always  being  alley -ooped  from  one 
actor  to  another,  ridden  piggy  back,  raced 
here  and  there  and  jammed  into  dark 
corners.  Because,  as  you  can  easily 
gather  from  the  titles,  each  plot  had 
embarrassments  about  just  whom  the 
baby  belonged  to.  In  both  "Unexpected 
Father"  and  "Little  Accident"  somebody 
was  always  trying  to  whoosh  Sandy 
somewhere  out  of  sight. 

Dennis  O'Keefe  looms  large  still  in 
Sandy's  book  of  villains  because  of  just 
such  a  plot  caper.  In  "Unexpected 
Father,"  Dennis,  having  Sandy  on  his 
hands  and  hearing  someone  coming, 
grabbed  the  startled  kid  by  the  seat  of 
the  pants,  tossed  her  into  a  barrel  as 
black  inside  as  Mammoth  Cave,  jammed 
the  top  down  and  sat  on  it! 

Well,  when  they  took  that  scene,  you 
could  hear  Sandy's  wails  halfway  over 
to  Warner  Brothers.  In  fact,  she  was  so 
upset  by  the  experience  that  the  first 
time  they  rehearsed  it  Sandy  was  no 
good  for  the  rest  of  the  day.  When  they 
tossed  her  through  the  air  in  "Little 
Accident,"  Sandy  also  registered  a  major 
howl  and  got  so  upset  she  had  to  go 
home. 

Bing  Crosby,  on  the  other  hand,  is  a 
favorite  of  Sandy's  to  this  day.  Everyone 


who  sings  over  the  radio  is  still  "Bing" 
to  Sandy,  and  when  she  sees  someone  she 
particularly  likes  she  points,  smiles  and 
chirps  "Bing."  Of  late,  too,  she's  devel- 
oped a  crush  on  Bob  Hope  by  remote 
control,  which  baffles  her  parents,  seeing 
as  how  Sandy  has  never  even  seen  Bob 
or  worked  in  a  picture  with  him.  As  for 
Bing,  though,  there's  a  solid  reason. 
Sandy  met  Bing  the  right  way. 

The  first  scene  Bing  had  with  Sandy 
was  on  the  gentle  side.  Bing  is  tender 
with  kids  anyway,  by  nature  and  by 
experience,  having  had  enough  of  his 
own  to  know  a  thing  or  two.  But  in 
"East  Side  of  Heaven"  it  fell  to  Bing  to 
put  Sandy  to  sleep.  Well,  as  any  mother 
knows,  anyone  who  can  put  a  baby  to 
sleep  has  the  magic  touch  with  kids. 
Just  imagine  the  power  of  a  sandman, 
too,  who  has  to  do  his  stuff  under  burn- 
ing arc  lights  in  the  middle  of  the  day 
amid  the  hectic  bustle  of  a  Hollywood 
movie  set. 

No  one,  not  even  Sandy's  mother,  could 
turn  the  trick.  "Here,  let  me  try,"  said 
Bing.  So,  sitting  in  a  rocker  and  croon- 
ing soft  and  low,  the  Old  Groaner  took 
Sandy  in  his  arms  and  turned  on  his 
charm.  Soon  Sandy  was  wheezing  away 
with  a  contented  thumb  in  her  mouth. 
And  Bing  has  been  aces  with  her  ever 
since.  You  can  ask  Sandy  today  what 
Bing  does  and  she'll  rip  out  "Boo-boo- 
boo." 

Of  course,  to  make  an  eleven-month- 
old  baby  change  expression,  crawl  here 
and  there  and  do  what  the  action  of  a 
movie  script  demands,  you  must  resort 
to  tricks.  All  the  tried  and  true  ruses 
were  used  on  Sandy  in  "East  Side  of 
Heaven."  They  lit  sparklers  when  they 
wanted  her  eyes  to  pop.  They  blew  up 
balloons  just  outside  camera  range  and 
popped  them  when  they  needed  a  startled 
"take-em."  A  rattle  brought  a  smile  for 
a  while,  just  as  taking  it  away  brought 
a  lusty  yell.  Toys,  teddy  bears,  stuffed 
bunnies,  mirrors  and  all  sorts  of  things 
tricked  Sandy  into  registering  emotions, 
because  her  priceless  temperament  makes 
her  sensitive  to  everything  and  every- 
body. 

BUT  even  sensitivity  slows  down  when 
the  dose  is  repeated  time  and  again. 
As  Sandy  has  grown  up,  she  has  become 
not  only  immune  to  the  old  set  dodges 
but  leery  of  new  ones.  And  to  match  this 
change  of  temperament  is  a  problem 
continually  handing  her  directors  sub- 
stantial headaches. 

For  instance,  the  word  "cookie"  used 
to  make  Sandy's  eyes  light  up  like  a 
Christmas  tree.  She  doesn't  like  cookies 
any  more.  They  used  to  get  her  to  eat 
spinach  for  the  camera  by  sprinkling 
graham  crackers,  which  she  adored,  over 
the  grassy  mess.  But  Sandy  is  sick  and 
tired  of  graham  crackers  now.  And  she's 
wise  to  a  lot  of  things. 

The  most  successful  trick  Charlie  La- 
mont,  another  director,  discovered  was 
ingenious  and  served  him  well  in  a  couple 
of  Sandy  pictures.  He  found  out  the 
word  "Cut!"  which  ends  every  Hollywood 
picture  take,  sent  Sandy  into  a  delirium 
of  delight.  It  signaled  only  the  end  of 
the  scene  for  everybody  else — but  for 
Sandy  it  meant  the  return  to  her  toys, 
or  a  cookie  reward  or  something  equally 
prized.  The  coos,  claps,  gurgles  and 
spontaneous  slappy-happy  manifestations 
of  babyhood  were  exactly  what  Lamont 
wanted  his  camera  to  catch.   But  each 


82 


MODERN  SCREEN 


time,  of  course,  they  occurred  after  the 
film  had  been  cut. 

Lamont  began  to  yell  "Cut— I  don't 
mean  it"  and  "Cut — I  do  mean  it,"  so  the 
camera  would  sometimes  roll  on  when 
Baby  Sandy  thought  it  was  all  over.  Or 
he  signalled  to  the  camera  crew  and 
sound  man  to  pay  no  attention  to  his 
vocal  stop  orders.  It  worked  for  a  while, 
but  not  any  more.  Sandy  is  wise — just  as 
she's  wise  to  the  fact  that  it  doesn't  take 
"Quiet — Roll  'em — Action!"  to  start  a 
scene.  These  fatal  words  used  to  depress 
temperamental  Sandra  so  badly  that  the 
ensuing  take  had  only  a  squeaky  chance 
of  being  worth  a  print.  The  order  went 
out  for  silent  signals  and  they  thought 
they  had  Sandy  licked  at  last.  Not  so. 
They  forgot  a  very  essential  little  buzz 
which  the  camera  makes  before  each 
scene  showing  that  the  film  is  running 
fast  enough  for  action.  Now  Sandy  lis- 
tens for  the  buzz — and  tricks  are  useless. 

Since  she  has  become  an  official  lady, 
Baby  Sandy  goes  in  for  the  more  ad- 
vanced pleasures  of  life,  peculiarly  fem- 
inine in  taste.  The  only  lures  that  get 
results  now  are  such  distaff  joys  as 
telephonitis,  powder  and  perfume,  Holly- 
wood gown  creations,  young  men  and — 
it  wouldn't  be  complete  without  this — 
money. 

Sandy  has  always  been  a  dainty,  fem- 
inine little  package  despite  the  fact  that 
she  made  her  debut  with  slicked  hair 
and  followed  through  with  overalls  in  a 
screen  sex  impersonation.  In  "Little  Ac- 
cident" they  let  her  wear  girls'  clothes 
for  the  first  time,  and  from  then  on 
things  have  never  been  the  same. 

Having  a  slight  strip-tease  complex, 
Sandy  would  much  rather  work  without 
any  clothes,  if  possible.  But  if  she  has 
to  cover  up,  it's  a  cinch  she's  not  going 


Olympe  Bradna  and  Jon  Hall  go  native 
for  the  colorful  and  exciting  "South 
of  Pago  Pago."  The  attire's  old 
stuff  for  Jon  who  grew  up  in  Tahiti. 


to  wear  overalls  any  more.  She  had  five 
changes  in  her  last  picture,  all  frilly 
little  frocks;  then  they  tried  to  get  her 
in  rompers  for  a  scene.  There  just  wasn't 
anything  doing. 

Catching  on  fast,  Sandy's  Universal 
mentors  bought  her  a  huge  feathery  pow- 
der puff,  nail  buffer  and  perfume  spray. 
They  can  get  Sandy  to  do  practically 
anything  now  if  they  just  hold  up  the 
puff  or  the  atomizer.  "Want  to  tele- 
phone?" also  soothes  Sandy's  tempera- 
mental outbursts  effectively.  The  proce- 
dure is  to  boost  her  up  to  the  set  phone 
and  let  her  dial  away.  Since  practically 
any  three  numbers  you  can  dial  will  get 
someone  on  the  Universal  lot,  everyone 
has  had  a  chance  to  chat  with  Sandy. 
The  conversation  is  always  the  same: 
"  'Ello.  Fine  t'ank  you.  'Bye." 

Sandy  got  the  gold-digging  habit  a 
little  early  in  life,  but  apparently  it's 
here  to  stay.  It  wasn't  her  fault  that  she 
caught  on  so  young  to  what  makes  the 
world  spin.  The  education  traces  right 
to  Eugene  Pallette's  voice. 

Sandy's  temperamental  make-up,  as  I 
said,  notices  everyone  near  her  and  re- 
acts to  every  part  of  their  personality. 
That's  why  her  cast  members  have  to  be 
chosen  carefully.  For  instance,  the  flut- 
tery  facial  nip-ups,  flighty  fingers  and 
"Woo-Woos"  of  Hugh  Herbert  enchanted 
her  into  such  delighted  response  that 
Hugh  threw  up  his  hands  and  swore 
never  again.  "One  picture  with  that  kid 
is  enough  for  me,"  declared  Hugh.  "One 
'goo'  and  I'm  not  even  in  the  scene." 

In  "Sandy  Is  a  Lady,"  however,  Sandy 
ran  up  against  Gene  Pallette,  as  nice  a 
fellow  as  you'd  want  to  know,  but  pos- 
sessor of  a  voice  like  a  bull-bear  with  a 
chest  cold.  It  simply  scared  Sandy  into 
speechless  awe  every  time  Gene  opened 


WATCH  THE  LOOK 
ANY  MAN'S  EYES 

WHEN  HE  SEES  A  LOVELY 


SCHOOLGIRL  COMPLEXION 


IN   /       TO  HELP  KEEP  YOUR  SKiN  ALLURING,  USE 

THIS  SOAP  MADE  WITH  OLIVE  AND  PALM  OILS! 


I  NEVER  SAW  SUCH  A  GIRL  !  ALL  THE 
MOST  ELIGIBLE  MEN  HAVE  EYES  ONLY 

FOR  YOU  AND  YOUR  LOVELY 
"SCHOOLGIRL  COMPLEXION"!  MY  SKIN 
IS  SO  DRY,  LIFELESS,  OLD-LOOKING  ! 


YOU  SEE,  PALMOIIVE  IS  MADE  WITH  OLIVE 
AND  PALM  OILS,  NATURE'S  FINEST  BEAUTY 

AIDS.  THAT'S  WHY  ITS  LATHER.  IS  SO 
DIFFERENT,  SO  GOOD  FOR  DRY,  LIFELESS 
SKIN!  PALMOLIVE  CLEANSES  SO 
THOROUGHLY,  YET  SO  GENTLY  THAT  IT 
LEAVES  SKIN  SOFT  AND  SMOOTH... 
COMPLEXIONS  RADIANT  ! 


MADE  WITH 
TO  KEEP  SKIN  SOFT.  SMOOTH 


SEPTEMBER,  1940 


83 


TheSummer  Edition  of 

SCREEN 
ALBUM 

OUT  NOW 

100  PICTURES — 
1000  NEW  FACTS 

Your  favorite  screen  stars 
live  for  you  on  the  pages 
of  the  Summer  issue  of 
SCREEN  ALBUM.  The 
beautifully  printed,  entranc- 
ing portraits,  ALL  of  them 
autographed,  are  accom- 
panied by  thrilling  word 
pictures — intimate,  up-to- 
the-minute  details  you  have 
always  wanted  to  know. 

One  hundred  glamorous  pic- 
tures of  Hollywood's  most 
popular  personalities  and  a 
multitude  of  inside  facts  on 
each  is  now  yours  in  the 
new  Summer  edition  of 
SCREEN  ALBUM.  It's  the 
best  dime's  worth  on  the 
newsstands — get  your  copy 

SCREEN  ALBUM 

1QC  EVERYWHERE 


his  mouth  and  rumbled  out  his  lines. 
There  wasn't  much  anybody  could  do 
about  it,  either.  But  in  Hollywood  the 
idea  is  pretty  general  that  money  fixes 
everything. 

So  Gene  got  a  pile  of  shiny  new  copper 
pennies  and  tried  the  age-old  lure  of 
lucre.  When  Sandy  had  a  few  coins  in 
her  pocket  to  jingle  together,  she  wanted 
more.  The  bank  was  "Uncle  Gene"  (all 
her  gentlemen  friends  are  "Uncle"  at  this 
point)  and  Sandy  toddled  over  to  the 
bank.  Soon  Gene  could  roar  like  a  lion 
and  Sandy  didn't  give  a  whoop.  He  was 
sugar  daddy! 

As  for  the  boys  and  pure  romance, 
Sandy's  currently  having  a  little  love 
trouble.  At  home,  next  door,  there's 
Jimmy,  aged  three.  Sandy  and  Jimmy 
toddle  together  up  and  down  the  block, 
and  he  calls  her  "Honey  Baby."  That's 
about  as  far  as  the  infatuation  goes. 
But  Sandy's  crush  on  Kenneth  Brown 
and  Billy  Lenhart  is  quite  another  thing. 
And  useful,  too. 

IZ'ENNETH  and  Billy  are  the  Katzen- 
jammer  twins  Universal  found  to 
liven  up  "Sandy  Is  a  Lady."  The  first  day 
of  any  picture  is  always  a  bad  one  for 
Sandy.  She  gets  an  overdose  of  nerves. 
Luckily,  Billy  and  Kenneth  happened  to 
be  around  to  start  "Sandy  Is  a  Lady." 
They  played  the  concertina.  Sandy  fell 
hard.  From  that  time  on,  whenever  Baby 
Sandy  felt  bad  about  things,  she'd  yell, 
"Boys!  Boys!"  And  whether  Billy  and 
Kenneth  were  scheduled  to  work  or  not, 
the  studio  summoned  them  post-haste  as 
pacifiers,  with  the  concertina.  Which 
prompted  Edgar  (Slow  Burn)  Kennedy, 
that  choleric  veteran  of  Hollywood,  to 
stroke  his  whiskers  disgustedly  and  mut- 
ter, "Music  on  the  set  for  a  kid — can  you 
beat  it?  Temperament  at  two!" 

However,  just  that  temperamental 
touchiness  is  what  makes  Sandy  the  gold 
mine  she  is  today,  and  Universal  knows 
it.  They  aren't  going  to  run  any  risk  of 
spoiling  her  spirit.  Sandy  at  two  has  two 
real  life  stand-ins.  She  has  her  own 
portable  dressing-room,  and  if  she's  at 
all  ailing,  a  nurse.    She  has  her  own 


private  school  teacher,  chauffeur  and 
dietitian — all  at  the  studio's  expense. 

At  home,  however,  Baby  Sandy  is  still 
just  another  neighborhood  baby,  and  the 
neighborhood  is  the  same  as  it  was  before 
Sandy  went  Hollywood. 

The  Henvilles  don't  believe  in  living 
beyond  their  income  and  they  don't  con- 
sider their  income  the  same  thing  as 
Sandra  Lee's  income,  which  has  ballooned 
with  salary  raises  and  commercial  tie- 
ups  (like  Baby  Sandy  dresses,  bonnets, 
milk  cups  and  pull  toys)  to  the  three 
figure  bracket. 

So  far,  every  cent  she  has  made  has 
been  put  away  in  the  bank  for  Sandy. 
And  that,  says  Eleanor  Henville,  is  the 
way  it's  going  to  be.  If  so,  it  will  set 
some  kind  of  a  Hollywood  record. 

Sandy,  away  from  the  set,  is  a  com- 
pletely different  baby,  unspoiled,  un- 
pampered,  even  unnoticed.  She  has  her 
own  little  room,  bed,  toys  and  dollies,  a 
swing  in  the  back  yard  and  a  high 
chair,  a  play  piano  to  bang — but  every- 
thing, including  her  clothes,  is  paid  for 
by  Roy  Henville's  salary  as  a  milkman. 
Her  mama  does  all  the  caretaking  that's 
necessary.  She  figures  she  knows  as 
much  about  feeding  her  baby  as  the  next 
one.  And  no  pediatrician  or  baby  spe- 
cialist supervises  Baby  Sandy's  physical 
progress.  Only  when  she  gets  sick  does 
she  get  a  medical  coddling. 

The  idea  of  all  this  fits  into  Eleanor 
Henville's  viewpoint  on  Sandy's  success 
and  future.  "I  don't  care  if  she  makes 
her  last  picture  tomorrow,"  Mrs.  Henville 
told  me  with  level  good  sense.  "In  fact, 
I'd  personally  prefer  to  have  Sandy  grow 
up  normally  without  a  picture  career. 
It's  too  dangerous.  I  wouldn't  have  a 
spoiled  child  on  my  hands  for  all  the 
money  they  could  pay  me." 

She's  afraid  all  this  "reacting"  might 
seep  into  Sandra  Lee's  character  and 
make  her  grow  into  some  sort  of  a  holy 
terror  instead  of  the  sweet,  friendly, 
young  lady  she  wants  her  to  be. 

"Temperament  at  two,"  said  Baby 
Sandy's  mama,  "is  all  right,  if  your  baby 
must  be  a  movie  star.  Later  on,  it's 
something  else  again." 


These  two  young  coppers  are  Kenneth  Brown  and  Billy  Lenhart,  for  both  of  whom 
Baby  Sandy  fell  hard,  while  they  were  all  working  on  "Sandy  Is  a  Lady." 


84 


MODERN  SCREEN 


UNDER  ALL  FLAGS 

(Continued  from  page  25) 


contracts  for  it,  drilled  the  men  in  all  the 
various  foreign  drill  manuals  which  he 
himself  learned  from  books,  and  the  re- 
sult was  that,  whenever  any  studio 
wanted  any  soldiers  of  any  period  or  of 
any  nationality,  Voss'  army  was  ready  to 
march.  It  was  an  idea  precisely  suited 
to  the  producers  and  the  extras  alike. 

Recently,  Guild  restrictions  and  other 
considerations  have  made  it  impossible  to 
continue  making  contracts  for  his  men, 
so  that  they  now  have  to  be  called  indi- 
vidually by  Central  Casting.  Neverthe- 
less, they  remain  an  organization  just  as 
formerly,  with  Voss  still  in  command. 
They  have  a  clubhouse  and  drill  ground, 
where  they  spend  most  of  their  time  be- 
tween calls,  and  many  of  them  work,  not 
only  as  soldiers,  but  as  anything  which 
requires  men  trained  to  discipline.  They 
were,  for  instance,  the  convicts  in  "The 
Big  House,"  and  the  discipline  was  neces- 
sary because  of  the  prison  lockstep  they 
had  to  do. 

"It  would  take  a  studio  days  to  train 
an  army  even  of  convicts,"  Voss  explained, 
"and  my  men  are  already  trained  to  every 
sort  of  march.  So  the  studio  saves  money, 
and  the  boys  make  their  living." 

Voss'  biggest  command  was  the  army 
used  in  "Abraham  Lincoln" — 2200  men. 
However,  for  the  smaller  studios,  the  army 
sometimes  dwindles  to  as  low  as  fifty  men. 
Tricks,  such  as  mirrors  and  treadmills 
with  which  some  production  managers 
reduce  their  budgets,  make  even  this 
handful  appear  as  a  mighty  host.  Occa- 
sionally, they  try  to  economize  in  other 
ways  too,  one  of  which  almost  resulted 


in  a  serious  and  irreparable  disaster. 

Movie  armies,  of  course,  invariably  use 
blank  cartridges,  and  once  a  studio  pur- 
chasing agent,  wanting  to  save  on  the 
powder  bill,  bought  up  a  lot  of  old  Span- 
ish-American War  blanks.  But  the  cases 
were  so  corroded  that  they  burst  when 
fired,  and  this  was  so  dangerous  that  Voss 
refused  to  allow  his  men  to  go  on  with 
the  battle  until  other  cartridges  were  ob- 
tained. So  instead  of  saving  a  few  dollars 
on  the  shells,  the  studio  actually  lost 
thousands  in  time  wasted. 

UNTIL  a  few  years  ago,  all  men  in  Voss' 
organization  were  veterans,  most  of 
whom  belonged,  as  does  Voss  himself,  to 
the  Hollywood  Post  of  the  American 
Legion.  Now  many  of  these  men  are  get- 
ting pretty  gray  and,  since  wars  are  fought 
by  young  men,  the  studios  insist  upon 
youth,  at  least  for  the  foreground.  So 
Voss  has  added  a  "shock"  unit  of  R.O.T.C. 
boys  known  as  the  "Hollywood  Guard." 
He  says  that  they  do  not  compare  with  the 
older  men,  who  take  their  work  seriously, 
because  they  have  passed  the  skylarking 
stage. 

"Every  one  of  those  kids  thinks  he 
knows  more  about  war  than  Pershing  ever 
did,"  Voss  complained,  "and  between  shots 
they  take  off  their  packs  and  shirts  to 
get  a  sun  bath.  That  means  half  an  hour 
getting  them  into  line  again." 

While  these  youngsters  were  being 
trained,  an  amusing  incident  occurred. 

It  was  Voss'  practice  to  hold  his  ma- 
neuvers in  a  vacant  lot,  the  boys  carrying 
wooden  guns  and  wearing  white  sweat- 


shirts. Neighbors,  not  knowing  what  was 
going  on,  became  more  and  more  per- 
turbed and  finally,  when  Voss  began 
teaching  his  recruits  the  goose  step,  the 
frightened  neighbors  called  the  cops. 
Voss'  drill  ground  was  raided  by  a  squad- 
ron of  shrieking  police  cars,  because  the 
neighbors  thought  the  marchers  were 
Nazis  preparing  to  overthrow  everything 
in  sight. 

"Despite  what  the  studios  say,"  de- 
clared Voss,  "I  maintain  that  once  you 
put  a  helmet  on  a  man  he  can  be  of 
any  age.  Except  for  close-ups,  in  which 
the  leads  usually  appear  anyway,  veterans 
are  just  as  believable  as  kids.  And  they 
save  the  producers  plenty  of  money." 

There  was,  he  illustrated,  the  time 
when,  under  the  new  regulations,  a 
studio  put  in  a  requisition  for  200  soldiers 
"between  18  and  23."  The  studio  got 
them  all  right,  but  inasmuch  as  the 
requisition  had  omitted  to  specify  height, 
the  army  Voss  was  told  to  command 
made  him  throw  up  his  hands. 

"They  were  a  Mickey  Mouse  army,"  he 
said,  "many  of  them  so  small  that  when 
they  got  their  equipment  on,  their  packs 
almost  touched  the  ground.  I  had  to  send 
them  home — after  the  studio  had  paid 
them,  of  course — and  bring  on  my  own 
men." 

Some  of  Voss'  own  men  in  the  past,  he 
admits,  have  not  been  beyond  criticism, 
either.  As  in  every  real  army,  he  has 
had  to  deal  with  the  sick,  the  lame,  the 
lazy  and  other  assorted  gold  bricks,  most 
of  whom  he  has  since  managed  to  weed 
out.    In  "What  Price  Glory,"  however, 


ITS  SO  GOOD...  SO  LONG 


because  in  the  Beech-Nut  kitchens 
the  finest  flavors  are  mixed  through 
and  through  so  that  you  may  enjoy 
each  piece  of  Beech-Nut  Gum  for  a 
onger  time.  There  are  7  delicious 
varieties: 

Peppermint,  Spearmint,  Oralgum 
4  /favors  of  BSECHIES  {Candy  Coated) 
Peppermint,  Spearmint,  Pepsin,  Cinnamon 


SEPTEMBER,  1940 


85 


WAKE  UP  YOUR 
LIVER  BILE— 

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Rarin'  to  Go 

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bile  onto  the  food  you 
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your  food  may  not  digest.  You  get  constipated.  You 
feel  sour,  sunk  and  the  world  looks  punk. 

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Carter's  Little  Liver  Pills,  send  your  name  and  ad- 
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the 


six  of  this  ilk  almost  weeded  themselves 
out  without  any  help  from  him. 

One  scene  in  that  film  showed  a  shack, 
presumably  in  No  Man's  Land,  and  all 
the  extras  had  been  expressly  cautioned 
not  to  go  near  it.  The  six  "leadswingers" 
had  ideas  of  their  own,  though,  and 
picked  upon  that  shack  as  a  swell  place 
to  sleep  instead  of  marching  in  the  hot 
sun.  Nobody  missed  them  until,  at  the 
height  of  the  battle,  the  shack  was  blown 
up;  fortunately  it  was  only  a  movie  ex- 
plosion, and  nobody  was  hurt.  But  the 
six,  thus  rudely  awakened,  all  thought 
they  were  back  on  the  Western  Front. 

No  serious  casualty  has  ever  been  suf- 
fered by  any  member  of  Voss'  army  be- 
cause of  the  extreme  care  taken  by  the 
"powder  man."  These  men,  Voss  ex- 
plains, are  the  technicians  on  the  studio 
staffs  who,  even  more  than  the  directors 
themselves,  are  responsible  for  the  reality 
of  battle  scenes.  Their  job  is  to  "plant" 
battlefields  with  explosives,  carefully 
scooping  out  holes,  removing  all  rocks 
and  gravel  which  might  inflict  injury, 
and  then  tamping  the  powder  with  fine 
sand.  Markers  of  various  colors  indicate 
to  the  attacking  troops  how  to  "take" 
such  positions  with  a  minimum  of  dan- 
ger. 

FOR  "The  Fighting  69th,"  for  example, 
the  explosions  were  "set"  with  black 
powder  and  dynamite.  Before  shooting 
began,  Voss  led  his  men  over  every  inch 
of  the  ground. 

"This,"  he  said,  indicating  a  tiny  white 
marker,  "means  black  powder,  and  you 
can  approach  within  six  inches  of  it. 
But  that  one,"  indicating  a  red  marker, 
"is  dynamite,  so  don't  get  closer  than 
ten  feet." 

As  the  cameras  turned  and  the  men 
charged,  the  powder  man,  sitting  aloft 
on  a  parallel  at  his  "piano"  (the  explosion 
keyboard)  touched  off  detonation  after 
detonation  and  the  men  "hit  the  dirt" 
most  realistically.  It  looked  as  though 
nothing  could  emerge  alive  from  that  in- 


ferno, but  when  the  shot  was  in  the  can 
the  only  treatment  required  was  baths 
all  around. 

Among  Voss'  personnel  there  are  many 
heroes  of  the  last  war,  and  to  a  man  they 
decline  to  be  quoted  or  tell  how  they  won 
the  rows  of  decorations  upon  their 
breasts.  However,  the  official  archives 
talk  for  all  who  care  to  read,  and  at  any 
public  library  there  is  the  story  of  Fred 
Coppins,  for  example,  who  wears  among 
other  medals  the  Victoria  Cross.  Coppins 
is  a  quiet  little  chap,  about  five-feet-five, 
and  all  he  did  to  get  that  coveted  cross 
was  to  capture,  single-handed,  49  Ger- 
mans and  two  machine-guns.  Incident- 
ally he,  as  well  as  the  Congressional 
Medal  of  Honor  men,  get  $25  a  day  for 
their  decorations  when  photographed. 

In  many  respects  Voss'  army  is  very 
strange.  There  are  former  army  colonels 
who  play  privates  in  the  same  scenes 
where  former  privates  play  colonels.  Of- 
ficers in  the  movie  army  receive  more 
pay  than  privates,  which  Voss  considers 
unfair  since  the  rank  and  file  have  to 
carry  rifles  and  heavy  packs  while  the 
officers,  to  use  his  phrasing,  "just  walk 
alongside  and  look  pretty."  Machine- 
gunners,  motorcyclists  and  other  spe- 
cialists get  $16.50  a  day,  and  if  anybody, 
regardless  of  rank,  speaks  even  a  word 
of  dialogue  the  pay  is  of  course  $25. 

Parachutists  come  under  the  category 
of  stunt  men  who  may  receive  as  much 
as  $500  a  day. 

Firing  squads  are  more  highly  paid 
than  ordinary  troopers  because  they  are 
usually  in  semi-close-ups  and  have  to 
work  with  the  utmost  precision.  Thus, 
the  men  who  executed  Anna  Neagle  in 
"Nurse  Edith  Cavell"  got  $11  each  for 
shooting  her.  To  do  this  they  had  to 
familiarize  themselves  with  the  German 
firing  squad  manual  and  obey  commands 
in  that  language. 

Although  Voss'  men  are  trained  to  a 
machine-like  precision,  thus  saving  the 
studios  many  thousands  of  dollars  daily 
each  time  they  are  used,  Voss  explains 


Elwood  Bailey,  director  of  special  activities  of  the  New  York  World's 
a  couple  of  new  "mayors"  of  the  Town  of  Tomorrow,  Fay  Bainter  and 


Fair,  swears  in 
Beulah  Bondi. 


86 


MODERN  SCREEN 


that  from  a  strictly  pecuniary  point  of 
view  he  would  profit  more  if  his  men 
j  were  bad  instead  of  good  soldiers.  This, 
naturally,  is  because  undisciplined  troops 
take  more  time  to  train  and  therefore 
collect  more  checks.  And  there  are  times 
when  the  studios  themselves  arrange 
matters  just  that  way. 

In  "Alexander's  Ragtime  Band"  the 
studio  insisted  upon  having  young  men 
in  the  war  sequences,  all  of  whom  had 
to  be  drilled  for  days  before  their  scenes 
could  be  shot.  In  a  picture  at  another 
studio  an  executive  rang  in  about  a  score 
of  his  relatives  and  friends,  thinking  that 
anybody  could  be  a  soldier. 

"It  was  all  right  with  me,"  said  Voss. 
"After  all,  the  studio  was  paying  the 
bills.  But  what  that  executive  didn't 
know  was  that  one  bad  soldier  ruins  the 
morale  of  a  good  army,  and  consequently 
my  men  sat  around  and  were  paid  while 
I  drilled  the  relatives  and  friends  to  the 
point  where  they  could  at  least  look  like 
soldiers." 

j  But  Voss'  battle  hasn't  always  been  too 
easy.  Until  the  Guild  took  over,  his  army 
frequently  came  face  to  face  with  the 
National  Guard — not  with  fixed  bayonets, 
to  be  sure,  but  in  a  fight  just  the  same. 
For  the  producers  could  hire  the  Na- 
tional Guard  at  much  lower  rates  than 
those  prevailing  for  regular  extras,  in 
addition  to  which  the  Guard  used  State 
equipment  which  the  studio  would  other- 
wise have  had  to  rent.  Now,  no  guards- 
man can  work  in  a  picture  unless  he  has 
a  Guild  card,  and  then  he  must  be  paid 
the  prevailing  wage. 

To  bring  this  about  Voss,  himself,  had 
,    to  do  a  bit  of  detective  work.    Since  the 
|    studios  denied  that  State  equipment  was 
i     being  used,  Voss  took  the  unit  numbers 
of  the  trucks  in  which  the  guardsmen 
came  to  work  and  turned  them  in.  There 


was  no  argument  after  that. 

Then  there  are  ways  in  which  Voss' 
boys  used  to  put  things  over,  too.  "In  the 
old  days,"  he  said,  "some  of  the  lads 
would  report  at  Paramount,  say,  for  a 
six  o'clock  call.  They'd  leave  their  checks 
with  a  buddy  to  be  okayed  and  go  over 
the  back  fence  to  M-G-M  for  a  seven 
o'clock  call.  If  things  were  really  break- 
ing, they  might  go  over  the  fence  at 
M-G-M,  too,  and  show  up  at  Fox,  say, 
for  an  eight  o'clock  call — which  meant 
three  checks  for  eight  hours'  work.  But 
those  days  are  gone  forever.  The  studios 
are  wise  to  all  such  tricks  and  have  built 
bigger  and  better  fences." 

THE  most  exacting  director  for  military 
scenes,  says  Voss,  is  Ernest  Lubitsch, 
who  insists  upon  such  perfect  precision 
that  every  private  must  be  as  perfect  as  a 
West  Pointer.  Richard  Talmadge,  a  di- 
rector who  is  entrusted  with  "second 
units"  (mob  scenes  without  principals)  is, 
in  Voss'  opinion,  the  best  military  tacti- 
cian in  Hollywood.  The  spectacular  Erich 
von  Stroheim,  actor  as  well  as  director, 
would  leave  his  high-priced  principals 
standing  around  for  hours  while  he 
drilled  the  soldiers  himself. 

"Von  loved  to  play  with  soldiers," 
sighed  Voss,  "and  we  loved  to  let  him. 
But  the  studios  found  it  too  expensive, 
so  Von  doesn't  make  many  pictures  any 
more." 

Of  all  pictures  using  battle  scenes,  Voss 
believes  that  the  American  Civil  War  has 
been  photographed  the  most.  And  in 
this  connection  he  relates  the  screen 
psychology  of  D.  W.  Griffith,  who  made 
"Birth  of  a  Nation,"  the  first  battle  pic- 
ture and,  in  Voss'  opinion,  the  greatest 
of  them  all. 

"As  far  as  Mr.  Griffith  is  concerned," 
he  says,  "no  Southern  Army  ever  lost 


a  battle  or  ever  wore  rags.  For  him  a 
Northern  Army  can  be  as  sloppy  as  a 
bunch  of  rookies — he  likes  them  that 
way — but  Confederate  troops  must  be 
perfectly  trained.  And  that  enabled  a 
bright  young  man  in  my  outfit  to  put  a 
very  fast  one  over  on  Mr.  Griffith  one 
day  during  the  production  of  a  Civil  War 
movie." 

The  man  in  question,  it  seemed,  knew 
Griffith's  partiality  to  the  South  and  so, 
when  uniforms  were  being  issued  and 
Griffith  was  standing  by,  the  soldier  drew 
himself  up  haughtily  when  offered  a 
Northern  uniform. 

"Suh,"  he  admonished  the  assistant 
director,  spurning  the  proffered  uniform 
with  a  foot,  "Ah'd  nevah  dare  put  them 
rags  on  mah  back.  If  Ah  did,  suh,  mah 
folks  would  disown  me.  They  think 
that  mah  being  an  actor  is  low  enough, 
but  mah  being  on  actor  in  the  Northen 
Ahmy  would  finish  me  with  them  once 
and  fo'  all,  suh." 

Griffith,  impressed  by  such  loyalty  to 
a  lost  cause,  doubled  the  man's  check 
on  the  spot. 

"The  payoff,"  grinned  Voss,  "was  that 
actually  he  was  born  in  Boston,  and  all 
his  forebears  fought  with  the  Union 
colors." 

Whether  it  is  the  Revolutionary  War, 
the  Civil  War,  the  Spanish  American 
War,  the  Egyptian  War,  the  Indian  Wars, 
the  Boer  War,  the  World  War,  the 
Chinese  War  or  the  Spanish  Revolution, 
it's  all  the  same  to  Voss  and  his  men — 
with  one  exception. 

"Why  is  it,"  they  ask,  "that  we  always 
have  to  fight  carrying  heavy  packs  across 
the  Sahara  sands  in  summer,  and  wear 
kilts  in  the  mountain  snows  in  winter? 
We  do  wish  that  the  studios  would  do 
something  about  those  topsy-turvy 
schedules." 


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dandruff  with  the  very  first  application. 
All  that  is  necessary  is  to  use  a  shampoo 
that  completely  dissolves  dandruff  and  then 
washes  it  away. 

Repeated  laboratory,  as  well  as  practical, 
tests  show  that  ordinary  shampoos  will  not 
dissolve  dandruff.  Fitch's  Dandruff  Remover 
Shampoo  dissolves  every  speck  of  dandruff 
instantly — under  a  money-back  guarantee — 
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shades  of  hair.  Try  it  today!  Sold  at  drug 
counters.  Professional  applications  at  beauty 
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WRITE  TODAY  to  the  F.  W.  Fitch  Com- 
pany, Dept.  M6o,  Des  Moines,  Iowa  for  a 
generous  FREE  sample  of  Fitch's  Dandruff 
Remover  Shampoo. 

After  and  between  Fitch  Shampoos,  Fitch's 
Ideal  Hair  Tonic  is  the  ideal  prepara- 
tion to  stimulate  the  hair  roots  and  give 
new  life,  luster  and  beauty  to  your  hair 


Mich's 


The  Truth  About 
Soap  Shampoos 


1.  This  photo 
graph  shows 
bacteria  and 
dandruff  scattered, 
but  not  removed 
by  ordinary  soap 
shampoo. 


2.  All  bacteria, 
dandruff  and 
other  foreign 
matter  com- 


Soap 
Shampoo 


pletely  destroyed 
and  removed  by  Fitch 
theFitchShampoo.  Shampoo 


Copr.  1940 
F.  W.  Fitch  Co 


DANDRUFF  REMOVER 

S  HAM  POO 


THE  R  W.  FITCH  COMPANY,  DES  MOINES,  IOWA  . 


BAYONNE,  N.  J. 


.  TORONTO.  CAN. 


SEPTEMBER,  1940 


87 


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City  State  Age  


SHOPPING  LIST 

(Continued  from  page  62) 


Page 
54 


Colors:  Slate  Blue,  Hunter's  Green, 
Scarlet. 


Atlantic  City,  N.  J.,  Gramercy  Dress  Shop 

Allentown,  Pa.,  H.  Leh  &  Co. 

Atlanta,  Ga.,  J.  P.  Allen 

Austin,  Tex.,  Goodfriend 

Altoona,  Pa.,  Meyer  Jonasson 

Appleton,  Wis.,  Geenen  D.  G.  Co. 

Akron,  Ohio,  A.  Polsky 

Albuquerque,  N.  M. ,  Maxine's 

Albany,  N.  Y.,  The  Fashion  Shop 

Baltimore,  Md.,  Schleisner  Co. 

Birmingham,  Ala.,  Loveman,  Joseph  &  Loeb 

Buffalo,  N.  Y.,  Buffalo  Jenny 

Binghamton,  N.  Y.,  Sisson  Bros.  &  Weldon 

Bridgeport,  Conn.,  Outlet  Millinery  Co. 

Bluefield,  W.  Va.,  Vogue 

Boston,  Mass.,  R.  H.  Stearns 

Chicago,  III.,  Mandel  Bros. 

Champaign,  III.,  Robeson's 

Charleston,  W.  Va.,  Telford's 

Charlotte,  N.  C,  J.  B.  Ivey  Co. 

Cedar  Rapids,   la..  Wolf's 

Columbus,  Ohio,  Kins  Co. 

Cleveland,  Ohio,  Wm.  Taylor  Co. 

Dayton,  Ohio,  Joseph  Thai 

Detroit,  Mich.,  J.  L.  Hudson  Co. 

Decatur,  III.,  Carol's 

Dallas,  Tex.,  Sanger  Bros. 

Duluth,  Minn.,  Duluth  Glass  Block  Store 

Denver,  Colo.,  Gano  Downs 

El  Paso,  Tex.,  Popular  Dry  Goods 

Erie,  Pa.,  Trask,  Prescott  &  Richardson 

Great  Falls,  Mont.,  The  Paris  Fligman  Co. 

Grand  Rapids,  Mich.,  Houseman's 

Greenville,  N.  C,  Lowe's 

Hartford,  Conn;,  G.  Fox 

Houston,  Tex.,  Foley  Bros. 

Helena,  Mont.,  Fligelmann's 

Harrisburg,  Pa.,  Bowman  &  Co. 

Jacksonville,  Fla. ,  Akra  Bros. 

Kalamazoo,  Mich.,  Mezzanine  Shop 

Kansas  City,  Mo.,  Cricket  West 

Knoxville,  Tenn.,  Mayme  McCampbell 

Lancaster,  Pa.,  Hager  Bros. 

Louisville,  Ky.,  Mr.  H.  P.  Selman 

Lewistown,  Pa.,  Krentzman's  Ladies  Shop 

Lincoln,  Neb.,  Magee's 

Minneapolis,  Minn.,  Bjorkman's 

Milwaukee,  Wis.,  The  Unity 

Memphis,  Tenn.,  B.  Lowenstein 

Montgomery,  Ala.,  Nachman  &  Meertief 

Muskegon,  Mich.,  W.  P.  Lahey's 

Miami,  Fla.,  Richard's 

Manchester,  N.  H. ,  Pariseau's 

Missoula,  Mont.,  Missoula  Merc. 

Norristown,  Pa.,  Feder's 

New  Brunswick,  N.  J.,  Brook's 

Norfolk,  Va.,  House  of  Arthur  Morris 

Newark,  Ohio,  Wm.  M.  Sergeant 

New  Orleans,  La.,  Maison  Blanche 

Nashville,  Tenn.,  Joseph  Frank  &  Son 

Omaha,  Neb.,  Olive  Tate,  Inc. 

Oklahoma  City,  Okla.,  John  A.  Brown 

Philadelphia,  Pa.,  Gimbel  Bros. 

Pittsburgh,  Pa.,  Meyer  Jonassen 

Portland,  Ore.,  Meier  &  Frank 

Poughkeepsie,  N.  Y.,  Goodman 

Reading,  Pa.,  Emily  Hopkins 

Richmond,  Va.,  Miller-Rhoads 

Roanoke,  Va.,  Irving  Saks  Sportswear 

Rochester,  N.  Y,„  Kroll's 

Schenectady,  N.  Y.,  Muster's 

St.  Louis,  Mo.,  Kline's 

San  Francisco,  Calif.,  H.  Liebes  Co. 

Seattle,  Wash.,  Frederick  Nelson 

South  Bend,  Ind.,  Worth's 

Springfield,  Mass.,  Forbes  &  Wallace 

Stamford,  Conn.,  Mantell  &  Martin 

Tulsa,  Okla.,  Brown-Dunkin  Co. 

Trenton,  N.  J.,  Swagger  Shop 

Troy,  N.  Y.,  Wm.  H.  Frear  &  Co. 

Tucson,  Ariz.,  Gus  Taylor 

Utica,  N.  Y.,  Picker's 

Wilmington,  Del.,  Braunstein's 

Wichita,  Kans.,  Lewin's 

Washington,  D.  C,  Hecht  Co. 

Worcester,  Mass.,  Denholm  &  McKay 

Page  Colors:  Rose,  Aqua  Blue,  Natural, 
55        All  with  contrasting  belt. 

Baltimore,  Md.,  Hutzler  Bros. 
Boston,  Mass.,  E.  T.  Slattery 
Brooklyn,  N.  Y.,  Abraham  &  Straus 
Chicago,  III.,  Chas.  Stevens 
Cincinnati,  Ohio,  Mabley  &  Carew 


Cleveland,  Ohio,  May  Co. 
Columbus,  Ohio,  Montaldo 
Dallas,  Tex.,  Titche  Goettinger 
Dayton,  Ohio,  Elder  Johnson 
Detroit,  Mich.,  J.  L.  Hudson 
East  Orange,  N.  J.,  Doops 
Greensboro,  N.  C,  Montaldo 
Independence,  Kansas,  Montaldo 
Indianapolis,  Ind.,  L.  S.  Ayres 
Los  Angeles,  Calif.,  J.  J.  Haggerty 
Minneapolis,  Minn.,  Rockstad  &  Harold's 
Newark.  N.  J.,  L.  Bamberger  &  Co. 
Norfolk,  Va.,  Smith  Welton 
Philadelphia.  Pa.,  Strawbridge  &  Clothier 
Pittsburgh,  Pa.,  Joseph  Horne 
Providence,  R.  I.,  Gladdings 
Richmond,  Va.,  Thalheimers 
Roanoke,  Va.,  Irving  Saks  (Smartwear) 
Rochester,  N.  Y.,  McCurdy 
San  Antonio,  Tex.,  Joske  Bros. 
San  Francisco,  Calif.,  The  White  House 
Seattle.  Wash.,  Frederick  &  Nelson 
St.  Louis,  Mo.,  Famous  Ban- 
Toledo,  Ohio,  Lamson  Bros. 
Washington,  D.  C,  Landsburgh 
Winston,  N.  C,  Montaldo 

Page     .(I.)  Colors:     Heather    and  Delta 

56  Browns;  Heather,  Wing  and  Teal 
Blues. 

Same  stores  as  Page  53. 

(2.)  Colors:     Brown,    Green,    Terra  Cotta, 
Blue,  Black. 

Same  stores  as  Page  55. 

(3.)  Colors:    Range    of    10  leading 
fall  shades. 

Boston,  Mass.,  Filene's 

Brooklyn,  N.  Y.,  Frederick  Loeser 

Chicago,  III.,  Carson,  Pirie  Scott 

Cleveland,  Ohio,  Higbee 

Dallas,  Tex.,  Neiman-Marcus 

Detroit,  Mich.,  J.  L.  Hudson 

Detroit,  Mich.,  D.  T.  Healey  Shops 

Hartford,  Conn.,  G.  Fox 

Los  Angeles,  Calif.,  J.  W.  Robinson 

Los  Angeles,  Calif.,  Bullock's 

Miami,  Fla.,  Burdine's 

Milwaukee,  Wis.,  Gimbel  Bros. 

Minneapolis,  Minn.,  John  W.  Thomas  Co. 

Newark,  N.  J.,  L.  Bamberger  &  Co. 

New  York,  N.  Y.,  Macy's 

New  York,  N.  Y.,  Franklin  Simon 

New  York.  N.  Y.,  Plymouth  Shops 

New  York.  N.  Y.,  Saks  at  34th  St. 

Philadelphia,  Pa.,  John  Wanamaker 

Pittsburgh,  Pa.,  Joseph  Horne 

San  Francisco,  Calif.,  City  of  Paris 

Washington,  D.  C,  Palais  Royal 

Washington,  D.  C,  JellefF's 

(4.)  Colors:    Brown,    Green,  Black 
Combination  Top. 

Atlanta,  Ga.,  J.  P.  Allen 

Birmingham,  Ala.,  Burger  Phillips 

Bridgeport,  Conn.,  Meigs  &  Co. 

Boston,  Mass.,  Jordan  Marsh 

Brooklyn,  N.  Y.,  Abraham  &  Straus 

Chicago,  III.,  Chas.  Stevens 

Dallas,  Tex.,  Volk's 

Detroit,  Mich.,  Himelhoch  Bros. 

Hartford,  Conn.,  G.  Fox  &  Co. 

Houston,  Tex.,  Sackowitz 

Los  Angeles,  Cal. ,  J.  W.  Robinson 

Louisville,  Ky.,  H.  P.  Selman 

Memphis,  Tenn.,  John  Gerber 

Miami,  Fla.,  Burdine's 

Milwaukee,  Wis.,  Emma  Lange 

Newark,  N.  J.,  L.  Bamberger  &  Co. 

New  York,  N.  Y.,  Franklin  Simon 

New  Orleans,  La.,  D.  H.  Holmes  &  Co. 

Oklahoma  City,  Okla.,  Halliburton's 

Philadelphia,  Pa.,  Strawbridge  &  Clothier 

Pittsburgh,  Pa.,  Joseph  Horne 

San  Francisco,  Calif.,  Livingston  Bros. 

Shreveport,  La.,  Rubenstein's 

Washington,  D.  C,  Woodward  &  Lothrop 

Page      Leading  stores  in  leading  cities  carry 

57  "Close-Ups"  and 

Page      "Prop  Shop"  Specials.  Write  us  for 

58  the  store  nearest  you. 


88 


MODERN  SCREEN 


GOOD  NEWS 

(Continued  from  page  52) 


CHRISTMAS  IN  JUNE 

In  these  troubled  times  it's  news  in  Holly- 
wood, and  mighty  good  news,  when  a  player 
gets  a  five-year-contract  for  two  pictures  a 
year  at  a  decidedly  sizable  salary.  And 
when  the  contract  is  signed  on  his  first  wed- 
ding anniversary,  why  it  adds  to  the  zest  of 
the  occasion.  That's  what  happened  to 
Richard  Carlson  when  he  signed  an  RKO 
contract  just  recently.  Dick  will  be  seen 
next  as  Young  Tom  Jefferson  in  "The 
Howards  of  Virginia"  starring  Cary  Grant. 

HE  LIKES  COOKIES 

Don  Ameche,  genial  star  of  screen  and  radio, 
doesn't  eat  any  dessert  at  luncheon  the  days 
he  reports  for  rehearsals  of  his  "Old  Gold" 
broadcast  at  Columbia  Sguare  studio.  Why? 
Because  Pat  Friday,  songstress  on  the  show, 
who's  a  Home  Economics  student  at  U.C.L.A., 
always  brings  a  basket  of  delicious  nut  and 
date  cookies  to  rehearsal.  When  Don  isn't 
at  the  mike,  he's  quick-tripping  it  to  the 
cookie  basket  at  one  side  of  the  stage. 

FULL  STEAM  AHEAD 

When  Benito  Mussolini  threw  his  hat  into 
Europe's  bloody  war  ring,  it  was  a  signal  for 
Charlie  Chaplin  to  go  ahead  on  the  finishing 
touches  of  his  latest  picture,  known  as  "Pro- 
duction Number  Six."  Film  will  probably  be 
released  under  the  title,  "The  Dictators,"  and 
will  lampoon  both  Hitler  and  II  Duce.  Chaplin 
had  hesitated  before,  fearing  that  he  might 
put  America  in  a  bad  light  with  the  Italian 
leader. 

PATRIOTIC  STYLE  NOTE 

Yesterday  the  latest  fashions  could  always 
be  seen  at  Longchamps,  internationally  fa- 
mous race-track  near  Paris.  Today  they  are 
seen  at  the  Turf  Club  during  the  racing  sea- 
son at  Hollywood  Park,  a  few  miles  from  the 
Movie  Capital.  Irene  Hervey  (Mrs.  Allan 
Jones  in  private  life)  got  the  best-dressed  vote 
there  recently  when  she  appeared  in  a  white 
wool  jersey  with  draped  surplice  bodice,  slim 
waist  and  full,  short  skirt.  Turban  of  the  same 
material,    white   suede   accessories    and  a 


Solution  to  Puzzle  on  Page  16 


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three-quarter  length  white  fox  coat  completed 
the  ensemble.  Only  jewelry  accent  was  a 
stunning  clip  of  rubies,  diamonds  and  sap- 
phires, set  in  yellow  gold  in  "Old  Glory" 
design. 

BENEFIT 

Edward  G.  Robinson  has  one  of  the  finest  art 
collections  in  the  Film  Capital.  When  Presi- 
dent Roosevelt  made  his  stirring  appeal  for 
funds  to  help  the  Allies,  Mr.  and  Mrs.  Robin- 
son, quick  to  respond  to  that  appeal,  went 
even  further.  They  opened  their  home  for 
an  exhibition  of  their  treasures  and  turned 
all  money  received  over  to  the  Red  Cross. 

SURPRISE! 

That  genius-recluse  of  Hollywood,  Paul  Muni, 
found  a  surprise  waiting  for  him  when  he 
returned  to  his  San  Fernando  Valley  home 
after  his  "Key  Largo"  tour.  Mrs.  Muni  had 
had  the  entire  house  redecorated  while  he 
was  away,  and  extra  shelves  built  in  some 
of  the  living-rooms  to  accommodate  her  hus- 
band's ever-growing  library  of  books  and 
recordings.  And  while  on  the  subject  of  Mr. 
Muni,  those  who  want  to  see  him  in  person 
will  never  find  him  at  any  of  the  well-known 
Hollywood  haunts.  He's  a  stranger  to  all 
of  them.  But  should  they  drive  out  along 
Ventura  Boulevard  and  chance  to  see  an 
unassuming  figure  with  hat  pulled  well 
down  over  the  eyes,  tramping  along  the 
road  accompanied  by  a  pair  of  lively  Aire- 
dales, that  would  be  Muni! 

RAISES  HIS  OWN 

Ask  any  cook  in  a  dozen  movie  homes  in 
Hollywood  if  they  make  the  Guava  jelly 
they  serve  with  toast  and  roasts,  and  they'll 
shake  their  heads.  But  if  you  should  chance 
to  put  that  question  to  the  cook  in  the  Brent- 
wood Heights  home  of  Joe  E.  Brown,  there 
would  be  a  quick  "yes"  forthcoming.  Fur- 
thermore, if  she  were  to  let  you  taste  it,  you'd 
find  the  flavor  just  a  bit  finer.  The  reason 
for  that  is  simply  this:  Joe  E.  has  a  Guava 
grove  on  his  estate  of  which  he's  exceedingly 
proud,  and  the  Brown  cook  is  a  whiz  at 
turning  the  fruit  into  delicious  jelly. 

ACTOR  ESCAPES 

Friends  of  Leslie  Howard  were  relieved  when 
word  came  that  he  had  escaped  from  Paris 
to  London,  just  before  Hitler  launched  his 
frightful  attack  on  the  French  capital.  How- 
ard is  now  at  his  Stowe-Maries  home,  thirty 
miles  from  London.  Upon  his  arrival,  he 
was  greeted  by  thirty-five  English  children 
billeted  there. 

VERSATILE 

Ian  Hunter,  who  always  gives  a  swell  per- 
formance though  he  never  gets  the  heroine, 
has  a  decided  flair  for  invention  as  well  as 
acting.  His  latest  is  a  design  for  a  new 
type  of  mosquito  speed  boat.  As  soon  as 
his  plans  are  perfected,  he  will  offer  them 
to  the  government  for  approval. 

SANCTUARY 

Contrary  to  popular  belief,  the  life  of  the 
movie  player  isn't  all  beer  and  skittles,  es- 
pecially when  he  is  sent  on  location.  Out- 


standing example  was  the  experience  of  the 
cast  in  "Arizona,"  when  they  were  sent  to 
the  desert.  Location  site  for  the  scenes  was 
infested  with  snakes,  Gila  monsters,  scor- 
pions and  other  reptiles,  which  made  life 
pretty  miserable  for  the  whole  troupe,  until 
Warren  William  came  to  their  rescue.  War- 
ren had  brought  his  own  trailer  to  location 
and  proceeded  to  devise  a  way  to  keep  the 
reptiles  out  of  one  area  at  least.  He  circled 
the  spot  where  his  trailer  stood  with  wire, 
attached  it  to  the  electrical  apparatus  that 
lighted  the  trailer,  and  no  crawling  visitor 
ventured  over  the  charged  wire.  During  lei- 
sure hours,  the  whole  troupe  gathered  inside 
the  magic  circle. 

SOME  RECORD! 

It's  quite  a  distance  from  Seattle,  Washing- 
ton, to  Hollywood,  California  —  roughly 
speaking,  about  thirteen  hundred  miles.  How 
long  do  you  think  it  would  take  a  man  who 
was  a  bicycling  enthusiast  to  wheel  it?  Joel 
McCrea,  star  of  Walter  Wanger's  "Foreign 


The  doctors  prescribed  lots  of  fresh 
air  and  exercise  for  work-worn  Joan 
Blondell,  and  Dick  Powell's  seeing  that 
she  gets  it — if  it  kills  him! 


Correspondent,"  has  a  record  for  others  to 
shoot  at.  He  once  made  the  trip  by  bicycle 
in  15  days! 

APOLOGY  BRINGS  COMPLIMENT 

Seeing  titian-haired  Greer  Garson,  who 
looks  as  modern  as  tomorrow,  one  would 
hardly  expect  to  find  her  deeply  interested 
in  Chinese  philosophy.  Too,  she  lives  the 
poetry  of  ancient  Cathay,  and  her  favorite 
book  is  "The  Importance  of  Living"  authored 
by  the  eminent  Dr.  Lin  Yutang.  When  Dr. 
Lin  was  in  Hollywood  not  so  long  ago,  Greer 
screwed  up  her  courage  and  invited  the  great 
man  to  tea.  She  was  delighted  when  he 
accepted  the  invitation.  When  tea  was  over, 
Greer  brought  out  her  copy  of  "The  Im- 
portance of  Living"  for  Dr.  Lin  to  autograph, 
but  not  before  she  had  apologized  for  the 
terribly  worn  and  really  dog-eared  appear- 


ance of  the  book  that  goes  everywhere  Greer 
goes.  But  the  philosopher-author  only 
smiled  as  he  inscribed  his  name  and  said: 
"My  dear  child,  the  appearance  of  this  copy 
is  a  great  compliment  to  me.  It  shows  that 
you  really  read  it.  The  leaves  aren't  cut  on" 
many  I've  been  asked  to  autograph." 

TRIPLE  INSURANCE 

When  Mary  Martin  married  Richard  Halliday, 
he  gave  her  one  of  those  tricky  come-apart 
wedding  rings.  But  in  the  face  of  the  evil 
jinx  that  stalks  so  many  movie  marriages, 
the  bride  was  a  bit  fearful  of  its  significance. 
So  she  and  her  husband  went  out  and  pur- 
chased a  circlet  heavily  encrusted  with  gems. 
Mary  found  this  one  uncomfortable.  Conse- 
quently, the  newlyweds  again  hied  them- 
selves to  the  jewelers  and  bought  a  simple 
gold  band  sans  break  or  gems,  which  seems 
to  be  entirely  satisfactory.  Three  wedding 
rings  to  bind  one  marriage! 

B.  A.  D. 

Suppose  a  good  numerologist  could  dig  up  a 
real  connection  between  those  three  letters 
and  the  life  and  career  of  the  screen's  fore- 
most villain,  Brian  Donlevy,  now  doing  the 
role  of  a  hero  in  "When  the  Daltons  Rode." 
Brian's  tried  to  keep  it  a  secret,  but  it's  leaked 
out  that  his  initials  are  "B.A.D." 

JOY  BEHIND  SOBS 

Thirteen-year-old  Betty  Brewer  who  plays  the 
lead  opposite  Fred  MacMurray  in  "Rangers 
of  Fortune,"  had  Director  Sam  Wood  a  bit 
puzzled  by  her  ability  to  portray  tragedy 
effectively.  Betty  acted  as  though  she  had 
been  beaten  and  had  onions  rubbed  in  her 
eyes  to  boot!  When  Wood  questioned  her, 
Betty  said  simply,  "It's  not  hard.  I  just  think 
how  happy  I  am  now,  and  how  unhappy  I 
used  to  be."  Reason  for  that  rather  con- 
tradictory statement:  Betty's  family  was  on 
relief,  and  the  child  was  singing  on  the 
streets  for  pennies  when  the  movies  discov- 
ered her. 

SECOND  GENERATION 

Sons  of  well-known  movie  stars  are  follow- 
ing right  in  their  parents'  footsteps.  Tim 
Holt,  son  of  Jack  Holt;  Douglas  Fairbanks, 
Jr.;  Lon  Chaney,  Jr.;  Noah  Beery,  Jr.;  Brode- 
rick  Crawford,  son  of  Comedienne  Helen 
Broderick,  are  all  stepping  right  along.  Latest 
and  youngest  to  join  the  ranks  is  Dickie  Lyon, 
the  five-year-old  son  of  Bebe  Daniels  and  Ben 
Lyon.  Dickie's  first  assignment  is  the  role  of 
Cary  Grant's  son  in  "The  Howards  of  Virgi- 
nia." He's  having  the  time  of  his  life  be- 
cause Cary  is  his  hero  and,  when  a  small 
boy's  hero  also  takes  the  time  to  give  him 
pointers  on  acting,  it  makes  the  situation  just 
about  perfect. 

ACTOR-REALTOR 

Dick  Powell  likes  to  dabble  in  real  estate 
and  snaps  up  a  good  buy  when  he  sees  one. 
While  on  location  for  the  picture  "I  Want  a 
Divorce,"  Dick  and  Joan  became  so  attached 
to  the  ranch  house  near  Monrovia,  California, 
where  some  of  the  scenes  were  filmed,  that 
they  purchased  the  property  for  use  as  a 
country  home.  "But  aside  from  that,"  Dick 
added,  "it's  a  mighty  good  investment." 


90 


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FOUNDED    BY  E.  T.  REYNOLDS 


PERSONALLY,  I  LIKE   CAMELS  BEST 


THEY  ARE 


IUCH   MILDER.  YOU   KNOW  I 


...MISS  POLLY  PEABODY  OF  NEW  YORK 


A  few  of  the  many  other 
distinguished  ivomen  who  appreciate 
Camel's  "extras" 

Mrs.  Nicholas  Biddle,  Philadelphia 
Mrs.  Gail  Borden,  Chicago 
Mrs.  Powell  Cabot,  Boston 
Mrs.  Thomas  M.  Carnegie,  Jr.,  Philadelphia 
Mrs.  Clement  Cleveland  III,  A'eio  York 
Mrs.  J.  Gardner  Coolidge  2nd.  Boston 
Mrs.  Anthony  J.  Drexel  3rd.  Philadelphia 
Mrs.  Alexander  Cochrane  Forbes,  New  York 
Mrs.  Oliver  De  Gray  Vanderbilt  III,  Cincinnati 
Mrs.  Kiliaen  M.  Van  Rensselaer,  New  York 


eXTR*  ******* 
EXT*A  COOWN*SS 

EXTRA  rVAVOR 


She's  a  gay  young  cosmopolite 

Young  as  she  is,  Polly  Peabody  has 
made  over  thirty  ocean  crossings.  She 
attended  school  in  France  and  Switzer- 
land . .  .  had  debut  parties  in  Boston, 
New  York,  Paris  . . . 

Leads  an  active  life 

Polly  likes  hunting,  swimming,  and 
aquaplaning.  In  Manhattan  she  reads 
plays  for  a  famous  Broadway  pro- 
ducer, works  on  charity  committees. 
Her  favorite  cigarette  is  Camel. 

Likes  those  Camel  "extras" 

"Camels  suit  me,"  she  says.  "They 
have  everything  I  look  for  in  a  ciga- 
rette. Mildness,  coolness,  real  flavor 


—and  more  than  their  share  of  each." 

Prefers  clothes 
"on  the  tailored  side" 

She  favors  sports  ensembles,  tailleurs, 
earrings,  amusing  pins  .  .  .  and  the 
only  flower  she  wears  is  a  camellia. 
Above,  in  a  cabana  costume  of  wide- 
striped  sharkskin,  Polly  looks  cool, 
feels  cool,  and— as  she  blithely  adds— 
"is  enjoying  a  cool  smoke." 

Notes  that  Camels 
burn  "cool  and  mild" 

"I  like  the  nice,  cool  way  Camels 
smoke,"  she  says.  "They're  wonder- 
fully mild  —  gentle  to  my  throat.  Even 
though  I  smoke  quite  steadily,  Camel 
cigarettes  never  tire  my  taste." 


Copyright,  1940,  H.  J.  Beynolds  Tobacco  Co.,  Winston-Salem,  N.  C. 


•  In  recent  laboratory  tests, 
Camels  burned  25%  slower 
than  the  average  of  the  15  other 
of  the  largest-selling  brands 
tested— slower  than  any  of  them. 
That  means,  on  the  average,  a 
smoking  plus  equal  to 

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PER  PACK! 


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THE  COMPLETE  STORY  OF 


Starring 


helped  him  overthrow 
the  most  ruthless  power  in  the  West! 


Watch  for  this  spectacular  picture  at  your  local  theatre! 


HIS  eyes  signalled: 


UNTIL. ALAS.  SHE  SMILED! 


Protect  your  own  bright  smile.  Let  Ipana  and  Massage 
help  guard  against  "Pink  Tooth  Brush"! 


SHE  HAD  ALWAYS  HOPED  it  would  hap- 
pen this  way— soft  lights,  smooth  music, 
his  eyes  speaking  volumes:  "You're  beauti- 
jul,"  they  said,  "beautiful"! 

But  then— she  smiled!  And  his  eager- 
ness gave  way  to  indifference.  For  beauty 
is  always  dimmed  and  darkened  under  the 
cloud  of  a  dull  and  dingy  smile. 

DOK'T  TAKE  CHANCES  with  your  own 
priceless  smile  .  .  .  with  your  own  happi- 
ness. Give  your  gums 
as  well  as  your  teeth 
the  daily  care  they 
need.  And  never  ig- 
nore the  warning  of 
"pink  tooth  brush"! 
The  minute  you  see 
that  tinge  of  "pink"  on 
your  tooth  brush— make 
a  date  to  see  your  dentist. 


And  take  the  advice  he 
gives  you. 

WHAT  "PINK  TOOTH 
BRUSH"  MEANS. 

"Pink"  on  your  tooth 
brush  may  not  mean 
serious  trouble,  but  let 
your  dentist  decide. 
Chances  are  he  will  say 
that  your  gums,  denied 
hard  chewing  by  the  many  soft,  creamy 
foods  we  eat  today,  have  become  tender, 
weak  from  lack  of  exercise.  And,  like  so 
many  dentists  these  days,  he  may  suggest 
"the  healthful  stimulation  of  Ipana  Tooth 
Paste  and  massage." 

FOR  IPANA,  WITH  MASSAGE,  is  spe- 
cially designed  not  only  to  clean  teeth 
thoroughly  but  to  help  invigorate  the 


gums.  So,  massage  a  little  extra  Ipana  onto 
your  gums  whenever  you  brush  your  teeth. 
The  pleasant  "tang"  you'll  notice— exclu- 
sive with  Ipana  and  massage— is  evidence 
that  gum  circulation  is  increasing— help- 
ing gums  to  become  firmer,  healthier. 

GET  A  TUBE  OF  IPANA  TODAY!  Start  the 
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it  helps  your  gums  to  become  stronger, 
your  teeth  brighter, 
your  smile  more  radi- 
antly lovely. 

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twisted  handle  for 
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ing, more  effective 
gum  massage. 


IPANA  TOOTH  PASTE 


OCTOBER,  1940 


3 


©C1B  46925: 


SEP  11  ig/,0 


PEARL  H.  F1NLEY 

Editor 

ZAILA  SEGUIN 

Associate  Editor 

ALTHEA  RICKERT 

Fashion  Editor 


Cover  Girl:  Bette  Davis,  natu- 
ral color  photograph  by  Hurrell 


J     THE  SECRET  OF  LOMBARD'S  SUCCESS 

We've  known  all  along  she  was  wonderful,  but  now  we  know  why!   22 

HE'S  COLOSSAL! 

Some  new  Goldwyn  stories  to  top  the  tallest  ones  you've  ever  heard   24 

NURSERIES  FOR  NEWCOMERS 

If  you've  got  the  "stuff,"  the  little  theatres  may  make  you  a  star!   26 

FOR  MEN  ONLY! 

Stand  by  for  a  shock,  boys!  The  heady  Lamarr  has  the  floor   28 

PRINCE  CHARMING— IN  SPITE  OF  HIMSELF 

It  took  a  woman  to  solve  the  mystery  that  was  Ronnie  Colman    32 

WHY  GIRLS  CAN'T  RESIST  HIM 

He  breaks  every  glamour  rule,  but  Bing  Crosby's  still  a  lady-killer!   36 

LET'S  GET  PERSONAL! 

Dozens  of  little  things  you  never  knew  till  now  about  Judy  Garland   38 

SOMETHING  TO  WRITE  HOME  ABOUT 

That's  Bill  Holden — the  boy  who  played  hookey  and  got  away  with  it!  .  .  .  40 
BRIGHTEN  YOUR  SMILE 

Trite  but  true,  a  miss  is  still  as  good  as  her  smile   44 

THE  LETTER 

Fictionization  of  Bette  Davis'  gripping  new  film   46 

*jr     GOING  PLACES? 

Your  favorite  reefer  trimmed  with  elegant  Persian  lamb   53 

THE  AMERICAN  FASHION  SCENE 

Star-spangled  fashions,  as  American  as  a  football  yell   54 

CLOTHES  FOR  THE  WEEK 

A  design  for  dressing  that'll  break  hearts  without  breaking  you!   56 

PROP  SHOP 

If  you're  accessory-minded,  this  is  your  very  own  corner   58 

Reviews    * 

Information  Desk   8 

Hollywood's  Fan  Mail  '   12 

Our  Puzzle  Page   14 

Easy-to-Kn.it  Sweaters   16 

On  The  Set  With  "Knute  Roclcne"   30 

Good    News   49 

Movie  Scoreboard  -   62 

Modern  Hostess  


Vol  21  No.  5,  October,  1940.  Copyright,  1940,  the  Dell  Publishing  Co.,  Inc.,  149  Madison 
Ave  New  York.  Published  monthly.  Printed  in  U.  S.  A.  Office  of  publication  at  Washington 
and  South  Aves.,  Dunellen,  N.  J.  Single  copy  price  10c  in  U.  S.  and  Canada,  U.  S.  subscription 
price  $1.00  a  year,  Canadian  subscription  $1.20  a  year;  foreign  subscription  $2.20  a  year,  entered 
as  second-class  matter,  Sept.  18,  1930,  at  the  Postoffice,  Dunellen,  N.  J.,  under  Act  of  March  3, 
1879  Additional  second  class  entries  at  Seattle,  Wash;  San  Francisco,  Calif.,  Houston,  lexas. 
Savannah,  Ga.,  and  New  Orleans,  La.  The  publishers  accept  no  responsibility  for  the  return  o 
unsolicited  material.  Names  of  characters  used  in  semi-fictional  matter  are  fictitious.  It  the  name  ot 
any  living  person  is  used  it  is  purely  a  coincidence.    Trademark  No.  301773. 


4 


MODERN  SCREEN 


Just  when  you  think  that  Mickey 
couldn't  possibly  top  his  amazing 
hit  record,  along  comes  a  new  show 
funnier  than  ever!.  ..This one  even 
tops  the  laughs,  songs  and  dance 
entertainment  of  "  Babes  in  Arms"  I 


Yes!  It's  Judy!  She's  sending  those 
sweet  and  hot  notes  right  to  the 
bottom  of  your  heart  again!  Hear 
her  swing  out  with  "Strike  Up 
the  Band",  "Our  Love  Affair", 
"Nobody"  and  many  more! 


The  Merriest  Pai 


Screen  in  a  Great  Musical  Show! 

161 


with 


PAUL  WHITEMAN  AND  ORCHESTRA  KJ~  ~ 

JUNE  PREISSER    •    WILLIAM  TRACY 

Screen  Play  by  John  Monks,  Jr.  &  Fred  Finklehoffe  •  Directed  by  Busby  Berkeley 
Produced  by  ARTHUR  FREED  •  A  Metro-Goldwyn-Mayer  Picture 


Paul  Whiteman,  "King  of  Jazz',' 
and  a  flock  of  peppy  personalities! 


OCTOBER,  1940 


5 


oik  sira 

t«  PlLM  ENTERTAINMENT 
A  GUIDE  TO  FILM  *™ 


★★★V2  THE  SEA  HAWK 

REVIEW — Once  again  Sabatini's  salty 
superman  is  roving  the  seas  for  England, 
sinking,  pirating  and  capturing  the  enemies 
of  Albion  in  the  name  of  good  Queen 
Bess.  If  you  like  a  good,  long  sea  yarn, 
filled  with  blood,  and  thunder,  magnificent 
sea  battles  and  sword  play,  stately  shots 
of  those  wooden  tubs  of  yore  with  their 
cannonballs  and  clumsy  dignity,  rough, 
tough  crews  full  of  derring-do— and  a 
handsome  hero  and  heroine— here's  your 
meat. 

It  all  opens  with  an  amazing  sea  battle 
in  which  the  very  spry  Errol  Flynn  sinks 
a  Spanish  privateer.  One  of  the  best  sea 
battles  ever  filmed,  it  would  seem  hard  for 
the  picture  to  top  that  scene  but  it  man- 
ages to  very  nicely.  There  are  exciting 
moments  in  the  tropical  jungles,  in  which 
Errol  and  his  rough-toughs  are  captured  by 
the  Spanish,  thanks  to  Fifth  Column  work 
back  in  England,  and  some  pretty  hectic 
scenes  of  horror  in  the  galleys  to  which 
Errol  8c  Co.  thereafter  are  assigned.  Their 
escape  from  the  galleys  and  their  subse- 
quent capture  of  a  Spanish  warship  is 
packed  with  much  prickly  suspense. 

Though  very  athletic,  Mr.  Flynn  is  no 
Doug  Fairbanks,  for  whom  the  part  seems 
to  exist.  Miss  Brenda  Marshall,  new  to 
films,  may  not  have  more  acting  expres- 
sions than  Flynn,  but  she  is  easy  on  the 
eyes.  Claude  Rains  is  in  the  picture  but 
it's  hard  to  tell  him  in  his  disguise  of  a 
dark,  curly  chop-beard,  and  it's  just  as 
well.  It's  his  poorest  job.  But  the  motley, 
grimy  crew  around  Flynn  is  well  cast,  and 
Flora  Robson  is  truly  slick  as  the  ugly 
Queen  Bess — the  best  part  in  it  all.  Di- 
rected by  Mike  Curtiz. — Warner  Brothers. 


PREVIEW  POSTSCRIPTS:  Warners  shot 
the  works  on  this— $1,750,000  .  .  .  3,500 
extras  worked  eight  weeks  in  sea  scenes 
at  a  salary  cost  of  $300,000  .  .  .  60  ward- 
robe ladies  and  tailors  stitched  two  months 
on  the  many  Elizabethan  costumes.  They 
cost  over  $100,000  ...  A  vasr  sreei  and 
concrete  marine  stage  was  built  lor  $90,000, 
measuring  160  by  270  feet,  and  holding 
up  to  12  feet  of  water.  375  men  worked 
11  weeks  with  three  shifts  a  day  to  build 
the  British  hull  and  the  Spanish  galleon 
that  fight  in  this.  These  warships  cost 
$150,000  .  .  .  60  trained  gunners  and  120 
assistants  operated  those  cannons  during 
the  battle  scenes — and  though  the  cannons 
roared,  they  flung  no  actual  shot.  All 
those  hits  were  made  by  hidden  charges 
of  powder  set  off  by  electric  spark  .  .  . 
Tho  both  ships  were  seaworthy,  all  fights 
and  sinking  of  the  Madre  de  Dios  were 
done  on  the  new  Marine  Stage  .  .  .  The 
"dream-chasing"  Errol  Flynn  studied 
Spanish  during  filming,  preparing  for  his 
air  flight  around  South  America.  He  and 
Lili  still  get  on  by  loving  in  opposite  di- 
rections. Five  years  ago  they  were  calling 
Errol  "Hey  you!"  around  the  sets.  Today 
he's  Mister  .  .  .  Brenda  Marshall  is  really 
Ardis  Ankerson  Gaines,  was  born  on  the 
Island  of  Negroes  in  the  Philippines,  is 
25,  Texas-raised  and  a  Texas  State  College 
grad.  Her  first  kissing  scene  with  Errol 
Flynn  was  filmed  behind  locked  sets.  The 
jitters  had  to  be  dispelled  .  .  .  Original 
Hawk  didn't  come  to  a  penny  more  than 
$500,000. 

PRIDE  AND 
PREJUDICE 

REVIEW — Jane  Austen's  fine  novel  of 
Olde  English  manners  of  the  18th  Cen- 
tury has  been  done  over  into  a  nice,  long 
costume  comedy  which  won't  disappoint 
you  whether  you  have  or  haven't  read 
the  book.    Aldous  Hulxey,  probably  the 


most  intellectual  young  man  in  the  world 
today,  had  a  hand  in  its  writing;  Robert 
Z.  Leonard  directed  it  with  a  light,  often 
farcical  touch;  the  cast  is  studded  with 
lovely,  young  fresh  creatures,  and  it  is 
as  fresh  and  humorous  a  comment  on 
social  snobbery  and  hypocrisy  as  Miss 
Austen  intended  it  to  be. 

Not  an  uproarious  affair,  the  charm  of 
the  picture,  as  that  of  the  book,  lies  in 
the  plots,  counterplots  and  old-fashioned 
social  talk,  larded  with  the  epigrams  that 
people  evidently  used.  The  cumbersome, 
seemingly  formless  story  reduces  to  this: 
Mary  Boland,  playing  her  fluttery  self, 
has  five  marriageable  daughters,  and  a 
frank,  noisy  determination  to  see  them 
all  married — well.  Among  them  is  Greer 
Garson,  who  plays  the  "modern"  daughter 
Lizzie,  for  whom  a  Mr.  Darcy,  played  by 
Mr.  Laurence  Olivier,  falls.  Lizzie  de- 
spises his  snobbishness,  but  finds  herself 
falling  desperately  in  love  with  Mr.  Darcy, 
and  the  best  part  of  the  picture  tells  how 
they  finally  get  together. 

Acting  honors  go  to  Greer  Garson,  who 
looks  as  if  she'll  succeed  Norma  Shearer 
as  the  leading  comedienne  of  Hollywood. 
Miss  Garson,  though  not  the  breath-taking- 
beauty  type,  has  great  charm  and  is  a 
skillful  actress.  Olivier  certainly  provided 
enough  heart  throbs  to  overcome  any  short- 
comings, but  the  rest  of  the  cast  seemed 
slightly  wooden  against  Greer  Garson's 
shining  job. 

The  backgrounds  are  charming  and 
pleasing  on  the  eye;  the  swing  of  the 
high  class  speeches  and  oldtime  wit  is 
easy  on  the  ear,  and  the  picture  never 
goes  "quaint,"  so  I  am  sure  you'll  have  a 
good,  profitable  and  classical  time  at  it. 
Directed  by  Robert  Z.  Leonard. — Metro- 
Goldwyn-Mayer. 

PREVIEW  POSTSCRIPTS:    P  &  P— 

Jane  Austen's  first  novel — was  written 
around  1797,  but  dumb  publishers  held 
up  its  publication  for  almost  twenty  years! 
.  .  .  Greer  Garson's  from  County  Down, 
North  of  Ireland,  has  Florentine  red  hair, 
green  eyes,  and  is  technically  an  Orcadian, 
her  father  having  been  born  on  the  Orkney 
Islands.  Greer's  a  London  U.  grad;  comes 
from  a  long  line  of  anti-theatre  parsons, 
kirk  elders,  doctors;  got  on  stage  only  be- 
cause an  M.D.  said  it  would  cure  what 
ailed  her  .  .  .  Laurence  Olivier  doesn't 
want  to  be  tagged  as  a  Great  Lover.  He 
wants  to  be  a  Great  Actor.  He  and  M-G-M 
invested  about  $150,000  in  Romeo  & 
Juliet,  which  he  played  with  Viv  Leigh 
on  Broadway  late  last  spring,  and  which 
failed  to  wow  anybody  .  .  .  Edna  May 
Oliver  is  Boston-born  and  bred,  kindly, 
caustic  and  anecdotal  off-screen  .  .  .  Supper 
served  in  pic  contained  thirty  distinct 
items.  This  was  considered  just  a  light 
Sunday  night  snack  in  the  1790' s  .  .  . 
Picture  provided  a  financial  field  day  for 
the  horse  and  buggy  renters  of  Hollywood, 
recently  starving  to  death  .  .  .  Director 
Rob  Leonard  used  to  be  a  ham  himself; 
can  remember  when  a  colossal  feature  was 
m^<ie  in  a  single  day,  when  salaries  ran 
as  high  as  $50  a  week  and  picture  budgets 
as  high  as  $700  .  .  .  P  &  P  budget  came  to 
about  $1,500,000.  (Continued  on  page  11) 


6 


MODERN  SCREEN 


"A  Miracle  is  happening  to  You  right  now 

A  'NEW-BORN-SKIN' 

for  your  OLDER  Skin ! ' '  d^zdz, 


/ 


X 


Is  that  possible?  Yes  it  is!  It  is  not  only  possible,  it 
is  certain.  For  right  now,  nature  is  bringing  you  a 
wonderful  gift,  a  gift  of  a  New-Born  Skin.  It  can 
make  you  look  younger,  it  can  make  you  look  love- 
lier and  my  4-Purpose  Face  Cream  can  bring  to  this 
New-Born  Skin  a  newer  and  more  flattering  beauty. 

JUST  BENEATH  your  present  skin  lies  a  younger  and  a 
lovelier  one!  Yes,  with  every  tick  of  the  clock,  with 
every  mortal  breath  you  draw,  a  new  skin  is  coming  to  life 
on  your  face,  your  arms,  your  entire  body. 

Will  it  be  a  more  glamorous  skin?  Can  it  make  you  look 
more  youthful?  Yes,  says  Lady  Esther,  it  can!  If  . . . 

If  only  you  will  let  my  4-Purpose  Face  Cream  help  you 
to  free  your  skin  from  those  tiny,  almost  invisible  flakes 
of  worn-out  skin  that  must  be  removed  gently  before 
your  new-born  skin  can  be  revealed  in  all  its  glory! 

Why  should  any  woman  risk  this  menace  to  her  youth- 
ful loveliness  ?  Yes,  why  should  she  be  a  victim  of  her  old, 
her  worn-out,  her  lifeless  skin?  asks  Lady  Esther. 

My  4-Purpose  Face  Cream  gently,  soothingly  permeates 
these  lifeless  flakes  .  .  .  and  the  tiny  rough  spots  vanish! 
Impurities  are  lightly  whisked  away  .  .  .  your  skin  looks 
fresh  as  youth  itself ...  so  smooth  that  powder  stays  on 
for  hours!  Lady  Esther  Face  Cream  cleanses  so  thoroughly 
and  so  gently  that  it  actually  helps  nature  refine  the  pores ! 
All  the  world  sees  your  skin  in  all  its  New-Born  Beauty! 

Ask  Your  Doctor  About  Your  Face  Cream 

Only  the  purest  of  creams  can  make  your  budding  skin  as 
beautiful  as  it  should  be. 

Ask  your  doctor,  and  all  the  better  if  he  is  a  specialist 
on  the  skin.  Ask  him  if  he  has  ever,  for  any  skin  condition, 
administered  vitamins  or  hormones  through  the  medium 
of  a  face  cream. 

Ask  him  if  every  word  Lady  Esther  says  isn't  true— that 
her  cream  removes  the  dirt,  impurities,  and  worn-out  skin 
beclouding  your  new  skin  about  to  be  born! 

Try  my  4-Purpose  Face  Cream  at  my  expense.  See  if  it 
doesn't  bring  you  New-Born  Beauty  — if  it  doesn't  keep 
your  Accent  on  Youth! 


★PROVE  AT  ^EXPENSE  7 


The  Miracle  of  Reborn  Skin 

Your  skin  is  constantly  wearing  out — 
drying — flaking  off  almost  invisibly.  But 
it  is  immediately  replaced  by  new-born 
skin — always  crowding  upward  and  out- 
ward. Lady  Esther  says  you  can  help 
make  each  rebirth  of  your  skin  a  true 
Rebirth  of  Beautv ! 


(//  you  live  in  Canada,  write  Lady  Esther,  Toronto,  Out.) 


7 


WE  KNOW  A  MILLION  SECRETS  AND  ARE  DYING  TO  SPILL  'EM.  WRITE  IN! 


NOTE:  If  you  desire  a  reply  by  mail, 
send  a  stamped,  self-addressed  envelope 
to  Information  Desk,  Modern  Screen,  149 
Madison  Avenue,  New  York,  N.  Y. 

Hazel  Spencer.  Falconbridge,  Ont.  Come- 
dienne Gail  Patrick,  who's  a  fugitive  from 
heavy  drama  and  sophistication,  was  born 
in  Birmingham,  Alabama,  with  the  Irish- 
as-Paddy's-pig  name  of  Peggy  Fitzpat- 
rick.  She  is  just  twenty -seven  and  very 
happily  married  to  Bob  Cobb,  manager 
of  the  Hollywood  Brown  Derby.  Black- 
haired  and  dark-eyed,  Gail  is  five  feet 
seven  and  weighs  120  pounds.  She  says 
she's  a  little  overweight,  but  absolutely 
refuses  to  diet.  She  graduated  from 
Howard  College,  with  every  intention  of 
becoming  a  woman  lawyer.  That,  how- 
ever, was  before  Paramount  launched  its 
famous  Panther  Woman  contest.  Gail 
sent  in  her  picture  just  for  fun,  and  was 
stunned  to  discover  that  she'd  won  a 
movie  contract!  Says  her  greatest  vice  is 
an  incurable  mania  for  match-making. 
She's  always  trying  to  marry  off  her 
friends.  She  loves  to  dance,  hates  smok- 
ing and  is  a  collector  of  perfume.  Your 
favorite  cowboy,  Gene  Autry,  is  six  feet 
tall  and  will  be  thirty-three  on  Septem- 
ber 29.  Yes,  he  does  wear  cowboy  clothes 
off  screen,  and  his  pet  rig  is  a  blue  shirt, 
white  chaps  and  an  enormous  sombrero. 

Margaret  Ann  Bell,  Waxahachie,  Texas. 
Small  wonder  you  think  Bob  Steele  is  a 
grand  actor.  He's  been  in  the  profession 
since  he  was  two!  His  dad  was  a  vaude- 
ville player,  and  he  made  Bob  part  of  the 
act  as  soon  as  he  could  toddle.  When  he 
was  fourteen,  Bob  and  his  twin  brother 
were  corralled  by  Hollywood  for  "The 
Adventures  of  Bob  and  Bill,"  and  from 
then  until  now,  he's  scarcely  missed  a 
day's  work  before  the  cameras.  His  real 
name  is  Robert  Bradbury,  and  he  was 
born  in  Portland,  Oregon,  on  January  23, 
1906.  He's  five  feet  ten,  and  occasionally 
gets  into  high  heeled  boots  to  make  him- 
self look  taller.  He  weighs  155  pounds 
and  has  blue  eyes  and  brown  hair.  He's 
divorced  from  his  first  wife,  Louise,  and 
is  married  again.  Rootin'  tootin'  Bob  is  a 
terrific  baseball  fan,  is  a  mighty  fine 
poker  player  and  can  swim,  sail  and  golf 
with  equal  ease. 

Virginia  Monk,  Trenton,  N.  J.  Yes,  Priscilla 
Lane  was  married  to  Assistant-Director 
Oren  Haglund.  Everyone  thought  they 
were  engaged,  but  their  marriage  was 
kept  a  secret  until  "Pat"  recently  sued 
for  divorce.  She  claims  they  lived  to- 
gether only  one  day,  but  Oren  says  they 
were  blissfully  happy  for  over  a  year. 
You  can  reach  Priscilla  at  Warner 
Brothers  Studios,  Burbank,  California. 
We  really  can't  give  you  the  exact  cost 


WHAT'S  IN  A  NAME? 

We  didn't  forget  last  month's 
promise!  Here  are  stories  be- 
hind the  names  of  more  stars. 
If  you  don't  find  one  on  your 
favorite,  write  and  ask  us  for  it. 

Her  name  was  long  and  oomph- 
less — Greta  Gustafsson — and 
when  she  came  to  Hollywood  she 
was  told  she  could  choose  a  new 
one.  Anyone  she  wanted!  Greta 
was  hurt.  She  huffed  out  of  the 
studio,  head  high  and  arrogant. 
"I've  got  it!"  yelled  a  young 
Spanish  director.  "Call  her 
Garbo."  "Garbo!"  shouted  Louis 
Mayer.  "I  like  it."  But  when 
Greta  heard  it,  she  thought  they 
were  saying  "garbage."  She  was 
wild!  She  wanted  to  go  home. 
It  took  several  interpreters  three 
weeks  to  explain  that  "garbo" 
was  Spanish  for  a  regal  way  of 
walking! 

He  has  a  million  freckles  and 
a  jaw  like  Gentleman  Jim  Cor- 
bett.  At  three,  Hollywood  de- 
cided he  was  little-tough-guy 
movie  timber,  but  his  name  con- 
jured up  governesses  and  satin- 
lined  perambulators.  Joseph  Yule, 
Jr.,  was  far  too  elegant.  "Got 
a  face  like  the  map  of  Ireland," 
said  one  executive.  "Call  him 
Mickey  McGuire."  Later  on,  the 
creator  of  the  comic  strip  Mickey 
McGuire  brought  suit  against  the 
studio.  A  change  of  name  was 
in  order,  and  quickly.  A  dozen 
Irish  names  were  put  in  a  hat. 
Mickey  stood  on  tiptoes  and 
pulled  one  out.   It  was  Rooney! 

A  song  and  dance  gal  with 
a  name  like  Estelle  O'Brien 
Thompson  would  be  poison  in 
a  London  night  club,  so  she  was 
renamed  simply  Queenie.  She 
was  sensational!  One  day,  Alex 
Korda  and  a  friend  saw  her  in 
a  restaurant.  "Gorgeous  creature," 
said  Korda,  "but  that's  the 
world's  most  ghastly  name."  Two 
weeks  later  he'd  hired  her.  On 
the  day  she  signed  her  contract, 
she  had  her  black  hair  parted  in 
the  center  and  swept  back  in 
two  wing-like  curls.  "I  feel  like 
a  blackbird,"  she  told  him  when 
he  said  he  liked  it.  Alex  re- 
christened  her  on  the  spot.  He 
streamlined  her  middle  name 
from  O'Brien  to  Oberon,.  and 
called  her  Merle  (French  for 
blackbird)  Oberon. 


of  a  motor  trip  to  Hollywood,  but  you 
can  probably  approximate  it  from  these 
statistics.  Los  Angeles  is  about  three 
thousand  miles  from  New  York  (figure 
your  gasoline  from  that),  and  it  can  be 
covered  in  six  days  if  you're  in  a  terrific 
rush.  You  can  figure  your  food  and  lodg- 
ing from  that. 

Richard  Williams,  Middlesboro,  Ky.  Here's 
how  to  make  a  Paradise  cocktail  such  as 
Merle  Oberon  and  George  Brent  toasted 
each  other  with  in  "  'Til  We  Meet  Again." 
To  equal  parts  of  pernod  and  Cointreau, 
add  a  dash  of  lemon  juice  and  sufficient 
sugar  to  sweeten.  Pour  into  a  shaker, 
add  ice  and  stir — don't  shake.  That's  im- 
portant. Hope  you  like  it! 

Margaret  Drury,  Toronto,  Ont.  Roz  Russell 
will  be  twenty-nine  on  her  next  birthday, 
but  that  won't  be  till  next  June  4.  The 
raven-haired,  black -eyed  Rosalind  is  five 
feet  five  and  manages  to  keep  her  weight 
below  120  pounds,  although  the  Lord  only 
knows  how.  She  loathes  exercise  and 
simply  gorges  all  day  long  on  one  fatten- 
ing morsel  after  the  other.  She's  a  native 
of  Waterbury,  Conn.,  but  Hollywood  is 
her  permanent  home  now.  She  is  the  first 
actress  to  sprout  from  the  illustrious 
Russell  family  tree,  and  the  excitement 
of  it  nearly  incapacitated  the  folks  back 
home  for  a  while.  No,  she's  not  an  only 
child;  she  has  two  lawyer  brothers  and  a 
couple  of  writer  sisters.  Says  she  has  but 
one  fault — bragging  about  her  namesake 
niece,  Rosalind  La  Roche.  "No  Time  For 
Comedy"  is  her  latest  picture. 

Phoebe  Otterman,  White  River,  S.  Dak. 
The  "Dead  End"  Kids  include  Billy  Halop, 
Gabriel  Dell,  Huntz  Hall,  Bernard  Puns- 
ley,  Bobby  Jordan  and  Leo  Gorcey,  who, 
by  the  way,  is  the  oldest  of  the  gang  and 
looks  the  youngest.  He  is  twenty-four 
and  married.  You  can  get  a  group  picture 
of  them  by  writing  to  Universal  Studios, 
Universal  City,  California.  Enclose 
twenty-five  cents. 

Barbara  Glascook,  Los  Angeles,  Calif.  Lana 
Turner  is  well  out  of  the  newcomer  class 
at  this  point.  A  veteran  of  ten  movies, 
and  a  star  for  over  a  year,  she's  been  in 
Hollywood  since  1937.  Lana's  played  in 
"They  Won't  Forget,"  "The  Great  Gar- 
rick,"  "The  Adventures  of  Marco  Polo," 
"Love  Finds  Andy  Hardy,"  "Rich  Man, 
Poor  Girl,"  "Dramatic  School,"  "Calling 
Dr.  Kildare,"  "These  Glamour  Girls," 
"Dancing  Co-Ed"  and  "Two  Girls  on 
Broadway."  Her  latest  is  "We  Who  Are 
Young,"  opposite  John  Shelton. 

Winnie  Burrows,  San  Diego,  Calif.  After 
"Lost  Horizon"  was  re-issued  recently, 
lots  of  fans  began  (Continued  on  page  10) 


MODERN  SCREEN 


LOVE.. . .  LAUGH  AND  WEEP  WITH  THEM! 

Live  their  wondrously  exciting  romance!  Let 
yourself  be  swept  along  by  the  relentless 
tide  of  a  struggle  so  mighty  the  screen  has 
never  seen  its  equal. ..Created  by  Frank  Lloyd, 
who  gave  you  memorable  "Cavalcade", 
"Mutiny  on  the  Bounty"  and  "Wells  Fargo"! 


E  PEOPLE 

son  of  the 
frontier  .  .  . 
his  pioneer 

the  lovely, 
he  loves  I 


R  E  ! 


OCTOBER,  1940 


Mary  told  me:  "When  it  comes  to  internal 
protection,  I  use  FIBS*.  It's  the  Kotex* 
Tampon— so  I  know  it's  good.  Believe  me, 
a  girl  can't  be  too  careful.  .  .  ." 


Jane  told  me:  "FIBS  are  grand!  They're 
comfortable,  secure  and  so  easy  to  use.  You 
see,  the  rounded  top  means  that  no  arti- 
ficial method  of  insertion  is  needed." 


Ann  told  me:  "FIBS  are  quilted!  And  that's 
important  because  it  keeps  Fibs  from  ex- 
panding abnormally  in  use  and  prevents 
risk  of  particles  of  cotton  adhering.  In- 
creases comfort,  too,  and  lessens  the 
possibility  of  injury  to  delicate  tissues. 


Accepted  for  Advertising  by  The  Journal  of  the  American 
Medical  Association 

*Trade  Marks  Reg.  U.  S.  Pat.  Off. 


Sample  offer:  Send  10c  for  trial  supply  of  FIBS, 
mailed  in  plain  package,  to  Fibs,  Room  1448 A, 
919  N.  Michigan  Avenue,  Chicago,  Illinois. 


{Continued 

to  wonder,  just  as  you  did,  what  had  be- 
come of  its  lovely  star,  Jane  Wyatt.  Well, 
since  she  made  that  picture  in  1937, 
Jane's  taken  time  out  to  have  a  son  and 
she  also  returned  to  her  first  love,  the 
stage,  for  a  while.  Now,  however,  she  is 
back  in  Hollywood  to  play  in  a  series  of 
Republic  pictures,  the  first  of  which  is 
entitled    "Girl    From    God's  Country." 

Tune  Drake,  Saskatoon,  Sask.  Your  "dream 
man"  Jimmy  Stewart  was  born  in  Indi- 
ana, Pennsylvania,  on  May  20,  1908.  He 
was  christened  James,  but  his  two  sisters 
call  him  Jim,  his  chums  call  him  "Stew" 
and  his  fans  know  him  simply  as  Jimmy. 
He  didn't  just  whiz  to  stardom,  but  has 
years  of  solid  stage  experience  behind 
him.  After  graduating  from  Princeton, 
where  he  was  a  member  of  the  famous 
Triangle  Club,  he  "prepped"  for  Broad- 
way on  the  Cape  Cod  boards,  then  landed 
roles  in  the  New  York  hits:  "Goodbye 
Again,"  "Spring  in  Autumn,"  "Yellow 
Jack"  and  others.  Yes,  he  does  smoke 
and  he's  not  averse  to  an  occasional  cock- 
tail, but  he's  not  a  party  boy  at  heart.  He 
isn't  married,  but  he  is  expected  to  trek 
down  the  aisle  any  minute  with  Olivia  de 
Havilland.  All  his  life  he  preferred 
blondes,  till  "Livvie,"  as  he  calls  her,  sold 
him  on  the  brunette  idea.  He  answers 
very  little  fan  mail,  we  are  sorry  to  re- 
port, for  he  despises  letter-writing.  Lists 
it  as  his  pet  hate,  although  he  adores  to 
receive  letters  and  is  an  avid  reader  of 
every  line  of  his  fan  mail.  You  can  reach 
him  at  Metro-Goldwyn-Mayer  Studios, 
Culver  City,  California. 

Helen  Hayes,  Flint,  Mich.  Errol  Flynn 
uses  his  real  name.  He's  just  thirty-one 
and  is  married  to  Lili  Damita.  The  first 
picture  Errol  ever  made  was  the  English 
version  of  "Mutiny  on  the  Bounty,"  in 
which  he  played  the  part  of  Fletcher 
Christian  from  whom  he  is  a  direct  de- 
scendant. His  first  American  film  was 
"The  Case  of  the  Curious  Bride,"  and 
Errol  was  the  corpse!  His  latest  is  "The 
Sea  Hawk." 

Lillian  Spradley,  Tifton,  Ga.  Alice  Faye 
was  born  in  the  Hell's  Kitchen  section  of 
New  York  City  on  May  5,  1915.  Her  real 
name  is  Leppert.  As  a  little  girl,  she 
adored  games  of  make-believe  and  was 
always  pretending  that  she  was  a  "big 
lady."  When  she  was  thirteen,  she  tried 
to  bluff  her  way  into  a  job  in  the  Zieg- 
feld  chorus,  but  even  the  lipstick  and 
rouge  didn't  make  her  look  any  too 
grown-up,  and  she  was  soon  on  her  way 
home,  "a  broken  woman,"  as  she  says. 
The  following  year  she  got  a  job  with  the 
Chester  Hale  stage  unit,  and  thenceforth 
life  was  pretty  perfect.  A  few  years  later, 
Alice  was  at  a  party  at  which  a  voice  re- 
cording machine  was  the  main  entertain- 
ment. When  it  came  Alice's  turn,  she 
sang  "Mimi,"  in  her  casual,  throaty  way. 
The  play-back  impressed  one  of  the 
guests,  Rudy  Vallee  by  name,  and  before 
long  Alice  was  singing  with  his  orchestra. 
When  Vallee  went  to  Hollywood  to  make 
the  film  version  of  "George  White's  Scan- 
dals," Alice  and  the  band  went  along,  for 
his  radio  contract  had  not  expired,  and 
he  was  to  continue  broadcasting  from  the 
Coast.  The  studio  took  one  good  look  at 
Alice,  signed  her  for  a  "Scandals"  role, 
and  in  a  few  short  weeks  she  was  rocking 
the  country  with  her  rendition  of  "Nasty 
Man,"  in  that  picture.  She  was  made 
right  then  and  there,  and  ever  since  has 
been  one  of  the  top  box  office  stars. 

Elizabeth  Dierke,  Bronx,  New  York.  Yes, 
isn't  it  exciting  to  think  you  can  buy 
clothes  that  your  favorite  movie  star 
has  worn — and  at  a  fraction  of  their 


from  page  8) 
original  cost!    For  prices  and  other  de- 
tails, just  drop  a  line  to  Patsy  Brogan, 
407  North  Camden  Drive,  Beverly  Hills, 
California. 

Betty  Jean  Cox,  Wichita,  Kansas.  That 
Bobby  McClung,  whose  picture  you  sent 
us,  is  not  a  "Dead  End"  kid  at  all,  and 
we  have  no  idea  who's  responsible  for 
billing  him  as  one.  He's  quite  well- 
known  as  a  harmonica  player  and  has 
made  a  few  films  for  Republic  Studios, 
but  he's  never  been  in  a  picture  with 
the  Dead  Enders.  Bobby  Jordan  is  the 
only  Bobby  in  that  gang. 

Jacqueline  Arias,  Palisades  Park,  N.  J. 
Russell  Hayden  has  only  been  a  movie 
star  since  1937,  but  he's  been  in  the 
movie  industry  for  years.  Photography 
fascinated  him  from  his  childhood  and, 
while  at  the  University  of  Southern  Cali- 
fornia, he  made  up  his  mind  to  be  a 
movie  cameraman.  He  heckled  the  tech- 
nical department  at  Paramount  for 
months,  and  finally  got  a  job  there  doing 
sound  recording  and  cutting.  He  loved 
his  work  and  really  didn't  aspire  to  be- 
come a  star,  but  Producer  Sherman 
thought  he  was  too  good  a  bet  to  be 
wasted  behind  the  scenes.  He  offered 
him  in  the  role  of  "Lucky"  in  one  of  the 
Hopalong  Cassidy  films.  Russ  took  it 
and  has  been  a  permanent  fixture  in 
those  films  ever  since.  He's  six  feet 
two,  weighs  180  pounds  and  has  black 
hair  and  very  dark  eyes.  He's  married 
to  Jane  Clayton,  a  Texas  heiress  and 
also  his  co-star  in  many  films.  Watch 
for  him  in  "Three  Men  From  Texas." 

A. "  C.  Carter,  Sherman,  Texas.  Your 
favorite  cowboy,  John  Wayne,  seems  to 
have  broken  away  from  Westerns  at 
last.  His  latest  pictures  are  "The  Long 
Voyage  Home"  and  "Seven  Sinners." 
No,  that  isn't  his  real  name.  He  was 
christened  Marion  Michael  Morrison,  and 
he  says  one  of  the  main  reasons  he  went 
into  the  movies  was  so  that  he  could 
change  his  name.  He  was  born  in  Win- 
terset,  Iowa,  on  May  26,  1907,  but  has 
lived  in  California  most  of  his  life.  He 
attended  the  University  of  Southern 
California  and  has  been  in  the  movies 
since  he  was  twenty-four.  He's  married 
to  a  Venezuelan,  Josephine  Saenz,  and 
they  have  two  children. 


YIPPEE.  FANS! 

At  last  we  have  it  for  you — that 
biographical  chart  of  your  favorite 
"westerns"  that  you've  been  begging 
for!  Imagine  having  at  your  fingertips 
the  real  names,  birthplaces,  birthdates, 
heights,  weights,  how  they  got  their 
start  and  studio  addresses  of  over  sixty 
of  those  rough-riding  heroes,  leering 
villains  and  wide-eyed  heroines  of  your 
pet  "horse  opries!"  Made  up  in  a  most 
attractive  form,  it  will  make  your  album 
proud  as  anything.  Just  send  five  cents 
in  coin  or  stamps  with  the  coupon  below 
and  your  chart  is  as  good  as  lassoed! 


Information  Desk,  Modern  Screen 
149  Madison  Ave.,  New  York  City 

I  am  enclosing  five  cents  in  stamps  or 
coin  for  which  kindly  send  me  your  chart 
of  the  Western  Stars. 

Name  

Street  

City   State  

Please  print  name  and  address  plainly 


10 


MODERN  SCREEN 


MOVIE  REVIEWS 

(Continued  from  page  6) 


They  Drive  by  Night 

This  time,  it's  Ann  Sheridan  and  Ida 
Lupino  who  tangle  for  the  affections  of 
Mr.  George  Raft.  George,  at  his  acting 
best,  is  a  grimy-faced,  grease-spotted 
truck  driver.  Somewhere  along  his  long 
weary  hauls,  he  picks  up  the  lush  Miss 
Sheridan,  a  hash-slinging  hussy,  who 
soon  succumbs  to  George's  desirability. 
She  wants  him  legitimately,  and  I'm  glad 
to  say  he  does  her,  too.  Meanwhile  Ida 
Lupino,  unhappily  married  to  a  laughing 
boor  of  a  capitalist  who  owns  a  freight 
truck  line,  falls  in  love  with  George,  who, 
being  a  movie  hero  with  a  nice  regard 
for  the  censors'  wishes,  repulses  her. 
This  so  frustrates  Miss  Lupino,  she  mur- 
ders her  dull  hubby,  makes  Raft  a  capi- 
talist, and  later  implicates  him  in  her 
crime.  Happily,  she  goes  nuts  in  court 
and  Ann  takes  her  much-wanted  boy 
friend  home  with  her  for  good. 

The  first  half  of  the  picture,  when  it 
deals  with  the  ups  and  downs  of  the 
poor  trucker,  is  excellent.  Everything  is 
very  authentic — the  talk  is  very  typical 
and  the  truck  accidents  and  tragedies  are 
as  real  as  if  they'd  actually  happened. 
Humphrey  Bogart,  as  Raft's  brother,  con- 
tributes his  share  along  with  Raft  to 
make  this  half  live.  But  when  Raft  is 
suddenly  yanked  from  this  realism,  by 
Miss  Lupino,  into  the  "social"  set,  it  all 
grows  fairly  ordinary — the  usual  love 
triangle  stuff,  and  unnatural  except  for 
Alan  Hale's  fine  acting.  Had  this  road 
saga  stuck  on  the  road  and  not  wandered 
off  into  a  familiar  detour,  it  might  have 


been  a  great  picture.  As  it  is,  it's  just 
half  terrific.  Directed  by  Raoul  Walsh. — 
Warner  Brothers. 

PREVIEW  POSTSCRIPTS:  Ann  Sheri- 
dan's really  Clara  Lou  Sheridan  oj  Dallas, 
Texas,  names  General  Phil  Sheridan  as 
her  great-uncle.  She  paints  pretty  well 
in  oils,  is  nuts  about  Hollywood,  can  find 
her  way  around  in  a  good  book  and 
enjoys  her  fun.  She  hates  spinach, 
turnips,  traffic  cops  and  too  much  radio 
or  phone  ringing.  Billy  Rose  offered  her 
$100,000  to  appear  in  a  bathing  suit  at 
the  San  Francisco  Aquacade,  but  she  re- 
fused. Her  yearly  salary  is  about 
$100,000.  .  .  .  Ida  (Loops)  Lupino  is  hap- 
pily married  to  actor,  Louis  Hayward. 
She's  but  23,  walked  out  on  a  $1700  a 
week  contract  with  Paramount  a  few 
years  back  because  she  wanted  better 
roles  and  was  out  of  work  a  year  and  a 
half.  She  never  diets,  never  exercises, 
weighs  a  steady  103,  used  to  be  a  blonde 
but  has  relapsed  to  her  natural  glossy 
brown.  .  .  .  George  Raft  is  Italian-Ger- 
man, New  York  slum  born,  used  to  be  a 
pro  boxer,  ball  player  and  ballroom 
dancer.  Today  he  has  become  an  om- 
nivorous reader,  seeks  to  better  himself 
socially  and  mentally  and  has  recently 
purchased  a  racing  stable.  His  taste  in 
clothes,  which  used  to  be  rather  brassy, 
has  quieted  to  banker  violence.  His 
favorite  food  is  steak,  which  he  eats 
three  times  a  day — usually  without  any 
other  dishes,  and  always  rare.  Most  of 
the  truck  wrecking  was  done  in  miniature, 
but    Warners   actually    burned   an  old 


truck  in  that  fire  scene.  .  .  .  Censors 
passed  this  film,  yet  some  of  the  scenes 
are  eyebrow  lifting  and  one  scene  in 
which  Miss  Sheridan  invites  Mr.  Raft  up 
to  her  room  for  "coffee"  at  midnight  is — 
ahem! — delightful.  What's  happening  to 
Hollywood.    Is  it  getting  normal? 

ititit  I  Married  Adventure 

Flying  snakes,  monkeys  that  dive  80 
feet  to  the  ground  unhurt,  camera-shy 
rhinos,  pygmies,  charging  lions — and  in- 
credibly weird,  wild  and  beautiful  scenes 
of  African  and  Borneo  jungle  life,  make 
this  a  thrilling  experience  for  the  arm- 
chair adventurer. 

Concocted  from  the  camera -results  of 
their  27  years  of  jungle-hunting,  it 
sketches  the  lives  of  the  Martin  Johnsons, 
the  world's  most  famed  nimrods.  Every 
foot  of  the  picture  teems  with  a  natural 
history  excitement — the  kind  you'd  get 
from  an  animated  National  Geographic 
magazine.  Natives  stalk  a  predatory  lion 
and  Mrs.  Johnson  shoots  it  at  a  dozen 
paces  just  as  it  is  about  to  leap  for  her 
pretty  throat.  Another  time  she  parks  a 
bullet  in  the  schnozz  of  an  ill-mannered 
bull  hippo  who  has  been  cutting  up  un- 
pleasantly around  the  African  country- 
side— this  time  from  six  paces.  You  see 
a  native  being  seriously  clawed  by  a 
lion;  another  thrown  from  a  giant  ma- 
hogany tree  by  an  infuriated  450  pound 
orangoutang  which  the  Johnsons  are 
trying  to  take  alive.  There  are  funny 
scenes  among  the  pygmies  and  stomp 
(  Continued  on  page  13) 


c:^yZ^^^—  say  Lovely  Women 

of  New  Camay ! 


•  "New  Camay  is  so  mild,"  writes  Mrs.  G.  D. 
Lawrence,  Bronxville,  N.  Y.  "A  perfect  beauty 
soap  to  help  keep  my  skin  soft  and  radiant." 


A BEAUTY  soap  so  different,  so  wonderful 
that  women  everywhere  are  thrilled 
...  so  wonderful  that  thousands  are  switch- 
ingto  new  Camay !  Again  and  again  they  speak 
of  new  Camay's  mildness— its  unusual  lather- 
ing qualities— its  enchanting  new  perfume! 

Let  new  Camay  help  you,  as  it  is  helping 
other  women,  to  look  your  loveliest.  Put  its 
gentle  cleansing  to  work  for  you  . . .  helping 
you  in  your  search  for  a  lovelier  skin! 


.  "I'm  just  4*^  ^£g£S£?Ji£ 
Moriarty,Plainfield,Ind.    1 take sp        ^  Camay  ,a 

skin,  so  I  like  a  very  rn.ld  beauty  s  o  P^  ^  ^ 

so  wonderfu  ly  mdd  that  it  really         e,ou9  new  fra. 

skin  as  it  cleanses.  Ana  wn<n 

grance  it  has !' 


OCTOBER,  1940 


11 


i4  * 


MANY  of  us  have  long  harbored  a 
secret  yearning  to  write  to  a  star,  but 
we  haven't  known  quite  what  to  say, 
and  we've  felt  a  bit  sheepish  about  the 
whole  thing,  anyway.  Sissy  stuff!  Why, 
thousands  of  people  are  writing  every 
day  and  getting  results.  Just  listen  to 
this:  — 

Screen  players  get  about  36,000,000 
letters  a  year  (representing  over 
$1,000,000  in  stamps  and  $700,000  in 
stationery).  One  out  of  every  five  fans 
requests— and  really  gets — a  photo- 
graph; the  others  ask  for  information 
(which  is  given  if  a  return  envelope's 
enclosed)  or  simply  tell  their  favorite 
how  swell  they  were  in  their  last  pic- 
ture. Very  much  in  the  minority  are 
letters  from  crackpots  and  pan- 
handlers. 

You've  probably  wondered  whether 
or  not  the  stars  enjoy  their  mail.  Do 
they!  It's  literally  their  bread  and 
butter,  their  swimming  pools  and  eve- 
nings at  Ciro's!  You  see,  every  so  often 
the  studio  executives  get  a  report  from 
the  mail  department  and  the  stars 
who  aren't  drawing  mail  are  "axed." 

Quick  as  a  flash  you're  no  doubt 
thinking,  "Well,  if  mail's  so  important 
they  must  answer  it  all!"  They  can't, 
of  course,  but  they  do  answer  the  most 
interesting  letters.  Their  private  sec- 
retaries and  the  fan  mail  department 
attend  to  as  much  of  the  rest  as  justi- 
fies replies.  The  studios  employ  125 
people  at  $30  a  week  just  for  this 
purpose.  The  more  popular  the  star, 
naturally,  the  less  chance  you  have 
of  a  personal  reply,  but  many  of 
the  newcomers — Dennis  Day,  Ann 
Gywnne,  Mary  Beth  Hughes,  Ezra 
Stone  and  others — answer  each  and 
every  letter  themselves. 


Shirley  Temple,  who  a  few  months 
back  received  her  millionth  fan  letter, 
used  to  get  the  most  mail.  Now,  Gene 
Autry  is  head  hauler-inner,  with 
Gloria  Jean,  Errol  Flynn,  Bette  Davis 
and  Clark  Gable  close  on  his  heels. 
Stars  most  generous  with  photos  are 
Pat  O'Brien,  Spencer  Tracy  and  Pris- 
cilla  Lane,  who  often  send  out  pictures 
without  the  customary  twenty-five 
cent  remittance.  Most  appreciative  but 
least  responsive  is  Jimmy  Stewart, 
who  despises  letter  writing.  Most  pur- 
sued by  men  is  Deanna  Durbin,  who's 
probably  invited  to  more  college 
proms,  football  games,  June  weeks 
and  winter  carnivals  than  any  other 
girl  in  the  world.  Most  conscientious 
about  replying  are  Claudette  Colbert, 
Dick  Greene  and  Mickey  Rooney,  who 
really  answer  an  amazing  amount  of 
their  mail  themselves. 

Now  that  you've  got  the  facts  and 
figures,  what's  to  do  about  it?  Well, 
here's  a  little  fan  "lettiquette"  that 
will  clear  up  a  few  puzzling  points. 


Letters  may  be  typed  or  written,  but 
be  sure  they  are  neat  and  legible.  Use 
good  writing  paper  and  blue  or  black 
ink.  Avoid  blots  and  smears,  soiled 
or  torn  paper  and  ornate  or  cramped 
writing. 

There's  no  hard  and  fast  rule  about 
whether  to  say  "Dear  Bill"  or  "  Dear 
Mr.  Jones,"  although  Universal  stars 
prefer  the  former,  and  Fox  players 
like  the  more  formal  "Dear  Mr. 
Jones."  Say  whichever  seems  natural 
to  you. 

Brevity  and  sincerity  should  be 
your  keynotes.  Don't  gush,  don't  give 
a  hard  luck  story  and  don't  ramble  on. 

Close  your  letter  with  "sincerely," 
followed  by  your  whole  name  or  just 
the  first  one. 

Re-read  your  letter,  imagining  that 
you're  a  jaded  star  who's  had  a  very 
busy  day.  Does  it  sound  friendly,  en- 
couraging and  gay?  Yes?  Well,  dol- 
lars to  doughnuts  you'll  get  a  reply! 
Go  to  it  now,  and  remember — faint 
heart  never  won  a  darn  thing! 


12 


MODERN  SCREEN 


(Continued  from  "page  11) 
scenes  in  the  jungle  that  would  turn  the 
Harlem  stompers  green  with  envy.  These 
alternate  with  breath-taking  airplane 
shots  of  hitherto  unphotographed  African 
peaks,  snowcapped,  despite  being  located 
on  the  equator.  Probably  the  most  awe- 
some part  of  the  picture  is  the  airplane 
view  of  practically  all  African  wild  life — 
stampeding  over  a  drought-parched 
African  veldt  desperately  looking  for 
life-giving  water.  If  they  don't  find  water 
it's  death.  They  find  it,  and  the  John- 
sons photographed  them,  drinking  peace- 
fully side  by  side— a  vast  wild  brother- 
hood despite  having  been  born  mortal 
enemies. 

Possibly,  some  of  the  killing  done  in 
the  film  may  leave  you  squeamish.  I 
thought  a  little  of  it  unnecessary  having 
learned  from  some  of  the  Johnson  books, 
like  "Safari"  and  "Simba,"  that  there  are 
no  African  animals  who  won't  run  from 
you — no  matter  how  tough  lurid  fiction 
writers  make  them.  Despite  this,  I  think 
I'd  trust  my  legs  (or  gun)  instead  of 
what  I'd  read  in  a  book,  when  being 
faced  by  a  charging  lioness  just  finishing 
a  hunger  strike.  I  imagine  the  Johnsons 
feel  the  same.  Columbia. 

PREVIEW  POSTSCRIPTS:  Osa  Johnson, 
born  Osa  Leighty,  in  Chanute,  Kansas, 
(pop.  3000)  left  high  school  at  16  to 
marry  Martin  Johnson  in  1910.  Johnson 
immediately  took  her  off  into  the  jungle 
and  they  kept  going  27  years  thereafter. 
The  first  Johnson  home  was  on  the  shores 
oj  Lake  Paradise,  450  miles  from  Nairobi, 
Africa,  and  their  first  meals  were  ele- 
phant trunk  soup  and  lion  chops.  Osa 
has  always  carried  a  patchwork  ^  quilt 
and  red  rag  rug  of  her  grammaw's  for 
luck— and  jungle  comfort.  Closest  she 
ever  has  come  to  death  in  the  jungle  was 
when  a  cookstove  oj  hot  stones  exploded 
in  her  face.  She  keeps  her  skin  soft  in 
the  deepest  jungle  by  nightly  creamings 
and  always  makes  up  for  African  chiefs. 
She  loves  clothes,  sometimes  dresses  for 
dinner  with  lions  roaring  outside  the 
compound.  She  always  plants  a  truck 
garden  no  matter  where  she  operates 
from  and  carts  along  chickens — to  insure 
fresh  eggs  and  a  green  salad.  Says  lions 
and  tigers  are  fifty-fifty  kings  of  the 
jungle  and  would  exterminate  each  other 
if  it  ever  came  to  a  showdown.  She's 
encircled  the  globe  six  times,  speaks  24 
African  tongues,  is  scared  only  in  traffic, 
has  never  been  ill  in  the  jungle,  gets 
best  shots  of  natives  by  giving  them  salt, 
was  first  woman  ever  to  win  confidence 
of  pygmies  and  was  also  first  to  explore 
Africa  by  plane.  She  injured  her  kneecap 
when  her  airplane  pancaked  against  a 
hillside  near  Los  Angeles  in  January, 
1937.  In  that  accident  Martin  Johnson 
was  killed. 

**'/2  The  Boys  from  Syracuse 

Tastefully '  decked  out  in  fresh-laun- 
dered sheets,  Allan  Jones,  Rosemary 
Lane,  Irene  Hervey,  Joe  Penner,  Martha 
Raye,  Charlie  Butterworth,  Eric  Blore 
and  a  few  other  outlying  Hollywood 
comedians  chant  and  clown  their  way 
through  this  Rodgers-Hart-George  Abbott 
musical,  originally  cooked  up  for  Broad- 
way from  Bill  Shakespeare's  "Comedy  of 
Errors."  The  result  is  a  very  mild,  amus- 
ing, harmless  filmusical — welcome  if  you 
have  nothing  particular  on  your  mind 
and  want  to  keep  it  that  way  for  the 
next  ninety  minutes. 

The  scene,  as  you  ardent  Shakes- 
pearean students  know,  is  Ephesus, 
Greece,  about  2500  years  or  so  ago,  back 
in  the  days  when  you  got  out  of  bed 
dressed  in  your  pillow  with  arm  and  neck 
(Continued  on  page  15) 


[j^ALCAPP 


Hog.  U.  S.  Pal.  Off. 


HOLD  THET  LINE,  DOGPATCH.1^ 


SCORE 
tJo&PATcH  -O 
SKUNK  HoUpW-O 


CREAMofWHEAT 


NEW  5-M1NUTE 
AND  "REGULAR" 


"Creom  of  Wheel"  Reg.  U.  S.  Pol.  Off. 


OCTOBER,  1940 


13 


BE  YOURSELF 
BE  MURAL ! 


In  make-up,  as  in  all  things,  it  is 
best  to  "Be  Yourself ...  Be  Natural".  Use 
Tangee  for  a  glorious  lip  color  which  is 
yours  and  yours  alone.  Tangee  changes 
magically  from  orange  in  the  stick  to  the 
one  shade  of  red  your  skin-coloring 
demands.  That's  the  Tangee  way  to  — 

M  Your  Tangee  lips  will  be  smoother 
...evenly  and  beautifully  made-up  because 
there  is  no  grease-paint  in  Tangee... its 
pure  cream  base  ends  that  "painted 
look"  and  helps  you  — 

For  complete  make-up  harmony 
useTangee  Face  Powder  and  Tangee  Rouge, 
compact  or  creme,  as  well.  Then  you'll 


"WORLD'S  MOST  FAMOUS  LIPSTICK" 

SEND  FOR  COMPLETE 

MAKE-UP  KIT 

The  George  W.  Luft  Co..  417  Fifth 
Ave.,  New  York  City. .  .Please  rush 
"Miracle  Make-up  Kit"  of  sample  Tangee  Lipsticks  and 
Rouge  in  both  Natural  and  Theatrical  Red  Shades.  Also 
Pace  Powder.  I  enclose  100  (stamps  or  coin).  (15tf  in 
Canada.) 

Check  Shade  of  Powder  Desired: 
□  Peach  □  Light  Rachel  □  Flesh 

□  Rachel  □  Dark  Rachel      □  Tan 


Name- 


City- 


OUK  PUZZLE  VMA 


15 


Puzzle  Solution  on  Page  64 


ACROSS 


DOWN 


22. 
23. 

25. 

26. 
28. 
29. 
31. 

33. 

35. 
36. 

38. 

40. 
41. 

43. 

44. 
45. 

48. 

51. 
52. 

54. 


i  5.  Who  is  the  star 
pictured? 
Married  name  of 
our  star 

Disney's  first  big 
"star" 

With  our  star  in 
"Mr.  Smith  Goes 
To  Washington" 
Heroine  in  "The 
Villain  Still  Pur- 
sued Her" 
Incites 
Dress 

Aunt  in  "Andy 
Hardy  Meets  Debu- 
tante" 

"The  Outs  -  -  -  r" 
Eleanor  Powell's 
kind  of  dancing 
"Too    Many  Hus 
b  -  -  -  s" 
Footlike  part 
The  dead-pan  comic 
Re-echoed 
Male  lead  of  "I 
Want  A  Divorce" 
Dapper  Russian 
actor 

Depend  upon 
Actor  in  "Coura- 
geous Dr.  Christian" 
Spanish  ladies  in 
waiting 

"Lillian  Russell" 
Star  comic  in  "The 
Ghost  Breakers" 
"D  For  Liv- 
ing" 

Hawaiian  dish 
Actress  in  "The 
Captain  Is  A  Lady" 
Heroine  in  "The 
Sea  Hawk" 
Equip  beforehand 
Femme  in  "No 
Time  For  Comedy" 
Organ  of  sight 


100. 
101. 
102. 
103. 

104. 


Swedish  comic  in 
"If  I  Had  My 
Way":  init. 
Fox  Movietone 
News'  sports  an- 
nouncer 

Lady  Literate  in 
Art:  abbr. 
French  coin 
Resembling  fog 
What  Larry  Simms 
studies 

Rock  boring  tool 
"-  -  -  Miserables" 
Producer  of  "Turn- 
about" 

"  ,   My  Darling 

Daughter" 
Festive 

Male  lead  of  "Lone 

Wolf  Meets  A 

Lady" 

Film  stages 

Warner  Brothers' 

costume  designer 

Hindu  queen:  var. 

Russian  emperor 

Soapstone 

Roy  -  -  -  Ruth 

Ventilate 

By  way  of 

Mr.  Hunter's  first 

name 

Affirmative  an- 
swer 

"Mr.  Goes 

To  Town" 
Popular  juvenile 
actor 

Anita  Louise's  hus- 
band 

Kind  of  preview 
studios  often  bold 
Seesaws 
Plunder 
Concludes 
Lovely  girl  in 
"Turnabout" 
Weight  of  India :  pi. 


1. 


One  of  the  "Dead 
End"  Kids 

2.  Portly  actor  in  "It's 
A  Date" 

3.  Charlie  Ch  -  -  - 

4.  Bird's  home 

5.  Elizabeth   P  -  -  -  er- 
son 

6.  Scenes  shot  over 
again 

7.  What  Billy  is  to 
Bobby  Mauch 

8.  What  actress  is 
Mrs.  Werner  Jans- 
sen  ? 

9.  "I  Was  An  Adven- 
t  —  ss" 
Male  star  in 
"Waterloo  Bridge": 
init. 

11.  College  yells 

12.  "Ariz---" 

13.  Blackmer 

14.  Featured  actor  in 

"Of  Mice  And 

Men" 

Beauty  in  "And 
One   Was  Beauti- 
ful" 

Palatable 

Frog-voiced  comic 
in  "Buck  Benny 
Rides  Again" 
Paid  notice 
Dance  step 
"Hidd  -  -  Gold" 
One  of  the  stars  of 
"Boom  Town" 
Hint 

Director  -  -  -  Dyke 
35.  Anne's  father  in 
"Saturday's  Chil- 
dren" 
37.  One  of  the  Lane 
sisters 

39.  Chemical  symbol 
for  nickel 

40.  Enemies 

42.  Boats   having  two 
banks  of  oars 

44.  Primness 

45.  Male  lead  in  "His- 


10 


15 


16. 
18. 


24. 
26. 
27. 
30. 

32. 
34. 


46. 
47. 


tory  Is  Made  At 
Night" 

Star  of  "My  Favor- 
ite Wife" 
Glowing  coal 
48.  Male  star  of  "'Til 

We  Meet  Again" 
49.  Lind 

50.  Hero  of  "Boys 
from  Syracuse" 

51.  He  made  it:  Latin 
abbr. 

53.  C  a  Bow 

59.  To  match 

60.  Mental  image 
Busy  insects 
Overturn 

Famed  dog:  -  -  -  Tin 
Tin 

Star  of  "Pride  And 
Prejudice" 
A  Ritz  brother 

"The  " 

71.  Possesses 

73.  Our  star's  real 
name 

74.  Heart  interest  in 
"The  Young  Peo- 
ple" 

'Women  In  -  -  -" 
stars  Elsie  Janis 
Principal  conduits 
His  first  name  is 
Kent 

79.  Storms 

80.  Unequal  things 

81.  New  England  state: 
abbr. 
Sun  god 

With  1  across  in 
"Only  Angels  Have 
Wings" 
87.  Inquires 
89.  To  the  inside  of 
Grabs 
Father 
Meadow 
Before 
98.  Female  rabbit 
100.  Baron  in  "Safari": 
init. 


62. 
63. 
67. 


69. 
70. 


75. 


76. 
78. 


83. 
85. 


91. 
94. 
95. 
96. 


14 


MODERN  SCREEN 


(Continued  from  page  13) 
holes  driven  thru.  The  plot  is  one  of 
those  double  trouble  affairs,  in  which  a 
pair  of  identical  twin  brothers  and  their 
identical  twin  slaves  get  mixed  up  with 
each  other  and  their  wives  and  sweet- 
hearts (whoops!) — resulting  in  a  lot  of 
errors  and  some  so-called  comedy.  Or 
should  I  say  it's  an  error  to  call  Bill 
Shakespeare's  original  libretto  comedy? 

In  any  case,  the  picture  never  takes 
itself  or  Shakespeare  very  seriously.  Only 
two  lines  remain  from  Bill's  original. 
Penner  declaims  them,  then  turns  to  the 
audience,  and  solemnly  says:  "That's 
Shakespeare!"  With  a  golden  oppor- 
tunity to  kid  the  Great  Bard  (and  about 
time,  too)  the  picture  avoids  sophistica- 
tion and  goes  in  for  slapstick  and  ana- 
chronisms. For  a  time  it's  fun  to  see  and 
hear  Old  Greek  Good  Humor  Men,  the 
Toonerville  Trolley,  Checkered  Cab 
Chariots,  Labor  Pickets  and  revolving 
doors  in  Ancient  Greek  Hottie  Spotties — 
but  the  novelty  seems  to  wear  off  with 
overuse. 

But  why  kick  a  creampuff  around? 
Allan  Jones  is  perfectly  darling  in  an 
appliqued  lame  headband  and  a  pastel 
crepe  negligee,  is  almost  as  glamorous 
as  Rosie  Lane  and  his  wife  Irene  Hervey. 
His  voice  has  never  been  better.  Charlie 
Butterworth  is  thankfully  back  on  film 
and  as  deadpan  a  horseface  as  ever. 
Martha  Raye  makes  beautiful  singing 
sounds  come  from  her  delicately  huge 
rosebud  mouth;  the  Rodgers-Hart  com- 
bination has  added  three  new  tunes  to 
several  that  remain  from  the  stage; 
everything  looks  clean  in  Old  Greece  and 
everyone  looks  so  quaint  in  those  togas 
— somehow  it  all  manages  to  add  up  to 
some  fun.  Directed  by  Edward  Suther- 
land . — -Univ  ersal. 

PREVIEW  POSTSCRIPTS:  Double  ex- 
posure and  camera  tricks  enabled  Allan 
Jones  and  Joe  Penner  to  play  four  parts 
— which  on  New  York  stage  required  four 
actors.  In  final  scene  Jones  sings  a  duet 
with  himself,  and  in  one  scene  he  actu- 
ally tried  to  steal  a  scene  from  himself 
by  putting  his  hand  over  the  face  of  his 
other  character.  .  .  .    Allan  Jones  and 

Irene  Hervey,  married  on  July  26,  1936, 
appear  together  for  first  time   on  the 
screen.  .  .  .  During  filming  Jones  was  al- 
most  placed   under   arrest   for  having 
driven  off  in  a  car  identical  with  his  own 
but  really  belonging   to   Producer  Joe 
Mankiewicz.  A  parking  lot  attendant  had 
given  Allan  the  wrong  car.  .  .  .  Every 

member  of  the  cast  had  his  or  her  hair 
curled  into  Greek  goddess  curls  every 
day — except  Eric  Blore.    Blore   has  no 
hair.  .  .  .   Allan  Jones  did  all  his  own 

driving   in   the    exciting    chariot  chase 
scenes.  Most  of  the  horses  were  rented 
from  his  and  Bob  Young's  Hollywood  rid- 
ing stable.  .  .  .  Jones'  legs  are  so  bow- 
legged  he  was  forced  to  wear  an  un- 
fashionably   long   toga   and   false  knee 
muffs  to  straighten  out  his  horse-curved 
stems.  .  .  .  But  Martha  Raye's  toga  was 

specially  built  to  show  off  her  extremely 
shapely  zorinas.   .  ...  .    Borrowed  from 

Warners,  the  queenly  Rosemary  Lane 
immediately  forced  Joe  Penner  to  give 
up  smoking  those  dollar  ropes  he  loves 
so;  she's  allergic  to  cigar  smoke,  no  mat- 
ter how  expensive.  .  .  .  250  feet  of  An- 
cient Greek  Street  built  for  this — at 
$100,000  cost. 


WHAT    MAKES  THE 

MOVIES 

BEHAVE? 

Read  all  about 

in  November  MODERN 

SCREEN 

S.O.S.  —  S.O.S. 
Swell  Music-but  Wrong  Girl 


Stay  popular!  Every  day.. and  before  every  date 
prevent  underarm  odor  with  Mum 


IT  WAS  such  swell  music— and  such  a 
should-have-been  swell  girl!  But  just 
a  hint  of  underarm  odor— even  in  a 
pretty  girl— and  men  are  quick  to  notice 
. . .  certain  to  disapprove! 

To  stay  popular  .  .  .  from  the  begin- 
ning of  the  evening  till  it's  time  to  go 
home  .  .  .  smart  girls  make  a  habit  of 
Mum.  It's  never  wise  to  expect  your  bath 
to  keep  underarms  fresh!  A  bath  removes 
only  past  perspiration,  but  Mum  prevents 
risk  of  future  underarm  odor.  Mum  every 
day  saves  you  worry— makes  you  "nice" 
to  be  near! 

More  girls  use  Mum  than  any  other 
deodorant . . .  and  Mum  makes  new,  de- 


lighted users  every  single  day!  You'll  be 
sure  to  like  Mum  for  dependability  and— 

SPEED!  Only  30  seconds  to  prevent  un- 
derarm odor  for  hours! 

SAFETY!  The  American  Institute  of 
Laundering  Seal  tells  you  Mum  is  harm- 
less to  any  kind  of  fabric ...  so  gentle 
that  even  after  underarm  shaving,  it 
won't  irritate  your  skin. 

LASTING  CHARM!  Mum  keeps  under- 
arms fresh— not  by  stopping  the  perspira- 
tion, but  by  preventing  the  odor.  Get 
Mum  today  at  your  druggist's.  Use  it  ev- 
ery day.  Then  you  need  never  worry  that 
underarm  odor  is  spoiling  your  charm. 


MUM  AFTER  EVERY  BATH  SAVES  POPULARITY 


For  Sanitary  Napkins 

More  women  -prefer  Mum 
for  this  use,  too,  because 
it's  gentle,  safe  . . .  guards 
charm.  Avoid  off 
always  use  Mum! 


/  MUM 


Mum 


TAKES  THE  ODOR  OUT  OF  PERSPIRATION 


OCTOBER,  1940 


15 


NEW  CLOTH  E& 
NEW  MAKE-UI 

NEW 


Get  into  Foil  .  .  .  into  new  clothes  .  .  . 
into  exciting  new  make-up,  harmonized 
for  you  by  IRRESISTIBLE.  Exquisitely 
blended  in  brilliant  new  fashron  colors. 
IRRESISTIBLE  WHIP-TEXT  Lipstick  .  .  . 
keeps  lips  lovelier  longer.  AIR-WHIPT 

I Face  Powder  and  Rouge  .  .  .  exclusive  se- 
cret process  assures  an  amazing  new  soft- 
ness. Ask  for  the  new  fall  shades  at  all 
■JB  and  10c  stores. 

rlRESISTIBLE  LIPSTICK 


F'S 

TO  STAY  ON 
LONGER... 
SMOOTHER 


■  >i»8L 
i 

AT  ALL  5  AND  10  CENT  STORES 

Ie  irresistible  perfume  tonight 


r/vY//  TO  LOOK  AT 


9 


***** 


AFTER  KNITTING  like  mad  for  the 
Allies  all  summer,  you're  no  doubt  feel- 
ing a  bit  charity-begins-at-home-ish 
about  now,  with  fall  days  in  the  offing. 

It's  high  time  to  pamper  yourself 
with  a  Brooks  set.  You  know  you've 
always  wanted  one — and  they're  so 
easy  to  make!  Or  why  not  downright 
spoil  yourself  with  a  soft-as-pussywillow 
gilgora  slip-on  that  almost  knits  itself? 

They're  not  only  the  warmest,  soft- 
est and  most  tubbable  trio  in  the  world, 
but  they  also  have  come-hither  plus! 


Send  in  the  coupon  below  with  a 
stamped,  self -addressed  envelope.  The 
instructions  are  yours  absolutely  free. 


ANN  WILLS,  Modern  Screen 

149  Madison  Avenue,  New  York,  N.  Y. 

Kindly  send,  at  no  cost  to  me: 

Directions    for    Nos.    BM    3703,  3704  

Directions    for    No.    BM  4060  

I     enclose     a     stamped,     self-addressed  (large) 


Name.. 
Street.. 
City  


16 


MODERN  SCREEN 


Norman 
Reilly 
Raine's 


It's  the  happiest  new- hit  news  in  an  age! 
...And  the  happiest  WARNER  BROS,  hit  of  all! 
Just  wait  till  you  see  it! 


MARJORIE  RAMBEAU 
05  Annie 

ALAN  HALE 

as  Bullwinkle 


OCTOBER,  1940 


17 


ft 


THE  GREATEST  PICTURE  20th 
CENTURY-FOX  HAS  EVER  MADE 

.  «  «  revealing  the  story  behind  the  heroic 
Mormon  trek  westward!  20,000  people 
seeking  a  land  where  a  man  —  wives  and 
children — brave  young  lovers  and  a  fighting 
leader— could  find  the  freedom  they  were 
willing  to  die  for! 


A 


by  LOUIS  BROMFIELD 

starring  with 

TYRONE  LINDA 

POWER  *  DARNELL 

Brian  Donlevy  •  Jane  Darwell  •  John  Carradine 
Mary  Astor  •  Vincent  Price  •  Jean  Rogers  •  Ann  Todd 

DEAN  JAGGER  Brigham  Young 

Directed  by  Henry  Hathaway 

Associate  Producer  Kenneth  Macgowan   •  Screen  Play  by  Lamar  Trotti 

A  Twentieth  Century-Fox  Picture 


18 


MODERN  SCREEN 


Music  by 
the  king  of 
lilting  melody 

ROBERT 
STOLZ 

Lyrics  by 
GUS  KAHN 


presents 

spin® 

FARM* 

BoKh  8>B"dZ  ,  s.Z.Sako«. 
[Son,°e  ReginoW  OennV 

I  screen:id  4x 


REIEASED  JOON!  VMFCH  FOR  IT  AT  YOUR  FAVORITC  MOVIE! 


OCTOBER,  1940 


21 


If  another  person  mentions  another  word  about  Carole 
Lombard,  the  Perfect  Wife,  we  shall  caress  him  on  the 
head  with  an  unsheathed  meat-chopper.  If  another  soul 
drools  another  drool  about  Carole  Lombard,  the  Practical 
Joker,  we  shall  let  nature  take  its  course  and  then  give 
ourselves  up  to  the  law  without  a  struggle. 

Feeling  thus,  we  hereby  nominate  ourselves  for  the 
Pulitzer  Prize  and  confine  our  platform  to  this  campaign 
pledge:  That  we  are  going  to  let  every  patriot  and  peon 
know,  once  and  forever,  that  Miss  Lombard  is  what  she  is 
today — not  because  of  her  antics  off-screen,  but  solely  be- 
cause she  is  a  corking  good  actress. 

In  dissecting  the  anatomy  of  a  successful  actress,  we 
intend  to  avoid  any  lofty  references  to  protoplasm  and 
nerve  centers  and  giddy  glands,  and  confine  ourselves  to 
those  tangible  ingredients  that  make  Carole  Lombard  tick 
— and  click. 

To  find  out  about  Carole  Lombard,  we  saw  everyone 
except  Miss  Lombard.  And  finally,  when  we  saw  her,  on 
an  RKO  set,  though  she  was  very  fetcliing  in  come-hither 
sheer  pajamas,  we  ran  in  the  opposite  direction.  It  is  our 
theory  that  the  person  who  knows  least  about  what  makes 
her  a  fine  actress  is  Carole  Lombard.  She  can't  ever  ex- 
plain why  she  snorted  and  gestured  so  tellingly  in  that 
fifth  take.  She  hasn't  the  least  idea  why,  in  a  particular 
scene,  she  lowered  her  shadow-laden  lids  and  spoke  in 
husky  tones.  Miss  Lombard,  we  have  been  told,  has  never 
pored  over  any  tomes  by  Popofsky  or  Ramowich  or  Zu- 
kowski  on  "The  Art  of  Acting." 

Carole  Lombard  acts  by  instinct.  That's  why  she  can't 
explain  how  she  does  it;  and  that's  why  her  co-workers 
can  explain  it. 

"She  acts  entirely  with  her  heart,"  explained  her  cur- 
rent Svengali,  Director  Garson  Kanin.  "She  has  a  fault- 
less instinct,  a  mystical  feel,  for  right  and  wrong.  She 
doesn't  know  how  or  why  she  does  things,  but  she  does 
them  unerringly.  I  have  worked  with  many  people  and 
seen  many  greats  in  action.  Irene  Dunne  and  Bette 
Davis   both  act  with  their  heads.  Charles 
Laughton,  one  big  exposed  nerve,  acts 
with  his  stomach.  That  is,  when 
he  does  a  scene  wrong,  he 
gets  a  pang  in  his 
stomach.  But 
with 


Carole  Lombard,  it's  intuition.  She  feels  a  scene  and  plays 
it.  She's  remarkably  good." 

Garson  Kanin,  we  felt,  could  afford  to  speak  with  au^ 
thority.  A  slender,  slight,  hawk-faced  youngster  from 
Broadway,  an  overnight  directorial  sensation  at  RKO  with 
"Bachelor  Mother"  and  "My  Favorite  Wife,"  Kanin  is  now 
Simon  Legreeing  the  late  Sidney  Howard's  "They  Knew 
What  They  Wanted"  into  shape. 

The  feminine  lead  in  this  romantic  opus  of  a  dowdy 
dame  from  Frisco  and  a  fat  Italian  grape-grower  is  our 
Miss  Carole  Lombard.  For  weeks  now,  Kanin  has,  from 
the  Olympian  confines  of  his  canvas-backed  directorial 
chair,  been  lashing  Lombard  into  what  whisperers  claim 
will  be  her  greatest  effort.  And  during  these  weeks,  Kanin 
has  seen  Carole  under  every  circumstance,  every  emotion, 
every  possible  dramatic  situation. 

"The  most  important  thing  I've  learned  about  her," 
quote  the  Kanin,  "is  that  she  can  completely  get  out  of 
herself.  Before  I  worked  with  her  I  wondered  if  she  had 
that  ability.  You  see,  Hollywood  has  more  personalities 
than  actors.  Most  men  and  women  who  walk  on  the 
screen  are  themselves  and  nothing  more.  Even  great 
thespians  like  Bette  Davis  and  Ronald  Colman,  with  their 
limitless  ability,  get  into  a  certain  type  of  role  and  play  it 
over  and  over.  In  the  same  way,  Lombard  developed  a 
special  kind  of  appeal,  and  whenever  she  appeared,  screw- 
ball or  serious,  she  was  Lombard. 

"But  take  my  word  for  it,  in  this  picture  she's  dif- 
ferent, altogether  different.  She  does  not  just  re- 
peat her  real  or  reel  personality.  She's 
the   character   in  the   story,  the 
waitress  who  falls  in  love  by 
correspondence.  The 
(Continued 
page  77) 


On  the  "They  Knew  What  They  Wanted"  set,  Carole  and  Charles 
Laughton  (whom  she's  nicknamed  "Chuck")  work  out  the  next 
scene  with  Director  Garson  Kanin,  while  a  script  girl  takes  notes. 


It's  that  uncanny  sixth  sense  that's  put  this  merry  madcap  on  top 

22 


HE'S    tfOt®  S|^l  / 

AND  THEN  SOME  I-THAT  INCREDIBLE,  LOVABLE 
DICTATOR  OF  HOLLYWOOD,  SAMUEL  GOLDWYN 


They  say  that  Samuel  Goldwyn  was  once  at  a  house - 
party  where  he  noticed  a  ponderous  and  stout  volume. 
"What's  that?"  he  asked  his  host. 

"That,.  Mr.  Goldwyn,  is  a  dictionary!" 

"Who  wrote  it?" 

"Webster.    It  took  about  a  century  to  write  it!" 
"Say,  that's  a  long  time,"  mused  Mr.  Goldwyn.  "Fifty 
years!" 

Whether  this  is  true  or  not,  the  fact  remains  that  Mr. 
Goldwyn  has  not  needed  a  dictionary  to  turn  out  great 
pictures.  Despite  his  long  reputation  for  murdering  the 
King's  English  and  creating  howlers  that  have  rung  round 
the  world,  no  one  can  accuse  him  of  murdering  his 
standards.  His  long  list  of  successes  proves  that  the  much- 
publicized  "Goldwyn  touch"  can  make  the  most  literate  and 
excellent  Hollywood  pictures — year  after  year. 

Innumerable  stories  float  around  about  the  boners  made 
by  this  man.  People  ask,  "Did  he  really  say  them?  Is  he 
really  dumb?  Has  he  just  been  lucky  in  making  good 
pictures?  How  can  a  man  who  thinks  that  "im-possible" 
is  two  words  and  that  a  caddy  rides  a  racehorse  make  such 
finished  productions?" 

The  answer  is  that  Mr.  Goldwyn  really  did  say  a  lot 
of  the  things,  but  that  many  have  been  hung  on  him  by 
Hollywood  and  Broadway  wags.  He  is  far  from  dumb. 
He  has  not  been  lucky  in  making  hit  pictures;  he  has 
been  hardworking  and  skillful.  His  mind,  focused  twenty- 
four  hours  of  the  day  on  the  worries  of  getting  a  picture 
right,  cannot  be  bothered  with  the  trivialities  of  getting 
an  adopted  language  straight.  Goldwyn  works  and  spends 
to  get  the  perfection  his  innate,  though  not  always  well- 
expressed,  aristocratic  taste  dictates. 

When  asked  what  is  the  most  important  thing  in  a 
picture,  Mr.  Goldwyn  invariably  replies:  "The  story! 
You  can  hire  the  world's  greatest  director  and  cast — but 
you'll  get  a  pickle  if  you  don't  have  a  good  story!"  The 
slip-tongued,  bald-headed,  egotistical  man  who  gave  us 
"Wuthering  Heights,"  "Arrowsmith,"  "These  Three"  and 
"Dead  End"  knows  that  people  come  to  the  movies  to  be 
told  a  good  story,  and  a  good  story  is  what  he  always 
tries  to  give  them.  In  his  passion  for  hiring  the  world's 
greatest  writers  he  even  once  hired  Maurice  Maeterlinck, 
who  had  given  the  world  "The  Bluebird"  and  "The  Life  of 
the  Bee."  Maeterlinck  obliged  by  writing  him  a  movie 
script  at  $3000  a  week  which  sent  Goldwyn  screaming  into 
the  night,  "My  God — the  hero's  a  bee!" 

Goldwyn  was  born  in  Warsaw  in  1882.  He  started  to 
work  at  the  age  of  eleven,  at  twelve  ran  away  to  England 
and  finally  to  America  where  he  became  a  glove  maker, 
then  salesman,  at  Gloversville,  New  York. 

In  1913,  having  married  Blanche  Lasky,  the  sister  of 
Jesse  Lasky  (she  later  divorced  him),  he  accidentally 
found  himself  assisting  at  the  birth  of  the  infant  movie 
industry.  He  helped  found  Famous  Players  Lasky,  then 
left  them  to  found  Metro-Goldwyn-Mayer.   Later  he  left 


that  organization  and  set  out  to  make  pictures  of  his  own 
as  a  member  of  the  United  Artists  group. 

Sam  can  get  anything  he  likes  from  anyone — especially 
if  he  makes  his  request  over  the  phone.  Studio  heads  sud- 
denly realize,  after  an  innocent  phone  call  from  Goldwyn 
during  which  he  asked  many  questions  about  their  health, 
their  wives  and  kiddies,  that  they  have  signed  away  their 
most  precious  stars  and  indispensable  directors.  Then  de- 
spite their  quoting  Mr.  Goldwyn's  famous  crack:  "A  verbal 
contract  isn't  worth  the  paper  it's  written  on!"  they  find 
him  hard  to  defeat  should  they  try  to  break  their  word. 
If  Mr.  Goldwyn  is  ever  disappointed  in  a  request,  it  will 
possibly  be  because  he  didn't  do  the  business  over  the 
telephone! 

Twenty-six  years  ago,  Sam  Goldwyn  envisioned  a  type 
of  picture  that  would  supplant  the  2-reel  Bronco  Billies 
and  make  an  audience  sit  in  a  theatre  for  a  whole  hour. 
His  associates  put  up  tremendous  arguments — but  lost. 
The  result  was  the  "Squaw  Man,"  made  with  hard-bor- 
rowed money  and  directed  by  a  disappointed  playwright 
named  Cecil  B.  De  Mille,  who  was  on  the  verge  of  joining 
the  U.  S.  Army  to  fight  in  Mexico  when  Goldwyn  sum- 
moned and  convinced  him  he  would  bring  de  mil- 
lennium to  movies.  The  picture,  made  with  different 
brands  of  rented  cameras,  was  a  terrible  mess  when  pasted 
together.  Actors  were  cut  off  at  the  face,  walked  on  tipsy 
floors,  or  sometimes  even  upside  down.  The  sprockets 
on  the  different  films,  it  seems,  jammed  in  the  projection 
machines.  Finally  it  was  all  straightened  out  and  was  a 
terrific  success. 

Ever  since,  Goldwyn  has  put  forth  tremendous  effort 
to  jack  up  Hollywood  standards.  He  was  the  first  to 
bring  big  names  to  pictures.  He  spent  and  lost  fortunes 
trying  to  put  over  Mary  Garden,  Caruso,  Farrar,  Anna 
Sten  and  others.  Incidentally,  though  they  made  flops, 
he  never  tore  up  their  contracts.  He  was  also  the  first 
to  put  glamour  and  lavishness  in  films.  And  he  was, 
despite  his  inability  to  handle  the  King's  English,  the 
first  to  declare  war  on  the  type  of  tasteless,  ignorant  pro- 
ducer of  whom  it  has  been  said,  "He  knows  what  he 
wants — but  can't  spell  it!" 

Today  Mr.  Goldwyn  is  very  bitter  about  these  producers. 
He  thinks  they  are  responsible  for  the  great  flood  of  B, 
or  second-grade,  pictures  that  are  flooding  the  theatres 
to  make  up  double  feature  programs.  They  are  ruining 
Hollywood  taste — not  to  mention  profits.  On  his  recent 
trip  to  New  York  he  was  especially  unhappy  about  B  pic- 
tures and  their  makers.  It  seems  that  Hollywood's  world 
market — $600,000,000  per  year  gross — has  been  seriously 
hit  by  the  war.  Every  $1  Hollywood  formerly  pulled  into 
its  tills,  has  shrunk  to  56  cents.  "Something  must  be  done 
to  cut  costs,"  Mr.  Goldwyn  wails,  "or  Hollywood  will  go 
under!" 

Not  that  Mr.  Goldwyn  is  one  to  cut  costs.  He  called  back 
"Marco  Polo"  after  the  New   (Continued  on  page  68) 


OCTOBER,  1940 


25 


BLISS-HAYOEN  THEATRE  WILL  ENROLL  YOU,  IF 


YOU'RE  OVER  16 


SHIRLEY  TEMPLE 


AND  JANE  WITHERS  ARE 


PRODUCTS  OF  EX-MOVIE-STAR 


But  of  course,  you  can't  act.  Oh,  I  know  that  the  boys 
at  the  corner  drugstore  whistle  when  you  stroll  past, 
and  that  those  three  portraits  for  a  dollar  prove  you  photo- 
graph as  well  as  Joan  Crawford,  and  that  you  carried  a 
flag  and  whimpered  "In  Flanders  Fields"  for  your  high 
school -pageant.  But  still  you  can't  act. 

Not  according  to  Hollywood  standards,  anyway.  Take 
our  word  for  it — or  the  word  of  talent  scouts,  producers 
and  dgents — that  to  win  a  screen  test,  a  contract  and 
stardom,  you  have  to  acquire  stage  poise  and  dramatic 
technique  that  only  the  footlights  can  give  you. 

Startling  proof  that  face  and  figure  aren't  enough  is 
reflected  in  the  fact  that  last  year  five  big  time  studios — 
Twentieth  Century-Fox,  Paramount,  Warners,  M-G-M  and 
RKO—- took  people  they  had  under  contract,  players  like 
Rosemary  Lane,  Dorothy  Lovett,  Virginia  Vale  and  spent 
$10,000  sending  them  to  the  Max  Reinhardt  Workshop,  in 
an  effort  to  teach  them  to  act! 

Bravely  aware  of  the  requirements,  you  decide  to  come 
to  Hollywood.  But  being  wise,  you  also  decide  that  in- 
stead of  haunting  film  factories,  you  will  hunt  out  a  Little 
Theatre  and  properly  prepare  yourself. 

You  will  learn  there  are  one  hundred  and  thirty  Little 


Theatres  around  the  celluloid  village — some  of  these  have 
sprouted  in  redecorated  garages,  some  in  miniature  Spanish 
palaces,  some  in  patched  tents. 

You  will  learn,  soon,  that  these  showcases  will  give  you 
no  salary  for  making  an  exhibit  of  yourself.  Rather,  you 
will  pay  them  a  monthly  fee  for  the  privilege  of  working 
in  them.  And,  if  you  are  in  earnest,  remembering  thai 
Robert  Taylor,  Jane  Withers,  Bob  Stack,  Wayne  Morris 
Betty  Grable,  Anne  Shirley  all  came  from  the  same  boards, 
you  will  be  satisfied. 

But  none  of  the  reputable  Little  Theatres  will  make  you 
any  rash  promises  or  fantastic  guarantees.  Because  the 
odds  are  you  won't  become  another  Bernhardt.  The  odds 
are  you  won't  even  be  discovered  or  showered  with  options. 
But  one  thing  is  certain:  if  you  have  the  talent  and  the 
courage,  several  months  on  the  stage  will  make  your 
chances  that  much  greater. 

You'll  gain  experience.  You'll  know  that  a  "right  cross" 
has  nothing  to  do  with  Joe  Louis,  a  "straw  hat"  isn't  some- 
thing your  boy  friend  wears,  and  that  "up  stage"  is  not  a 
synonym  for  "stuck-up." 

You'll  get  rid  of  your  mid-Western  twang  or  Southern 
accent  and  learn  how  to  build  and  sustain  a  characteriza- 


26 


MODERN  SCREEN 


Here's  a  typical  group  of  aspirants  in  one  of  California's  Little 
Theatres.    There  are  130  of  these  playhouses  around  Hollywood, 
and  each  one  of  them  opens  its  stage  to  you — there  to  be  trained, 
to  become  experienced  and  perhaps  to  be  discovered. 


tND  CAN  PAY  THEM  $3S  A  MONTH 
BEN  ,NCU,-5S 


tion.  You'll  learn  not  to  swallow  your  syllables,  not  to 
walk  like  an  uninhibited  penguin  and  not  to  open  doors 
with  the  grace  of  a  tug-of-war  addict. 

All  of  this  and  more,  you  will  absorb  at  such  training 
schools  as  the  Hollywood  Community  Theatre,  the  Max 
Reinhardt  Workshop,  the  Pasadena  Playhouse,  the  Bliss- 
Hayden  Miniature  Theatre  and  the  Ben  Bard  Playhouse. 

The  Hollywood  Community  Theatre  is  the  oldest.  It 
was  established  twenty-four  years  ago,  the  first  theatre 
of  its  kind  in  the  movie  colony.  Today,  it  is  housed  in  a 
sprawling  gray  wooden  building,  an  overgrown  barn  once 
used  by  Mae  West's  manager  for  trying  out  new  plays. 
Inside  stretch  a  large  stage  and  190  seats.  Inside,  also, 
stretches  Miss  Neely  Dickson,  elderly  and  bespectacled, 
and  tired  after  a  long  day  of  work. 

The  office  walls  surrounding  Miss  Dickson  are  thick 
with  old  photos  of  men  like  Conrad  Nagel,  Lawrence  Tib- 
bett,  Edward  Everett  Horton,  who  received  their  initial 
career  impetus  from  her. 

Near  Miss  Dickson's  brown  desk,  pasted  on  orange  paper, 
are  clippings  of  her  more  famous  students,  Robert  Taylor, 
Betty  Grable,  Paulette  Goddard,  Julie  Haydon.  An  under- 
fined  sentence  stands  out  on  one:  "Neely  Dickson's  school 


By  Irving  Wallace 


has  more  people  accepted  by  the  movie  scouts  than  any 
other  of  the  workshops." 

Miss  Dickson,  who  has  been  dialogue  director  on  many 
major  pictures,  who  first  tried  out  plays  by  George  Bernard 
Shaw,  John  Drinkwater,  Zoe  Akins,  teaches  groups  of  ten 
to  twelve  students  at  a  time.  She  charges  each  of  them 
$450  a  year  for  the  training.  Only  the  most  advanced  and 
most  talented  may  appear  in  her  stage  productions,  which 
run  from  three  to  eight  weeks  and  are  seen  by  all  the 
scouts.  "Some  scouts  come  back  two  or  three  times  to 
see  the  same  play,"  sighed  Miss  Dickson  with  obvious  joy. 

From  these  plays  have  come  some  of  the  brightest  Holly- 
wood and  Broadway  stars.  Miss  Dickson  yanked  open 
a  drawer,  thumbed  through  some  papers  with  a  practiced 
thumb  and  came  up  with  a  yellowing  program.  She 
pointed  to  a  name  on  the  program.  "Look,"  she  said. 

The  name  on  the  program  was  Alan  Stanhope.  This 
left  me  unimpressed.  But  Miss  Dickson  explained,  "Alan 
Stanhope  was  the  stage  name  of  Robert  Taylor.  See  the 
top  of  this  program?  The  date  is  February  27,  1934.  That 
was  the  last  time  Taylor  appeared  under  my  direction. 
Two  weeks  later  he  was  signed  by  M-G-M.  Some  time 
ago  I  saw  him  with  Vivien  Leigh  (Continued  on  page  83) 


OCTOBER,  1940 


27 


That  Viennese  charmer,  Hedy  Lamarr,  bravely  steps  forth 
and  gives  the  male  of  the  species  a  startling  little  earful  I 


MEN  ONLY' 


So  often  I  am  interviewed  about  men— what  I  think 
about  them,  what  I  like  about  them  and  what  I  don't  like 
about  them.  But  now  that  you  have  given  me  the  oppor- 
tunity to  talk  about  what  I  wish,  I  am  going  to  choose  my 
own  sex. 

I  like  women  and  there  are  so  many  silly  misconceptions 
about  them  that  it  makes  me  very  angry.  They  say  women 
love  to  gossip.  I  do  not  think  they  love  to  gossip  as  much 
as  men  do.  They  say  women  keep  men  waiting  while  they 
dress.  I  have  never  in  my  lifetime  gone  out  with  a  man 
that  I  did  not  have  to  wait  for  him.  They  say  women  are 
fickle.  I  say  it  is  more  often  a  husband  that  deserts  a 
wife  than  a  wife  that  deserts  a  husband. 

They  say  women  are  poor  conversationalists  because 
they  cannot  be  impersonal.  I  do  not  believe  this,  either. 
I  prefer  to  talk  with  women.  I  have  a  friend,  a  woman 
lawyer,  and  we  have  the  most  wonderful  talks  which  no 
man  in  the  world  could  find  personal.  It  is  men,  I  think, 
who  are  likely  to  limit  their  conversation  to  strictly  busi- 
ness or  personal  matters. 

What  I  am  saying,  please  understand  me,  is  nothing 
against  men.  It  is  only  in  defense  of  women. 

Men  still  underestimate  women  as  they  did  a  hundred 
years  ago.  I  think  it  is  wrong  for  them  to  neglect  a  woman 
in  an  intelligent  discussion,  or  not  to  ask  her  opinion  in 
the  solution  of  financial,  domestic  or  personal  problems. 
Even  the  so-called  "simple"  girls  have  contributions  to 
make.  They  have  a  special  sense,  which  is  called  "a  woman's 
intuition"  and  which  is  to  be  compared  to  the  logic  of  men. 
It  is  just  as  trustworthy. 

The  other  day  I  sat  at  lunch  in  the  M-G-M  commissary. 
At  the  table  next  to  me  four  young  girls  were  having  their 
lunch.  They  were  extras  on  the  set  of  "Boom  Town."  To 
look  at  them,  you  wouldn't  suppose  they  had  one  good 
brain  among  the  four  of  them.  They  were  so  very  young, 
so  very  made-up  and  giddy  to  the  eye.  You  would  suppose 
they  would  be  talking  the  "he  sez  to  me"  and  "I  sez  to 
him"  kind  of  comic  paper  lingo.  But  I  eavesdropped  and 
they  were  talking  about  the  war.  Straight  through  the 
lunch  hour  they  argued  about  it  and  showed  they  were 
amazingly  well-informed. 

I  do  think  some  girls  cause  men  to  think  them  frivolous 
because  of  the  way  they  dress  and  the  way  they  look 
with  their  funny  hair-dos,  hats  and  too  much  make-up. 
And  older  women  who  try  so  pitifully  to  be  younger  than 
they  are  seem  silly,  too.  It's  really  stupid  of  them,  for  a 
woman  only  starts  to  be  interesting  between  the  ages  of 
thirty  and  forty.  Before  that,  she  is  only  a  promise.  After 
that,  she  is  a  promise  kept. 

,  It  is  an  especially  big  handicap  for  a  woman  if  she  is 
good  looking,  for  men  always  think  she  is  "dumb."  When 
a  girl  is  beautiful,  a  man  does  not  try  to  find  out  what  is 
inside;  he  does  not  try  to  scratch  the  surface.  If  he  did,  he 
might  find  something  much  more  beautiful  than  the  shape 
of  a  nose,  the  curve  of  a  mouth  or  the  color  of  an  eye. 


Actually,  looks  don't  matter.  Women  are  learning  this, 
but  some  of  them  have  still  to  realize  it.  It  is  true  that 
looks  may  cause  a  man  to  fall  in  love.  But  people  misuse 
the  word  "love"  so  easily.  They  throw  it  around  until 
its  meaning  is  all  blurred  like  a  bright  ball  that  loses  its 
true  colors  in  too  much  handling.  Often  when  they  say 
"love,"  they  mean  sexual  attraction.  Love  comes  from 
the  heart,  and  the  heart  has  no  eyes  to  see  the  color  of 
the  hair  or  the  lines  -of  the  figure;  the  heart  is  within 
and  it  sees  within.  The  other  thing  is  physical  and  doesn't 
ever  last. 

So  I  believe  that  while  good  looks  may  cause  a  man  to 
be  attracted,  looks  have  nothing  to  do  with  love  that  is 
real.  A  man  gets  used  to  good  looks  as  he  does  to  bad 
looks.  They're  like  a  dress  you  wear  too  often,  after  a 
time  he  could  not  tell  you  of  what  it  is  made  or  what  its 
color  is. 

I  was  never  attracted  to  any  man  who  said  "I  love  you" 
after  the  second  day.  Then  I  knew  it  was  the  looks,  and 
I  don't  like  that.  To  my  mind,  friendship  is  the  founda- 
tion of  love — the  only  foundation  that  will  stand  firm 
and  long. 

Women  are  honest,  that  is  another  reason  I  like  them. 
I  believe  they  are  more  honest  than  most  men.  They 
know  that  there  must  be  honesty  between  a  man  and  a 
woman.  I  could  never  live  with  a  man  who  didn't  tell  me 
the  truth.  I  can  understand  stealing,  I  can  understand 
murdering,  but  I  cannot  understand  lying.  It  is  such  a 
phony  thing.  I  can't  understand  a  man's  trying  to  make 
a  woman  jealous  of  him  or  a  woman's  trying  to  make  a 
man  jealous  of  her.    That  is  a  phony  thing,  too. 

If  there  is  anything  a  woman  doesn't  like  about  a  man, 
if  there  is  some  quality  in  him  that  sickens  her,  she  should 
tell  him.  I  do.  Otherwise  she  is  ill-tempered  with 
her  feeling  bottled  up  inside  her.  She  should  say, 
"Look,  that  habit  you  have  is  making  me  ill.  Do  you 
love  me  well  enough  to  stop  this?"  Then  it  is  all  above- 
board  where  women  want  it  to  be.  They  say  women 
can't  keep  secrets.  If  they  can't,  it  is  because  they  don't 
like  them — they  know  they  are  sticky,  sickly  things. 

I  like  women  because  they  are  brave.  Everyone  knows 
that  women  can  stand  pain  better  than  men.  I  once  had 
two  friends,  a  man  and  a  woman,  who  were  both  badly  in- 
jured in  a  train  accident.  I  went  to  the  hospital  to  see 
them.  The  man  was  groaning  and  thrashing  about;  the 
woman  was  lying  still  and  quiet,  not  speaking.  She  was 
more  painfully  hurt  than  the  man.  She  died;  he  didn't. 

A  woman  does  not  go  to  pieces  the  way  a  man  does. 
If  a  woman  breaks  at  all,  it  is  always  over  a  man.  When 
you  read  in  the  papers  of  love  tragedies,  it  is  young  men 
who  kill  their  sweethearts  and  themselves,  more  often 
than  young  girls. 

A  woman  is  better  than  a  man  in  almost  any  kind  of 
an  emergency.  In  an  accident,  for  instance,  a  woman 
knows  what  to  do  much  better  (Continued  on  page  60) 


OCTOBER,  1940 


29 


ON  THE  SET  WITH 


THERE  HAS  never  been  another 
Knute  Rockne.  Proof  that  his  niche  is 
unique  in  the  American  scene  is  the 
fact  that  now,  nearly  a  decade  after 
his  passage  through  the  Grim  Goal- 
posts, Warner  Bros,  has  shelled  out 
over  $1,000,000  to  film  his  life  story. 

Portraying  the  famous  "Rock"  who 
was  born  in  Norway  in  1 892  is  a  famous 
Irishman  who  was  born  in  Wisconsin  in 
1899.  The  Irishman  is  Pat  O'Brien  and, 
according  to  his  press  agents,  no  man 
in  Hollywood  is  better  qualified  for 
the  role,  for  "Didn't  Pat  once  run  67 
yards  for  a  touchdown  against  Notre 
Dame's  'Fighting  Irish?'  "  The  answer 
is:  He  did  no/!  Pat,  in  his  Marquette 
University  days,  was  just  a  third-string 
back  ana  played  exactly  30  seconds 


30 


MODERN  SCREEN 


Blayney  Fleishman,  one  of  16  children  who  portray  the  four 
Rockne  kids  at  various  ages,  poses  with  Gale  Page  and  Mrs. 
Rockne,  who  was  on  hand  to  check  details. 


i  I  Once  Rockne  tried  to  Introduce  soccer  to  his 
squad  for  conditioning  purposes.  The  game  was 
new  to  the  boys,  so  he  explained  it  and  wound  up 
with:  "The  idea  of  the  game  is  to  kick  the  ball  or 
kick  the  other  guy's  shins."  After  sides  were  chosen, 
they  found  no  ball  had  been  provided.  There  was 
a  brief  delay  and  then  a  big,  tough  linesman  stepped 
forth:  "To  hell  with  the  ball,  coach!"  he  exclaimed. 
"Let's  start  the  game!" 

|  1  A  husky  brute  had  just  finished  his  college 
career  in  a  blaze  of  glory.  His  final  game 
over,  he  sat  in  the  locker  room,  weeping  bitterly.  A 
friend  approached:  "What's  the  matter,  Frank? 
You've  just  scored  four  touchdowns  and  are  in  line 
for  all-American  for  the  third  straight  year.  What's 
so  wrong  about  that?"  A  bitter  sob  was  the  answer. 
"Brace  up,"  the  friend  continued.  "You've  had  your 
picture  in  all  the  papers,  you've  been  interviewed 
by  the  best  reporters  and  there  isn't  a  kid  in  the 
country  who  doesn't  know  about  you.  What's  the 
matter?"  Another  sob  racked  the  frame  of  the 
famous  star.  "Boo  hoo,"  he  wept.  "If  I  had  only 
learned  to  read  and  write!" 

7]   Rockne  loved  to  tell  stories  on  himself,  too. 

Once  he  was  teaching  Jim  Crowley,  now  coach 
at  Fordham,  a  difficult  play  and  Crowley  couldn't 
seejn  to  get  it.  Finally,  Rockne  became  exasperated. 
"Tell  me  one  thing,"  he  said.  "Is  there  anything 
dumber  than  a  dumb  Irishman?"  Crowley  smiled. 
"Sure,"  he  said,  "a  smart  Norwegian." 


n 


KNUTE  ROCKNE  -  ALL  AMERICAN 


99 


against  Rockne's  team.  After  that  he 
had  to  be  helped  from  the  field. 

Nonetheless,  his  role  fits  him  like 
the  pigskin  fits  a  football  bladder.  It 
should.  Pat's  preparations  for  the  part 
were  more  elaborate  than  a  dizzy  co- 
ed's for  her  first  prom.  Weeks  before 
the  picture  got  going,  Pat  spent  long 
hours  in  a  darkened  studio  projection 
room  watching  over  and  over  again 
old-time  newsreels  of  thecoach.  When 
he  emerged,  it  was  to  read  books  and 
magazine  stories  about  the  man,  and 
when  he  retired,  the  only  existing 
recording  of  Rockne's  voice  rang  in  his 
ears.  He  even  learned  to  eat  grapes 
constantly  and  to  whistle  "My  Wild 
Irish  Rose"  because  "Rock"  always  did! 

Pat's  study  hours  were  not  the  most 


painful  part  of  his  conversion,  how- 
ever. What  really  got  him  down  was 
the  almost  complete  facial  and  physi- 
cal overhauling  necessary  to  heighten 
his  resemblance  to  the  coach.  First,  he 
had  to  drop  20  pounds— and  for  a 
man  who  likes  his  pastry  and  pork 
chops,  that's  a  wicked  assignment. 
Then,  he  had  to  submit  to  daily  make- 
ups that  even  the  practiced  hands  of 
Perc  Westmore  couldn't  slap  on  in  less 
than  two  hours.  This  consisted  of  hav- 
ing his  natural  chin  cleft  built  in,  his 
forehead  built  out,  his  nose  "broken" 
(Rockne  broke  his  as  a  kid),  and  his 
face  covered  with  tiny  pieces  of  rubber 
skin.  As  the  picture  progresses,  so  does 
Pat's  age.  Later  sequences  show  his 
pate  encased  in  a  plastic  rubber  bald 


head  with  a  fringe  of  hair.  Imagine! 
All  of  that  for  a  puny  few  thousand 
a  week! 

Warner  Bros,  gave  him  a  solid  sup- 
porting cast  which  even  includes  non- 
Hollywoodites  Alonzo  Stagg,  one-time 
famous  football  coach  at  the  Uni- 
versity of  Chicago,  and  "Pop"  War- 
ner, the  equally  famous  retired  coach 
of  Stanford.  They  embellished  his 
acting  with  absolutely  authentic  repro- 
ductions of  Rockne's  home,  classrooms 
and  laboratories  and  went  so  far  as  to 
throw  in  a  free  trip  to  South  Bend, 
Indiana,  the  home  of  Notre  Dame  Uni- 
versity, where  the  campus,  the  playing 
field  and,  for  the  first  time,  the  in- 
terior of  the  beautiful  cathedral  posed 
pretty  for  the  motion  picture  camera. 


OCTOBER,  1940 


31 


IT  TOOK  A  MOUSTACHE 


Not  so  long  ago  Ronald  Colman  was  a  man  whom  no- 
body knew.  That  was  because  he  permitted  no  one  to  know 
him.  To  even  those  chosen  few  with  whom  he  spent 
much  of  his  time  he  remained  largely  an  enigma;  he  went 
his  way  virtually  alone,  a  romantic  modern  knight  sheathed 
in  an  armor  of  reserve  which  none  could  completely 
penetrate.  Adored  by  millions  of  fans,  he  was  almost  a 
recluse. 

Hollywood  didn't  understand,  for  with  Colman  it  was 
anything  but  an  act.  He  withdrew  within  himself  because 
that  is  the  way  he  is  made,  because  it  is  inherent  in  his 
British  make-up  to  remain  aloof.  Often  a  swashbuckling 
adventurer  on  the  screen,  he  actually  is  sensitive  and 
retiring  in  his  private  life,  so  modest  and  unobtrusive  that 
at  one  time  he  nearly  deprived  himself  of  his  screen 
career. 

It  happened  when  Colman  had  just  come  over  from 
England  and  was  appearing  as  leading  man  in  a  New 
York  play.  At  that  time  Lillian  Gish  was  a  big  cinema 
star,  and  Henry  King,  the  director,  was  looking  for  some- 
one to  appear  opposite  her  in  "The  White  Sister."  He  had 
tested  in  vain  all  the  then  available  leading  men  of  stage 
and  screen.  The  company  was  waiting  to  sail  on  location 
to  Italy,  and  he  was  at  his  wits'  end,  when  he  chanced 
to  drop  into  the  theatre  where  Colman  was  playing.  After 
the  performance  he  sent  his  card  backstage  and  offered 
Ronnie  a  test. 

"Oh,  it's  just  wasting  your  time,"  Colman  told  him. 
"I  don't  photograph  well,  and  I'm  sure  I  could  never  be 
a  screen  actor." 

King  insisted  and  when  the  test  had  •been  made  and 
run  off  in  a  projection  room  it  seemed  at  first  that  Colman, 
and  not  King,  was  right.  At  that  time  Ronnie  was  clean 
shaven  and  something  about  the  way  his  lower  hp  photo- 
graphed made  him  appear  decidedly  less  than  romantic. 
He  shook  hands  with  King,  went  back  to  the  theatre  and 
forgot  all  about  motion  pictures. 

But  King  could  not  convince  himself  that  he  had  been 
so  mistaken.  He  persuaded  Ronnie  to  come  for  another 
test  the  following  day,  and  this .  time,  while  Colman  was 
making  up,  King  had  an  idea. 

"I  know  what  you  need,"  he  said  suddenly  and  reached 
for  an  eyebrow  pencil.  With  it  he  drew  a  moustache  on 
Colman's  hp,  and  this  time,  when  the  test  was  run  off,  King 
knew  instantly  that  he  had  found  a  new  star.  Colman  was 
signed  to  a  contract  and  the  next  day  left  for  Italy  to 
make  the  picture.  He  grew  a  real  moustache  on  the  voyage 
and  has  never  been  without  it  since. 

That  moustache  changed  his  photogenic  personality  com- 
pletely, but  did  nothing  to  change  his  innate  modesty.  Left 
to  his  own  estimate  of  himself,  Ronald  Colman  would 


still  be  playing  six  evenings  a  week  with  matinees  on 
Wednesdays  and  Saturdays,  instead  of  having  producers 
standing  in  line  for  the  one  or  two  pictures  he  now  makes 
each  year. 

As  he  was  in  his  professional  life  so  he  remained  in  his 
private  life,  even  after  such  roles  as  "Beau  Geste"  had 
made  him  the  reigning  romantic  idol  of  the  screen.  Most 
actors  are  instinctively  exhibitionists  who  love  to  strut 
their  stuff  upon  any  opportunity,  but  Colman's  psychology 
is  the  antithesis  of  theirs.  That  is  why  he  so  seldom  appears 
at  benefits  and  so  forth,  although  no  one  could  be  more 
sympathetic  for  their  cause. 

"Look,"  he  recently  told  the  chairman  of  an  entertain- 
ment committee  which  was  staging  a  show,  "this  is  to 
raise  money,  isn't  it?  Well,  it  embarrasses  me  to  sing  or 
recite  in  public,  so  if  you  don't  mind  I'd  rather  just  give 
you  a  check.  And  I'm  sure  the  audience  would  prefer  it." 

When  he  first  came  to  Hollywood,  Colman  became  a 
charter  member  of  the  famous  Hollywood  Musketeers. 
That  was  the  name  given  the  four  inseparables.  Richard 
Barthelmess,  William  Powell  and  Warner  Baxter  were 
the  other  three.  Barthelmess,  Powell  and  Baxter  were 
kindred  spirits  who  were  the  only  recreation  Colman  had. 
Ronnie  was  the  brake  on  their  sometimes  too  exuberant 
activities.  They  more  than  any  one  else  understood  him, 
but  he  frequently  withdrew  himself  even  from  them. 
•  This  four  formed  a  private  poker  club,  during  the  weekly 
sessions  of  which  Baxter  invariably  tried  to  make  up  rules 
to  suit  his  hand,  whereupon  Colman  would  quote  Hoyle 
as  fluently  as  Shakespeare.  They  went  fishing,  yachting 
or  camping  together,  each  of  the  four  taking  his  turn  to 
cook  and  clean  up.  Only  at  these  times,  and  with  these 
boon  companions,  did  Ronnie  really  relax. 

Compare  these  innocuous  diversions  with  the  frequently 
all  too  hectic  activities  of  other  stars!  Virtually  Colman 
went  nowhere  and  did  nothing.  His  tennis  kept  him 
physically  fit  but,  except  when  he  was  working  on  a  pic- 
ture, he  was  acutely  lonely.  Even  on  the  set,  between 
shots,  he  usually  sat  in  a  corner  reading  a  book  while  he 
awaited  his  cue. 

During  all  those  years  there  were  no  women  in  Col- 
man's life.  An  unhappy  marriage  had  made  him  skeptical 
of  them.  Occasionally  he  might  be  seen  escorting  a  girl 
somewhere,  but  the  Hollywood  way  of  romance  was  not 
for  him.  The  report  got  around  that  Ronnie,  Hollywood's 
most  eligible  catch,  was  not  "to  be  had." 

Colman  was  looking  for  something  real,  and  he  realized 
that  in  Hollywood  what  frequently  passed  for  love  was 
just  another  way  of  making  whoopee.  Young  Lochinvar 
rode  out  of  the  West  in  an  airplane  elopement  to  Yuma, 
the  sky  was  the  limit  and  soon  two  more  matrimonial 


32 


MODERN  SCREEN 


AND  A  MISSUS  TO  GLAMOURIZE  RONNIE 


IN  SPITE  OF  HIMSELF 


redskins  bit  the  divorce  court  dust.  And  as  soon  as  one 
romance  wilted  another  took  its  place.  Ronnie's  idea  of 
marriage  was  definitely  not  like  that.  One  of  his  favorite 
stories  is  "The  Barretts  of  Wimpole  Street,"  which  he  has 
read  many  times,  and  in  a  vague  sort  of  a  way  he  visualized 
true  romance  as  something  like  that. 

So,  despite  his  pre-eminence  as  the  cinema  Prince  Charm- 
ing, Ronnie  lived  very  quietly  by  and  within  himself.  His 
income  enabled  him  to  indulge  in  those  fine  but  unostenta- 
tious things  which  afforded  perhaps  his  greatest  pleasure. 
If  he  gave  a  party  it  was  the  small,  intimate  kind.  Invita- 
tions, naturally,  came  by  the  dozen  but  he  accepted  few 
of  them.  His  life,  in  short,  was  an  almost  austere  bachelor 
existence  at  what  he  always  referred  to  as  his  "diggings." 
Except  when  he  was  working,  Hollywood  rarely  saw  him 
because  he  preferred  the  sea  and  the  open  country.  One 
of  his  favorite  diversions  was  to  take  long  automobile 
rides  alone,  driving  in  any  direction  until  he  found  himself 
in  some  interesting  place,  then  putting  up  at  some  little 
inn  and  staying  there  incognito  as  long  as  he  could. 

It  was  during  this  period  that  Ronnie  bought  his  yacht, 
which  he  himself  always  calls  (Continued  on  page  64) 


By  Reginald  Taviner 


Thelma  Raye  made  Mr.  C. 
woman-wary — until  he  met 
the   lovely    Benita  Hume. 


OCTOBER,  1940 


MODERN  SCREEN 


I In  what  picture  does  Bing 
Crosby  croon  "That's  for 
Me"  to  a  lovely  lady  who  used 
to  admit  publicly  that  her  "Heart 
Belongs  to  Daddy?" 

2 Who  are  known  as  "the 
most  happily  married  couple 
in  Hollywood?"  And  in  what 
romantic  comedy  do  they  play 
the  roles  of  very  quarrelsome  but 
very  loving  newly-weds? 

3 What  nationally  known 
screen  and  radio  character 
has  a  new  girl,  not  to  mention  a 
new  pal  who  is  a  terrific  scene 
stealer? 

4 What  girl  is  fortunate 
enough  in  what  moving  pic- 
ture version  of  a  Joseph  Conrad 
masterpiece  to  spend  a  week  alone 
on  a  South  Sea  Island  with  Fred- 
ric  March? 

5 Who  is  the  lovely  English- 
born  beauty  who  steals  Fred 
MacMurray's  heart  in  the  big 
new  outdoors  adventure  picture 
directed  by  Sam  ("Goodbye,  Mr. 
Chips,"  "Our  Town")  Wood. 
And  what  Daughter  of  the  Dust 
Bowl  makes  news  by  playing  a  ter- 
rific kid  role  in  the  same  picture? 


*o  YOUR  - 


I Bing  Crosby  sings  "That's  for  Me"  to  Mary 
Martin  in  Paramount 's  "  Rhythm  on  the 
River,"  the  big  streamlined  musical  which  also 
stars  Basil  Rathbone,  with  Oscar  Levant. 

2 Joan  Blondell  and  Dick  Powell,  of  course,  the  stars 
of  Paramount's  "I  Want  a  Divorce,"  the  picture 
Hollywood  is  raving  about  as  setting  Joan  and  Dick 
firmly  on  the  comeback  trail. 

3 Henry  Aldrich,  America's  new  Peck's  Bad  Boy, 
played  by  Jackie  Cooper,  has  Boston  and  Broad- 
way's cute  little  Leila  Ernst,  success  of  "Too  Many 
Girls"  for  a  girl  friend,  and  Eddie  Bracken,  also  a  star 
of  the  same  New  York  hit  show,  as  his  pal  in  "Life  With 
Henry"  starring  the  Aldrich  Family. 

4Fredric  March  in  Paramount's  all-star  production 
of  Joseph  Conrad's  immortal  "Victory"  welcomes 
Betty  Field  to  his  private  island  paradise  in  the  South 
Seas  and  starts  a  thrilling  series  of  romantic  adventures 
in  which  Sir  Cedric  Hardwicke  and  other  famous  name 
players  play  exciting  parts. 

5 Patricia  Morison  corrals  the  hard-boiled  heart  of 
Fred  Mac  Murray  in  Paramount's  "Rangers  of 
Fortune,"  the  Sam  Wood  action  adventure  drama  of 
three  rough,  tough  sons  of  the  Old  Border  Country, 
"Rangers  of  Fortune."  Betty  Brewer,  the  little  Okie 
kid,  discovered  singing  on  the  Los  Angeles  streets 
makes  her  film  bow  in  this  picture. 


/ 


OCTOBER,  1940 


35 


Bing's  been  singing  practically  al 
of  his  36  years,  but  he  never  took 
a  lesson  and  can't  read  a  note  of 
music.  Doesn't  take  anything  seri- 
ously, least  of  all  his  voice,  and  calls 
himself  "Old  Gravel-Throat." 


HE'S  NOT  A  GREAT  LOVER  OR  A  GREAT 
PROFILE.     BING'S    JUST    AN  AVERAGE 

GUY,    BUT    HOW    THE    LADIES    LOVE  HIM! 

36  A  .  rs&fcgl 


Perhaps  you  haven't  thought  about  it,  but  one  male 
screen  idol  makes  it  easier  for  the  girls  to  palpitate  about 
him  by  banning  publicity  about  his  private  life — and  his 
private  wife.  Two  other  idols,  both  with  romantic  reputa- 
tions to  preserve,  won't  talk  about  their  wedded  bliss  and 
have  pacts  with  their  wives  that  keep  their  wives  mum, 
also.  And  when  another  certain  romantic  actor  recently 
dashed  down  South  America  way,  where  he  has  a  large 
following,  he  left  the  little  woman  home.  Why  remind  the 
smitten  senoritas  that  there  was  a  senora? 

But  Bing  Crosby  doesn't  care  who  knows  that  he's  a 
family  man,  a  happy  husband  and  the  parent  of  four  sons, 
including  twins.  Iiast  Father's  Day,  in  every  newspaper 
in  the  country,  there  was  a  picture  of  Bing,  completely 
surrounded  by  Crosby  offspring.  He  puts  up  a  battle  every 
time  Paramount  wants  to  get  him  into  the  portrait  gallery 
for  some  glamour  art,  but  let  Paramount  suggest  some  home 
shots  with  the  family,  and  he  says,  "Name  the  day."  When 
he  takes  a  long  trip,  he  also  takes  Mrs.  Bing  and  sees  to 
it  that  she's  in  all  the  news  photos  with  him.  And  she  has 
been  interviewed  often  about  what  he's  like  around  the 
house. 

According  to  accepted  Hollywood  theories  of  what  is 
good  publicity  and  what  isn't,  all  this  should  have  ruined 
his  appeal  to  women  long  ago.  Yet  last  year  he  was  Star 

MODERN  SCREEN 


That's  2l/2-year-old  Lin  (named  for 
Lin.  Howard)  with  his  proud  papa. 
Next  is  Gary,  7,  who  can't  stand 
Bing's  singing.  Then,  5-year-old 
twins,  Phil  and  Dennis — two  imps 
born  on  Friday  the  13th. 


No.  11  in  box-office  popularity — not  far  behind  two  of  the 
above-mentioned  gallery  gods,  and  ahead  of  the  other  two. 

He  doesn't  give  the  women  of  America  a  chance  to  hope 
that  he  isn't  happily  married  or  that  he  isn't  likely  to  stay 
that  way.  And  still  they  go  for  him  by  the  millions.  He 
wouldn't  be  Star  No.  11  if  they  didn't. 

What  do  you  make  of  it,  Watson? 

He's  a  presentable  specimen  of  the  genus  Americano, 
clean-cut  and  clean-shaven,  but  that  doesn't  make  him  an 
Adonis.  Hollywood  has  handsomer  heroes,  with  wavier 
hair  and  more  of  it. 

Of  course,  not  all  of  them  sing.  But,  of  those  who  do, 
there  isn't  one  who  hasn't  had  more  voice  training  than 
Bing.  He  hasn't  had  any.  He  belittles  his  voice,  calls  him- 
self "Old  Gravel-Throat."  Still,  there's  something  about 
his  voice,  husky  and  untrained,  that  gets  them.  It's  a 
large  part  of  his  appeal.  Other  women  feel  like  the  girl 
who  said,  "When  Bing  sings  your  favorite  love  song,  it's 
like  getting  cream  with  your  strawberries." 

But  women  don't  go  to  the  movies  just  to  hear  him 
sing.  They  can  hear  him  sing  at  home,  on  the  radio  or  on 
phonograph  records.  No,  they  go  to  look,  as  well  as  listen. 

And  since  he  isn't  a  Great  Profile,  a  Great  Physique,  a 
Great  Lover,  a  Great  Operatic  Singer  or  a  Great  Actor, 
they  must  go  to  see  him.  simply  because  he  isn't  those 


things.  They  like  him  because  he  doesn't  awe  anybody, 
because  he  doesn't  even  try.  They  like  him  because  he  has 
a  personality  that  says,  "Folks,  I  want  to  entertain  you, 
but  I  can't  put  on  a  glamour  act  in  front  of  friends.  At 
least,  I  hope  we're  friends." 

Most  people  don't  know  how  to  take  many  of  the  actors. 
They  live  in  a  world  apart.  But  here  is  an  actor  anybody 
can  understand.  He's  like  one  of  the  folks.  They  have  the 
feeling,  watching  Bing,  that  they're  watching  someone  they 
know — or,  at  least,  someone  they  could  know  more  easily 
than  they  could  know  any  other  man  on  the  screen. 

How  about  it?  Are  they  justified  in  that  feeling? 

We  went  to  John  Gallaudet,  who  talks  frankly,  has  a 
sense  of  humor,  and  ought  to  know  what  it  takes  to  be 
a  friend  of  Bing's.  They  have  worked  in  five  pictures 
together  and  are  still  friends.  They  even  play  golf  together. 

"Is  it  easy  to  get  acquainted  with  Bing?"  John  echoed 
the  question  with  a  faint  lift  of  one  eyebrow.  "I've  never 
yet  encountered  anyone  who  thought  it  was  hard.  It  can't 
be  hard;  he  knows  too  many  unexpected  people.  I'm  one 
of  the  unexpected  ones,  myself.  Let  me  tell  you  how  we 
became  friends. 

"My  wife  was  the  feminine  half  of  a  dance  team  at 
the  Palais  Royal  in  New  York,  when  Bing  was  singing 
there  with  Whiteman's  band.      (Continued  on  page  86) 


OCTOBER,  1940 


37 


REVEALING  INTIMATE  AND  INTRIGUING  TIDBITS  ABOUT  JUDY  GARLAND 


Judy  has  what  she  calls  "insane" 
food  habits.  She  likes  to  eat  corn 
on  the  cob  with  grape  jelly.  (She 
once  dropped  an  ear  of  corn  in  some 
grape  jelly  by  accident  and  it  tasted 
swelL)  She  never  eats  any  two  things 
together.  If  she  has  meat  and  potato 
on  her  plate,  she  eats  all  the  meat  first, 
then  all  the  potato.  She  never  eats 
on  time.  If  dinner  is  at  seven,  she 
stalls  around  until  eight.  She  loves 
to  eat  hamburgers  (but  not  with 
onions!),  little  thin  hot  cakes  and 
wienies  just  before  she  goes  to  bed. 
She  says  they  make  her  sleep  like 
a  log. 

When  she  drives  herself  in  her 
little  red  coupe,  she  has  only  one 
window  open  and  all  the  doors  locked. 
She  sings  with  the  radio  as  she  drives. 
She  likes  to  listen  to  the  radio  only 
when  it  is  on  as  loud  as  possible.  She 
has  a  portable  radio  in  her  room  at 
home  and  two  others  in  other  parts 


of  the  house.  She  usually  has  all 
three  of  them  going  at  once,  at  the 
top  of  their  etheric  lungs.  She  likes  to 
feel  that  the  orchestra  is  right  in  the 
room  with  her.  She  and  Mickey  have 
this  bond  in  common:  they  both  like 
noise  and  plenty  of  it.  Her  mother  and 
sister  are  contemplating  the  addition 
of  a  sound-proof  room  to  the  house 
for  the  sake  of  their  ear-drums. 

She's  always  going  to  the  movies, 
goes  at  least  three  or  four  times 
a  week.  She  likes  double  fea- 
tures; she  wishes  they  would  have 
"treble"  features.  She  likes  to  sit 
in  the  fifth  or  sixth  row  from  the 
front,  eat  candy,  chew  gum  and  put 
her  feet  up  on  the  back  of  the  seat 
in  front  of  her.  And  she  sees  her 
favorite  pictures  over  and  over  again. 
She  saw  Bette  Davis  in  "Dangerous" 
fourteen  times.  She  saw  Bob  Mont- 
gomery and  Maureen  O'Sullivan  in 
"Hideout"  six  times.  She  has  already 


seen  "Rebecca"  three  times.  She  cries 
horribly  in  pictures  when  they  are 
sad.  She  says,  "I  cry  right  out  loud." 
The  only  time  she  ever  really  laughs 
is  when  she  sees  a  comedy  film.  Other- 
wise, surprisingly  enough,  she  doesn't 
laugh  often.  When  she  is  pleased  or 
amused  her  whole  face  brightens,  but 
she  doesn't  laugh  aloud. 

She  bites  her  fingernails  and 
stuffs  money  in  her  pocketbooks  and 
sweater  pockets  and  forgets  she  has 
it.    Once  a  week  she  goes  through 


A 


38 


MODERN  SCREEN 


i  „  -So"" 


all  her  pocketbooks  and  pockets  and 
finds  "a  little  fortune  I  didn't  know 
I  had."  She  steals  combs.  She  doesn't 
mean  to,  she  just  absent-mindedly 
picks  them  up  at  hairdressers  and 
from  her  friends'  dressing-tables  and 
makes  off  with  them.  She  has  a  good 
memory  for  telephone  numbers  and 
addresses  but  a  bad  memory  for 
names.  She  starts  to  introduce  her 
best  friend  to  someone  and  can't  re- 
member her  friend's  name. 

Judy  has  lived  in  Hollywood,  in 
Beverly  Hills  rather,  for  five  years. 
She  has  had  only  one  contract,  a  seven- 
year  one  with  Metro-Goldwyn-Mayer, 
and  still  has  more  than  two  years  to 
go  on  it. 

Judy  loves  to  go  "basement"  shop- 
ping. She  always  feels  so  good,  she 
says,  when  she  finds  a  bargain;  Her 
favorite  dress  last  summer  was  a  little 
cotton  dress  she  found  for  $5.95.  She 
wore  it  steadily  for  weeks.  She  always 
buys  too  many  things,  she  says,  things 


she  doesn't  really  need.  Especially 
sweaters  and  skirts  and  shoes.  More 
especially,  shoes.  She  has  a  ridiculous 
number  of  shoes,  seventy-three  pairs 
at  the  last  count.  She  has  to  buy  her 
own  shoes  for  pictures,  "which  ac- 
counts for  the  jillions  I  own."  She  is 
always  planning  to  give  some  of  them 
away  and  then,  at  the  last  minute, 
changes  her  mind.  She  has  a  terrible 
time  parting  with  anything  old  even 
if  she  can't  use  it.  Her  dream  is  to 
have  a  house  with  a  roomy,  old- 
fashioned  attic  where  she  can  store 
away  the  accumulation  of  her  life- 
time so  that  her  great-grandchildren 
can  find  the  things  in  the  years  to 
come.  She  is,  she  says,  "a  natural- 
born  'saver.' " 

•She  loves  to  go  shopping  at  the 
Five  &  Ten.  Her  bureau  drawers  are 
cluttered  with  little  bottles  of  hand 
lotions,  little  boxes  of  powder  and 
little  packets  of  soap.  She  loves  to 
shop  in  drugstores.  In  the  "ritzy" 
drugstores    she    just  "nose-shops," 


she  says.  That  is,  she  goes  around 
sniffing  and  sampling  all  the  expensive 
perfumes.  She  gets  hay  fever  from 
some  kinds  of  perfume.  From  Arpege, 
for  instance,  which  is  her  favorite. 
Paul  Whiteman  gave  her  four  bottles 
of  imported  perfume  when  he  worked 
with  her  in  "Strike  Up  The  Band" 
and  she  went  around  sneezing  for  six 
weeks.  "Better  to  sneeze  than  not  to 
smell  like  that,"  she  explained. 

Judy  loves  the  "corner"  drug- 
stores, too,  like  the  one  in  Hollywood 
where  Cliff  Edwards  takes  over  the 
cash-register  when  the  girl  is  off  and 
Bob  Taylor  comes  in  and  whips  him- 
self up  a  malted  milk  and  everyone 
drops  in  and  "dishes  the  dirt."  She'd 
like  to  live  in  a  small  town  and  hash 
things  over  the  back  fence. 

She  is  five  feet  two  and  a  half 
inches  tall,  weighs  one  hundred  and 
eight  pounds  and  grew  just  exactly 
an  inch  in  this  past  year. 

(Continued  on  page  Jl) 


OCTOBER,  1940 


39 


THE  OTHER  DAY  BILL  HOLDEN  WROTE  A  LETTER  TO  HIS 
FAMILY  AND  HIS  WHOLE  DESTINY  HUNG  ON  THEIR  REPLY! 


Bill  Holden  flipped  over  a  page  of  his  calendar  and 
found  a  date  with  a  big,  red  ring  around  it.  He  ripped  it  off 
and  sat  right  down  to  write  a  letter  to  his  folks.  It  went 
like  this: 

"Well — I've  been  at  it  a  year  today.  What's  the  verdict? 
Do  I  come  back  and  finish  college,  or  shall  I  go  on  from 
here?" 

As  he  wrote,  Bill  chuckled  to  himself  through  his  curly 
new  beard.  He  knew  the  answer,  of  course. 

Bill  Holden  had  penciled  that  red  ring  a  year  before, 
after  he'd  sidetracked  a  sane  and  sensible  ambition  to 
be  a  chemist  for  what  looked  then  like  a  very  wild  Holly- 
wood goose  chase.  At  that  point,  his  folks  had  said,  "All 
right,  Bill.  Go  ahead.  Quit  college  and  try  the  movies 
if  you  want  to.  But  please  promise  us  one  thing:  After 


you've  been  acting  for  a  year,  if  you  find  you  aren't  getting 
anywhere,  come  back  and  finish  school,  will  you?" 

"I  will,"  agreed  Bill  Holden.  He  meant  it,  too. 

For  over  a  year  now,  William  Holden  has  been  on  trial 
— not  only  with  his  folks,  but  with  himself  and  Hollywood. 
He  was  "Golden  Boy"  to  start  with.  But  gold  has  to  be 
assayed,  and  so  do  green  Hollywood  actors.  When  they 
don't  test  out  they  dribble  down  the  drain — and  out.  When 
they  soar  into  the  movie  heavens  like  shooting  stars  they 
are  quite  likely  to  fade  as  fast.  But  while  Bill  Holden 
still  believes  he  doesn't  know  acting  from  sour  apples  and 
is  frank  and  humble  about  it,  even  he  can't  deny  that 
he's  the  young  man  in  Hollywood  today  with  the  rosiest 
future  of  all — a  virile  young  Gable  with  every  studio  in 
town  chasing  him,  wanting  him  to  star  in  its  next  film. 


40 


MODERN  SCREEr 


W  w 


1  * 


Next  to  her  hubby 
and  her  gorgeous 
pearls,  Mrs.  Jack 
Oakie  loves  that 
solid  silver  cigarette 
case  studded  with 
diamonds,  rubies 
and  huge  emeralds. 


A  torrid  twosome  of 
long  standing  is 
Jane  Withers  and 
George  Ernest,  but 
this  is  their  first  big 
date.  An  orchid,  a 
table  for  two  at 
Ciro's— the  works! 


Marie  ne  Dietrich, 
Josef  von  Sternberg 
and  Erich  Remarque 
threes-a-crowd-it  sev- 
eral times  a  week. 
They  never  dance, 
just  sit  and  talk  about 
the  war  for  hours. 


Dan  Topping,  who 
owns  the  Brooklyn 
Dodgers  and  can 
support  a  wife  with 
no  trouble  at  all,  is 
trying  to  persuade 
Sonja  Henie  (the 
new  Mrs.  T.)  to  retire. 


Deanna  Durbin, 
Vaughn  Paul  and 
Helen  Parrish  — 
who's  no  longer  a 
Forrest  Tucker  mo- 
nopoly —  chat  over 
cokes  at  Bob  Stack's 
Red  Cross  party. 


This  7-nights-a-week 
romance  started  out 
on  a  misery  loves 
company  basis,  but 
Dot  Lamour  and 
Greg  Bautzer  admit 
it's  blossoming  into 
the    real  thing. 


Jimmie  Cagney's 
wee  wife  Billie  tries 
to  heckle  hubby  into 
staying  at  the  Clover 
Club  just  a  few  more 
minutes.  That  Cag- 
ney  man's  a  real 
early  -  to  -  bedderi 


Before  Matty  Fox  left 
for  N.  Y.,  he  and 
Pat  Morison  were 
at  Ciro's  practically 
nightly.  Now  Pat  sits 
home  and  chats  with 
him  for  hours  and 
hours  on  the  phone. 


The  other  evening 
Margaret  Lindsay 
helped  Bill  Lundigan 
celebrate  his  twenty- 
sixth  birthday  with 
ice  cream,  cake  'n' 
everything  at  Ciro's, 
their  favorite  haunt. 


Since  the  Norma 
Shearer  -  George 
Raft  grande  passion 
is  a  dead  issue,  Pro- 
ducer David  Lewis 
has  been  dating  the 
much  blonder  Nor- 
ma occasionally. 


J.  Walter  Ruben  just 
has  to  grin  and  bear 
it  when  that  arch- 
flirt  Jack  Warner 
chucks  lovely  Mrs. 
R.  (Virginia  Bruce) 
under  the  chin.  He's 
her     new  boss. 


Roz  Russell  helps 
Freddie  Brisson  cele- 
brate the  glad  word 
that  his  Danish  dad, 
Carl  Brisson,  will 
soon  be  out  of  war- 
torn  Europe  and 
back  in  Hollywood. 


43 


Beautiful  teeth  are  a  matter  of  planning,    building   and   proper   upkeep,  say 


"Clothes  may  'make'  the  man,  but  a  beautiful  smile 
will  hold  him."  The  modern  sage  who  got  that  off  his  chest 
said  a  veritable  mouthful.  There  are  few  accessories  to 
beauty  that  cannot  be  bought  or  artificially  acquired  in 
these  miraculous  days,  but  a  smile  still  remains  one  of  the 
purely  personal  and  individual  assets  that  belong  to  you 
alone.  It  cannot  be  borrowed,  bought  or  successfully  imi- 
tated by  any  one  else  in  the  world. 

That's  really  wonderful,  and  we  wonder  how  many  girls 
take  full  advantage  of  this  good  fortune.  Most  of  the  love- 
lies who  live  by  the  Hollywood  lens  have  been  taught  to 
cultivate  the  individuality  of  their  smiles.  Did  you  ever 
see  a  more  charming,  natural  looking  smile  on  any  girl 
than  the  one  that  radiates  from  the  face  of  Universal's 
winsome  new  starlet,  pretty  Peggy  Moran?  M-G-M's  Ann 
Rutherford  is  another  girl  whose  smile  would  melt  a  heart 
of  stone. 

Betty  Grable,  who  does  such  a  smart  job  in  the  new 
Twentieth  Century-Fox  picture,  "Down  Argentine  Way," 
has  the  gay,  flashing  smile  that  goes  with  her  dancing 
talent.  Warner  Brothers'  recent  discovery,  lovely  Eliza- 
beth Earl,  is  another  newcomer  whose  smile  will  carry 
her  far.   And  Frances  Langford,  veteran  half-pint  star  of 


radio  and  screen,  whose  RKO  picture,  "Dreaming  Out 
Loud,"  has  been  so  popular,  has  the  shy,  come-hither  smile 
that  no  one  who  knows  her  can  resist.  We  could  go  on 
and  name  pretty  little  Mary  Healy,  Jean  Arthur,  Ilona 
Massey,  Virginia  Bruce  and  hundreds  of  others,  but  you 
get  the  idea,  don't  you? 

What  do  these  girls  do  to  cultivate  and  protect  their  pre- 
cious four-star  smiles?  A  number  of  things!  You  can 
approach  a  smile  from  a  lot  of  angles,  you  know.  There's 
the  business  of  holding  the  "right  thought,"  a  trick  every 
photographer's  model  and  actress  knows  well.  Because 
you  can't  look  sweet  and  lovable  and  glamorous — for  long 
— unless  your  heart's  behind  your  smile.  There's  also  the 
little  matter  of  facial  exercises  to  keep  your  mouth  soft, 
lush  and  mobile.  Then — and  here's  where  we  come  in 
today — there's  the  very  important  matter  of  teeth  that 
sparkle  (or  fail  to  sparkle)  when  you  open  that  mouth  of 
yours  to  flash  one  of  your  most  devastating  and  scintillating 
smiles. 

Oh,  lack-a-day,  those  pearly  teeth  of  yesteryear — where 
are  they  now?  Well,  for  one  thing,  soft  foods  and  easy 
living  haven't  done  them  any  good.  Our  ancient  forebears 
had  lovely,  sturdy  cuspids  and  incisors  because  they  lived 


44 


MODERN  SCREEN 


Hollywood's    leading    authorities,    and    the   stars    are    here   to    prove    it    is  so 


on  raw,  hard  foods  that  exercised  their  teeth  and  gums. 
They  say  that  toothache  and  tooth  decay  is  almost  unknown 
among  present  day  Eskimos  for  the  same  reason.  But  we 
love  sauces,  candy,  cake  and  puddings,  too.  We're  sissies 
in  that  respect — and  we  pay  for  our  craving  with  soft,  un- 
sound teeth  and  gums. 

What  to  do?  Brush,  brush,  brush,  morning,  noon  and 
night.  Brush  with  a  firm,  well-tufted,  medium-sized  and 
medium  hard-bristled  brush.  Brush  'round  and  'round  in 
rotary  motions,  holding  said  brush  at  a  45-degree  angle — 
not  straight  against  your  teeth.  That  latter  method  is  too 
hard  on  the  enamel.  Brush  two  or  three  teeth  at  a  time, 
each  group  thoroughly,  and  take  two  or  three  minutes 
to  do  the  entire  job.  With  brush  and  dentifrice,  massage 
your  gums,  too,  and  all  the  other  oral  surfaces  including 
your  tongue.  Germs  hop  from  one  spot  to  another  in  our 
mouths,  you  know.  So  keep  them  out  of  there  altogether, 
as  much  as  possible. 

Use  plenty  of  dentifrice — paste,  powder  or  liquid.  Why 
not  keep  a  container  of  each  kind  handy  and  alternate 
with  a  different  type  each  time?  Variety  is  fun  even  in 
dentifrices.  There  are  so  many  tasty,  refreshing  prepara- 
tions on  the  market  now,  your  choice  is  almost  limitless. 

OCTOBER,  1940 


And  did  anyone  ever  tell  you  you  needed  a  mouth  wash? 
Unfortunately,  people  seldom  can  speak  so  freely  without 
hurting  our  feelings,  so  it's  up  to  us  to  remember  to  do 
something  about  it  without  being  told.  At  least  once  a 
day,  and  again  before  every  "date,"  be  sure  to  rinse  and 
gargle  well  with  a  good,  effective  mouth  wash.  Swish  it 
vigorously  into  every  crack  and  cranny  and  hold  it  in  your 
mouth  as  long  as  possible.  There  is  nothing  quite  so  dis- 
illusioning as  to  be  intrigued  by  a  pretty  face  only  to 
discover,  when  you  come  near,  that  its  owner  is  careless 
about  the  little  points  of  cleanliness  and  grooming  so  un- 
forgivably offensive. 

Of  course  all  halitosis  does  not  originate  in  the  mouth, 
but  a  good  percentage  of  it  does.  Teeth  that  have  not  been 
thoroughly  brushed  and  cleansed  are  the  most  common 
sources.  After  you've  brushed  around  every  possible 
crevice,  take  a  spool  of  dental  floss  and  finish  the  job 
completely  before  you  use  your  mouth  rinse.  Decayed, 
neglected  teeth  are  very  frequent  offenders  in  this  re- 
spect. We  surely  don't  need  to  tell  you  how  important 
seeing  your  dentist  regularly  is  to  mouth  beauty  as  well  as 
to  mouth  health. 

Many  mouth  conditions  can  not  {Continued  on  page  74) 

45 


Hie  shot  brought  the 
natives  running  to  the 
house,  where  they 
found  Leslie,  standing 
dazed  and  silent. 


Night  held  the  plantation  in  quiet.  Moonlight  filtered 
through  the  rubber  trees  and  their  tall,  straight  trunks 
striped  the  ground  with  shadows  like  evenly  spaced  black 
bars.  All  the  tools  of  daytime  work  lay  stacked.  In 
the  drying  shed,  sheets  of  thin  crepe  rubber  hanging 
down  from  teak  poles  rustled  in  the  night  breeze.  Malay 
boys  slept  in  hammocks  in  the  bunkhouse  near-by,  un- 
disturbed by  the  singing  whine  of  native  instruments  that 
sent  a  weird  tune  winding  through  the  early  night.  On 
the  bunkhouse  porch,  the  three  boys  who  played  and 
hummed  the  strange  music  were,  themselves,  half  asleep. 
Only  one  window  in  the  main  house  of  the  Crosbie  plan- 
tation sent  a  square  of  bright  light  stabbing  into  the  soft 
glow  of  the  moon-drenched  evening. 

Suddenly  a  shot  rang  out.  A  man  shouted  and  his  cry 
was  split  to  silence  by  another  shot.  Another  and  still 
another  cracked  the  air.  The  three  boys  stopped  their 
playing,  stunned  for  a  moment,  then  got  to  their  feet 
as  a  final  shot  sounded  and  died  away.  The  Head  Boy 
began  running.  Others  followed  him.  His  master  was 
away  at  the  Number  Four  plantation  and,  earlier  in  the 
evening,  he  and  the  other  servants  had  left  Mrs.  Crosbie 
alone  in  the  house. 

As  he  turned  the  corner,  he  saw  her  standing  there  in 
the  moonlight  and  her  shadow  lay  across  a  huddled  figure 
on  the  ground.  Her  delicate  face  was  tense  and  her  voice 
had  the  flatness  that  comes  from  too  much  emotion  too 
tightly  held. 

"Is  he  dead?"  she  asked. 

The  short,  fat  Chinese  Head  Boy  stooped  down.  "That 
Mr.  Hammond,"  he  said.  And  then,  to  her  question,  "Yes, 
I  think  him  dead."    He  averted  his  eyes  from  Leslie. 


A  small,  stifled  sound  came  from  her  hps,  then  she 
turned  and  walked  into  the  house.  The  Head  Boy  fol- 
lowed her.  The  other  natives  stared  curiously  at  the 
body  and  some  of  them  looked  through  the  screen  door 
at  Leslie  Crosbie  as  she  stood,  first  collecting  her  thoughts 
and  then  giving  orders  to  the  Head  Boy,  who  regarded 
her  with  bland,  speculative  eyes.  She  told  him  exactly 
what  to  do. 

Later  when  Robert  Crosbie  came,  bringing  with  him 
Howard  Joyce,  who  was  both  his  friend  and  his  lawyer, 
they  found  John  Withers  there.  Withers  was  the  new 
District  Officer.  He  was  looking  at  a  bit  of  exquisite 
lace-work  which  had  been  dropped  hastily.  If  he  had 
not  been  new  in  the  region,  he  would  have  known  that 
Leslie  occupied  all  her  spare  time  with  it.  He  indicated 
the  locked  door  of  her  room.  "She  sent  for  me,"  he  said, 
"but  she  wouldn't  see  me  till  you  came." 

Crosbie's  voice  trembled  with  anxiety  and  tenderness. 
"Darling,  it's  Robert,"  he  called.  "Let  me  in.  Tell  me 
what's  happened."  When  she  came  out  and  stood  against 
the  door,  he  tried  to  take  her  in  his  arms,  but  she  held 
him  off. 

She  looked  toward  the  veranda.    "Is  he  still  there?" 

"I  had  your  boy  remove  the  body  to  a  shed,"  Withers 
answered  and  his  eyes  were  sympathetic.  Clearly  this 
was  a  woman  to  whom  violence  was  impossible  except 
upon  extreme  provocation.  There  was  about  her  a  loveli- 
ness and  a  gentleness — you  might  say  a  kind  of  purity. 

"He  tried  to — to  make  love  to  me  and  I  shot  him."'  Her 
voice  was  low  and  even.  Then  suddenly  she  flung  herself 
into  her  husband's  arms.  But  she  controlled  her  emotion 
quickly.   Her  manner  became  that  of  a  well-bred  woman 


46 


MODERN  SCREEN 


Leslie  Crosbie  BETTE  DAVIS 

Robert  Crosbie  HERBERT  MARSHALL 

Howard  Joyce  JAMES  STEPHENSON 

Eurasian  Woman      GALE  SONDERCAARD 

Ong  Chi  Seng  SEN  YUNG 

Crosbie  Head  Boy  TELSU  KOMAI 

John  Withers  BRUCE  LESTER 

Dorothy  Joyce  FRIEDA  INESCORT 

Chung  Hi  WILLIE  FUNG 


• 
> 

*  , 

: 

— -  -  

\J  maid 

Bob  took  her  tenderly  in  his 
arms   and   held  her  close. 
"Keep  loving  me,"  she  said. 
"That's  all  I  need." 


— Adapted  from  the  WAR- 
NER BROTHERS  Film— 
JACK  L.  WARNER  in  charge 
of  production — HAL  B. 
WALLIS,  executive  producer 
— ROBERT  LORD,  associ- 
ate producer — WILLIAM 
WYLER,  director — Screen 
play  by  HOWARD  KOCH — 
Based  on  the  play  by  W. 
SOMERSET  MAUGHAM 


"This  letter,"  said  Ong,  "was 
written  by  Mrs.  Crosbie  to 
the  victim  of  the  tragedy  on 
the  day  of  his  death." 


47 


Joyce  confronted  her  with  the  let- 
ter.   "That's  not  my  handwriting," 
Leslie  cried.    "I  didn't  write  it.  I 
swear  I  didn't!" 


Chung    Hi    stood    aside,    and  the 
Eurasian  came  noiselessly  toward 
them,  her  eyes  shooting  daggers  of 
hate  at  Leslie. 


'We  can't  go  on,  can  we?"  she  said. 
'If  you  love  a  person,"  Bob  told  her, 
'you  can  forgive  her  anything.  But 
can  you  go  on?" 


receiving  callers  in  her  home.  She  even  asked  Joyce 
about  his  wife,  Dorothy,  who  was  her  friend.  It  was  dis- 
concerting to  the  three  men,  but  it  seemed  to  help  her. 
She  was  trying  very  hard,  they  knew.  And  then,  with 
her  husband  encouraging  her,  she  told  them  the  whole 
story  of  what  had  happened. 

After  dinner  she  had  been  working  at  her  lace.  Then 
she  heard  a  step  on  the  veranda.  It  was  Hammond.  He 
said  he  had  left  his  car  down  the  road.  She  told  him 
her  husband  was  away,  but  asked  him  in  and  gave  him  a 
drink.  And  then — Mrs.  Crosbie  hesitated.  She  seemed 
embarrassed  to  tell  them  how  he  had  persistently  made 
love  to  her,  this  mar  whom  she  and  her  husband  had 
known  for  seven  years  artd  who  had  never  behaved  like 
that  before.  He  must  have  been  drinking  before  he  came. 
She  told  him  to  go  home.  He  refused  and  he  grew  more 
and  more  amorous.  She  stood  up  and  threatened  to  call 
the  servants  and  have  him  thrown  out.  Then  he  put  his 
hand  over  her  mouth  and  held  her  to  him.  His  eyes 
were  those  of  a  madman;  his  speech  was  wild,  unrepeatable. 
He  kissed  her  until  she  was  choking.  Somehow,  she  broke 
loose.  Terrified,  she  ran  around  the  table.  He  made 
a  dash  for  her.  Her  husband's  revolver  was  on  the  table — 
put  there  for  her  because  he  was  to  be  away  for  the  night. 

"I  didn't  even  know  I'd  fired;"  she  told  them.  "I  heard  a 
report  and  saw  him  stagger.  He  lurched  out  onto  the 
veranda.  I  must  have  followed.  I  don't  remember  any- 
thing— until  there  was  a  funny  little  click  and  the  gun 
was  empty.  It  was  only  then  I  knew  what  I'd  done." 
She  sank  into  a  chair,  exhausted  by  the  effort  of  telling  the 
horrible  thing.    Her  sensitive  face  was  drawn  and  pale. 


Her  husband  hovered  over  her.  "My  poor,  poor  darling!" 

Withers  felt  apologetic  for  having  to  put  her  through 
this.  "It's  quite  obvious,"  he  said,  "the  man  got  only  what 
he  deserved." 

She  looked  small  and  frightened  sitting  there.  "Oh, 
Robert,"  she  said,  "what  have  I  done?" 

"You've  done  what  any  woman  in  your  place  should 
have  done — only  nine-tenths  of  them  wouldn't  have  had 
the  courage,"  he  told  her  and  took  her  into  the  bedroom 
to  rest.  It  was  agreed  that  before  morning  they'd  have 
to  go  to  the  Attorney  General  in  Singapore  and,  as  a 
formality,  she  would  give  herself  up.  But  no  one  would 
condemn  her.   He  knew  that. 

"Keep  loving  me.  That's  all  I  need,"  she  said,  and  he 
held  her  close. 

When  Howard  Joyce  and  Mr.  Withers  came  back  from 
the  shed  where  they  had  gone  to  examine  the  body,  they 
found  her  in  her  husband's  arms  and  she  was  calm.  She 
suggested  something  to  eat  before  the  drive  to  Singapore. 
But  when  they  called  the  Head  Boy,  he  had  disappeared. 
She  herself  made  a  fight  supper  for  the  men,  and  they  felt 
relieved  to  see  her  playing  hostess  in  quite  the  natural  way. 

While  they  waited  for  her  to  change  into  traveling 
clothes,  Joyce  asked  Withers  if  he  had  known  Hammond. 
The  district  officer  told  him  what  little  he  knew — just 
that  the  dead  man  had  been  a  very  happy-go-lucky,  gen- 
erous fellow  whom  people  couldn't  help  liking.  Withers 
was  sure  he  must  have  been  drunk.  Once  more  he 
picked  up  the  delicate  lace-work.  "It's  beautiful,"  he 
murmured,  "just  what  you'd  expect  her  to  do." 

As  thev  got  into  the  car,  the  (Continued  on  page  88) 


48 


MODERN  SCREEN 


TRY  THIS  ON  YOUR  ANATOMY! 


WHAT'S  AS   NEW  AS   DON   AMECHE'S   BABY — BREATH- 


TAKING AS  A  DURBIN  CLOSE-UP?     WHY,  GOSSIP  FROM 


Bob  Hope's  record-smashing  p.a.  tour  was 
good  for  his  purse  but  bad  for  his  nerves. 
"I  ran  into  Dotty  Lamour  one  day,"  he  re- 
ports, "and  we  got  into  a  little  argument.  I 
guess  I  wasn't  a  gentleman.  'Go!'  I  told 
her.  'I  never  want  to  see  your  face  again 
— but  the  rest  of  you  can  stay!'  " 

SANDY  SPEAKS  HIS  PIECE 


OUR   KEEN-EYED  HOLLYWOOD 


REPORTER,   SYLVIA  KAHN! 


Alice  Faye  is  still  twining  fingers  with  Sandy 
Cummings  and,  if  rumors  are  to  be  believed, 
has  him  pining  for  her  love.  Maybe  so, 
say  we.  But  why  the  look  of  longing  in 
Sandy's  eyes  as  he  discusses  Errol  Flynn's 
recent  South  American  junket?  Why  the 
tone  of  envy  when  he  speaks  of  Errol's  suc- 
cess with  the  senoritas?  And  does  a  man 
in  love  say,  "I  wish  I  could  have  gone  along 
just  to  pick  up  Flynn's  leftovers?"  That 
bears  looking  into,  Alice! 

JUST  CALL  ME  CHESTY 

Jeffrey  Lynn  may  have  been  booted  into 
stardom  by  his  performance  in  "My  Love 
Came  Back,"  but  he's  still  the  Casper  Milgue- 
toast  of  the  Warner  Bros.  lot.  His  timidity 
is  the  result  of  a  grievous  oversight  on  the 
part  of — of  all  people — Mother  Nature,  who 
made  him  a  broad,  tall  man,  but  forgot  to 
give  him  a  chest!  As  a  tragic  consequence, 
Jeffrey  shrinks  like  a  mouse  when  huge, 
strapping  extras  surround  him  on  the  set. 
"I'm  always  giving  myself  pep  talks,"  moans 
he.  "I  say  'Jeff,  old  boy,  with  all  that  pad- 
ding under  your  vest,  you  look  just  as 
husky  as  they  do.'    But  I'm  still  unhappy. 


It's  not  real,  and,  unfortunately,  I  know  it!" 

LAMOUR  TOUJOURS? 

What's  next  for  Dorothy  Lamour?  Her  ro- 
mance with  Greg  Bautzer  has  been  leaping 
and  bounding  along  the  paradise  trail,  with 
Dotty  confessing  that  "I  have  never  before 
known  such  joy."  Now,  it  seems,  her  joy 
may  be  due  for  a  jolt.  Lana  Turner,  her 
deadliest  opponent  for  Greg's  affections,  is 
on  the  loose  again.  Lana,  as  the  wife  of 
Artie  Shaw,  could  be  disregarded,  but 
Lana  escaped  from  the  cage  of  matrimony 
is  another  matter.  The  fur  hasn't  begun  to 
fly  yet,  but  Hollywood  anticipates  a  beau- 
tiful scrap  while  Barrister  Bautzer  squirms. 

COOPEfl,  THE  SUPERMAN 

It  the  puzzled  Mr.  B.  (referred  to  above)  would 
like  some  advice,  there's  one  man-about- 
town  who  can  give  it  to  him.  That  man  is 
Jackie  Cooper.  Single-handed,  this  eighteen- 
year-older  has  knocked  off  a  feat  that  men 
through  the  ages  have  died  without  ac- 


complishing. He's  kept  two  women  happy 
at  the  same  time!  While  his  best  girl, 
"Jimmie"  Rogers,  spent  three  entire  months 
at  the  Cooper  home,  the  master  of  the  manse 
dated  Bonita  Granville  almost  nightly!  The 
great  show  of  tolerance  on  the  part  of  both 
young  ladies  deserves  some  mention  too — 
but  can  Jackie's  new  five-year  contract  at 
$5,000  weekly  have  facilitated  their  under- 
standing? 

UTERARY  HEAT  WAVE 

Charlie  Chaplin's  worries  never  cease.  Fast 
on  the  heels  of  his  "Dictator"  woes  comes 
the  news  that  his  most  passionately 
guarded  possession,  the  inside  story  of  his 
private  life,  is  soon  to  be  handed  to  the 
world  in  the  form  of  a  book  entitled  "Charles 
Chaplin,  King  of  Tragedy."  Authored  by 
one,  Gerith  Von  Ulm,  who  received  her 
facts  from  a  former  Chaplin  secretary,  the 
book  is  expected  to  be  a  malodorous  bomb- 
shell in  the  peaceful  Hollywood  scene.  It 
names  names  and  tells  plenty  about  the  top 
personalities  in  the  industry  for  the  past 


Dotty  Lamour's  secretary,  Patty 
McCarty,  cut  up  with  Bob  Preston 
while  "the  boss"  was  vacationing. 


Alice  Faye's  night-ciubbing  again 
after  a  prolonged  illness,  and  Sandy 
Cummings  is  the  handsome  escort. 


OCTOBER,  1940 


49 


JAM 


JIVE  AM  <>N 


eighteen  years!  Fearful  of  the  effect  it  will 
have  on  countless  hitherto  unsullied  repu- 
tations, Chaplin's  lawyers  have  begged, 
beseeched  and  implored  Miss  Von  Ulm  to 
be  a  nice  girl  and  forget  the  whole  thing. 
This  she  flatly  refuses  to  do — and  the  frantic 
attorneys  can't  even  prevent  her  from  circu- 
lating an  additional  one  thousand  volumes, 
under  the  same  title,  which  are  completely 
unex  pur  gated  and  soooo  hot! 

JUDY  JUMPS  AHEAD 

Judy  Garland's  recent  graduation  from  high 
school  also  marked  her  graduation  from  the 
ranks  of  kid  stuff.  Gone  are  her  dates  with 
youngsters  like  Mickey  Rooney  and  Bob 
Stack.  In  their  place  a  new  romance  has 
burgeoned — a  romance  with  an  "older"  man. 
He's  Dave  Rose,  Martha  Raye's  blc-.dish,  at- 
tractive ex-husband.  Dave,  by  the  way,  like 
Greg  Bautzer  and  Jackie  Cooper,  has  too 
many  women  on  his  hands.  Martha  phones 
him  every  evening  from  New  York  to  tell 
him  she  still  cares,  but  after  a  brief  and 
polite  conversation,  he  always  bids  her  good- 
night, hops  into  his  car  and  whizzes  straight 
tc  Judy. 

DROLL  STORY 

A  popular  young  star  and  his  socialite  wife 
busted  up  recently.  There  was  nothing 
violent  about  their  parting,  so  before  hubby 
packed  his  panties  and  moved  out  the  pair 
sat  down  to  wind  up  their  household  ac- 
counts. Busily  they  added,  subtracted,  mul- 
tiplied and  divided.  Finally,  wifie  decided 
the  whole  silly  business  was  too  compli- 
cated to  be  figured  at  the  moment.  Would 
hubby  please  sign  a  blank  check,  she  asked, 


and  let  her  handle  the  tiresome  details? 
Hubby  was  touched  by  this  last  show  of 
thoughtfulness.  Of  course  he  would.  Three 
days  later  his  bank  informed  him  his  young 
spouse  had  been  in  to  check  his  balance — 
and  had  wiped  him  out  completely! 

A  NEW  TWIST 

Joan  Davis,  the  celluloid  sweetheart  of  the 
screen's  most  dashing  and  dangerous  heroes, 
has  joined  the  ranks  of  those  who  kiss  and 
never  stop  telling.  In  a  recent  burst  of  con- 
fidence, Joan  dove  into  her  memories  and 
came  up  with  one  of  those  "Outstanding 
Lovers  I  Have  Known"  lists  which  all  ac- 
tresses think  is  a  necessary  contribution  to 
their  art.  Joan's  list  is  different,  however.  Un- 
like those  of  her  cinema  sisters,  it  contains  the 
names  of  the  ten  zvorst  lovers  in  pictures 
today.  We  are  privileged  to  reveal  them 
herewith,  together  with  Joan's  pungent  com- 
ments on  each.  "Heading  my  roll  call,"  says 
she,  "is  Ned  Sparks,  the  man  with  the 
lemon-drop  face.  He  makes  love  like  a 
pessimist  with  ulcers.  Following  him  are 
Jimmy  Durante,  whose  nose  is  so  big  you 
can't  get  close  enough  to  kiss  him;  Wally 
Vernon,  a  romantic  flop;  Bert  Lahr,  prob- 
ably the  reason  girls  started  kissing  with 
their  eyes  closed;  Gregory  Ratoff,  a  screen 
lover  who  should  always  be  a  director; 
Nat  Pendleton,  who  thinks  Don  Juan  used  a 
half-Nelson;  El  Brendel,  a  Scandinavian 
wallflower;  Jack  Haley,  who  can't  even  spell 
the  word  'love; '  and  Buddy  Ebsen,  who 
takes  you  in  his  arms  and  then  steps  all 
over  your  feet.  Last  on  my  list,"  Joan  con- 
cluded, "is  Chick  Chandler.  I  saved  him 
for  the  end  because  he's  the  best  of  the  lot 
— but  he's  still  rotten!"    That's  telling  'em! 


RELIGION  IS  GINGER-VATING 

Pull  up  the  nearest  ashcan,  folks.  You'll 
need  it  for  all  those  items  that  claim  Ginger 
Rogers'  life  belongs  exclusively  to  Howard 
Hughes.  He  may  cut  in  on  her  time  a  bit, 
but  Ginger's  greatest  love  is  something  far 
removed  from  the  realm  of  romance.  It  is — 
the  Christian  Science  Church!  Ginger  is  an 
ardent  disciple  and  dutifully  visits  the  Holly- 
wood Branch  (of  which  George  Brent  is  also 
a  member)  every  Sunday  morning  and 
Wednesday  night.  When  she  isn't  at  the 
studio  or  attending  the  twice-weekly  meet- 
ings,  she's    at   home    reading   volume  on 


50 


MODERN  SCREEN 


...   « 500.000   HOU-"  - 
m   THE  «M"U0°SJ^B^^^^ 


volume  of  Mary  Baker  Eddy's  preachings. 
And  if  Mr.  Hughes  is  clever  enough  to 
sandwich  in  a  date  or  two  a  week,  he's  a 
better  man  than  Gunga  Din! 

IT  HAPPENED  ONE  NIGHT 

Out  Pacific  Palisades  way,  the  hero  of  the 
hour  is  the  freckled-faced  son  of  a  noted 
director.  He  knows  Clark  Gable!  The  other 
night  he  had  a  birthday  celebration  and  in 
his  pre-party  blowoffs  boasted  that,  in  addi- 
tion to  three  kinds  of  ice  cream,  chocolate 
cake  and  a  donkey  game,  each  of  his  guests 
would  receive  an  autographed  photo  of  Clark, 


presented  by  the  star  himself.  Word  got 
around  and  on  the  evening  of  the  party  in 
poured  scores  of  youngsters,  each  accom- 
panied, incidentally,  by  a  twittering,  Gable- 
struck  ma.  The  festivities  got  going  and, 
as  the  hours  rolled  on,  the  ice  cream,  the 
candy  and  the  donkey  game  all  appeared 
on  schedule.  Mr.  Gable,  however,  did  not. 
Finally,  around  ten  o'clock,  the  mothers  de- 
cided that  movie  star  or  no  movie  star,  it 
was  time  Junior  was  getting  to  bed.  Midst 
much  wailing  and  the  apologies  of  their 
miserable  host,  the  kids  were  dragged  home. 
An  hour  later  there  was  a  rap  on  the  direc- 
tor's door.  In  rushed  Clark.  He'd  been  lost 
in  the  fog,  he  explained,  but  the  pictures 
were  under  his  arm.  Where  could  he  find 
the  small  fry?  Within  a  few  moments  he 
was  back  in  his  station  wagon,  armed  with 
the  addresses  of  every  last  guest,  and  pre- 
pared to  make  a  complete  tour  of  the  Pali- 
sades. We  know  it  was  past  midnight  when 
he  returned  to  his  ranch,  but  just  how  late 
it  was  when  all  the  kids  (and  their  maws) 
had  settled  down  to  sleep  after  welcoming 
Clark  Gable  to  their  own  homes,  will  prob- 
ably never  be  revealed. 

MARLENE  REVIEWS  THE  MEN 

John  Wayne,  we  pity  you.  You're  going 
to  be  Marlene  Dietrich's  leading  man  in 
"Seven  Sinners."  Of  course,  life  holds  greater 
tragedies.  We  know  that.  But  you'll  have 
so  much  to  live  up  to!  According  to  Mar- 
lene, Jimmy  Stewart  is  the  only  leading  man 
she's  ever  had  who  had  any  life  in  him. 
And  that  from  the  woman  who's  appeared 
opposite  Gary  Cooper,  Herbert  Marshall, 
Charles  Boyer  and  Melvyn  Douglas! 

ICE  SHOW 

The  Bette  Davis-Bob  Taplinger  romance 
which  began  sizzling  in  the  Torrid  Zone  is 
defrosting  in  the  Arctic  Zone.  The  pair  dis- 
covered each  other  about  the  time  Publicity- 
Director  Bob  was  working,  on  the  Cagney- 
Sheridan  opus  some  while  back,  and  for 
months  had  the  town  wondering  where  they 
were  headed.  Now  Bob's  daily  gift  to  Bette 
of  a  single  significant  gardenia  has  stopped, 


and  she  has  been  overheard  long-distance 
'phoning  her  ex-husband.  Meanwhile,  Mr. 
Taplinger,  who  previously  denied  that  any- 
thing existed,  is  busily  denying  that  any- 
thing has  happened! 

PLANNED  ECONOMY 

Stars  who  have  plenty  of  dough  aren't  boast- 
ing about  it  these  days.  They've  decided 
that  the  state  of  the  world  being  what  it  is, 
maybe  the  less  said  about  their  wealth  the 
better.  Though  they  haven't  yet  formed  a 
"Society  to  Make  Believe  We're  Not  Rich," 
almost  as  one  man  they've  taken  steps  to 
prove  just  that.  Press  agents  are  being  in- 
structed to  steer  clear  of  the  money  angle 
and  stars  themselves  are  putting  on  a  "From 
Riches  to  Rags"  campaign — in  moderation, 
of  course.  Constance  Bennett,  who  used  to 
sniff  the  ozone  from  the  back  seat  of  a 
sumptuous  Rolls  Royce  while  a  liveried  chauf- 
feur and  footman  sat  in  the  prow,  now  rolls 
herself  around  town  in  a  small  Packard. 
Marlene  Dietrich's  foreign-built  limousine  is 
a  prisoner  in  her  garage  and  is  paroled  only 
on  special  occasions,  and  Claudette  Colbert 
ducks  criticism  by  driving  a  car  just  like 
your  grocer's.  Claudette's  discretion,  how- 
ever, seems  a  waste  of  effort.  She  still  can't 
avoid  getting,  prominent  billing  in  Uncle  Sam's 
annual  announcement  of  tax  returns.  The 
latest  report  uncovered  the  fact  that  in  1938 
she  endorsed  salary  checks  totalling  $426,- 
944,  thereby  becoming  the  highest-paid 
woman  in  the  United  States  for  that  year! 

MOTHERHOOD  COMES  TO 
BENCHLEY 

Robert  Benchley  has  taken  "short"  leave  and 
is  now  over  on  the  Universal  lot  lending  his 
cuteness  and  corpulence  to  the  Roz  Russell 
starrer,  "Hired  Wife."  The  day  he  debuted 
on  the  set,  Roz  whooped  a  greeting  and 
then  stopped  short.  "Bob,"  she  chortled, 
"I've  never  seen  you  so  fat!  Where'd  you 
get  the  pot-belly?"  Mr.  Benchley  smiled 
modestly.  "I  just  had  a  grandchild,"  he 
simpered,  "and  I  haven't  recovered  my 
shape  yet." 

MATRIMONIAL  MARTYR 

Anita  Louise's  wedding  to  Buddy  Adler  a  few 
months  ago  was  fancy,  fluffy  and  fairy- 
landish,  but  her  married  life  has  smacked 
her  into  a  world  of  horror  and  brutality. 
No,  we're  not  hinting  that  Buddy  beats  his 
wife.  He  really  treats  her  very  .well.  How- 
ever, the  two  most  important  newsreel  the- 
atres in  Hollywood  are  his  property,  and 
interest  in  the  war  has  shot  business  sky 
high.  So  every  evening.,  while  Buddy 
checks  up  on  his  box  office  receipts,  his 
beautiful  bride  views  the  latest  European 
picture  dispatches — and  also  gathers  ma- 
terial for  her  next  night's  nightmare. 

BENNY  THE  BOUNTIFUL 

A  star-stricken  visitor  to  the  Paramount  lot 
got  Oscar,  the  studio  bootblack,  to  give  him 
a  polish  job  the  other  afternoon.  While 
Oscar  rubbed  and  scrubbed,  the  visitor  shot 
question  after  question  at  him.  "Does  Bob 
Hope  get  his  shoes  shined  here?"  he  queried. 
"Yassuh,"  replied  Oscar.  "Does  Bing  Crosby 
get  his  shoes  shined  here?"  "Yassuh,"  from 
Oscar.  "Does  Jack  Benny?"  "No,  suh,"  and 
with  contempt,  "Benny  shines  his  own." 


OCTOBER,  1940 


51 


THEY  FLY  BY  NIGHT 

Houston  met  Hollywood  the  other  morning 
when  a  million  dollar  load  of  Movietown 
famous,  headed  by  Jimmy  Stewart,  Olivia 
de  Havilland,  Tyrone  Power,  Henry  Fonda 
and  Richard  Greene,  flew  to  the  Texas  city 
to  appear  on  a  program  for  Allied  War  Re- 
lief. As .  the  stars  stepped  from  the  plane, 
home-folksy  Houstonites  were  struck  by  their 
calm  and  poise.  Wasn't  it  nice,  they  re- 
marked, that  the  young  people  could  make 
such  an  exciting  trip  without  any  apparent 
nervous  strain  or  fuss.  Poor,  innocent  Hous- 
tonites! They  never  suspected  what  woe 
that  trip  involved — and,  unless  they  read 
this,  they'll  never  know  that  Power  and 
Fonda  got  there  so  late  they  nearly  missed 
the  plane;  that  Jimmy  Stewart  pouted  all  the 
way  because  he  couldn't  wheedle  permission 
to  sit  with  the  pilot,  and  that  Nancy  Kelly 
refused  to  tell  the  airline  hostess  her  real 
weight  and  also  caused  confusion  by  taking 
along  enough  baggage  to  sink  the  ship. 
But  don't  think  Houston  didn't  get  a  big  thrill 
out  of  its  distinguished  visitors.  One  little 
waitress,  called  upon  to  serve  the  mob, 
actually  fell  in  a  dead  faint  at  Ty  Power's 
embarrassed  feet! 

CLOUDS  OVER  HOLLYWOOD 

One  grim,  gray  dawn  Anita  woke  up  scream- 
ing. She'd  had  a  dream,  she  told  Buddy. 
Hollywood  had  been  attacked  by  land,  sea 
and  air!  "This  is  too  much,  my  pretty," 
shouted  Mr.  Adler.  "Tonight,  while  I  make 
my  appointed  rounds,  you  stay  home  and 
bake  a  cake!"  That  same  evening,  Anita 
was  seated  in  one  of  Buddy's  theatres. 
"Those  pictures  have  made  me  grateful  to 
to  be  near  my  husband,"  she  said.  "A 
thousand  nightmares  couldn't  keep  me  away 
from  him  for  an  evening!"  Which  is  sound 
common  sense  for,  as  this  is  written,  Virginia 
Field  is  helping  Dick  Greene  pack  for  his 
return  to  England  and  the  army;  Barbara 
Read  has  already  said  goodbye  to  her 
fiancee,  Robert  Coote;   Ida  Lupino  expects 


Louis  Hayward  to  leave  her  shortly,  and 
older  British  stars,  such  as  Brian  Aherne, 
Herbert  Marshall,  Cary  Grant  and  Errol 
Flynn,  who  fall  beyond  the  age  limit  sum- 
moned to  service,  are  certain  they  will  be 
called  before  long.  Tragic  note  to  a  suffi- 
ciently tragic  situation  is  the  fact  that  French 
and  British  stars,  who  just  a  few  months  back 
worked  together  so  beautifully  for  Allied  re- 
lief, have  been  split  by  the  turn  of  events 
and  their  harmonious  relationship  has  been 
replaced  by  disappointment,  bitterness  and 
strain. 

TURNABOUT 

Hollywood  marriages  always  have  a  screwy 
twist.  The  July  4th  nuptials  of  Carole  Landis 
and  Willis  Hunt,  Jr.,  looked  different,  however. 
Here,  at  long  last,  thought  everyone,  is  a 
simple  story  of  boy  meets  girl,  and  that's  that. 
But  simple  stories  just  aren't  meant  to  be  in 
this  town.  That's  why  we  weren't  too  sur- 
prised to  learn  that  last  May  the  ex-Mrs. 
Hunt  upped  and  married  Hal  Roach,  Jr.,  who 
was  formerly  rumored  engaged  to  Carole! 
Carole,  by  the  way,  has  visited  the  altar  be- 
fore. Her  first  husband  was  Irving  Wheeler, 
a  writer  whom  she  wed  at  the  ripe  old  age 
of  fifteen! 

MODESTY.  THY  NAME  IS 
BARRYMORE 

John  Barrymore  pulled  the  brakes  on  his  hi- 
jinks  the  other  day  in  order  to  sit  on  a  worm. 
The  worm,  this  time,  was  a  newspaper  man 
who  approached  him  with  the  tiresome  "Tell- 
us  -  why  -  you  -  are  -  the  -screen's  -  greatest  -  actor- 
Jawn"  routine.  "Jawn,"  however,  doesn't 
fall  for  anyone's  soft  soap.  Glowering  down 
his  nose,  he  withered  his  interviewer  by  bit- 
ing out  the  names  of  ten  performers  who,  in 
his  opinion,  make  the  great  J.  Barrymore  look 
hammy.  "First,"  he  said,  "is  my  brother, 
Lionel,  followed  by  Spencer  Tracy,  George 
Sanders,  Paul  Muni,  Henry  Fonda,  Roland 
Young,  C.  Aubrey  Smith,  George  Raft,  John 
Carradine  and  Maria  Ouspenskaya.  They're 


all  great.  But,"  he  added,  shaking  his  head 
sadly,  "I'll  admit  they  come  worse  than  I,  too. 
In  fact,  sometimes  I  think  maybe  I  belong 
up  there  in  the  middle  of  my  own  list!" 

REEL  FAMILY  NOTES 

Marion  Hardy  (Cecilia  Parker)  will  become 
a  mother  in  December.  Hubby  is  Actor  Dick 
Baldwin  .  .  .  "Mother"  Hardy  (Fay  Holden) 
celebrated  the  25th  anniversary  of  her  mar- 
riage to  Actor  Dave  Clyde  the  other  day  .  .  . 
Blondie  Bumpstead  (Penny  Singleton)  is 
sporting  a  huge  star  sapphire  ring,  an  en- 
gagement gift  from  Bob  Sparks,  the  producer 
she'll  marry  when  her  divorce  becomes  final 
the  end  of  the  year  .  .  .  "Baby  Dumpling" 
Bumpstead  (Larry  Simms)  has  three  brand 
new  false  teeth.  They  replace  three  baby 
teeth  lost  since  the  filming  of  his  last  picture. 
He  takes  them  out  every  night. 

REAL  FAMILY  NOTES 

Following  the  old  system  of  "kiss-and-bust- 
up,"  Hedy  Lamarr  and  Gene  Markey  made 
a  loving  couple  at  Ciro's  one  night,  and 
the  next  day,  July  6th,  announced  their 
separation  .  .  .  Preluding  her  divorce  ac- 
tion with  a  stubborn  "we-are- very-happy," 
Bubbles  Schinasi  left  Wayne  Morris  on  July 
7th  .  .  .  "Deny-and-belie"  was  the  Sonja 
Henie-Dan  Topping  gag.  They  branded 
marriage  rumors  "silly  talk"  and  on  July  4th 
marched  to  a  Chicago  altar  ...  A  son, 
Robin  Gaynor  Adrian,  was  born  to  Jane! 
Gaynor  and  Gilbert  Adrian — via  Caesarian 
operation  .  .  .  Anne  Shirley  gave  the  world 
a  new  citizen,  a  daughter  called  Julie  Anne 
because,  according  to  Father  John  Payne, 
.  "it'll  look  good  on  a  marquee." 


IT  CAN  HAPPEN  HERE 

Mary  Astor's  maid  has  a  new  duty.  She 
must  catch  a  live  fly  every  day  that  Mary 
wears  a  recently-acquired  ornament — a  crea- 
tion consisting  of  a  hollowed-out  nut  into 
which  bits  of  match  stick  have  been  inserted 
to  represent  legs,  ears  and  a  tail.  Once 
caught,  the  fly  is  imprisoned  within  the  nut. 
In  its  struggle  for  freedom  it  moves  the  ears, 
tail  and  legs  violently  while  Mary's  friends 
look  on  in  wonder.  A  fly  is  never  good  for 
two  performances. 

ZIEGFELD  FOLLIES 

When  Jimmy  Stewart  steps  into  the  role  of 
Florenz  Ziegfeld  in  the  coming  production  of 
"The  Ziegfeld  Girl"  it  will  be  to  portray  the 
one  man  who,  more  than  any  other,  helped 
build  the  fabulous  legend  of  the  theatre. 
"I'm  straining  at  the  bit  to  get  started," 
Jimmy  told  us.  "Imagine  impersonating  a 
man  who  once  spent  a  quarter  of  a  million 
dollars  on  a  production  and  then  closed  it 
after  a  single  performance  because  he  wasn't 
satisfied  with  it,  himself!  Why,  he  was 
as  extravagant  as  an  Oriental  potentate! 
Did  you  know  he  held  up  the  opening  of 
'Show  Boat'  for  three  months  because  he 
couldn't  get  the  proper  hats  for  a  cowboy 
number  he  had  in  mirid?  And  he  had  a 
telegram  phobia,  too.  Used  to  sit  in  the  front 
row  during  rehearsals  and  send  wires  to  the 
actors  on  the  stage  who  were  within  range 
of  his  voice!  But  the  day  he  married  Billie 
Burke  he  really  outdid  himself,"  Jimmy  went 
on.  "He  bought  out  a  complete  flower  shop 
gardenias,  orchids.  (Continued  on  page  80) 


52 


MODERN  SCREEN 


C\REET  the  day  gaily  in  a  spanking  new  Printzess  edition  of  the 
perennially  smart  reefer,  softened  by  Persian  lamb.  Monotone  wool, 
warmly  interlined.     $29.95.     Sizes   10-20.     Saks  at  34,  New  York. 


in 


^1  INCE  the  earliest  days  of  our  country  there  have  been  occasional  periods 
§i_F  when  American  fashions  reflected  American  history.  Today  we  are  right 
the  middle  of  those  times!  With  presidential  election  just  around  the 
corner,  with  national  defense  very  much  before  us  and  with  our  hearts  filled  with 
pride  that  we  are  a  part  of  the  land  of  the  free  and  the 
home  of  the  brave,  Fashion  steps  right  up  and  takes  a  bow. 
Everywhere  we  see  light-hearted  novelties  inspiring  us  to 
express  our  patriotism.  These  are  tiny  things,  simple 
things — and  inexpensive!  Star-splashed  hair  bows  .  .  . 
enamel  and  stone  studded  flags  and  emblems  .  .  .  red,  white 
and  blue  kerchiefs  . .  tricolor  clips,  pins  and  compacts  .  .  . 
double-breasted  military  sailor-collar  coats.  Star-spangled 
fashions  for  everyone,  true — but  somehow  they  seem 
especially  yours.  At  least,  we  have  hunted  them  up  with 
you  in  mind  because  we  believe  they  belong  to 
young  hearts  and  young  purses  whose 
"buy  word"  is  "buy  America." 


*    STAR-STUDDED  BELT 


*  TRICOLOR  BOW 


*    U.  S.  A.  BUTTONS 


54   Woolly  texture,  sure-success  dress  of 
spun  and  acetate  rayon.  $7.95.  Sizes 

14.4(1.      I  nrrl    &    Tnulnr     Npw  Ynrt 


Kitty  Fisher's  new  idea — Arrow  col 
lar  and  collar  button!  $4.95.  9-15. 

Onnpnhpim   C\  r>  I  I  i  n  «     Mow  Ynrlr 


Tiny  U.  S.  A.  map  print  on  grand 
fall  colors.  $6.50.  Sizes  12-20. 

R-     Al+mnn    A    {"!<■»       Mow  Yorlr 


GRAND  ENTRANCE,  an  informal  all-black  or  all-white  two- 
piece  triumph.  The  clever  blouse,  $6.50,  boasts  attached 
bangle  necklace  . . .  The  rhythmic  swing  skirt,  $7.98,  is  full  and, 
of  course,  matches.  Franklin  Simon,  New  York.  COQUETTE, 
is  a  double-duty  investment.  Complete  dress  of  Celanese 
rayon  yarn  taffeta  and  a  gold-thread  embroidered  velveteen 
jacket.  Junior  and  Misses  sizes,  in  old  rose,  raisin  and  pea- 
cock.   $10.29,  complete  ensemble.    R.  H.  Macy,  New  York. 


And  here  you  have  GRAND  EN- 
TRANCE in  its  afternoon  version! 
The  blouse  is  the  same  ...  -so  is  the 
skirt  except  it  is  daytime  length  and 
is  $6.50.  We  are  recommending  all 
three  because  we  think  one  blouse  and 
two  skirts  make  an  unbeatable  com- 
bination to  carry  you  through  all 
sorts  of  dress-up  affairs.  Sizes  12-20. 
Franklin  Simon  &  Co..  New  York. 


*    BANNER  FASHIONS 

For  the  stores  nearest  you  carrying  your 
favorite  MODERN  SCREEN  fashions  write 
Fashion  Editor,  Modern  Screen,  149 


FIFTH  hUm/Mmj- 
#/  THRIFT  AVENUE 


OCTOBER  1040 

M     T    W     T      T  S 

—  1  .2  3  *  S 
•  8  9  SO  II  Ei 
14  IS  16  I>  IS  19 


VTEDNESDAYg 


2 


OCTOBER 


tai 


,19*0 

T  t 

feS  9 
16 

23 

29  SO 


GEORGIANNA 
JUNIOR  


t.  Unbutton  collar  and  pocket  pique.  Quick 
and  easy  as  pie  to  wash.  Four  fall  colors  in 
Imara  rayon.  $6.50.  Sizes  12-20.  Blooming- 
dale's,  New  York.  2.  Lock  V  Key,  the  only 
decoration,  and  all  it  needs!  Grand  colors. 
$6.50.  Sizes  12-20.  Arnold  Constable,  New 
York.  3.  Spunflan  in  new  shades  with  Persian- 
toned  embroidery  pockets.  $7.95.  Sizes  9-17. 
Bioomirtgdaie's,  New  York.  4.  All-wool  jersey 
in  two  shades  of  gray,  rose,  blue  or  green,  with 
a  twist  to  its  contrasting  belt.  Ready  for  school 
or  business  or  anything!  $7.95.  Sizes  9- 1 7.  Lord 
&  Taylor,  New  York.    5.  A  plaid  feather- 


flannel  of  spun  and  acetate 
very  woolly  and  very  practical.  The  pencil 
ornament  really  works.  $6.50.  Sizes  9-17. 
B.  Altmon.  New  York.  6.  A  jumper  dress  .n 
Jersey,  that  answers  a  thousand  *hat-to- 
wear-when  questions.    $7.98.    Sizes  9-15. 
Franklin  Simon.  New  York.    7.  Sunday 
wear  velvet,  Magicvel  crush-resistant  vel- 
vet with  soft  blouse,  smooth  hips,  locked 
seams    and    grosgrain-placketed  zipper 
closing  ...  the  best  velvet  buy  we  ve 
seen   at   $8.95.     Sizes    12-20.  Bloom- 
ingdale's,  New  York. 


7  MISS  HA-DAY  < 


w 


PROP  SHOP 


Introducing  PRETTY  PENNY,  Prop 
Shop' ft  scout  with  a  none  tor  sense  and 
nonsense  and  a  mission  in  life  to 
discover  a  lot  for  a  little.  Penny 
sags  the  right  props  certainly  dress 
you  up  and  s-t-r-e-t-e-h  your  budget! 


Beret  Gadabout 

Once  in  a  blue  moon 
you  find  the  hat  of 
hats,  that  has  every- 
thing in  chic  and  flat- 
tery. Here  it  is !  Fine 
felt,  fine  workman- 
ship, fine  fit.  A  Brew- 
ster in  20  colors.  Con- 
trasting or  self  yarn 
trim.  $5.  Franklin 
Simon  Co.,  New  York. 


Heraldic  Charm 

Practically  a  coat  of 
arms  all  your  own.  As 
handsome  as  Lance- 
lot, as  delicate  as 
Guinevere,  as  roman- 
tic as  knighthood  it- 
self. .  .  .  Antique  fin- 
ished silver  or  gold 
heraldry  jewelry.  $1 
each  piece.  In  New 
York  at  Stern  Bros. 


Slick  and  Slim 

We  want  you  to  know 
Slendikins,  the  girdle- 
type  pantie  or  pantie 
brief,  for  tiny  and 
not  too  tiny  girls.  It's 
made  of  rayon  and 
a  fine  elasticized  yarn 
called  Laton  and  is 
sold  in  the  underwear 
departments,  white  or 
tea  rose.  59c.  In  New 
York  at  Gimbel's. 


Hear  the  Cheer 

Going  to  campaign 
for  your  candidate? 
Do  you  want  a  grand 
buy  in  a  cute  dress? 
The  "God  Bless 
America"  dress  in 
navy  mercerized 
poplin  fills  the  bill. 
Red  and  white  belt. 
Star  burtons.  12-20. 
$1.  In  New  York 
at  Bloomingdale's. 


58- 


Gilt-edged  Value 

If  you're  looking  for 
more  than  just  a  bag, 
our  vote  is  cast  for 
this  one,  of  alligator- 
grain  calf.  It  holds 
a  lot — has  plenty  of 
style — is  smartly  or- 
namented, and  comes 
in  five  colors.  $2.95. 
B.  Altman,  New  York. 


Cold  Insurance 

Here's  news !  Coat 
gloves  in  coat  ma- 
terial. Impressive 
enough  for  Sunday- 
go-to-meeting  and  Es- 
kimo warm  for  win- 
ter days.  Leather  bow- 
knot  trim.  Black, 
brown,  wine.  $1.25. 
Kayser's,  New  York. 


MRS.  MARY  ELIZABETH  WHITNEY  (THE 
FORMER   MRS.   JOHN    HAY  WHITNEY) 


BEAUTY  CREED: 


"I'd  rather  have  a  beautifully-eared-for  skin  than 
Beauty."  So  you  asserted  pridefully — rightfully. 

And,  contrariwise,  this  beautifully-cared-f or  skin 
of  yours  proclaims  you  a  Beauty! 

For  no  girl  who  exercises  such  care  of  her  skin 
— joyously  and  meticulously — ever  fails  to  exercise 
similar  care  of  two  other  aspects  of  her  person 
which,  indeed,  set  off  her  skin's  beauty.  Namely, 
the  shining  sculptured  glory  of  her  well-kept  hair, 
the  chic  simplicity  of  her  dress. 

All  three  are  matters  of  Taste.  Games  of  Skill! 

Play  your  part  in  the  exciting  game  of  skin  care  with  enthusi- 
asm and  with  a  wise  head — and  you  will  have  exciting  rewards. 
Play  it,  as  do  many  members  of  our  foremost  families,  accord- 
ing to  the  authoritative  rules  laid  down  by  Pond's. 

There  are  five  moves  in  this  stimulating  Game.  Each  has 
its  definite  intention,  its  ample  rewards. 


WOMAN-SKIN 

so  different  from  a  man's  in  its 
compelling  softness  ...  its  in- 
effably tender  look  and  feel. 
Instinct-wise,  women  since  time 
began  have  nurtured  and  pro- 
tected the  priceless  heritage  of 
flower-fresh  skin,  made  it  a  true 
and  natural  accent  of  their  es- 
sential femininity. 


QUICK  RELEASE  — Bury  your  face  under  lush,  luxurious 
Pond's  Cold  Cream,  and  s panic  it  forthrightly  for  3  full  minutes 
— yes,  even  5  minutes — with  cream-wreathed  fingers.  Pond's 
mixes  with  the  dried,  dead  cells,  make-up  and  foreign  accumu- 
lations on  the  surface  of  your  skin,  softens  and  sets  them  free. 

REMOVAL  — Clean  off  the  softened  debris  with  the  white 
tenderness  of  Pond's  Tissues.  Wiped  off  also  are  the  softened 
tops  of  some  of  the  blackheads,  making  it  easier  for  the  little 
plugs  of  hardened  sebum  to  push  their  way  to  the  surface. 

REPEAT-a  second  time  spank  your  face  with  cream- 
softened  fingers.  This  spanking  increases  both  the  actions  of 
Pond's  Cold  Cream — cleansing  and  softening.  Again  wipe  off 
with  Pond's  Tissues.  Notice  that  superficial  lines  seem  less 
noticeable — pores  look  finer. 

COOL  ASTRINGENCE  — Now  splash  with  cool,  fragrant 
Pond's  Skin  Freshener,  slapped  on  with  cotton  dripping  wet. 

SMOOTH  FINISH  — Last,  mask  your  face  with  a  downy 
coating  of  Pond's  Vanishing  Cream.  This  cream's  specific  duty 
is  to  disperse  remaining  harsh  particles,  aftermath  of  ex- 
posure, leaving  your  skin  silky,  smooth,  pliant!  Wipe  off 
after  one  full  minute  for  the  richest  rewards.  Then  observe 
with  what  ease  your  skin  receives  its  powder,  how  surpris- 
ingly it  holds  it. 

Play  this  through  at  least  once  daily — before  retiring  or 
during  the  day.  Repeat  it  in  abbreviated  form  when  your 
skin  and  make-up  need  freshening.  Act  now  to  start  your 
new  daily  rules  for  a  fresh  and  flower-soft  skin. 

Send  for  Trial  Case.  Forward  at  once  the  coupon  below. 
Pond's,  Dept.  9MS-CVK,  Clinton,  Conn.  Please  send  me  a  com- 
plete  Pond's  kit  of  the  3  Pond's  Creams  and  7  Pond's  Powder 
shades.  I  enclose  10jf  for  postage  and  packing. 


Copyright,  1940,  Pond's  Extract  Company 


MRS.  MARY  ELIZABETH  WHITNEY  (THE  FORMER  MRS.  JOHN  HAY  WHITNEY),  like  many  other  members  of 
distinguished  American  families,  has  for  years  observed  the  Pond's  rules  for  skin  care 


OCTOBER,  1940 


59 


FOR  MEN  ONLY 

(Continued  from  page  29) 


than  a  man.  Not  all  men  are  doctors,  but 
all  women  are  Florence  Nightingales 
when  they  have  to  be.  In  a  financial 
catastrophe  it  is  the  woman  who  knows 
how  to  save;  how  to  keep  together  the 
wreckage  of  the  man's  pride  and  the 
home. 

Women,  I  believe,  can  stand  the  truth 
better  than  men.  Women  have  to  stand 
the  truth  of  birth.  So  they  also  stand 
the  truths  of  love  and  death.  Men  like 
to  be  fooled;  women  do  not  like  to  be 
fooled.  A  man  will  always  run  away 
from  an  argument;  but  a  woman  will  stay 
right  with  it. 

If  a  husband  says  to  his  wife,  "I  want 
to  be  frank  with  you,  I  was  out  with 
another  woman,"  the  woman  is  not  too 
badly  hurt.  She  knows  that  her  hus- 
band still  loves  her  because  he  has 
brought  her  the  greatest  gift  he  can  bring 
her,  his  honesty.  She  knows  that  by 
giving  her  the  truth  he  is  giving  her  a 
finer  thing  than  he  is  giving  to  another 
woman.  But  if  a  third  person  tells  a 
wife  her  husband  is  unfaithful  to  her, 
she  loathes  and  detests  him.  It  is  easier 
for  a  woman  to  forgive  Casanova  than 
it  is  for  her  to  forgive  a  cheat.  Honesty 
is  so  very  important  to  me.  It  is  so  very 
important  to  all  women. 

WOMEN  are  braver  about  divorce  to- 
day than  they  used  to  be.  It's  partly, 
of  course,  because  many  of  them  are  now 
economically  independent.  But  it  is  also 
because  they  are  now  spiritually  and 
mentally  independent,  too.  They  know 
that  if  you  divorce  four  times,  or  five 
times,  it  is  a  lesser  sin  than  a  whole 
lifetime  of  unhappiness.  I  don't  think 
there  is  anything  shocking  about  divorce 
if  it  is  done,  like  honest  surgery,  after 
complete  examination  and  analysis.  I 
do  not  think  divorce  should  come  with 
a  first  quarrel,  a  quick  flame  of  saying, 
"I'll  divorce  you!"  But  if  it  comes  after 
long  suffering,  then  it  is  a  good  thing, 
not  a  bad  thing,  for  unhappiness  is  un- 
healthy. 

I  like  women  because  they  are  so 
efficient  about  themselves  and  their  lives. 
Whoever  heard  of  a  man's  running  a 
home,  looking  after  children,  conducting 
a  business  and  keeping  himself  well- 
groomed  and  smart  at  one  and  the  same 
time?  I  have  never  heard  of  one.  But 
women,  especially  American  women,  do 
all  of  these  things  as  deftly  as  a  juggler 
balancing  a  dozen  balls.  I  say  especially 
American  women  because,  in  Europe, 
when  women  work,  they  look  it.  Here, 
they  do  not.  I  have  not  the  words  to  say 
how  I  admire  the  girls  here  who  hold 
jobs,  support  their  families,  keep  neat, 
orderly  houses  and,  at  the  same  time, 
keep  themselves  smart,  attractive,  well- 
informed  and  mentally  alert. 

I  like  women  because  they  appreciate 
the  things  done  for  them.  I  don't  believe 
it  is  in  the  nature  of  a  man  to  appre- 
ciate the  things  a  woman  does  for  him. 
That  is  not  saying  anything  against  the 
man;  he  is  still  living,  in  his  mind,  in  a 
society  which  ordained  that  women 
should  serve  men.  I  am  afraid  that  the 
less  a  woman  does  for  a  man,  the  more 
he  appreciates  her.  The  men  may  scream 
out  at  me  for  saying  this,  but  I  dare 
to  say  that  I  think  women  should,  if 
necessary,  neglect  other  things,  rather 
than  neglect  themselves.  It  is  not  only 
that  they  get  no  thanks  for  self-sacrifice, 
but  it  does  not  make  happiness  in  the 
home  and  so  nothing  is  gained.  It  is  a 
cruel  truth  but  it  is  the  truth  that  men 


like  women  who  continue  to  keep  them- 
selves attractive  and  gay. 

I  think  one  thing  the  women  of  today 
overlook  is  that  men  still  like  best  what 
they  pay  for  most.  In  Vienna  we  have  a 
saying  which,  translated,  means,  "If  you 
want  to  mean  something,  make  yourself 
rare." 

I  do  not  think  women  are  what  you  call 
here  "gold-diggers."  I  do  think  they 
should  expect,  more  than  they  do,  little 
courtesies  and  attentions  from  men.  I 
once  made  the  statement  that  I  do  not 
like  any  man  to  come  to  me  empty- 
handed.  I  still  say  this,  but  I  must 
explain.  When  men  send  flowers,  it 
doesn't  have  to  cost  anything.  To  me, 
one  rose  from  a  man  who  doesn't  have 
anything,  is  more  wonderful  than  ten 
dozen  roses  from  a  man  who  is  rich. 
Or,  if  you  are  married,  something  sweet 
that  doesn't  cost  anything  is  a  little  note 
left  for  you  in  the  morning  if  your  hus- 
band leaves  the  house  before  you  are 
awake. 

I  admire  women  because  I  do  not  think 
they  relax  after  marriage  as  often  as 
some  men  do.  I  have  seen  a  married  man 
who  has  not  shaved  more  often  than  I 
have  seen  a  married  woman  with  her 
hair  in  curlers!  If  a  man  relaxes  after 
marriage,  that  is  the  bride's  first  dis- 
appointment. He  is  not  the  same  man 
who  first  attracted  her,  during  the  court- 
ing, by  his  consideration  and  little 
thoughtfulnesses  and  good  grooming. 

I  admire  women  because  I  think  they 
are  often  cleverer  than  men.  I  have 
friends,  married  couples,  where  the  wife 
is  beyond  any  question  the  more  intelli- 
gent and  more  witty  of  the  two.  Yet  I 
go  to  their  houses  for  dinner  and  their 
husbands  hold  the  floor.  One  thing  a 
man  loathes  is  for  a  woman  to  show 
she  is  smarter  than  he  is.  And  women 
today  are  so  slick  about  hiding  their  own 
greater  cleverness. 

T  LIKE  women  because  they  have  a 
*■  sense  of  humor.  You  can  kid  women 
where  you  cannot  kid  men.  I  have  heard 
someone  poke  fun  at  a  man  and  he  gets 
in  a  huff  about  it,  doesn't  like  it  and 
shows  that  he  doesn't  like  it.  I  have 
heard  someone  make  fun  of  a  woman  and 
she  takes  it  well,  comes  right  back  at  it, 
and  laughs  it  off.  I  know  that  even  on 
the  screen,  women  are  willing,  even  eager 
to  play  comedy  parts,  to  make  them- 
selves look  comic  or  even  hideous.  I  did 
not  find  that  men  are  so  eager  to  con- 
ceal good  looks  behind  a  false  nose. 

I  like  to  work  with  women.  I  liked 
working  with  Verree  Teasdale  in  "I  Take 
This  Woman."  I  liked  working  with 
Claudette  Colbert  in  "Boom  Town."  It  is 
said  that  women  are  "catty."  I  do  not 
agree.  I  know  they  are  not  catty  with 
me  and  couldn't  be  because  I  wouldn't 
encourage  them,  and  they  would  soon  get 
tired.  If  they  are  grudging  of  another 
woman's  looks,  clothes,  husband  or  suc- 
cess, they  are  too  clever  to  show  it. 

I  like  women  because  they  are  not 
fundamentally  vulgar.  Vulgarity  is  very 
unbecoming  to  a  woman  and  she  should 
not  try  to  be  something  she  isn't  at  heart. 
If  ever  a  woman  is  vulgar,  it  is  when  she 
is  very  young,  I  think,  and  is  trying  to 
be  sophisticated  to  please  some  man. 

These,  then,  are  the  things  I  like  about 
women.  In  front  of  any  Court  I  would 
repeat  them  over  and  over.  I  have  wanted 
to  say  them  for  a  long  while  and  now  that 
I  have  had  my  say  I  feel  better. 


60 


MODERN  SCREEN 


By  CUTEX 


IT'S  A  DATE!  You  have  a  ren- 
dezvous with  romance  in  one  of 
these  glamorous  Fall  nail  tones. 

RIOT  is  rich  red — gay,  clear, 
irresistible!  Marvelous  with 
your  stadium  furs  and  woolens 
.  .  .  a  flashing  accent  for  "big 
evenings." 

RUMPUS  is  red  with  a  deep 
blue  overtone — very  young, 
immensely  flattering.  Lush 


Dance  into  his  heart  with 
fingertips  in  gay  Cutex  RIOT! 


with  gray  and  black  ...  an 
added  heart  throb  with  all  the 
new  colors  with  a  hint  of  blue 
or  purple — by  day  or  by  night! 

Get  set  for  a  gay  and  glamor- 
ous Fall !  See  the  new  Cutex 
glamour  duo — Riot  and  Rum- 
pus—  this  very  day!  Other 
Cutex  favorites:  Old  Rose, 
Cedarwood,  Laurel,  Clover, 
Cameo,  Tulip.  Guaranteed  to 
wear  longer  or  your  money  back! 
Simply  return  the  bottle  to  us 
(with  at  least  three-fourths  of 
its  contents)  during  1940. 

NORTHAM  WARREN 
York,  Montreal,  Paris,  London 


CUTEX 


OCTOBER,  1940 


MOVIE  SCOREBOARD 


Jolene  Handcrafted 
Styles  S/.ght/y  Higher 


M.ovieland  glamour  at  your  teet.  Here  are 
tke  smartest  Fall  lootwear  fashions  ...  as 
seen  on  tke  screen  capitol  s  test  dressed  stars 
. . .brought  to  you  by  Jolene,  famous  Holly- 
wood fashion  authority .  .  .  they  re  amazingly 
low  priced  for  such  outstanding  beauty. 


JOLENE  5  MOVIE  QUIZ 

BOOK..  -  Write  tor  four  free 
copy  and  name  of  your  near- 
esf  Jofene  dealer. 

Jolene' s  Hollywood 
Studio  M-9 
6715  Hollywood  BUd  ., 
HOLLYWOOD,  CALIF. 


■iUleJ  Of 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.    4-)V  means  very  good;  good;  2^,  fair;  1^,  poor. 

C  denotes  that  the  picture  is  recommended  ior  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Picture 


General 
Rating 


jolene  shoes 

,re  MaouCcureJ  and  D.i 


TOBER-SAIFER  SHOE  CO.       ST.  LOUIS 


Abe  Lincoln  in  Illinois  (RKO)  C  4* 

Adventure  in  Diamonds  (Paramount)   2  + 

Alias  the  Deacon  (Universal)  ixA-k 

All  This,  and  Heaven  Too  (Warners)   4* 

And  One  Was  Beautiful  (M-G-M)  2V2* 

Angel  From  Texas,  An  (Warners)   2* 

Babies  For  Sale  (Columbia)  2V2* 

Bad  Men  of  Carson  City  (Universal)   2-*- 

Balalaika  (M-G-M)   3* 

Bill  of  Divorcement,  A  (RKO)   3* 

Biscuit  Eater,  The  (Paramount)   3-*- 

Black  Friday  (Universal)  2V2* 

Blondie  on  a  Budget  (Columbia)   2* 

Blue  Bird,  The  (20th  Century-Fox)  C  3* 

*Boys  from  Syracuse,  The  (Universal)  2V2  + 

Broadway  Melody  of  1940  (M-G-M)   3* 

Brother  Orchid  (Warners)   3* 

Brother  Rat  and  a  Baby  (Warners)   2-* 

Buck  Benny  Rides  Again  (Paramount)  V-h-k 

Calling  Philo  Vance  (Warners)  2V2* 

Castle  on  the  Hudson  (Warners)  21/2* 

Charlie  Chan  in  Panama  (20th  Century-Fox)   2* 

Charlie  Chan's  Murder  Cruise  (20th  Century-Fox).  3* 

Chump  at  Oxford,  A  (United  Artists)  2V2* 

Congo  Maisie  (M-G-M)   3  + 

Courageous  Dr.  Christian,  The  (RKO)   2-A- 

Cowboy  From  Texas  (Republic)   2* 

Cross  Country  Romance  (RKO)  2V2* 

Curtain  Call  (RKO)  2V2* 

Dark  Command  (Republic)   3-* 

Devil's  Island  (Warners)  2V2* 

Double  Alibi  (Universal)  2V2* 

Dr.  Cyclops  (Paramount)  C     3  it 

Dr.  Ehrlich's  Magic  Bullet  (Warners)  3V2* 

Dr.  Kildare's  Strange  Case  (M-G-M)  2V2* 

Doctor  Takes  A  Wife,  The  (Columbia)   3* 

Earl  of  Chicago,  The  (M-G-M)   4ikr 

Earthbound  (20th  Century-Fox)   2* 

Edison,  the  Man  (M-G-M)  3V2* 

Emergency  Squad  (Paramount)  2J/?'*' 

Farmer's  Daughter,  The  (Paramount)  2v2-*- 

Fighting  69th,  The  (Warners)   3* 

Five  Little  Peppers  at  Home  (Columbia)  C  2y2  * 

Flight  Angels  (Warners)  Ml* 

Florian   (M-G-M)  2V2* 

Forty  Little  Mothers  (M-G-M)  2V2* 

Four  Sons  (20th  Century-Fox)   3* 

Free,  Blonde  and  21  (20th  Century-Fox)   2* 

French  Without  Tears  (Paramount)  2V2* 

Gambling  on  the  High  Seas  (Warners)  2J4* 

Ghost  Breakers,  The  (Paramount)   3-fc 

Girl  in  313  (20th  Century-Fox)  2V2* 

Girls  of  the  Road  (Columbia)   2* 

Gone  With  the  V/ind  (M-G-M)   4* 

Grapes  of  Wrath,  The  (20th  Century-Fox)   4* 

*Great  Mc  Ginty,  The  (Paramount)   3  + 

Half  a  Sinner  (Universal)   2* 

He  Married  His  Wife  (20th  Century-Fox)   2* 

Hidden  Gold  (Paramount)  2V2* 

High  School  (20th  Century-Fox)  C  3* 

His  Girl  Friday  (Columbia)   3* 

Honeymoon  Deferred  (Universal)  iVz-k 

House  Across  the  Bay,  The  (United  Artists)   2* 

House  of  Seven  Gables  (Universal)  2V2* 

If  I  Had  My  Way  (Universal)  C  3* 

*l  Married  Adventure  (Columbia)   3-k 

Invisible  Man  Returns,  The  (Universal)   2* 

Irene  (RKO)   3* 

Island  of  Doomed  Men  (Columbia)   2-* 

Isle  of  Destiny  (RKO)   2* 

I  Take  This  Woman  (M-G-M)   2* 

It  All  Came  True  (Warners)  2V2* 

It's  a  Date  (Universal)  3V2* 

I  Was  an  Adventuress  (20th  Century-Fox)  2V2* 

Johnny  Apollo  (20th  Century-Fox)   3-*- 

La  Conga  Nights  (Universal)   2* 

Lillian  Russell  (20th  Century-Fox)   3* 

Little  Old  New  York  (20th  Century-Fox)   2* 

Lone  Wolf  Meets  A  Lady,  The  (Columbia)   2* 

Lone  Wolf  Strikes,  The  (Columbia)   2* 

Lucky  Cisco  Kid  (20th  Century-Fox)   3*. 

Ma!  He's  Making  Eyes  At  Me  (Universal)  2V2* 

Man  From  Dakota,  The  (M-G-M)   2* 

Man   From  Montreal  (Universal)  2V2* 

Man  Who  Talked  Too  Much,  The  (Warners)  2V2* 

Man  Who  Wouldn't  Talk,  The  (20th  Century-Fox).2y2* 

Man  With  Nine  Lives,  The  (Columbia)   2* 

Marines  Fly  High,  The  (RKO)   2* 

Maryland  (20th  Century-Fox)  3V2* 

Men  Without  Souls  (Columbia)   2* 

Midnight  (Paramount)   3* 


Picture 


General 
Rating 


Millionaire  Playboy  (RKO)   2* 

Mr.  Smith  Goes  to  Washington  (Columbia)   4-fr 

Mortal  Storm,  The  (M-G-M)   4* 

Murder  in  the  Air  (Warners)   2-*- 

Music  in  My  Heart  (Columbia)   2-*- 

My  Favorite  Wife  (RKO)   3* 

My  Little  Chickadee  (Universal)  2V2* 

My  Love  Came  Back  (Warners)  3V2* 

My  Son,  My  Son  (United  Artists)  3V2* 

New  Moon  (M-G-M)   3* 

Ninotchka  (M-G-M)   4* 

Northwest  Passage  (M-G-M)   4* 

Of  Mice  and  Men  (United  Artists)   4+ 

Oklahoma  Kid,  The  (Warners)   3* 

On  Dress  Parade  (Warners)  C  2* 

One  Hour  to  Live  (Universal)   2  -k 

One  Million  B.  C.  (United  Artists)  C  3* 

Opened  by  Mistake  (Paramount)  2V2* 

Our  Neighbors — The  Carters  (Paramount)  2Vi* 

Our  Town  (United  Artists)   4* 

Outside  3-Mile  Limit  (Columbia)  21/2'* 

Pack  Up  Your  Troubles  (20th  Century-Fox)  C  2V2tV 

Parole  Fixer  (Paramount)  :  2V2ilr 

Passport  to  Alcatraz  (Columbia)   2  i 

Phantom  Raiders  (M-G-M)   U 

Pinocchio  (RKO)  C  4* 

Pioneers  of  the  Frontier  (Columbia)   2  £ 

*Pride  and  Prejudice  (M-G-M)  3V2* 

Primrose  Path,  The  (RKO)  3V2  * 

Private  Affairs  (Universal)  2l/2* 

Queen  of  the  Mob  (Paramount)   3-jr 

Rebecca  (United  Artists)   4* 

Remember  the  Night  (Paramount)   3* 

Rio    (Universal)  2V2* 

Road  to  Singapore,  The  (Paramount)  2V2-*r 

Roaring  Twenties,  The  (Warners)   3ir 

Safari  (Paramount)  2Vz~k 

Sailor's  Lady  (20th  Century-Fox)   2  Ik- 
Saint's  Double  Trouble,  The  (RKO)  2V2* 

Saint  Takes  Over,  The  (RKO)  2V2* 

Sandy  Is  a  Lady  (Universal)  C  2Vi -it- 
Saturday's  Children  (Warners)  2V2-*- 

*Sea  Hawk,  The  (Warners)  3V2* 

Secret  of  Dr.  Kildare,  The  (M-G-M)   3* 

Seventeen    (Paramount)  C     3  -jfc- 

Shooting  High  (20th  Century-Fox)  C  2V2* 

Shop  Around  the  Corner,  The  (M-G-M)   3* 

Sidewalks  of  London  (Paramount  Release)   3 -*- 

Slightly  Honorable  (United  Artists)   3* 

Smashing  the  Money  Ring  (Warners)  2V4 Tit- 
Son  of  the  Navy  (Monogram)  2V4tV 

*South  of  Pago-Pago  (United  Artists)  2V2* 

Spirit  of  Culver,  The  (Universal)  C  2V2T'r 

Sporting  Blood  (M-G-M)  2V2* 

Stanley  and  Livingstone  (20th  Century-Fox). ...  3% 

Star  Dust  (20th  Century-Fox)  2V2* 

Star  Maker,  The  (Paramount)  C  2V2* 

Strange  Cargo  (M-G-M)   3* 

Stronger  Than  Desire  (M-G-M)  2%-* 

Susan  and  God  (M-G-M)  3V2* 

Swiss  Family  Robinson  (RKO)  C  3* 

Tear  Gas  Squad  (Warners)   2-*- 

That's  Right,  You're  Wrong  (RKO)  C  3* 

They  Drive  by  Night  (Warners)   3lk 

Those  Were  the  Days  (Paramount)  C2V2* 

Three  Cheers  for  the  Irish  (Warners)   3 

Three  Smart  Girls  Grow  Up  (Universal)  C  3-k 

■Til  We  Meet  Again  (Warners)   3-k 

Tom  Brown's  School  Days  (RKO)   3* 

Too  Many  Husbands  (Columbia)   3tV 

Torrid  Zone  (Warners)   3* 

Tower  of  London  (Universal)   2* 

Turnabout  (United  Artists)   3  * 

Twenty-Mule  Team  (M-G-M)   3* 

Twenty-One  Days  Together  (Columbia)   3  Ik 

Two  Girls  on  Broadway  (M-G-M)  2V2* 

Typhoon    (Paramount)   3  + 

Underpup,  The  (Universal)  C     3  + 

Untamed  (Paramount)   2  Ik- 
Vigil  in  the  Night  (RKO)   3* 

Virginia  City  (Warners)   3-*- 

Viva  Cisco  Kid  (20th  Century-Fox)   2* 

Waterloo   Bridge  (M-G-M)  3V2* 

Way  of  All  Flesh,  The  (Paramount)   3* 

We  Are  Not  Alone  (Warners)  3V2* 

Women  in  War  (Republic)  2V2* 

Women  Without  Names  (Paramount)  2V2-*r 

You  Can't  Fool  your  Wife  (RKO)   2 Ik- 
young  As  you  Feel  (20th  Century-Fox)   2* 

*young  People  (20th  Century-Fox)  2V4* 

young  Tom  Edison  (M-G-M)  C  4* 


62 


MODERN  SCREEN 


ATTABOY,  PAU...NO 
MORE  MEALTIME 
MONKEY  BUSINESS! 


Babies  take  to  Clapp's! 


He's  our  first  baby,  so  naturally  my  wife 
and  I  got  worried  when  he  didn't  seem  to 
care  about  some  of  his  vegetables.  Some- 
times we  begged  and  pleaded,  and  some- 
times we'd  play  games  and  try  to  sneak  a 
spoonful  in  while  he  wasn't  looking.  One 
night  I  got  annoyed  and  tried  to  force  it 
down  him.  In  the  scuffle,  the  whole  dish 
landed  upside  down  on  the  floor. 


Just  that  minute  in  comes  our  neighbor, 
Mrs.  Blake,  and  her  little  boy.  "I  don't  know 
how  it  will  work  with  you,"  she  said,  when 
she  heard  about  our  troubles,  "but  I  always 
had  very  good  luck  with  Clapp's.  Richard 
seemed  to  take  to  Clapp's,  right  away,  and 
just  see  how  well  he's  grown  and  thrived. 
And  when  he  outgrew  Strained,  he  went  on 
Clapp's  Junior  Foods  as  slick  as  a  whistle." 


"It's  Clapp's  textures  that  babies  like, 

as  well  as  flavors.  They're  not  too  coarse  or 
thick,  nor  so  thin  a  child  doesn't  learn  to  eat. 

"You  see,  Clapp's  don't  make  anything 
but  baby  foods.  And  my  land!  They've  been 
making  them  most  20  years,  lots  longer  than 
anyone  else,  and  getting  tips  from  doctors 
and  mothers  all  the  time— no  wonder  they 
know  what  will  make  a  hit  with  babies!" 


17  Strained  Foods  for  Young  Babies 

Soups— Vegetable  Soup  •  Beef  Broth  •  Liver  Soup  •  Veg- 
etables with  Beef  •  Vegetables  with  Lamb  •  Vegetables 
— Asparagus  •  Spinach  •  Peas  •  Beets  •  Carrots  •  Green  . ,  . 
Beans  •  Mixed  Greens  •  Fruits — Apricots  •  Prunes  •  Apple  IJ^JJps  ' 
Sauce  •  Pears-and-Peaches  •  Cereal — Baby  Cereal. 


14  Junior  Foods  for  Toddlers 

Soup — Vegetable  Soup  •  Combination  Dishes — Vegeta- 
bles with  Beef  •  Vegetables  with  Lamb  •  Vegetables 
with  Liver  •  Vegetables  with  Chicken  •  Vegetables 
— Carrots  •  Spinach  •  Beets  •  Green  Beans  •  Mixed 
Greens  •  Creamed  Vegetables  •  Fruits  — Apple  Sauce 
Prunes  •  Dessert — Pineapple  Rice  with  Raisins. 


Clapp's 


Glapp's  Baby  Foods 

OKAYED    BY  DOCTORS  AND  BABIES 


OCTOBER,  1940 


63 


MADELEINE  CARROLL  in  Cecil  B.DeMille's  Paramount 

Picture"NORTH  WEST  MOUNTED  POLICE" 


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ight.a  Dark 
BROWNETl 
igfil  □  Dark 


{NOT  GOOD  IN  CANADA}* 


PRINCE  CHARMING— IN  SPITE  OF  HIMSELF 

{Continued  from  page  33) 


"the  boat,"  and  which  is  modest  indeed 
compared  with  such  craft  as  John  Barry- 
more  formerly  owned.  A  ketch-rigged 
double  ender,  it  would  make  a  fair- 
sized  lifeboat  for  Joseph  Schenck's  or 
Cecil  B.  De  Mille's  big  schooners,  and 
Colman  bought  it  second-hand  at  that. 
Still  it  is  big  enough  to  take  him  down 
into  the  Gulf  of  California  when  he  wants 
to  go  there  fishing  and,  whenever  he 
could  get  Powell  or  Baxter  or  Barthel- 
mess  to  go  with  him,  Ronnie  delighted 
in  taking  it  either  there  or  to  Catalina 
waters  after  swordfish. 

Thus  Ronald  Colman  appeared  to  live 
the  ideal  existence — he  was  rich,  famous, 
sought  after,  surrounded  by  every  mate- 
rial thing  any  man  apparently  could  wish 
for.  But,  the  philosophers  have  said  that 
no  man  really  owns  anything  unless  he 
has  someone  with  whom  to  share  it,  and 
in  his  heart  Ronnie  knew  that  the  philoso- 
phers spoke  truly.  He  had  everything 
money  could  buy,  yet  nothing  he  really 
wanted. 

Then  Benita  Hume  came  into  his  life. 
Their  romance  is  still  too  recent  to  need 
repetition  here,  but  it  was  almost  directly 
after  his  marriage  to  her  that  Hollywood 
began  to  see  a  Ronald  Colman  it  had 
never  seemed  to  notice  before.  He  ap- 
peared more  boyish  and  lighter-hearted, 
less  given  to  retiring  into  some  far 
corner  of  his  thoughts  and  letting  the 
world  pass  by. 

"It's  the  missus,"  he  grinned  when 
friends  remarked  about  it. 

THAT'S  what  he  almost  invariably  calls 
Benita — the  missus.  As  everybody 
knows,  she  too  came  over  from  England 
to  appear  in  pictures,  but  after  her  mar- 
riage she  decided  to  retire.  Benita  un- 
derstands, as  perhaps  no  American  girl 
could,  the  essentially  British  recesses  of 
Ronnie's  mind,  and  has  been  able  to  subtly 
bring  him  out  of  his  introspections. 

For  instance,  Ronnie,  after  dinner  say, 
out  of  habit  will  wander  idly  over  to  the 
bookcase  for  a  book.  If  he  gets  it  Benita 
knows  that  he'll  spend  the  evening  in  the 
big  chair,  as  remote  from  current  things 
as  Shangri-la. 

"Didn't  you  say  we're  dropping  around 
on  the  so-and-so's  this  evening?"  Benita 
asks. 

Ronnie  hadn't  said  anything  of  the  kind 
— but  he  goes.  And  there,  instead  of  con- 
templating the  mysteries  of  life  in  the 
abstract  by  himself,  he  shines  as  the 
social  light  of  the  party.  Still  in  his  own 
unobtrusive  way,  to  be  sure.  Whenever 
he  can  be  persuaded  to  converse,  Ronnie's 
conversation  is  highlighted  by  a  most 
delightful  dry  wit.  Benita  can  be  de- 
pended upon  to  do  the  persuading  in 
such  a  way  that  Ronnie  comes  out  of  his 
mental  corner  practically  before  he  has 
been  able  to  enter  it.  * 

That's  how,  one  evening,  he  found 
himself  in  the  last  place  on  earth  anybody 
would  expect  to  find  Ronald  Colman.  He 
and  Benita  were  at  a  dinner  party  when, 
after  the  meal  was  finished  and  the  guests 
— Ronnie  included — were  gathered  around 
the  piano,  somebody  looked  out  of  the 
window  and  saw  a  house  being  moved 
along  the  street  outside.  That  is  nothing 
unusual  for  Hollywood,  but  someone  had 
an  inspiration. 

"Let's  go  and  finish  the  party  there,"  he 
suggested. 

So  off  went  the  whole  group  to  the 
living  room  of  the  house  that  was  being 
moved,  where  they  remained  until  the 
party  ended,  then  took  taxis  and  went 


home.  Even  now  that  is  hardly  the  sort 
of  thing  of  which  Colman  whole- 
heartedly approves,  nevertheless  he  went 
along  rather  than  spoil  the  evening  for 
the  others.  A  few  months  before,  how- 
ever, he  probably  would  have  taken 
his  taxi  from  the  first  house  instead  of 
the  second. 

Benita  loves  the  bustle  and  noise  of 
big  cities,  but  for  Ronnie  crowded  streets 
and  traffic  lights  are  things  to  get  away 
from.  However,  Benita  has  found  a  way 
to  make  him  enjoy  even  the  busy  metro- 
politan centers  which  she  believes  are 
occasionally  necessary  as  a  sort  of  tonic 
to  the  most  secluded  minds — it  helps  to 
keep  them  up,  she  feels,  with  what  is 
going  on.  So  she  hit  upon  the  simple 
scheme  of  sometimes  taking  him  shopping 
with  her  upon  the  plea  that  she  wants 
her  clothes  to  please  him. 

"It's  so  much  better  than  ordering 
something  and  then  having  to  send  it 
back,"  she  explains. 

SOMETIMES  Ronnie's  new  zest  for 
things  gets  even  with  her,  however. 
He  has  always  been  something  of  a  cam- 
era fan,  but  since  his  marriage  he  has  been 
more  so  than  ever — principally  with  pic- 
tures of  Benita.  Thus,  one  morning  not 
long  ago,  he  awakened  her  at  about  five 
A.M.,  and  when  she  sleepily  opened  her 
eyes  she  saw  him  with  a  camera  perched 
on  a  tripod  at  her  bedside.  He  had  been 
waiting  for  days  for  just  the  right  light, 
he  said. 

Benita  obliged,  the  shutter  clicked, 
and  Benita  went  back  to  sleep,  only  to 
be  awakened  half  an  hour  or  so  later 
when  Ronnie  came  out  of  his  darkroom 
with  a  wet  film  in  his  hand. 

"Not  just  the  correct  exposure,"  he 
told  her.  "We'll  have  to  try  again." 

"Why  not  call  a  photographer  from 
the  studio  and  be  sure?"  Benita  asked. 

"We  might — and  we  might  have  your 
clothes  designed  at  the  studio,  too," 
Ronnie  grinned. 

Ronnie  is  master  of  the  quiet  retort 
and  the  Missus  knows  when  to  give  in. 

And  thus,  at  least  twice  in  his  life, 
Ronald  Colman  has  virtually  acquired  a 
new  personality — the  first  time  from  the 
moustache  that  Henry  King  penciled 
upon  his  lip  and  the  second  from  the 
missus.  That  he  has  benefited  immeasur- 
ably from  both,  professionally  from  the 
former  and  personally  from  the  latter,  is 
obvious.  Ronald  Colman,  like  all  creative 
artists,  is  a  human  complexity  who  re- 
sponds to  just  the  proper  touch. 

Solution  To  Puzzle  on  Page  14 


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ranis  @n 

mm 
msmmam 

HHUHHEl 

am  mm 

HLlfU  E 

hhhh  ma 

mm  0ns 

mm  m 

mmis  urn 

SB 


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SjN 
[ElNlDi 


64 


MODERN  SCREEN 


DAINTINESS  IS  IMPORTANT !  THIS  BEAUTY 

BATH  MAKES  YOU  SURE 


IT'S  SO  EASy  TO  MAKE 
SURE  OF  DAINTINESS 

just  use  Lux  Soap 

FOR  A  LUXURIOUS 
DAILY  BEAUTY  BATH 


you'll  love  Lux  Soap's 

GENTLE  ACTIVE  LATHER- 
THE  DELICATE  CLINGING 
FRAGRANCE  IT  LEAVES 
ON  YOUR  SKIN 


LOVELY  SCREEN  STARS,  clever 
women  everywhere  use  Lux 
Toilet  Soap  as  a  daily  bath  soap,  too. 
Its  ACTIVE  lather  carries  away  per- 
spiration, every  trace  of  dust  and  dirt 
— leaves  skin  really  fresh  from  top  to 
toe.  You'll  love  this  luxurious,  sure 
way  of  protecting  daintiness.  You'll 
find  this  beauty  bath  relaxes  and  re- 
freshes you — leaves  your  skin  delicately 
perfumed,  swee^.  Just  try  it! 

The  Complexion  Soap 
9  out  of  10  Screen  Stars  use 


OCTOBER,  1940 


65 


SILVER  STARS 


HOLLYWOOD-INSPIRED  HINTS  TO  HELP  SOLVE  YOUR 


SILVERWARE  PROBLEMS  IN  THE  MODERN  MANNER 


By  Marjorie  Deen 


Every  meal  at  lovely 
Maureen  O'Hara's 
house  is  exciting  and 
party-ish,  for  she  al- 
ways sets  her  table 
with  gleaming  1881 
Rogers  silverware  in 
the  popular,  delicate 
Del     Mar  pattern. 


OUT  HERE  in  Hollywood,"  Maureen 
O'Hara  pointed  out  to  me  recently,  "we 
are  frequently  asked  to  describe  our 
favorite  foods.  But,"  she  went  on  with 
considerable  surprise,  "it  is  rare  indeed 
to  have  someone  ask  how  we  set  our 
tables!  Yet  an  attractive  looking  table 
setting  is  as  important  to  the  success  of 
a  meal  as  the  dishes  that  are  served!" 

In  this  respect,  Maureen  feels,  your 
silver  service  should  be  the  very  first 
consideration — since  it  is  certain  to  be  the 
first  thing  noticed.  The  charm  of  its 
pattern,  its  gleaming  appearance  and  the 
way  it  is  placed,  all  should  do  credit  to 
your  good  taste.  Fortunately,  owning  an 
attractive  set  of  silverware  is  no  longer 
a  question  of  waiting  for  that  promised 
inheritance  or  that  mythical  ship  to  come 
in.  Instead,  you  can  purchase  your 
matched  set  of  quality  silver  plate  now 
when  you  really  want  it  and  would  most 
enjoy  using  it — at  small  cost  and  on  easy 
terms  at  that! 

Countless  Hollywoodites,  like  Maureen, 
are  the  proud  possessors  of  complete 
services  in  silver  plate.  And  they,  like 
ourselves,  would  give  four  stars  to  any 
silver  success  story.  These  stars  would 
be  awarded  for  the  charm  of  the  pattern 
and  the  appropriateness  of  the  selection; 
the  daily  care;  the  occasional  thorough 
polishing  which  assures  its  finest  appear- 


ance; and  the  actual  placing  of  the  silver 
on  the  table  according  to  the  few  but 
important  rules  that  govern  this  pro- 
cedure. Each  of  these  silver  stars  calls 
for  your  careful  consideration  if  you,  too, 
wish  your  silverware  to  be  the  bright 
spot  of  your  table  settings. 

★  PURCHASE 

Buy  plated  ware  that  bears  the  name  of 
a  well-known  manufacturer — one  with  a 
reputation  to  live  up  to;  then,  even 
though  you  may  have  purchased  the  most 
moderately  priced  set,  you  have  every 
assurance  that  the  company  will  proudly 
stand  back  of  its  guarantee. 

Be  sure  you  are  getting  a  quality  plated 
silverware  with  extra  concentration  of 
silver  at  the  points  of  maximum  wear. 
This  assures  added  years  of  satisfactory 
use  and  continued  fine  appearance.  Hid- 
den values  such  as  these  are  important 
in  the  long  run.   Ask,  before  you  buy. 

Choose  a  pattern  that  not  only  appeals 
to  you  now,  but  that  you  feel  sure  will 
continue  to  appeal  throughout  the  set's 
long  years  of  usefulness. 

Make  your  initial  purchase  in  the  form 
of  a  set  for  six  or  eight.  There  is  a  distinct 
saving  in  starting  off  with  a  grouped 
service,  and  an  added  inducement  is  the 
tarnish-proof  chest  in  which  it  is  sold. 
Various  combinations  are  offered  so  that 


you  can  be  sure  of  getting  a  set  that  in- 
cludes the  pieces  you  feel  most  essential. 
In  time  you  can  buy  more  of  each  and 
also  add  iced  tea  spoons,  cream  soup 
spoons  and  special  servers — all  of  which 
you  may  have  thought  you  simply  could 
not  finance  at  the  time  of  the  original 
purchase. 

*  DAILY  CARE 

The  most  important  rule  for  daily  care  of 
silverware  is  daily  use!  It's  a  mistake  to 
keep  your  "best  set"  only  for  company 
dinners,  because,  though  much  can  be 
said  for  tarnish-proof  chests  and  cloths, 
some  air  is  bound  to  seep  in — carrying 
with  it,  alas,  tarnish  ingredients.  Constant 
use  with  consequent  washings  will  keep 
your  silverware  looking  its  best  at  all 
times. 

Be  sure  to  wash  off  eggs,  mustard  and 
mayonnaise  immediately,  and  remove  any 
stain  they  may  have  left  with  a  polishing 
cloth. 

Treat  your  silverware  with  loving 
care.  Keep  in  mind  that  it  is  one  of  the 
precious  metals,  soft  and  lustrous,  with 
luxurious  finishes  that  mar  easily  under 
careless  treatment. 

Remove  silver  pieces  from  the  table, 
wash  them,  rinse  them  and  dry  them 
separately,  not  bunched  in  the  hand! 
Wash  in  clean,  soapy  hot  water,  using 


66 


MODERN  SCREEN 


mild  soap  powder  or  flakes.  Rinse  in  very 
hot,  preferably  scalding,  water.  It  is 
contrary  to  all  laws  of  common  sense  to 
leave  soapy  water  on  your  silver  to 
streak  and  taste,  but  all  too  often  this 
rinsing  step  is  overlooked!  Last,  but  not 
least,  dry  each  piece  thoroughly. 

*  SPECIAL   (OCCASIONAL)  CARE 

With  constant  use,  a  tarnish  proof  chest, 
careful  washing  and  the  special  attention 
suggested  above,  your  silverware  will 
need  only  infrequent  polishing.  This  may 
be  done  very  successfully  with  one  of  the 
handy  silver  cleaning  cloths  that  are  sold 
in  five  and  ten  cent  stores.  It  is  well, 
also,  to  go  over  the  silver  occasionally 
with  a  reliable  silver  cream.  Silver  must 
then  be  carefully  washed  in  soapy  water, 
rinsed  and  thoroughly  dried.  For  absolute 
perfection  give  it  a  final  rubbing  with  a 
soft  chamois  skin. 

A  quick,  easy  and  therefore  popular 
silver  cleaning  method  is  the  galvanic 
process.  But  this  treatment  should  not 
be  used  for  flatware  that  depends  for  its 
full  beauty  and  charm  on  the  delicate 
shading  (known  as  oxidation)  which 
serves  to  bring  out  the  pattern,  since  this 
shading  is  removed  entirely  when  this 
method  is  employed. 

Place  in  a  large  dishpan  an  old  piece 
of  aluminum  ware  or  one  of  the  special 
aluminum  plates  sold  for  this  very  pur- 
pose. Put  in  a  measured  amount  of  boil- 
ing water,  add  1  teaspoon  of  either 
washing  soda  or  baking  soda  and  1  tea- 
spoon salt  for  each  quart  of  water.  Ar- 
range silver  in  pan  so  that  each  piece 
touches  the  aluminum  or  another  piece 
(Continued  on  page  82) 


Write  in  for  your  FREE  COPY  of 
thenew"GONE  WITH  THE  WIND" 
COOK  BOOK.  Inspired  by  the 
picture  and  with  Scarlett  herself  on 
the  cover,  it  contains  48  pages  of  rec- 
ipes for  those  delicious  dishes  that 
have  made  Southern  hospitality  so 
justly  famous.  Just  print  your  name 
and  address  clearly  on  the  coupon  or 
on  a  penny  postal  and  mail  it  in.  If 
you  want  extra  copies  for  fellow  club 
or  church  members,  specify  the  num- 
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Home  Service  Department 

Modern  Screen  Magazine 

149  Madison  Avenue,  New  York,  N.  Y. 

Kindly  send  me,  ABSOLUTELY  FREE, 
the  "GONE  WITH  THE  WIND"  COOK 
BOOK. 

Name  ,s  

Street   

City...;   Stale  


MATILDA:  Oh  me,  oh  my — read  this.  I 
knew  there'd  be  trouble  if  Ted  didn't 
stop  picking  on  Jane. 

SUSAN:  The  poor  creature!  He  raised 
such  a  fuss  about  his  shirts — she  got 
desperate  and  left.  Come  along,  Ma- 
tilda— we'll  fetch  her  back  and  show 
her  how  to  keep  the  brute  happy. 


SUSAN:  You  heard  me,  young  lady!  He 
wouldn't  be  always  storming  about 
tattle-tale  gray — if"  you'd  stop  using 
weak-kneed  soaps  that  can't  wash  clean. 

MATILDA:  Change  to  Fels-Naptha — golden 
bar  or  golden  chips.  Either  way,  you  get 
richer,  golden  soap  working  with  gentle 
naptha!  That  team  sure  makes  dirt  scat! 


TED:  Yep — the  merry-go-round  next !  My 
shirts  look  so  swell  since  you  put  that 
big,  golden  bar  of  Fels-Naptha  to  work, 
I'm  going  to  treat  the  three  of  you  to 
everything  in  the  park! 


SUSAN:  And  take  it  from  your  wise  old 
auntie,  Jane,  nothing  beats  Fels-Naptha 
Soap  Chips  for  washing  machines.  Husk- 
ier, golden  chips — they're  not  puffed  up 
with  air  like  flimsy,  sneezy  powders. 


Golden  bar  or  golden  chips 

FELS-NAPTHA  BANISHES 
"TATTLE-TALE  GRAY" 


Wherever  you  use  bar-soap, 
use  Fels-Naptha  Soap. 
Wherever  you  use  box-soap, 
use  Fels-Naptha  Soap  Chips. 


COPR.  1040.FEl.SacO 


OCTOBER,  1940 


67 


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HE'S  COLOSSAL 

{Continued  from  page  25) 


York  critics  rapped  it  at  an  Eastern  pre- 
view and  remade  most  of  it.  He  scrapped 
the  entire  $400,000  print  of  Anna  Sten's 
"Nana"  and  redid  that.  It's  not  that  kind 
of  economy,  but  Mr.  Goldwyn  is  passion- 
ately convinced  that  B  pictures  drain 
Hollywood's  gold  supply  and  keep  a  man 
from  doing  his  best  in  A  pictures.  "Unless 
Hollywood  makes  only  the  best,"  he 
warns,  "audiences  will  stay  home  and  lis- 
ten to  the  Pot  O'  Gold  program!  Audiences 
are  getting  more  insistent  on  good  pic- 
tures! And  you  can't  give  them  double 
features  instead!" 

Mr.  Goldwyn  waxes  hot  and  bothered 
about  the  matter  of  double  features.  "You 
decide  to  go  to  the  theatre  some  evening. 
You  spend  twenty  minutes  trying  to  park, 
then  you  either  walk  twelve  blocks  or 
pay  for  parking.  The  marquee  on  the 
theatre  says:  — 

BANK  NITE— $500  GIVEN  AWAY 

THE  MAGNIFICENT  FRAUD 
YOU  CAN'T  TAKE  IT  WITH  YOU 

"You  buy  your  ticket  anyway.  The  first 
forty  minutes  are  taken  up  with  a  raffle 
won  by  a  guy  in  the  cemetery  three  years. 
Thank  God,  that's  over  at  last.  You  sit 
back  and  wait  for  the  picture — say  'Re- 
becca,' or  something  else  you  want  to  see 
badly.  It  doesn't  come.  Instead  you  get 
twenty  minutes  of  what's  coming.  Every- 
thing is  'Magnificent,'  'Colossal,'  'Grand,' 
'Terrific' — 'You'll  Laugh,'  'You'll  Scream,' 
'You'll  Roar' — and  you're  trying  to  relax. 
If  a  picture  was  ever  announced  as  'Fair,' 
it  would  be  a  world  revolution.  Funny, 
but  something  always  happens  on  the 
way,  and  when  pictures  really  arrive, 
they  never  look  as  good  as  they  did  in  the 
trailer.  Like  the  fellow  said:  — 'The  pic- 
ture was  a  flop,  but  the  trailer  got  the 
Academy  Award!' " 

With  fiery  bitterness,  Mr.  Goldwyn  goes 
on  to  describe  how  you  manage  to  survive 
the  trailers,  then  sit  back  again  and  await 
the  feature — "Rebecca."  "Instead,"  he 
rues  with  passionate  sadness,  "you  get  a 
B  picture,  a  cheap  bad  picture  Hollywood 
makes  to  fill  out  a  double  feature  program. 
And  to  me  B  stands  for  Bad!" 

I"  F  you  live  through  this  and  are  still  in 
1-  the  theatre,  Mr.  Goldwyn  goes  on  to 
say,  you  at  last  get  "Rebecca,"  but  "You 
are  so  worn  out  you  couldn't  enjoy  it  if 
you  tried!  At  1:30  a.m.  you  are  finally 
home,  and  the  next  day  a  neighbor  in- 
forms you  that  he  heard  your  name  men- 
tioned on  the  Pot  O'Gold  program  for 
$1900 — and  you  weren't  home  to  answer 
the  phone!"  Like  all  Hollywood,  Mr. 
Goldwyn  is  unhappy  about  the  Pot  O'Gold 
type  of  program  which  keeps  droves  of 
honest  folk  from  the  movie  houses. 

Although  he  is  known  to  show  double 
features  in  his  Beverly  Hills  home  night- 
ly, and  though  the  children  of  America 
seem  nuts  about  them,  Mr.  Goldwyn  is 
having  a  Gallup  Poll  made  to  prove  that 
America  really  doesn't  want  them. 

When  it  is  suggested  that  Hollywood 
reduce  costs,  say,  snip  off  $100,000  from 
the  budget  of  every  one  of  its  six  hun- 
dred yearly  pictures,  thus  saving  about 
$60,000,000— Mr.  Goldwyn  snorts  in  dis- 
gust. "Reduce  costs?  The  public  won't 
allow  it.  They've  gotten  used  to  $500,000 
pictures  and  are  beginning  to  think  them 
cheap  and  shabby  looking.  They  must 
have  pictures  with  linoleum  walls,  patent 
leather  furniture,  transparent  glass  swim- 
ming pools,  solid  onyx  showerbaths — or 
they  kick.  The  stars  must  wear  at  least 
a  half  million  in  jewels.  Once  the  jewels 
could  be  paste;   now  the  public  feels 


cheated  unless  they  are  the  real  stuff!" 

Undoubtedly  the  Goldwyn  touch  would 
suffer  were  Mr.  Goldwyn  to  find  himself 
forced  to  make  pictures  with  a  reduced 
budget.  To  get  his  desired  effects  he 
literally  pours  out  money  like  a  New 
Deal  Congressman.  He  paid  $180,000  for 
the  movie  rights  to  "Dodsworth"  and 
$2CO,000  for  "Dead  End."  He  tore  up 
Vilma  Banky's  contract  when  she  made 
a  hit  in  "The  Dark  Angel"  and  raised  her 
from  a  mere  $2,000  to  a  merer  $5,000  a 
week.  He  encourages  his  star  director, 
William  Wyler,  to  take  hundreds  and 
hundreds  of  takes  to  get  the  minutest 
detail  right.  To  get  even  minor  parts 
authentically  cast,  he  will  test  hundreds 
of  unknown  players.  In  this  way  he  has 
discovered  Gary  Cooper,  Walter  Brennan 
(who  now  gets  $2,000  a  week  and  refuses 
to  take  radio  jobs  because  he  would  be 
forced  to  share  his  wages  with  Goldwyn 
according  to  their  contract),  Robert 
Montgomery  and  now  Doris  Davenport, 
whom  he  is  launching  in  "The  West- 


ABOUT  Montgomery  and  Davenport 
there  are  stories  proving  Mr.  Gold- 
wyn's  genius  as  a  star  maker.  When  he 
ordered  a  test  for  Montgomery,  then  an 
unknown  Broadway  actor,  someone  ad- 
vised Mr.  Goldwyn  that  Robert's  neck 
was  too  long,  that  his  head  looked  like 
a  knob  on  a  long  handle.  Goldwyn  re- 
sponded by  ordering  that  Montgomery 
be  encased  in  one  of  those  old-fashioned 
high  collars — and  that  is  why  Montgom- 
ery is  a  star  today.  Unfortunately,  Gold- 
wyn lost  Montgomery  to  M-G-M  through 
an  accident. 

As  for  Miss  Davenport,  Goldwyn  has 
always  looked  among  the  extras  and  bit 
players  for  potential  star  material.  Thus 
he  found  Doris.  Wyler,  who  directed 
"The  Westerner,"  opposed  Mr.  Goldwyn 
fiercely:  "She  can't  act,  she  looks  terrible, 
she'll  ruin  the  picture!"  After  a  pitched 
battle  Goldwyn  prevailed  and  today 
Wyler,  who  worked  under  protest 
throughout  "The  Westerner,"  has  pub- 
licly apologized  to  him. 

People  in  Hollywood  respect  Mr.  Gold- 
wyn's  opinion,  if  not  his  English.  Though, 
curiously,  he  has  never  won  a  Producer's 
Academy  Award,  Hollywood  knows  he 
has  a  long  head  and  a  wise  one  when 
making  films.  Many  of  his  hirelings,  who 
have  won  awards  for  work  on  his  pic- 
tures, have  forwarded  their  Oscars  to 
Goldwyn  with  the  note:  "To  the  person 
who  really  won  it!" 

This  is  hardly  bootlicking,  for  Goldwyn 
stands  very  high  with  Eastern,  or  hard- 
boiled,  critics.  Twice  he  has  won  the  New 
York  Critics  Award  and  is  very  proud 
of  the  fact.  He  is  not  bitter  about  Holly- 
wood's Academy  snubbing  him.  He 
thinks  all  awards  are  stimulating  to  the 
creative  side  of  films — even  if  you  put 
them  up  yourself  and  then  win  them! 

Goldwyn  isn't  infallible  in  picking  peo- 
ple. Take  the  case  of  Anna  Sten.  When 
the  inscrutable  Garbo  came  to  Metro 
vears  ago  and  started  "tanking  she  go 
home,"  Goldwyn  responded  with  Vilma 
Banky,  whom  he  discovered  in  a  picture 
frame  in  a  Budapest  photographer's  shop. 
Vilma  made  millions  in  silent  films  for 
Goldwyn,  but  lost  out  when  sound  came 
and  she  couldn't  learn  the  language. 
Garbo  survived,  and  Goldwyn,  irked  and 
anxious,  brought  Anna  Sten  over  from 
Russia.  A  devout  believer  in  publicity 
(if  it  favors  him)  Goldwyn  spent  about 
$250,000  launching  Anna,  then  cast  her 


MODERN  SCREEN 


as  "Nana."  Though  four  Pulitzer  prize 
playwrights  worked  on  the  script,  it  was 
a  flop.  Anna  just  wasn't  comfortable 
speaking  English,  which  she  barely  knew. 
Still  Goldwyn  persisted  and  made  two 
more  flops  with  the  overplump  Russian. 
Though  he  finally  had  to  give  her  up, 
Sam  never  lost  faith  in  Anna.  Today  that 
faith  has  been  justified.  Anna,  thinner 
and  thoroughly  Americanized,  has  been 
placed  under  contract  to  Paramount, 
after  finishing  a  lead  in  a  Twentieth  Cen- 
tury-Fox film! 

Part  of  the  Goldwyn  touch  consists  of 
his  unerring  ability  to  cast  people  for 
their  jobs.  He  even  casts  assistant  di- 
rectors. Among  directors,  William  Wyler 
is  his  favorite  for  realistic  drama;  Sam 
Wood,  who  made  "Our  Town,"  he  likes 
for  comedy  and  drama;  Garson  Kanin, 
who  just  made  "My  Favorite  Wife,"  he'd 
like  for  anything.  It  seems  he  brought 
Garson,  who  used  to  be  George  Abbott's 
office  boy  and  general  assistant  to  Holly- 
wood, then  lost  him  to  RKO,  where  Gar- 
son has  become  the  current  Wonder  Boy 
of  Filmland.  Goldwyn,  in  other  words, 
would  no  sooner  have  a  comedy  director 
like  Leo  McCarey  direct  "Wuthering 
Heights,"  than  he  would  have  Wyler 
megaphone  the  Marx  Brothers. 

WHEN  casting  stars,  Goldwyn  al- 
ways considers  personality.  He  likes 
the  part  to  fit  the  actor,  not  vice  versa. 
A  good  director  can  always  make  up 
for  the  star's  lack  of  acting  ability  by 
getting  a  good  performance  out  of  him 
or  her.  But  he  indignantly  refutes  the 
stories  that  a  star  is  only  as  good  as  his 
or  her  director.  He  denies  that,  for 
instance,  if  Alfred  Hitchcock  hadn't 
bullied,  stormed  and  threatened  a  good 
performance  out  of  Joan  Fontaine,  she 
would  have  been  a  flop  in  "Rebecca." 
"Hitchcock  likes  to  dictate  to  his  people," 
Goldwyn  smiles.  "Once  he  handcuffed 
Robert  Donat  and  Madeleine  Carroll  to- 
gether in  '39  Steps.'  They  hadn't  even 
been  introduced,  and  he  left  them  togeth- 
er that  way  all  day.  He  got  the  effect  that 
he  wanted — two  people  who  did  not  know 
each  other,  handcuffed  together.  But 
Hitchcock  didn't  give  any  of  these  people 
the  quality  that  makes  them  film  fa- 
vorites. God  made  the  actors  just  as  He 
made  the  writers."  But,  of  course,  not 
the  B  producers. 

Mr.  Goldwyn  doesn't  approve  of  bully- 
ing tactics  by  directors.  The  squatly- 
black,  cigar-smelling  Lubitsch,  who  even 
shows  his  lady  stars  how  to  kiss  heroes 
like  Gary  Cooper,  is  more  his  style.  For 
Goldwyn  doesn't  like  to  wrangle  with 
people.  This  doesn't  mean  to  say  that 
he  doesn't.  He  abhors  yes-men  and  once 
hired  a  prominent  and  tough  Hollywood 
no-man  just  to  see  how  it  felt  to  be 
no-ed.  The  no-man,  like  most  of  Holly- 
wood, immediately  started  yessing  Mr. 
Goldwyn,  who  finally  fired  him  in  dis- 
gust. The  no-man  immediately  bawled 
out  Mr.  Goldwyn — and  found  himself 
promptly  rehired. 

It  has  been  said  that  Goldwyn  wrangles 
continuously  with  Gary  Cooper.  Cooper 
is  forever  on  the  verge  of  breaking  his 
contract  and  retiring  with  his  two  million 
dollars.  Shrewdly,  Goldwyn,  who  gave 
Cooper  his  start  at  $50  a  week  years  ago 
and  then  rehired  him  at  $7,500,  knows 
how  to  handle  the  seemingly  shy  Cooper. 
"You  don't  argue  with  box  office,"  Gold- 
wyn states.  "You  impress  it!"  There  were 
stories  last  spring  that  Gary  didn't  want 
to  do  "The  Westerner."  They  said  he 
was  sick  of  chaps  and  horses  and  saloon 
drama  and  that  he  openly  refused  the 
part.  The  day  the  company  was  to  leave 
for  location  at  Tucson,  Arizona,  Goldwyn 
phoned  Cooper  and  said,  "I  hear  you 
don't  intend  going  to  Tucson,  Gary.  Okay, 


The  worst  fight  I  ever  had 
with  my  wife'! 


1 .  My  wife  came  from  a  rich  family.  I  came 
from  a  poor  one.  And  we  got  along  swell . . . 
that  is,  until  the  baby  came. 


2.  Then  Peggy's  ritzy  upbringing  started  to 
tell.  She  spoiled  the  baby  from  morning  till 
night.  You  never  saw  as  many  special  gadg- 
ets as  she  bought  for  that  child.  Finally  one 
day  I  blew  up  and  we  had  it  out. 


3.  "Look  here,"  I  said  to  Peggy,  "I'm  fed 
up  on  this  namby-pamby  stuff!  I  don't  want 
my  boy  to  grow  up  to  be  a  sissy.  You're 
going  too  far  with  all  this  special  powder, 
special  food,  special  this,  special  that,  and 
above  all  that  special  laxative." 


4.  "Wait  a  minute— you're  acting  like  a 
fool,"  Peggy  came  right  back:  "that  special 
laxative  for  the  baby  is  what  the  doctor  or- 
dered. He  says  a  baby's  delicate  system  is 
different  from  an  adult's,  and  shouldn't  get 
an  adult's  laxative." 


5.  "That's  why  I'm  giving  the  baby  Fletch- 
er's Castoria.  It's  designed  especially  for 
children.  It  has  no  harsh,  'adult'  drugs  and 
works  mainly  in  the  lower  bowel,  so  it  isn't 
likely  to  disturb  the  appetite,  or  cause  nau- 
sea. The  doctor  said  he  couldn't  recommend 
a  better  laxative  than  Fletcher's  Castoria." 


6.  "And  listen,  Jim,  you  know  our  son  is 
cranky  about  taking  any  medicine.  Well, 
does  he  go  for  the  swell  taste  of  Fletcher's 
Castoria!  He  loves  it.  I  don't  know  what  I'd 
do  without  Fletcher's  Castoria  in  the  house!' 
(That's  the  end  of  the  story  .  .  .  except  we 
haven't  had  a  cat-and-dog  fight  since!) 


CLa^H^MH  castoria 

The  modern— SAFE— laxative  made  especially  for  children 


OCTOBER,  1940 


69 


New  under-arm 

Cream  Deodorant 

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1.  Does  not  harm  dresses  —  does  not 
irritate  skin. 

2.  No  waiting  to  dry.  Can  be  used 
right  after  shaving. 

3.  Instantly  checks  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  white,  greaseless,  stainless 
vanishing  cream. 

5.  Arrid  has  been  awarded  the 
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Don't  let  baby  wear  outgrown  shoes.  Baby  feet 
grow  so  fast  you  must  change  to  new  shoes  often. 
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don't  go.  Be  in  court  in  two  weeks  and 
answer  why  you  shouldn't  have  to  pay 
me  $500,000  for  getting  the  script  and 
company  together.  Bring  your  contract!" 
Then  he  hung  up.  Cooper  was  on  the 
train.  Goldwyn  knew  he'd  be.  He  knows 
that  Gary  loves  pictures  and  that  "The 
Westerner"  was  a  great  script. 

Goldwyn  often  fires  people  when  he 
has  a  burst  of  temperament,  but  never 
fires  them  when  they  are  temperamental. 
He  doesn't  think  actors  or  actresses  are 
temperamental  without  cause.  "Usually  if 
an  actress  starts  throwing  vases  at  the 
prop  men  and  bawling  out  the  assistant 
director,"  he  says,  "there's  something 
wrong  with  the  script.  Her  lines  are  not 
right.  Then  I  change  them." 

BUT  when  he  gets  annoyed  with  some- 
one, he  acts  immediately.  Never  one 
for  getting  names  right,  once  he  had  two 
writers  with  approximately  the  same 
names  working  for  him.  Angered  over  a 
script,  he  called  up  and  fired  the  wrong 
man.  Later,  when  he  learned  his  mis- 
take, he  rehired  him.  Speaking  of  getting 
names  wrong,  for  years  he  called  a  Mr. 
Cahane,  long  a  member  of  his  firm,  Mr. 
Cocoon,  and  Arthur  Hornblow,  who  was 
his  assistant  for  some  time,  he  dubbed 
Mr.  Hornbloom!  But  his  generosity  and 
remorse  are  notorious.  He  once  fired  a 
writer  with  much  passion,  then  when  he 
heard  the  writer's  mother  wasn't  well  in 
Chicago,  he  immediately  rehired  him! 
The  mother  had  a  slight  cold! 

Naturally  he  plays  no  favorites  among 
the  film  folk.  Since  he  makes  only  two 
to  four  pictures  a  year,  he  has  few  actors 
under  contract  to  him.  He'd  rather  bor- 
row from  other  studios.  Once  a  press 
agent  tried  to  get  him  to  name  his  fa- 
vorite actor  and  actress.  "What?"  he 
cried  shrewdly,  "and  have  Merle  Oberon 
on  my  neck  if  I  mention  Lizzie  Zilch  and 
not  her?"  The  press  agent  therefore  got 
Goldwyn  to  pick  out  the  thirteen  best 
performers.  That  is,  Goldwyn  named 
twelve  and  left  the  thirteenth  a  mystery. 
Hollywood  fell  for  the  stunt  and  spec- 
ulated for  months  on  who  it  was  Gold- 
wyn meant  for  No.  13. 

On  the  personal  side,  Mr.  Goldwyn  is  a 
very  happy  man — when  he  doesn't  think 
about  pictures.  His  life  with  his  second 
wife,  the  beautiful  Frances  Howard,  by 
whom  he  has  a  son,  Sam,  Jr.,  is  pretty 
idyllic.  Mrs.  Goldwyn  has  worked  hard 
to  clean  up  Mr.  Goldwyn's  unOxfordian 
accent  and  habit  of  inserting  his  mental 
foot  in  his  mouth  when  he  opens  it.  To- 
day his  accent  is  uncertain  but  not  thick 
— his  boners  are  dying  away. 

Mr.  Goldwyn's  dress  is  absolutely  im- 
peccable. He  often  hires  people  because 
they  are  beautifully  dressed.  Certainly 
Arthur  Hornblow's  well-pressed  clothes 
influenced  Mr.  Goldwyn  when  he  plucked 
the  capable  Mr.  Hornblow  off  Broadway. 
Goldwyn  dresses  like  a  king,  is  never 
seen  in  tennis  shoes  and  tuxedc.  1 

He  likes  to  gamble  but  hates  to  lose — 
considers  it  a  personal  affront  to  his 
position  if  you  trump  his  ace  at  bridge 
with  a  lowly  deuce.  He  hates  to  be  kept 
waiting,  but  keeps  others  waiting— some- 
times for  months.  His  golf  is  erratic. 
There  is  the  famous  anecdote  about  the 
time  he  smacked  one  down  the  fairway, 
turned  to  his  caddy  and  asked,  "What 
did  I  do  right?" 

He  runs  his  lot  like  a  small  dictator, 
when  he  presses  a  button  and  demands 
to  see  you,  you  jump.  He  phones  people 
in  the  middle  of  the  night  to  ask  incon- 
sequential questions  about  scripts.  He 
takes  a  nap  afternoons  behind  locked 
doors  on  the  lot.  There  is  even  a  private 
Turkish  bath  ready  for  him  there. 

Since  he  always  has  pictures  on  his 
mind,  he  can't  be  trusted  to  drive  a  car — 


sends  them  crashing  into  pillars — so  he 
walks  five  of  the  ten  miles  to  the  studio 
every  morning,  and  has  a  car  follow  him 
to  pick  him  up  halfway.  He  also  walks 
halfway  home  at  night.  This  has  made 
him  a  terrific  walker.  Concentrating  on 
how  to  improve  his  films,  he  lopes  along 
like  Fenimore  Cooper's  Leatherstocking 
stalking  a  bad  Injun  in  the  underbrush. 
Often  he  barely  escapes  being  run  over. 

He  doesn't  drink  anything  stronger 
than  lithia  water,  and  only  recently  has 
taken  up  cigarettes,  which  he  smokes  as 
if  they  constituted  a  fire  hazard.  Gener- 
ally he  is  a  conservative  in  everything, 
will  never  brook  a  bit  of  bad  taste  in  his 
pictures  or  life.  "But,"  someone  has  said, 
"he's  conservative  in  an  ostantatious  way!" 

As  for  the  boners  that  have  helped 
build  Mr.  Goldwyn's  great  reputation 
(some  of  his  publicity  men  have  sat  for 
hours  trying  to  think  them  up),  they 
sadden  him.  "I  certainly  did  not  say 
'Include  me  out!' "  he  avers  stoutly.  "And 
the  gag  about  my  liking  my  wife's  hand 
so  much  I'm  having  a  bust  made  of  it  is 
an  old  vaudeville  joke!" 

He  also  denies  he  once  said  to  an 
ingrate:  "That's  like  biting  the  hand  that 
laid  the  golden  egg."  Nor,  as  the  story 
goes,  when  someone  said,  "You  can't  use 
that,  Mr.  Goldwyn,  it's  too  caustic!"  did 
he  ever  answer,  "Never  mind  the  cost, 
use  it  anyway!" 

When  he  was  in  New  York  last,  Mr. 
Goldwyn  saw  the  musical  comedy,  "Keep 
Off  the  Grass!"  In  it  there  was  a  comic 
character  loosely  resembling  Mr.  Gold- 
wyn's so-called  funnier  side.  "It  made 
me  so  sad,"  Mr.  Goldwyn  tcld  me,  "I 
called  up  the  Shuberts,  who  produced  it, 
and  offered  to  get  them  some  new  jokes 
about  me — the  old  ones  were  so  stale!" 

And  Mr.  Goldwyn  probably  would 
have  kept  his  word — by  hiring  Winchell, 
Skolsky,  George  Ross,  Sobol  and  his 
other  tormentors  to  write  them.  "When 
I  think  of  it,"  Mr.  Goldwyn  sighs,  "I  try 
to  talk  and  act  the  way  the  boys  say 
I  do!"  Sometimes,  his  associates  admit, 
the  cracks,  even  when  Mr.  Goldwyn 
makes  them,  hurt. 

THE  only  ray  of  light  Sam  sees  in  the 
European  situation  (over  which  he 
agonizes  considerably)  is  that  now  you 
can  make  pictures  like  "It  Can't  Happen 
Here",  and  the  "Forty  Days  of  Musa 
Dagh,"  formerly  dictated  off  the  screen 
by  Hitler  and  Mussolini,  who  threatened 
the  blitzkrieg  of  boycott.  Now  that  there 
is  no  European  market,  Mr.  Goldwyn 
points  out,  you  can  make  very  anti- 
Nazi  and  Fascist  pictures.  And  do  the 
world  good  with  them,  too. 

Despite  his  groans,  worries  and  hair- 
tearings,  Mr.  Goldwyn  loves  Hollywood. 
No  place  in  the  world  has  ever  given 
the  honest  gold  prospector  such  a  golden 
opportunity  to  make  a  fortune  and  re- 
main an  artist.  Mr.  Goldwyn  is  con- 
vinced he  is  one  of  the  more  advanced 
and  enlightened  gold  prospectors.  And, 
of  course,  there  is  no  doubt  that  he  is.  He 
thinks  time  will  eliminate  the  B  pro- 
ducers. "Hollywood  isn't  a  hundred  years 
old  yet,"  he  says,  "and  it's  still  filled  with 
opportunists.  Everyone  who  can  write  a 
letter  is  a  writer  and  everyone  who  ran 
a  produce  market  is  a  producer.  These 
fake  artists  are  like  the  prospectors  who 
drop  out  when  the  gold  rush  ceases!" 

Behind  this  strange  character — with  his 
disregard  for  language,  his  torments  of 
self  and  others,  his  great  successes  and 
failures,  his  huge  artistic  and  financial 
battles,  his  egotism,  his  paradoxes,  his 
love  of  big  names  and  ostentation — is  a 
really  simple  man.  X-ray  the  confusion 
that  is  Goldwyn  and  you  see  a  person 
with  one  idea — to  make  great  pictures 
and  never  compromise  from  that  ideal! 


70 


MODERN  SCREEN 


LET'S  GET  PERSONAL 

(Continued  from  page  39) 


The  singing  Garland  has  never  taken 
but  one  singing  lesson  in  her  life  and 
that  was  in  New  York  a  year  or  so 
ago.  She  sings  from  her  chest.  The 
"toney  teacher"  to  whom  she  was  recom- 
mended had  her  bring  her  voice  up  in 
her  throat  by  inserting  a  pencil  in  her 
mouth.  The  result  was  that  Judy  couldn't 
talk  and  the  teacher  criticized  her  "poor 
diction."  She  also  made  her  practise 
singing  while  blowing  on  pieces  of  paper! 
Judy  got  out  of  that  atelier  in  an  hour 
and  a  half  and  never  went  back. 


She  hasn't  any  superstitions  but  she 
has  quite  a  bevy  of  pet  phobias.  She 
can't  climb  a  ladder,  for  instance,  she 
falls  right  off.  If  she  stands  on  a  chair, 
she  falls,  too.  She  has  an  "in-back-of- 
me"  phobia.  When  she  is  driving  she 
always  feels  that  someone  is  about  to 
crash  into  the  back  of  her  car.  Head-on 
collisions  never  trouble  her,  it's  that  in- 
back-of-me  bogey.  Sometimes,  at  home, 
when  she's  the  last  to  go  to  bed,  she 
remembers  that  she  forgot  to  turn  off 
the  downstairs  lights.  She  goes  down 
to  check.  And  feels  sure  that  someone  is 
in  back  of  her.  She  tries  to  keep  herself 
under  control  by  saying,  "There  is  no 
one  in  back  of  me,  there  is  no  one  in 
back  of  me,"  but  all  the  time  she  is 
walking  faster  and  faster  until,  like 
Dorothy  in  "The  Wizard  of  Oz,"  she  looks 
as  though  she  is  being  carried  along  by 
a  hurricane  until  she  is  whisked  into  her 
room  and  the  door  banged  shut.  She 
also  had  a  phobia  about  bumble  bees  or 
anything,  except  snakes,  (she  likes 
snakes)  that  crawls  or  flies.  She  gets 
hysterical  when  a  bumble  bee  buzzes  in 
her  hearing.  Spiders  are  her  downfall. 
When  she  finds  a  spider  in  her  room  she 
calls  her  mother,  her  sister  and  the  help 
to  rout  the  invader.  She  doesn't  mind 
mice.  She  rather  likes  them.  They  have 
such  cute  ears,  she  says,  and  "look  so 
hopeful." 


Judy  hates  to  wear  hats,  except  little 
"college"  hats,  the  kind  you  wear  on 
the  back  of  your  head,  or  turbans.  She 
has  a  mean  hand  with  turbans;  she  can 
swing  them  as  no-one  else  can,  her 
girl  friends  say.  They're  always  asking 
her  to  wrap  theirs  for  them.  She's  a  very 
sympathetic  girl,  her  friends  also  say. 
When  they  have  any  troubles  or  prob- 
lems, they  always  take  them  to  Judy. 
She  somehow  manages  to  straighten  them 
out. 


Her  watches  never  keep  time.  They're 
always  slow.  Perhaps  they've  given  up 
trying  to  keep  up  with  Judy,  who  al- 
ways goes  fast.  She  never  walks  any- 
where, always  runs  and  usually  the  hop, 
skip  and  jump  kind  of  a  run.  She  has 
seven  watches — gifts  from  different  people 
— including  a  lapel  watch,  a  finger-ring 
watch  and  a  key  watch.  The  key  watch 
is  a  tiny  watch  inserted  into  her  house - 
key  and  was  given  her  by  the  sponsors 
of  the  Harvest  Moon  Ball.  When  it's 
five-thirty  in  the  afternoon  her  watches 
always  say  it's  two -thirty — all  seven  of 
them.  She  never  worries  about  anything. 
She  thinks  worrying  is  "so  futile."  She 
says  she  always  does  the  very  best  she 
can  and,  if  that  isn't  good  enough,  she 
forgets  it. 


Judy  dreams  almost  every  night.  Al- 
ways the  same  kind  of  a  dream.  She 
dreams  that  she  wakes  up  and  talks  to 
somebody  or  calls  someone  on  the  phone. 


Recently,  while  buying  hats,  Anita  met 
a  society  girl.  "Oh,  Miss  Louise,  how  I 
envy  your  lovely  complexion,"  said  the 
girl.  "How  do  you  keep  it  so  gorgeous?" 


"Last  week,"  related  Anita,  "after  an 
Opening,  this  girl  told  me  .  .  .  thanks  to 
a  Woodbury  Beauty  Nightcap  she's  now 
one  of  the  most  popular  girls  in  her  set." 


"I  always  take  a  Beauty  Nightcap  at  bed- 
time with  Woodbury  Cold  Cream,"  said 
Anita.  "After  cleansing  with  Woodbury, 
I  leave  on  a  film  of  this  cream  overnight." 


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—  smooths  harsh  dryness.  (3)  Its  cream- 
rich  texture  invigorates — refreshes  the 
skin.  Start  now  to  use  Woodbury  Cold 
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71 


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And  then,  when  she  does  wake  up,  she 
can't  be  sure  whether  she  really  dreamed 
it  or  not  and  has  to  call  the  person  to 
find  out.  It's  very  confusing! 


When  Judy  goes  on  dates  she  doesn't 
like  to  get  all  dressed  up  and  go  to 
swanky  night  clubs,  except  once  a  month. 
She  likes  to  go  to  other  kids'  houses  or 
have  them  come  to  hers  and  just  roll 
back  the  rugs,  dance,  play  records  and 
talk.  She  never  was  a  violent  jitterbug. 
She  jittered  some,  but  not  much  nor  for 
long.  She  likes  to  rhumba.  The  week 
before  she  finished  in  "Strike  Up  The 
Band"  she  had  all  the  kids  in  the  cast, 
Mickey,  June  Preisser,  Margaret  Early, 
Bill  Tracy,  Leonard  Sues  and  the  others, 
up  to  her  house.  Mickey  and  about  five 
other  kids  stayed  on  after  the  others  left 
and  played  badminton  and  went  night- 
swimming  in  the  pool.  Judy  likes  to 
swim  at  night  because  there  are  no 
bumble  bees  in  the  moonlight.  She  just 
acquired  a  swimming  pool  this  year  and 
now  Sunday  afternoons  have  become 
very  "open  house"  at  the  Garlands. 


One  of  her  best  girl  friends  is  pretty 
little  Betty  Jane  Graham.  Judy's  best 
friends  are  her  old  friends,  which  tells 
a  little  tale  in  one  sentence.  Judy  and 
Betty  Jane  first  met  when  they  were 
six  years  old  and  both  tried  out  for 
a  part  in  a  Universal  picture  which 
starred  Slim  Summerville.  Each  young- 
ster thought  the  other  would  get  the 
part  so  they  didn't  like  each  other.  They 
were  rivals  in  rompers.  Neither  of  them 
got  it  (Cora  Sue  Collins  did),  and  Judy 
and  Betty  Jane  have  been  pals  ever 
since.  Betty  often  comes  to  the  studio 
with  Judy,  sits  with  her  while  she  has 
her  hair  done,  her  make-up  put  on,  and 
stays  with  her  on  the  set.  Every  hour 
or  so,  the  girls  send  out  for  chocolate 
malted  milks  or  cokes.  Leonard  Sues  is 
another  grade  school  pal  of  Judy's  and 
Betty's.  The  three  are  inseparable. 
Leonard  plays  the  trumpet  in  the  band 
in  "Strike  Up  The  Band." 


Judy  writes  poetry.  And  loves  to  read 
it.  She  has  written  ten  poems  of  her 
own — ten,  that  is,  that  she  hasn't  torn 
up.  She  is  her  own  severest  critic  and 
if  she  doesn't  like  the  poem,  she  destroys 
it.  She  has  done  an  oil  painting,  too — 
a  landscape. 


She  always  reads  the  funny  papers 
and  buys  comic  magazines  by  the  bale. 
Her  favorite  movie  actors  are  Clark 
Gable  and  Cary  Grant.  Cary  is  on  the 
M-G-M  lot  now,  working  with  Katy 
Hepburn  in  "The  Philadelphia  Story." 
Judy  sees  him  in  the  commissary  every 
day  at  lunch-time.  He  always  says  "Hulloa, 
Judy,"  and  she  answers,  "Hulloa,  Mr. 
Grant."  Judy  is  frank  and  friendly,  but 
there  is  none  of  this  "Hi,  toots,"  calling 
people  she  doesn't  know  well  by  their 
first  names.  She  wears  a  pleasing  mantle 
of  dignity  over  her  friendliness,  and  it 
is  very  becoming.  Her  favorite  movie 
actresses  are  Bette  Davis  and  Margaret 
Sullavan.  Her  favorite  stage  actress  is 
Katharine  Cornell.  She  has  never  met 
any  one  of  them.  She  would  like  to  be  of 
"the  school"  of  Davis  and  Sullavan.  She 
is  not,  she  says,  "depending  upon  her 
singing."  She  is  delighted  because,  in 
her  next  picture,  "Little  Nellie  Kelly," 
she  plays  her  own  mother.  It's  the  first 
time  she's  played  a  character  part.  She 
is  taking  it  very  seriously  as,  some  day, 
she  hopes  to  be  taken.  She  trails  around 
after  her  mother,  copying  mannerisms 
and  "making  notes." 


her  '  Ange."  She  doesn't  know  why.  Busby 
Berkeley,  directing  "Strike  Up  The 
Band,"  calls  her  "Butch"  and  calls 
Mickey,  "Stinky."  Mickey  always  calls 
her  "Jutes"  and  her  mother  and  sister 
call  her  "Judaline." 


When  Judy  and  Mickey  are  working 
together,  the  set  is  a  three-ring  circus, 
with  one  round  of  crazy  acts  after 
another  going  on.  Judy  helps  Mickey 
with  the  songs  he  writes,  making  sug- 
gestions and  recording  them  for  him. 
She  has  a  record  machine  in  her  dressing- 
room.  Louis  B.  Mayer  gave  it  to  her  on 
her  last,  her  eighteenth  birthday. 


Her  favorite  radio  programs  are  the 
New  York  Symphonic  Concerts.  She  al- 
ways listens  to  them  on  Sundays.  If  she 
is  up  late  enough  (she  goes  to  bed  at 
nine  o'clock  when  she  is  not  dating), 
she  always  listens  to  the  Rhapsody  in 
Wax  broadcasts.  She  also  likes  Informa- 
tion, Please  and  the  Lux  Theatre  of  the 
Air.  She  has  two  favorite  types  of  books, 
biographies  of  musicians  and  memoirs  of 
doctors.  Judy  used  to  want  to  be  a 
doctor  or'  a  designer.  Now  she's  decided 
to  "concentrate  on  my  own  career."  She 
loves  pets  but  likes  to  have  only  one  at 
a  time.  She  has  a  little,  blonde  cocker 
spaniel.  She  doesn't  care  particularly  for 
cats  because  "they're  never  friendly." 
And  she  doesn't  like  birds  for  pets  "be- 
cause you  can't  pat  them."  She  likes 
pets  you  can  cuddle.  Her  favorite  song  is 
"Over  The  Rainbow."  She  does  sing  in 
the  shower. 


Judy  has  what  she  calls  "happy  un- 
forgettable things"  and  "unhappy  unfor- 
gettable things."  A  "happy  unforgettable" 
occurred  when  she  made  her  personal 
appearance  tour  in  New  York  three  and 
a  half  years  ago.  For  the  first  time,  she 
saw  her  name  in  electric  lights  on  Broad- 
way, that  dearest  dream  of  all  true 
troupers.  An  "unhappy  unforgettable"  is 
when  the  studio  made  her  give  up  her 
new  motor  bike.  It  was  a  Christmas 
gift.  It  had  a  rumble  seat  among  its 
many  attractions.  Into  the  rumble  Betty 
Jane  would  hop  and  off  they  would  go. 
One  day  they  meant  to  drive  into  a 
Drive-In  but  somehow,  they  not  only 
drove  into  it  but  over  it,  counters  and 
all! 


Judy's  biggest  athletic  thrill  of  the 
year  was  when  she  and  Bill  Stoefen 
played  Paulette  Goddard  and  Bill  Tilden 
on  the  Ambassador  courts  and  each  side 
won  one  set! 


On  the  set  of  "The  Wizard  of  Oz," 
Director  Victor  Fleming  always  called 


Her  room  at  home  is  very  tailored.  The 
color  scheme  is  beige,  chartreuse  and 
dark  brown.  Jackie  Cooper's  mother, 
■  who  has  gone  into  the  interior  decorating 
business,  did  Judy's  room.  The  chairs 
and  divans  are  upholstered  in  a  soft, 
dark  brown  suede.  The  drapes  are 
chartreuse,  unruffled,  severe.  There  is  a 
fireplace  in  the  room  and  it  works — 
overtime.  There  are  no  frills  nor 
cushions  nor  little  "hobby  shelves"  around 
and  about.  Judy  doesn't  collect  anything 
but  books  and  records.  The  only  visible 
trinkets  on  her  dressing-table  are  some 
graduated  saddle-boots  holding  perfume. 
One  side  of  the  wall  is  devoted  to  auto- 
graphed pictures.  Gable's,  of  course, 
Jackie  Cooper's,  Freddie  Bartholomew's, 
Robert  Stack's,  Mickey's  also,  of  course, 
and  Cary  Grant's  which  has  recently 
been  added.  The  others  are  pictures  of 
non-professionals.  Now  Judy  is  plan- 
ning to  "go  feminine."  She  wants  to 
do  over  her  dressing-room,  "like  some- 
thing Marie  Antoinette  might  have 
whipped  up."  She's  going  to  have  thou- 
sands of  yards  of  chiffon  drapes  and 


72 


MODERN  SCREEN 


mirrored  walls  and  do-dads  and  gew- 
gaws. 

A  little  girl  in  a  Santa  Ana  hospital 
could  tell  you  how  warm  Judy's  heart  is. 
The  little  girl  was  dangerously  ill  and 
in  her  delirium  she  talked  constantly 
about  Dorothy  in  "The  Wizard  of  Oz." 
The  child's  mother  wrote  Judy  a  little 
note  and  told  her  about  it  and  asked 
Judy  if  she  would  be  kind  enough  to 
send  the  child  an  autographed  picture 
of  herself  as  Dorothy.  She  thought  that 
when,  or  if,  the  fever  broke,  it  might  help 
her  little  girl  through  the  crisis  if  she 
could  find  a  picture  of  Dorothy  where 
she  could  see  it.  Judy  did  better  than 
that.  She  took  the  autographed  picture 
to  the  hospital  herself.  And  when  the 
little  girl  came  out  of  the  fever,  there 
was  the  living  Dorothy  standing  by  her 
bed.  The  doctors  say  there  is  no  doubt 
but  that  the  child's  recovery,  certainly 
the  rapidity  of  her  recovery,  is  due  in 
substantial  part  to  Judy. 


Unlike  most  screen  youngsters,  unlike 
most  youngsters,  perhaps,  Judy  ^  has  a 
horror  of  'going  glamorous."  "In  the 
first  place,"  she  says,  "I'm  not  the  type. 
For  one  reason  or  another,  glamour  just 
doesn't  appeal  to  me.  I'd  rather  bicycle 
across  the  country,  or  go  on  picnics, 
or  play  handball  on  the  beach  than  any 
other  things  I  can  think  of.  And  glamour 
girls  aren't  supposed  to  do  things  like 
that."  As  a  matter  of  fact,  Judy  is  so 
afraid  that  some  day,  albeit  unconsciously, 
she  may  "hit  the  glamour  trail"  that  all 
of  her  friends  have  been  warned  by  her 
to  be  on  the  watch  for  any  sign  and,  if 
any  should  appear,  to  squelch  it  before 
it  gets  a  healthy  start. 

Judy  graduated  from  the  University 
High  School  in  Sawtelle,  last  June.  She 
wanted  to  graduate  from  a  real  school, 
not  just  from  the  studio  schoolroom,  so 
that  she  could  have  a  real  graduation 
dress,  a  real  diploma  tied  with  a  white 
satin  ribbon  and  all  the  fixings.  She  had 
them.  And  there  were  no  photographers 
present.  Judy  had  no  more  flowers  than 
the  other  girls.  And  she  got  as  many 
autographs  in  her  Year  Book  as  she  gave. 
She  wanted  to  be  "just  one  of  the  class" 
that  day,  and  she  was.  She  had  it.  Now 
she  is  taking  a  post-graduate  course  in 
French. 


Judy  slipped  out  of  the  "sock  stage" 
gracefully  and  quietly,  making  the  transi- 
tion so  effortlessly  that  no  one  has  been 
conscious  of  it.  She  looks  younger  than 
eighteen  and  acts  younger  than  the 
average,  sophisticated  Eighteen  of  today. 
She  doesn't  smoke.  She  doesn't  drink. 
She  almost  always  wears  sweaters  and 
skirts.  She  uses  lipstick  for  street  wear 
but  no  rouge,  mascara,  nor  eye  shadow. 
When  she's  making  a  picture  she  reddens 
her  hair  a  little  for  the  sake  of  the 
camera.  She  photographs  better  that 
way.  When  she's  not  working,  she  doesn't 
do  anything  about  her  hair.  She  never 
goes  to  beauty  parlors.  She  can't  seem  to 
"set  a  date."  Whenever  she  does,  some 
of  the  kids  drop  by  and  say,  "Let's  have 
a  coke"  and  what  is  a  girl  to  do?  She 
says  she  knows  she  should  diet,  but 
doesn't. 


Her  studio  dressing-room  is  done  in 
navy  blue,  red  and  white.  It's  nautical, 
with  anchors  and  ship  lamps  and  things. 
She  loves  boats  and  the  sea,  but  as  she 
has  never  been  on  a  boat  for  any  length 
of  time  she  says  her  dressing-room  is  the 
next  best  thing. 


There  is  a  swell  understanding  between 
Judy  and  her  mother.  Her  mother  never 


THEY'LL  BE  "STEADIES  ...  your  skin 

and  one  of  Woodbury's  8  Powder  Shades! 


Jane  Russell,  former  student  of  the  University 
of  Southern  California,  at  Los  Angeles,  brunette  beauty,  says:  "I  discovered 
that  when  a  girl  wears  Woodbury  Powder,  she's  in  constant  demand  with  the 
nicest  men.  That  lovely  Woodbury  shade,  'Champagne',  is  my  complexion's 
'steady'.  It's  as  smart  as  my  best  sports  outfit,  as  becoming  as  a  smile  . . ." 


"I'm  not  shy  of  candid  shots,  now," 
laughs  Jane.  "Woodbury  guards  my  skin 
from  that  beauty-sin  —  shine!  "  Yes, 
Woodbury  clings  extra  long  because  it 
stays  germ-free,  cannot  aggravate  the 
oiliness  that  often  causes  shiny  nose. 


FREE  — THE    GLAMOROUS   WOODBURY  8 

Send  for  all  8  Woodbury  Powder  Shades  — 
free.  Prove  for  yourself  why  college  girls 
adore  them!  Woodbury  is  only  50<£,  25^,  10^. 


WOODBURY  POWDER 

SHADES  THAT  DRAMATIZE  YOUR  SKIN 


(PASTE  ON  PENNY  POSTCARD.  MAIL  NOW!) 

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(In  Canada,  John  H.  Woodbury,  Ltd.,  Perth,  Ontario) 

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Name   _> 


Address- 


OCTOBER,  1940 


73 


ROGERS 

S  iA v\e  r  plate 

4J  neiJa  Ltd. 

silversmiths 


•Oneido  Ltd.  lines,  bearing  the  Trade-Marks: 
1881  &  ROGERS  (3 
WM.  A.  ROGERS 

Simeon  I.  &  George  H.  Rogers 
Company 

^hteOHd  EXTRA  SILVER  WHERE 
YOU  NEED  IT 

LOOK  FOR 


CHECK  UGLY 
PERSPIRATION 


r 


Dew  is  the  dainty  deodorant  that  checks 
perspiration  too.  Safe,  sure,  Dew  will  not 
irritate  the  skin  even  after  shaving. 

KILL  ITS  ODOR 


says,  "You  can't  do  this  or  that,"  be- 
cause, says  her  mother,  "Judy  has  never 
made  it  necessary." 


If  you  like  cream,  ask  for  Dri-Dew,  daintily- 
scented,  harmless  to  fabrics.  If  liquid  is 
preferred,  Instant  Dew 
dries  in  seconds.  Use 
Dew  today  and  be  safe. 
At  drug,  department 
and  lO-cent  stores. 


LIQUID 

OR 
CREAM 


USE 


10/ 

25/,  SO/ 


Judy  has  thought  she  was  in  love  but 
knows  she  never  has  been,  not  really. 


Cameramen  can't  tell  you  whether  Judy 
has  a  photogenic  face  or  not.  It's  never 
quiet  long  enough  for  them  to  tell — its 
expressions  are  constantly  changing. 


the  Garland  ice-box.  After  the  raid, 
they  set  out  for  a  movie,  armed  with 
cashew  nuts  and  lime  drops.  When  she 
goes  on  a  "Special  Date,"  with  Bob  Stack, 
for  instance,  it's  a  date  planned  well  in 
advance.  "A  Special  Date,"  explains  Judy, 
"is  with  a  corsage  and  everything." 


Judy  puts  dates  under  two  headings, 
"Not  A  Special  Date"  and  "A  Special 
Date."  Most  of  her  dates  with  Mickey 
come  under  the  first  heading.  Most  of 
them  are  "spur-of-the-moment-dates." 
Mickey  will  call  up  at  the  last  minute  and 
ask,  "What  are  you  doing?"  If  Judy  isn't 
busy,  he'll  drive  over  and  Judy  will  come 
downstairs  to  find  Mister  Rooney  raiding 


For  the  first  time  in  her  life,  Judy  is 
learning  to  read  music  and  having  a 
horrible  time  with  it.  She  recently  bought 
herself  an  enormous  yellow  sapphire  ring 
set  with  tiny  baguette  diamonds.  It's  her 
first  real  extravagance,  and  when  she 
asked  the  price,  it  so  staggered  her  that 
she  is  buying  it  "on  time!" 


For  the  last  five  shooting  days  of  "Strike 
Up  The  Band,"  Mickey  was  wearing  a 
class-pin  of  Judy's! 


BRIGHTEN  YOUR  SMILE 

(Continued  from  page  45) 


the  DOUBLE-PURPOSE  deodorants 


safely  be  cleared  up  by  home  treatment. 
There  are  pyorrhea,  gingivitis,  trench 
mouth,  for  examples,  to  say  nothing  of 
abcesses,  decay,  tooth  impactions  and 
straightening  jobs. 

Pyorrhea,  an  infection  sometimes  due 
to  neglected  tartar  deposits,  faulty  filling, 
over -vigorous  brushing  or  other  con- 
stantly irritating  causes  attacks  your 
gums  at  the  tooth  sockets.  The  symptoms 
are:  easy  bleeding,  inflammation,  pus 
pockets,  and  sometimes,  in  advanced 
stages,  even  the  loss  of  teeth.  Only  a 
dentist  can  give  the  competent,  thorough 
cleaning  and  scaling  as  well  as  specific 
medications  necessary  to  remedy  this 
condition.  But  even  he  can't  if  you  wait 
too  long. 

"M"ICOTINE,  tartar  and  other  cumula- 
^-  ^  tive  stains  need  special  dental  treat- 
ment, too.  A  dentifrice  strong  enough 
to  remove  stains  that  have  taken  months 
to  accumulate  is  likely,  in  time,  to  un- 
dermine the  very  tooth  enamel  itself. 

A  good  dentist  is  as  important  as  a 
beautician  as  he  is  as  a  doctor.  Take 
the  little  matter  of  crooked  teeth,  for 
instance.  If  your  teeth  don't  meet  in  a 
firm  straight  bite,  not  only  does  your 
digestion  suffer,  but  your  facial  beauty 
is  permanently  marred.  Many  a  lush  and 
beauteous  Hollywood  star  wears  tooth 
straightening  braces  gladly  and  unasham- 
edly rather  than  allow  her  face  to  become 
disfigured  and  her  health  jeopardized  by 
crooked  teeth.  With  dentistry  what 
it  is  today,  teeth  can  be  straightened 
even  in  middle  life.  True,  this  work  is 
naturally  easier  to  do  in  younger  mouths, 
but  it  can  be  done  successfully  long  after 
your  twenty-first  birthday. 

The  food  you  eat  has  an  amazingly 
direct  effect  upon  tooth  health  and 
beauty,  too.  Calcium,  phosphorous,  min- 
erals and  vitamins — especially  vitamins 
A  and  C — are  absolute  essentials.  Milk, 
eggs,  butter  and  cheese  come  near  the 
head  of  the  list.  Then  tomatoes,  citrus 
fruits  (oranges,  lemons,  grapefruit  and 
limes) ,  green  vegetables,  meats,  fish,  nuts, 
cereals  and  breads  rate  next.  Hard,  crisp 
foods  like  raw  celery,  carrots,  apples, 
melba  toast  and  such  are  awfully  impor- 
tant, not  only  to  exercise,  but  also  to 
help  polish  teeth  and  to  make  them 
strong. 

Speaking  of  the  elusive  vitamin,  did 
you  know  that  the  vitamins  contained  in 
sunshine  also  contribute  to  the  sparkle 
and  soundness  of  your  precious  molars, 
bicuspids  and  the  rest?  So  hie  yourself 
out  into  the  sun  as  often  as  possible. 


Artificial  sun-rays  are  better  than  none, 
but  they  don't  hold  a  candle  to  Old  Sol's 
healthful  benefits. 

After  hard,  crunchy  foods  and  frequent 
brushings,  for  exercising  teeth  and  gums, 
put  down  gum-chewing.  This  pleasant 
little  national  pastime  of  ours  has  many 
virtues.  Not  only  does  it  tone  up  teeth 
and  gums  by  giving  them  a  bit  of  work 
to  do,  but  facial  and  lip  muscles  are  also 
loosened  and  prettied  up  at  one  and  the 
same  time.  So  chew  some  gum  for  a 
while  every  day. 

A  smile  is  more  than  a  face  decoration 
to  be  worn  for  special  occasions.  It  is 
the  greatest  little  "winner  of  friends  and 
influencer  of  people"  that  ever  came 
down  the  pike.  But,  if  a  girl  doesn't  have 
pretty  teeth,  how  can  she  smile  whole- 
heartedly or  radiate  charm  and  happiness 
and  oomph?  Besides,  if  your  teeth  aren't 
strong  and  healthy,  you're  not  very  likely 
to  feel  like  smiling  and  that  would  be 
a  catastrophe.  So  hop  on  the  band- 
wagon and  brighten  your  smile  if  you'd 
stay  in  style.  What's  good  enough  for 
the  Hollywood  charmers,  whose  business 
is  being  beautiful,  ought  to  be  worth  a 
thought  or  three  to  the  rest  of  you 
aspiring  damsels.  Now,  get  out  your 
brushes  and  scrub! 

AN  excellent  dentifrice,  which  has  for 
*  years  been  especially  recommended 
for  use  with  tooth  and  gum  massage  as  an 
A-l  smile  brightener,  is  the  famous  red 
and  yellow  tube  of  Ipana  Tooth  Paste. 
The  makers  of  this  fine  quality  and  pleas- 
ant tasting  dentifrice  have  the  right  idea 
when  they  warn  against  the  dangers  of 
"pink  tooth  brush,"  (which  is  just  an- 
other way  of  saying  gums  that  bleed  too 
easily).  Massage  and  stimulation  with  a 
good  brush  and  a  safe,  pleasant  dentifrice 
like  Ipana  is  one  of  the  very  best  ways 
we  know  of  firming  gums,  brightening 
teeth  and  insuring  that  priceless  personal 
asset — the  infallible  appeal  of  a  beautiful 
smile.  If  you  haven't  tried  this  simple 
and  effective  way  to  mouth  loveliness, 
put  Ipana  on  your  shopping  list  right 
now,  and  then  see  if  you  don't  agree  with 
our  enthusiasm  for  the  way  it  brings  new 
glamour  to  your  old  smile. 


Watch  for  the  new 

FASHION  SCOOPS 

in  November  MODERN  SCREEN 


74 


MODERN  SCREEN 


SOMETHING  TO  WRITE  HOME  ABOUT 


(Continued  from  page  41) 


The  day  I  checked  up  on  Bill  I  found 
him  living  by  himself  in  a  small  house 
in  the  San  Fernando  Valley.  Only  the 
bedroom  is  furnished;  he  hasn't  had  time 
to  shop  for  the  rest.  He  has  just  two 
suits  of  clothes;  he  says  he  doesn't  need 
any  more.  He  drives  a  little  red  Ford. 
His  spending  allowance  is  twenty  dollars 
a  week,  the  amount  he  received  as  salary 
when  he  sold  fertilizer.  He  has  yet  to 
glimpse  Ciro's.  He  has  no  business  mana- 
ger, no  press  agent.  And  he's  got  just 
one  girl,  Brenda  Marshall — but  even  she 
can't  take  his  mind  off  his  work— yet. 

Maybe  it's  because,  when  Bill  first 
stepped  on  a  Hollywood  set,  he  stepped 
on  it  with  the  right  foot.  Naturally 
nervous,  realizing  his  inexperience,  he 
asked  Rouben  Mamoulian  what  to  do 
about  it.  Mamoulian  said,  "Bury  your- 
self in  your  job.  If  I  were  you,  I  wouldn't 
go  to  a  movie,  a  play,  a  dance  or  any- 
where. I  wouldn't  even  go  out  at  night. 
I'd  try  to  be  the  character  I'm  playing. 
Then  I  wouldn't  worry  about  it." 

Bill  took  his  advice  and  he's  never 
forgotten  it.  He  moved  into  a  small 
apartment  with  a  friend  of  his,  Hugh 
McMullan,  a  dialogue  director.  He  saw 
no  one  else,  not  even  his  family.  He 
lived  like  a  monk.  He  never  left  the 
house  at  night,  except  to  go  to  the  Holly- 
wood Athletic  Club  for  a  few  rounds 
of  boxing  to  make  his  ring  scenes  real. 
He  sat  at  home  and  sawed  away  at  a 
fiddle  for  the  same  reason.  He  got  com- 
pletely wrapped  up  in  Joe  Bonapart,  the 
fighting  violinist.  He  learned  to  concen- 
trate as  he  never  had  before. 

Just  the  other  day,  at  Tucson,  Bill  and 


Jean  Arthur  were  deep  in  a  love  scene. 
It  was  outdoors,  near  a  herd  of  cattle. 
As  Bill  whispered,  "Do  you  mind  if  I 
come  and  serenade  you  tonight?"  a  fret- 
ful cow  blasted  out  with  a  mournful 
"moo-o-o-o-o,"  Everyone  laughed  and 
Director  Ruggles  cut  the  scene.  Bill  kept 
right  on.  He  hadn't  even  heard  the  cow. 
That's  the  kind  of  a  mind  he  has. 

For  almost  ten  months,  Bill's  mind  was 
set  on  playing  Peter  Muncie  in  "Arizona." 
In  the  end  he  played  it,  at  the  start  he 
wasn't  given  as  much  consideration  as 
an  ankle  at  a  bathing  beauty  parade. 

ARIZONA,"  maybe  I'd  better  explain, 
■  is  about  the  biggest  picture  Holly- 
wood has  on  the  fire  at  the  moment. 
It's  in  the  two  million  dollar  class,  maybe 
the  last  of  that  expense  rating  for  some 
time  to  come,  what  with  the  war  and 
all.  Columbia  built  an  entire  town  in 
the  Arizona  desert  just  to  film  it.  They 
insisted  on  a  hot  box  office  star  to  play 
with  Jean  Arthur.  To  be  specific,  they 
wanted  Gary  Cooper,  then  Joel  McCrea. 
They  definitely  did  not  want  William 
Holden. 

So  when  Bill,  months  ago,  bashfully 
suggested  to  Wesley  Ruggles  that  he'd 
sure  like  a  crack  at  the  part,  all  Wes 
could  do  about  it  was  be  polite,  pat  Bill 
on  the  back  and  tell  him  he  was  a  nice 
kid  but  he  was  stepping  out  of  his  league. 
Too  young,  too  inexperienced,  too  un- 
important— he  hoped  Bill  would  under- 
stand. Bill  did,  but  he  didn't  4et  it  throw 
him.  A  break  came  then — and  a  break 
is  all  a  chap  like  Bill  Holden  needs.  The 
war  broke  out  and  in  the  ensuing  Holly- 


wood panic  "Arizona"  was  postponed. 
In  the  meantime,  Bill  made  "Our  Town." 
He  also  did  a  lot  of  other  things. 

He  started  reading  everything  he  could 
find  about  Arizona  and  the  early  West. 
What  spare  days  he  had  Bill  spent  on  a 
cattle  ranch  on  the  Mojave  desert.  He'd 
always  been  a  good  rifle  shot,  but  he 
started  banging  away  until  he  could 
knock  out  a  gnat's  eye  at  forty  paces. 
He  rode  until  he  could  sit  a  Western 
saddle  like  a  rocking  chair.  He  practiced 
drawing  a  pistol  from  a  holster  in  nothing 
flat. 

All  that  might  seem  like  playing  cow- 
boy and  Indians  and  a  big  waste  of  time 
to  any  other  young  fellow  busy  enough 
making  an  important  picture  like  "Our 
Town."  I  don't  know  how  Bill  knew 
it,  but  he  knew  he  was  getting  himself 
ready  to  get  what  he  wanted.  "Just  a 
hunch,  I  guess,"  said  Bill.  One  thing  he 
did  know — that  Wesley  Ruggles  was  hav- 
ing his  troubles  trying  to  find  Peter 
Muncie. 

Well,  one  day  Bill  Holden  was  leaning 
against  the  counter  of  a  shooting  gallery 
in  Palm  Springs.  He  sported  an  old 
faded  pair  of  blue  jeans,  a  dusty  corral 
shirt  and  a  tattered  sombrero.  He  had 
a  few  days'  growth  of  beard  on  his  face. 
That  was  when  Claude  Binyon  shuffled 
in  for  some  shots. 

Claude  Binyon  is  Wesley  Ruggles' 
portly  writer,  partner  and  inseparable 
companion.  Bill  Holden  believes  the 
whole  thing  was  a  case  of  sheer  luck 
and  one  of  those  happy  accidents  that 
continually  carve  out  Hollywood  careers. 
But  it  sounds  a  little  suspicious  to  me 


r  ? 


HwtwodeoR  wJjml  took 


US 


mot 


mm  ukei 


AND 


IT'S  YOURS  WITH  THIS  FACE  POWDER 
YOU  CHOOSE  BY  THE  COLOR  OF  YOUR  EYES! 


The  glorious  naturalness  of  gay,  young 
"collegiennes" — that's  the  modern 
trend  in  makeup!  And  Richard  Hudnut 
brings  it  to  you  in  Marvelous  Face 
Powder,  the  exciting  new  powder  you 
choose  by  the  color  of  your  eyes! 

For  eye  color,  you  see,  is  definitely 
related  to  the  color  of  your  skin  and 
to  the  color  of  your  hair.  It  is  the 
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OCTOBER,  1940 


75 


SHE  OFTEN  FELT  "LEFT  OUT  OF 
THINGS"  ...  HER  GLASS  SAID 


Orphan  Skin?  What's  that?  Briefly,  Orphan 
Skin  is  neglected  skin  .  .  .  dull,  sallow,  often  oily 
skin  with  its  true,  natural  beauty  masked  by  a 
film  of  deep  down  dirt.  Yes,  dirt!  What  to 
do?  Try  this,  as  many  women  have  with  ex 
cellent  results.  Put  a  hot  towel  on  your  face  to 
open  the  pores.  Then,  with  the  tips  of  the  fingers, 
apply  Pompeian  Milk  Massage  Cream.  Work  it 
gently  into  the  pores  .  .  .  massage  it  off,  and  with 
it  the  dull,  dingy  film.  Use  another  hot  towel, 
then  a  cold  one  or  an  astringent.  Repeat  the 
treatment  as  directed  and  let  your  mirror  tell 
you  what  a  blessing  Pompeian  Massage  Cream 
can  be.  Send  10c  for  generous  jar  I  Begin 
treatments  now  I 


Send  10c  for  big  sample 


The  Pompeian  Co.,  Baltimore,  Md. 
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jar  of  Pompeian  Massage  Cream. 

Name   Address 


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State. 


FREE  BOOKLET — The  Marvel  Co.,  New  Haven.  Conn 


The  new  Dr.  Ellis 
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hands  lovelier. 
Smooth-flowing, 
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for  Dr.  Ellis  Nail 
Polish  ...  22  smart 
shades. 


vi 


e'AD  R.ELLIS 
nnii  polish 


— that  Ruggles  and  Binyon  happened  to 
be  in  Palm  Springs  the  same  week  as 
Bill,  and  all  of  them  customers  of  the 
same  shooting  gallery. 

Anyway,  Binyon  took  a  squint  at  the 
rangy  gent  calmly  blasting  all  the  clay 
pipes,  ducks  and  bunny  rabbits  in  the 
gallery  and  gasped,  "Good  Heavens! 
Peter  Muncie!"  He  took  another  look 
and  hustled  back  to  the  hotel  to  collar 
Wesley  Ruggles. 

"I've  just  seen  Peter  Muncie,"  declared 
Binyon,  "and  guess  who  he  is — that  dog- 
goned  Bill  Hoi  den!"   So  Bill  got  his  test. 

THE  point  is,  the  kid  is  canny.  Whether 
from  intuition,  an  extra  portion  of 
brains  or  just  plain  luck,  the  fact  remains 
Bill  has  steered  himself  with  the  finesse 
of  a  veteran.  Show  business  is  a  special- 
ized racket,  as  any  actor  can  tell  you, 
with  more  angles  than  a  geometry  book. 
Hollywood  is  the  big  league  of  show 
business  and  careers  have  to  be  guided 
carefully  through  a  maze  of  intricate 
do's  and  don'ts. 

Bill  Holden,  popped  into  this  dizzy 
world  as  a  lamb  pushed  into  a  pack  of 
wolves,  has,  with  no  movie  mother  to 
guide  him,  stepped  surely  and  swiftly  in 
the  right  direction,  time  after  time. 

For  instance,  after  "Golden  Boy"  there 
was  nothing  for  Bill  to  do  at  Columbia 
or  Paramount,  his  home  base.  But  there 
was  a  supporting  part  at  Warners  in 
"Invisible  Stripes,"  with  George  Raft, 
Humphrey  Bogart  and  Jane  Bryan  under 
the  aegis  of  that  slam-bang  veteran  di- 
rector, Lloyd  Bacon.  It  looked  like  just 
another  typical  Warners  prison  movie. 
Nobody  but  Bill,  not  even  his  studio,  nor 
the  Hollywood  friends  he'd  made,  saw 
where  it  could  do  him  justice.  No  normal 
Hollywood  reasoning  would  tag  a  fourth- 
fiddle  part  in  a  run-of-the-mill  movie 
anything  but  career  poison  after  his  suc- 
cess in  "Golden  Boy."  But  Bill  reasoned 
differently  and  like  this: 

"I'd  been  coddled  and  sheltered  and 
painstakingly  directed  all  through  'Golden 
Boy.'  "  he  explained.  "I  needed  to  work 
with  seasoned  Hollywood  troupers  and 
tough  guys  for  a  change.  I  needed  a 
director  who  wouldn't  waste  a  foot  of 
film  on  me.  I  had  to  learn  to  take  it." 

He  begged  to  be  loaned  out  and  finally 
was.  And  he  found  he  could  take  it  in 
the  hard-cooked-set  school,  as  well  as 
in  the  plush.  If  he  hadn't  learned  how  to 
get  along  on  his  own  in  front  of  a  camera 
with  no  holds  barred,  as  he  did  in 
"Invisible  Stripes,"  Bill  isn't  at  all  sure 
he  could  have  stood  the  pace  in  "Our 
Town." 

This  picture,  too,  he  had  to  battle  to 
get.  At  Paramount,  they  thought  Bill 
Holden  was  just  sticking  his  neck  out  to 
tackle  Thornton  Wilder's  sensitive,  poetic 
play— and  in  company  with  actors  who 
were  absolute  tops  in  seasoned  dramatic 
art — people  with  solid  stage  successes 
like  Frank  Craven,  Thomas  Mitchell,  Fay 
Bainter  and  Martha  Scott.  The  general 
prediction  was  that,  if  Bill  played  in  "Our 
Town,"  these  worthies  would  make 
mince  meat  of  him  and  put  him  away 
in  jars  for  Christmas.  Well,  when  it  was 
all  over,  it  was  a  toss-up  as  to  who  really 
did  steal  "Our  Town."  There  wasn't 
anyone  in  a  list  of  standouts  who  had 
a  real  edge  on  William  Holden,  when 
the  final  returns  came  in. 

Now  "Arizona"  has  given  Bill  a  burning 
desire  to  do  a  movie  on  the  life  of  Billy 
the  Kid,  that  ruthless  young  early  West 
murderer.  It  almost  broke  his  heart 
the  other  day  when  he  read  that  Bob 
Taylor  was  lined  up  for  it  at  M-G-M. 
Instead,  Bill  is  looking  ahead  now  to 
"Birth  of  a  Hero,"  a  war  picture  at  Para- 
mount. 

His  next  picture  has  no  romance,  but 


in  his  personal  life  there's  Brenda  Mar- 
shall. Bill  met  Brenda  Marshall  at 
Warners  when  he  made  the  toughie 
Cagney-Bogart  picture  there.  They  hit 
it  off  at  once.  "We  get  along  perfectly 
together — Brenda  and  I,"  Bill  drawled, 
looking  away  a  little  bashfully.  "We 
like  the  same  things  and  have  a  lot  of 
fun — but  that's  all  there  is  to  it.  No 
marriage."  Bill  added  he  wasn't  in  the 
market  for  a  preacher  until — oh,  he 
guessed  about  when  he  was  thirty  years 
old.  You've  heard  that  before,  of  course. 
But  for  a  guy  with  as  level  a  noggin  as 
Bill  Holden,  I  wouldn't  be  a  bit  surprised 
First,  he's  interested  in  making  good  for 
keeps.  Besides,  Brenda  Marshall  hasn't 
had  her  divorce  very  long,  so  they 
couldn't  marry  until  eight  more  months 
have  passed  at  the  very  earliest. 

With  Movietown's  social  life  holding 
no  charm  for  Bill,  and  night  clubbing 
being  a  bore  and  too  darned  expensive 
(he  isn't  getting  rich  on  his  salary  yet), 
he  squanders  his  spare  time  riding,  shoot- 
ing or  taking  flying  lessons  from  Holly- 
wood's famous  stunt  man,  Paul  Mantz. 
It's  Bill's  current  patriotic  ambition,  in- 
cidentally, to  do  a  film  for  the  govern- 
ment— free,  of  course — to  promote  flying 
and  the  CAA. 

He  dreams  wistfully  of  having  some 
time  to  himself  every  now  and  then. 
For  instance,  he  would  like  to  hunt  up 
more  records  to  add  to  his  prized  collec- 
tion of  South  American,  African,  Indian, 
Balinese  and  Tahitian  native  music. 
Music  and  a  few  books  are  about  the 
extent  of  Bill  Holden's  cultural  interests 
at  present.  On  the  physical  side,  he 
thinks  that  late  sleep  in  the  mornings  and 
a  juicy  steak  in  the  evening  are  his  two 
ideas  of  things  to  look  forward  to. 

HE  would  like  also  to  furnish  those 
other  four  rooms  of  his  new  house, 
if  he  can  ever  find  time  to  look  the  situa- 
tion over  and  shop  around.  Bill  came 
back  from  Arizona  to  find  that  his  old 
place  had  suffered  a  sudden  rent  raise 
of  a  hundred  dollars  a  month,  mainly 
because  the  owner  discovered  he  had  a 
movie  star  tenant.  That  burned  him  up, 
and,  being  a  gentleman  who  doesn't  waste 
time,  he  changed  his  address  in  the  next 
few  minutes. 

That's  why  he  has  had  to  clank  around 
in  an  empty  house  and  eat  off  the  seat 
of  his  Western  stock  saddle.  That's  also 
why,  while  I  was  with  him,  Bill  received 
a  much  postmarked  letter,  which  had 
been  chasing  him  around  all  his  various 
addresses.  It  was  from  his  folks  and  it 
answered  the  letter  he'd  scribbled  off 
on  his  Hollywood  anniversary  down  in 
Arizona — the  one  inquiring  whether  or 
not  they  thought  he  was  doing  okay,  or 
ought  to  trade  in  film  fame  for  fertilizer. 

The  letter  said,  "Keep  it  up,  with  our 
blessings.  We're  proud  of  you!" — or 
words  to  that  effect.  Bill  wasn't  surprised. 
Just  the  same  that  was  the  moment  when, 
as  far  as  he  is  personally  concerned,  Bill 
Beedle  made  good! 


INFORMATION  DESK 
MODERN  SCREEN 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  youi  newly  revised  chart  listing 
the  heights,  ages,  birthdays  and  marriages,  etc.,  of 
all  the  important  stars.  I  enclose  5c  (stamps  oi 
coin)  to  cover  cost  of  mailing. 


76 


MODERN  SCREEN 


THE  SECRET  OF  LOMBARD'S  SUCCESS 

(Continued  from  page  22) 


first  scene  we  shot,  her  voice  pitched 
differently,  her  very  movements  changed. 

"All  of  this  makes  me  feel  that  Carole 
Lombard  has  more  talent  than  has  ever 
been  tapped.  I  want  to  make  this  pre- 
diction— that  while  other  stars  become 
dated  and  obsolete  by  additional  calories 
or  wrinkles,  Carole  Lombard  will  go  on 
acting  as  long  as  she  wants  to.  She's  got 
that  much  on  the  ball. 

"Here  are  the  things,"  he  said,  "that 
make  her  great:  She  has  a  capacity  for 
absorbing  externals.  By  that  I  mean  she 
can  sponge  up  direction.  The  outstand- 
ing thing  about  her  is  her  vitality.  Most 
of  the  glamour  ladies,  at  about  six  in  the 
evening,  droop  like  dish-rags  and  you 
just  wouldn't  dream  of  putting  them  in 
an  important  scene  at  that  hour.  But 
Carole  is  as  bright  at  six  in  the  evening 
as  at  nine  that  selfsame  morning. 

"Furthermore,  she  possesses  the  almost 
psychic  ability  of  being  able  to  anticipate 
advice  and  directions.  She  knows  when 
I'm  going  to  criticize  or  compliment  her. 
Even  as  I  start  to  speak  a  sentence,  she'll 
finish  it.  This  may  be  exasperating  to 
some  people,  but  it  saves  me  loads  of 
explaining. 

"Also,  the  little  lady  can  take  failures 
with  grace.  Everyone  in  the  theatre  must 
sooner  or  later  grapple  with  minor 
Waterloos.  Even  Helen  Hayes  and  Kath- 
arine Cornell  had  their  tumbles.  But 
most  failures  tear  sensitive  actresses 
apart.  Irene  Dunne  had  a  run  of  bad 
luck  before  I  met  her  and,  when  she 
came  on  the  set  of  'My  Favorite  Wife,' 
she  didn't  have  a  lick  of  confidence.  But 
Carole  is  built  differently.   If  a  picture 


of  hers  lays  an  egg,  she  takes  it  in  stride, 
never  even  winces,  just  breezes  forward. 
This  ability  keeps  her  from  being  handi- 
capped by  worries  and  fears. 

"The  one  thing,"  concluded  Kanin,  "that 
has  helped  keep  her  on  top  of  the  heap 
since  her  Mack  Sennett  bathing  beauty 
days  is  simply  this — she's  not  complex 
and  she's  always  happy.  Her  philosophy 
of  life  must  be  perfect.  Today,  she  is 
really  happily  married  to  Gable.  Appar- 
ently, they  never  squabble  or  fight  and 
must  have  an  idyllic  time.  As  a  conse- 
quence, Carole  comes  to  work  every 
morning  with  her  mind  clear,  with  no 
home  problems  troubling  her.  She  comes 
in  lilting  and  gay,  tells  a  story  about 
Gable  chasing  a  chicken  all  over  the 
backyard  and  laughs  herself  dizzy.  Her 
mind  is  free  to  attack  her  work.  Almost 
every  other  actress  I've  ever  known  has 
had  a  million  problems  to  interfere  with 
her  career  and  take  her  mind  off  the 
picture.  Women  like  Ginger  Rogers  and 
Irene  Dunne  are  much  more  complex. 

IN  brief,  Carole  Lombard's  off-screen 
life  is  so  wholesome  that  she  can  drive 
all  her  energies  into  her  on-screen  life. 
Besides — " 

At  that  moment  the  door  of  his  trailer 
was  yanked  open.  Two  arms  reached  in, 
encircled  a  startled  Mr.  Kanin  and 
dragged  him  out  onto  the  set.  The  arms 
belonged  to  Carole  Lombard. 
"Let's  get  going!"  she  whooped. 
Gar  son  Kanin  grinned  at  us  helplessly. 
"You  see  what  I  mean?"  he  sighed. 

So,  with  Kanin  back  in  the  combat 
zone,  we  decided  to  march  off  on  a  lone 


pilgrimage  in  quest  of  others  who  know 
Lombard.  We  took  a  slight  detour  and 
found  ourselves  in  a  bathroom  at  Para- 
mount. In  the  bathroom  was  a  tub,  in 
the  tub  was  Ray  Milland,  and  over  Mr. 
Milland  hulked  Director  Mitchell  Leisen. 
It  was  a  scene  from  Par  amount's  "Arise 
My  Love." 

We  were  mumbling  to  ourselves  about 
Carole  Lombard,  and  Mitch  Leisen,  49- 
year-old  son  of  a  brewery  boss,  having 
overheard  us,  left  Mr.  Milland  in  his 
bathtub  and  confessed  that  he  had 
known  Carole  for  almost  twenty  years. 

"She  was  a  hard  worker  even  in  the 
old  days,"  he  said.  "She  was  the  only 
Mack  Sennett  bathing  beauty  who  ever 
went  in  bathing! 

"The  greatest  thing  about  Carole  is  her 
camera  flexibility,"  he  revealed.  "By 
that  I  mean  her  genius  for  changing  her 
mood  on  a  moment's  notice.  I've  directed 
her  in  very  dramatic  scenes,  when  her 
face  drooped  and  her  eyes  were  watery. 
Suddenly,  I  would  decide  to  do  a  comedy 
shot,  and  in  a  second,  Carole's  eyes  would 
be  bright  with  laughter! 

"Another  thing  about  her  is  her  mar- 
velous intensity.  She  works  so  hard,  be- 
lieves so  in  her  roles  that  she  lives  them. 
I  recall  one  scene  where  she  was  sup- 
posed to  be  pathetic  and  sad.  The  fellow 
playing  opposite  her  was  supposed  to  be 
cruel  and  harsh.  As  the  scene  progressed, 
the  hero  lost  his  cruelty  and  fell  into 
Carole's  tempo.  'What  the  hell,'  I  said 
to  him.  'What's  wrong?'  He  sighed,  'I 
can't  help  it,  Mitch.  She  makes  me  so 
damn  sorry  for  her!'  " 
•  Leisen  spoke  of  Carole's  perfect  timing. 


"We've  been  a 


family 


ever  since  our  Wedding  Day" 

For  over  35  years  delicious, 
wholesome  Pepsi-Cola  has  been 
a  family  favorite.  Now  a  favorite 
with  millions— the  big,  12-ounce 
bottle  is  packed  with  flavor  .  .  . 
and  one  handy  Home  Carton 
takes  care  of  a  big  family.  Pleas- 
ing to  the  taste  .  .  .  easy  on  the 
purse  .  .  .  that's  Pepsi-  Cola. 


And  this  is  the  big, 
new,  streamlined 
bottle  of  Pepsi- 
Cola,  favorite  with 
millions. . .  because 
it 's  bigger  and 
belterl 


BIG  BIG  BOTTLE 


OCTG3ER,  1940 


77 


7>ttf  those 

"DKEAD£D  DAYS"- 

hack  on  your  ACME  //>// 

Do  you  still  give  up  activity  and  give-in  to 
suffering  at  your  time  of  functional  men- 
strual pain?  Millions  of  women  no  longer 
do — for  they've  learned  about  Midol ! 

For  your  own  comfort  and  release  from 
calendar  slavery,  try  this  new  formula. 
Midol  contains  no  opiates.  One  ingredient 
is  prescribed  frequently  by  thousands  of 
doctors.  Another  ingredient,  exclusively 
in  Midol,  reinforces  the  relief  most  users 
enjoy  by  reducing  spasmodic  pain  peculiar 
to  the  menstrual  period. 

If  you  have  no  organic  disorder  calling 
for  medical  or  surgical  attention,  Midol 
should  give  you  the  comfort  for  which 
you've  often  hoped.  If  it  doesn't,  consult 
your  doctor.  All  drugstores  have  Midol. 
Five  tablets,  more  than  enough  for  a  con- 
vincing trial,  only  20^;  12  tablets,  40j£. 


when  you  use  this  amazing 


4  Purpose  Rinse 

In  one,  simple,  quick  operation, 
LOVALON  will  do  all  of  these  4 
important  things  for  your  hair. 

1.  Gives  lustrous  highlights. 

2.  Rinses  away  shampoo  film. 

3.  Tints  the  hair  as  it  rinses. 

4.  Helps  keep  hair  neatly  in  place. 
LOVALON  does  not  dye  or  bleach. 
It  is  a  pure,  odorless  hair  rinse,  in 


78 


"She  never  fumbles  a  punch  line."  He 
spoke  of  her  co-operativeness.  "She'll 
squawk  and  battle  over  a  script  she 
doesn't  like,  but  once  it's  decided  upon, 
she'll  slave  over  it. 

"She  doesn't  only  learn  her  own  part. 
She  learns  everyones,  so  that  she  knows 
the  story  and  feels  it.  She  doesn't  mem- 
orize words  and  dialogue,  but  tries  to  .get 
the  thoughts  behind  them.  That's  why 
she  can't  go  wrong.  It's  this  understand- 
ing that  gives  her  performances  an  un- 
derlying current  of  plausibility.  She 
told  me  that  'My  Man  Godfrey'  with  Bill 
Powell  was  her  toughest  picture,  because 
she  had  to  be  nutty,  slap-happy,  goofy, 
and  her  lines  lacked  continuity,  were  un- 
related and  without  thought.  They  were 
hard  to  grasp.  Incidentally,  to  get  into 
her  screwball  character  she  sat  beside 
her  director's  secretary,  who  was  just 
the  type,  for  weeks  studying  her! 

"Carole's  an  asset  to  any  film  because 
she  does  so  much  for  the  cast.  She'll  take 
new  people  into  a  corner  and  help  them. 
You  hear  a  lot  about  her  rowdiness  and 
swearing,  but  she  only  acts  up  with  a 

Eurpose.  When  everyone  is  tense,  she 
reaks  it  up  with  gags,  and  on  such  occa- 
sions she'll  whisper  to  me,  'Okay,  Mitch, 
we  got  'em  laughing,  now  let's  go.' 

"She  helped  make  Fred  MacMurray 
what  he  is.  He  was  stiff  and  scared  in 
'Hands  Across  the  Table.'  She  kept  kid- 
ding him,  and  with  Madalyn  Fields,  her 
best  pal,  she  once  sat  on  Fred  and  plucked 
his  eyebrows  until  nothing  could  upset 
him  anymore! 

"Another  thing  I  mustn't  forget.  When 
she's  in  a  picture,  she  never  says,  'I  think 
I  should  cry  in  this  scene,'  but  rather,  'I 
think  the  girl  should  cry  in  this  scene.' 
She  always  refers  to  her  role  in  third 
person,  which  shows  projection.  One  day, 
in  'Swing  High,  Swing  Low,'  Fred  Mac- 
Murray  came  up  to  me  and  said,  'Mitch, 
this  guy  just  wouldn't  talk  that  way.' 
That  was  the  day  I  knew  he'd  become  an 
actor.  Because,  at  last,  he  was  referring 
to  his  role  in  the  third  person. 

"Carole  Lombard  hasn't  given  her 
greatest  performance  yet.  That'll  be  when 
she  and  Clark  have  their  first  child.  She 
told  me  that  would  be  her  most  impor- 
tant role.  And  I  believe  her.  Take  it  from 
me,  the  gal's  really  an  actress!" 

FOR  the  sake  of  science  and  honesty  in 
our  clinical  study  of  a  top-notch  fe- 
male thespian,  we  decided  to  confront  one 
more  director.  Thus,  the  next  phase  of 
our  research  landed  us  smack  in  the 
middle  of  the  swank  Sunset  Plaza  apart- 
ments, in  the  living  room  of  George 
Stevens.  It  was  alert  Mr.  Stevens  who 
guided  Carole  in  her  recent  picture, 
"Vigil  in  the  Night."  We  asked  Stevens 
what  he  thought  about  Lombard. 

"It's  difficult  to  discuss  Carole  Lombard. 
She's  so  good  that  there's  the  danger  of 
speaking  only  in  superlatives,  and  having 
it  sound  like  a  lot  of  goo.  The  thing  that 
strikes  me  about  Carole's  talent  is  her 
imagination,  her  creativeness.  In  a  com- 
edy scene,  she  embellishes  the  script  and 
creates  amusing  business  of  her  own, 
which  most  actresses  are  unable  or  too 
lazy  to  do. 

"In  fact,  she  is  most  effective  in  comedy. 
She's  probably  the  most  expert  laugh- 
provoker  in  this  country  today.  Carole 
has  not  been  quite  as  strong  in  drama, 
but  only  because  her  vehicles  have  been 
weaker.  In  drama,  her  career  is  only 
beginning,  and  there,  one  day,  in  a  play 
like  'The  Little  Foxes'  she  will  achieve 
real  recognition. 

"There  are,  in  the  movies,  two  types  of 
actresses.  The  calculative  type  and  the 
'I  -feel  -  it  -  and  - 1  -  hope  -  you-  see  -it'  type. 
Carole  is  both  types,  which  is  unique. 


She  is  equipped  technically  and  emo- 
tionally. 

"She  is  blessed,  further,  with  a  perfect 
degree  of  detachment.  She  can  do  a 
gripping  scene,  stop  it,  and  a  second  later 
discuss  what  she'll  eat  for  dinner.  This 
sometimes  upsets  her  co-players,  who 
think  she  can't  be  very  interested  in  the 
role.  But  they  just  don't  understand  her. 

"Most  marvelous  thing  about  Carole  is 
the  way  she  can  throw  herself  entirely 
into  a  scene.  I'll  never  forget  one  bit  in 
'Vigil  in  the  Night.'  In  the  script  her 
sister  had  just  died  and  Carole  came  into 
her  room  and  wearily  hung  up  her  coat. 
It  was  a  very  tense  scene.  We  shot  it 
once  and  no  soap.  Tried  again,  and  I 
still  wasn't  satisfied.  The  third  time, 
Carole  shuffled  in,  put  up  her  coat,  wav- 
ered and  toppled  over!  I  thought  it  was 
a  gag — but  she  almost  killed  herself  fall- 
ing into  the  near-by  sink,  and  I  then 
learned  she'd  fainted.  Sure,  fainted  from 
trying  so  hard,  being  so  emotional,  imag- 
ining she  had  a  sister  who  had  just  died. 

"Do  I  have  to  tell  you  more  about 
Lombard,  after  that?" 

INSPIRED  by  Stevens'  enthusiasm,  we 
decided  to  scurry  back  to  RKO  and 
huddle  with  Harry  Stradling,  the  famous 
cameraman.  This  would  give  us  a  lens- 
eye  view  of  Lombard,  the  Actress. 

Harry  Stradling,  with  twenty  years  of 
experience  under  his  shutter,  said, 
"Carole  Lombard  is  the  cameraman's  de- 
light. That's  because  she  knows  lighting, 
angles  and  the  camera  as  well  as  I  do. 
Before  a  scene,  she'll  always  be  on  the 
right  mark,  with  her  face  and  body  so 
placed  that  the  kliegs  bathe  her  prop- 
erly. She  doesn't  need  any  pushing 
around,  and  time  is  never  wasted  on 
her  pictures. 

"For  example,  when  I  photoed  Wendy 
Hiller  in  'Pygmalion'  I  had  to  sweat.  It 
was  her  first  picture.  She  didn't  know 
a  thing.  She  wasn't  camera-wise  and  had 
to  be  guided  in  every  move.  Marlene 
Dietrich  is  just  the  opposite.  She's  like 
Carole.  Shrewd.  Clever.  She'll  ask  you 
to  shade  her  arms  so  that  they  won't 
appear  too  fat.  That  kind  of  stuff." 

Stradling  emphasized  the  importance 
of  lighting.  He  said  it  could  hide  or 
accentuate  defects. 

"Take  Madeleine  Carroll.  She  had  too 
much  weight  in  her  last  picture.  I  made 
her  face  thinner  and  her  body,  too,  when 
it  wasn't  in  motion.  But  when  she  moved 
around,  neither  camera  nor  lights  could 
aid  her.  Carole's  weakness  is  her  jaw. 
It  photographs  quite  square  and  makes 
her  cheeks  too  full.  But  she's  smart,  that 
girl,  and  sees  that  she  gets  the  best 
angles. 

"Then  there's  that  scar  on  her  left 
cheek.  You  know  about  it.  She  got  it  in 
1925  in  an  auto  accident,  when  she  went 
through  the  windshield.  I  was  worried 
that  the  scar  would  detract  from  her 
performance  in  close-ups.  The  object  was 
to  get  the  lights  to  hit  her  face  so  that 
they  would  fill  in  the  scar  and  blend  it 
with  her  cheek.  But  Carole  knew  even 
more.  She  said  to  me,  'Put  a  diffusing 
glass  on  your  lens  and  I'll  look  okay.' 
I  obeyed  her,  and  wait'll  you  see  how 
beautiful  she  turns  out. 

"Every  day,  at  lunchtime,  she  goes  into 
a  projection  room  and  watches  the  latest 
rushes.  She  then  tells  us  if  a  scene  was 
filmed  too  light  or  too  dark.  Uncanny, 
her  knowledge  of  everything,  of  every 
part  of  the  business.  That  knowledge,  I 
feel,  is  her  strength." 

While  the  cameraman  talked,  other 
members  of  the  proletariat  gathered 
around.  They  listened  and,  when  the 
gabfest  was  over,  each  put  in  his  word  of 
wisdom  about  Lombard,  the  Actress. 

Fred  Hendrickson,  her  still  photog- 

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rapher,  drawled,  "She  hits  good  poses 
for  portraits  instinctively.  Many  actresses 
have  a  dead  pan,  but  her  face  is  always 
alive.  She  clowns  a  good  deal,  but  will 
work  endlessly.  She  stands  up  best  in 
fashion  stills  and  never  kills  a  photo  for 
petty  reasons,  but  only  if  it  is  artistically 
poor." 

George  Gabe,  husky  prop  man  who  has 
been  with  RKO  for  seven  years,  re- 
marked, "She  even  knows  all  about  my 
job.  If  I'm  not  ready  with  various  prop- 
erties, she'll  stall  so  that  I  won't  get 
bawled  out.  And  when  there  are  expen- 
sive props  or  rare  ones,  which  would 
cause  me  trouble  to  replace,  she  is  careful 
not  to  break  them.  She  is  considerate. 
That  helps  make  her  a  big  actress  and 
a  great  woman." 

Ruby  Rosenberg,  dark-haired  assistant 
director  whom  Lombard  calls  "Nellie," 
put  in  her  bit.  "Sure  she's  tops,  but  I 
know  Carole's  Achille's  Heel.  That's 
Gable.  She  can  do  anything  before  a 
camera,  until  Clark  walks  in  to  watch 
her.  'I'm  not  worth  a  dime  when  the  old 
man's  watching  me,'  she  says.  She  has 
him  wait  outside  until  a  scene  is  over, 
then  races  out  to  meet  him.  She's  dem- 
ocratic, too.  Breaks  a  studio  rule  to  give 
the  entire  crew  coffee  every  morning. 
Doesn't  have  a  dressing-room.  Only  a 
chair  and  mirror.  Won't  have  doubles  or 
stunters,  but  will  literally  go  through 
storm  and  fire  for  realism.  That's  a  pic- 
ture of  The  Madame,  as  Gable  calls  her." 

And  that,  fellow  patriots,  makes  just 
about  every  precinct  heard  from  and 
gives  us  a  pretty  thorough  word  Xray 
of  Carole  Lombard  at  work. 

1JOWEVER,  as  much  as  her  directors 
*■  and  co-workers  have  studied,  dis- 
cussed, understood  her,  we  feel  none  give 
as  clear  a  picture  of  Lombard,  the  Actress, 
as  that  little  story  we  heard  about  her 
the  other  day.  It  may  not  be  a  true 
story.  And  then  again,  it  may.  But 
anyway — 

Once,  years  ago,  Carole  Lombard  was 
acting  in  a  stage  play.  Before  the  matinee 
performance,  she  had  foolishly  consumed 
enormous  quantities  of  herring  and  dill 
pickles.  Then,  before  a  crowded  house, 
in  her  big  scene  in  the  middle  of  the 
second  act,  the  herring  began  warring 
with  the  dill  pickles.  Carole  became 
nauseated,  halted  in  her  most  dramatic 
speech  and  calmly  strode  off  the  stage. 
In  a  few  seconds,  feeling  better,  she 
returned  and  took  up  her  big  scene  where 
she'd  left  it. 

At  the  end  of  the  play,  a  renowned 
critic  cornered  Carole,  congratulated  her, 
told  her  that,  by  dramatically  leaving  the 
stage  in  the  middle  of  her  big  scene,  she 
had  accomplished  a  new  and  most  effec- 
tive piece  of  acting. 

"And  I  know,"  the  critic  added,  "that 
it  required  thought." 

"Mister,"  replied  Carole,  "what  you 
don't  know  is  that  it  required  speed!" 


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(Continued  from  page  52) 


SOFTER  •  STRONGER 
MORE  ABSORBENT 


sweet  peas,  roses,  even  the  orange  trees  in 
the  window,   and  had  them  sent  to  her! 

DIDJA  KNOW 

That  Lana  Turner  will  wear  a  sweater  in 
almost  every  sequence  of  "The  Ziegfeld  Girl" 
.  .  .  That  Ann  Sheridan  is  the  biggest  box 
office  draw  in  Mexico  .  .  .  That  "Daisy"  of 
the  Blondie  clan  is  pappy  to  a  litter  of  seven 
pups  .  .  .  That  Helen  Parrish's  legs  are  like 
a  Petty  girl's  .  .  .  That  Jean  Cagney  is  a 
member  of  Phi  Beta  Kappa  .  .  .  That  Jean 
Hersholt  owns  75  pairs  of  spectacles  which 
he  uses  to  impersonate  various  screen  charac- 
ters .  .  .  That  John  Payne  used  to  sing 
the  accompaniment  to  a  strip  tease  act  .  .  . 
That  autographed  pictures  of  Hollywood 
glamour  girls  are  being  sent  to  British  sol- 
diers along  with  medical  supplies  .  .  .  That 
Nat  Pendleton  is  the  great  grand-nephew  of 
Francis  Scott  Key  who  wrote  "The  Star 
Spangled  Banner"  .  .  .  That  Marlene  Dietrich 
buys  more  furs,  jewels  and  clothes  than  any 
other  star? 

DON  HASN'T  CHANGED 

Dizzying  success  has  made  many  a  man 
kick  over  the  traces  of  the  traditions  and  the 
faith  in  which  he  was  raised.  But  it's  done 
no  such  thing  to  Don  Ameche.  Don  has  a 
picture  of  Pope  Pius  XI  hanging  over  his  bed 
— and  will  never  do  a  radio  show  without 
first  presenting  the  script  to  his  Catholic 
priest  for  okay. 

CASH  AND  CARY 

Cary  Grant  seems  to  be  handing  a  very 
good  line  to  Woolworth  Heiress  Barbara 
Hutton.  They're  frequent  occupants  of  a 
dimly-lit  corner  of  the  Cafe  Lamaze,  where 
they  dawdle  for  hours  over  their  dinner,  look 
tenderly  into  each  other's  eyes,  and  insist 
"there's  nothing  to  it."  Bing  Crosby,  another 
steady  Lamazer,  apparently  thinks  differently, 
however.  Bing  just  made  a  new  recording 
of  "I  Found  A  Million  Dollar  Baby  In  A  Five 
And  Ten  Cents  Store" — and  sent  the  first 
disc  to  Cary! 

ADD  CHAPLIN  TROUBLES 

Paulette  Goddard  is  a  changed  woman.  A 
year  ago,  the  face  she  turned  to  the  world 
was  shiny,  schoolgirlish  and  clean  of  make- 
up but,  suddenly,  Paulette  has  gone  exotic. 
Under  the  joint  influence  of  her  Mexican  trip 
and  her  thick-as-blood  friendship  with 
Dolores  Del  Rio,  Paulette's  tied  her  flowing 
hair  into  a  braided  business  that  she  wraps 
severely  about  her  head,  uses  a  midnight 
blue  lipstick  and  conceals  her  beautiful  tan 
with  a  bluish -tinged  powder.  The  effect  is 
startling  and,  though  we  find  it  difficult  to 
believe,  we're  told  that  a  fan,  overwhelmed 
at  the  sight  of  the  new  Paulette,  rushed  to 
her  side  at  a  preview  shouting,  "Hey,  Gang! 
There's  Dolores  Del  Goddard!  Let's  get  her 
autograph!" 

GROUCHO  SERENADE 

"Arizona"  is  the  most  expensive  picture 
Columbia  has  ever  made.    It  was  earmarked 


for  a  million-dollar  budget,  but  its  total  pro- 
duction costs  ran  to  almost  twice  that  amount. 
Called  upon  for  an  explanation  of  what  the 
industry  terms  an  "overslop,"  Director  Wes- 
ley Ruggles  came  through  with  some  whacky 
stories  to  justify  his  staggering  location  bill. 
"Don't  blame  me,"  said  he.  "Blame  the  cast. 
Blame  Jean  Arthur.  She  held  up  production 
by  arguing  that  it  was  cruel  to  make  pigs 
stand  in  dirty  hogwash!  Holy  smokes,  if 
we  put  them  in  clean  water,  the  A.S.P.C.A. 
would  get  after  us!  Then,  another  day,  she 
decided  that  the  dogs  in  the  picture  were 
being  underfed  and  had  George  Cole,  a 
Columbia  employee  who's  been  handling 
animals  for  years,  charged  with  cruelty  and 
slapped  into  the  local  jail!  Of  course,  that 
was  ridiculous  and  Cole  was  released  the 
next  morning.  Warren  William  didn't  help, 
either.  He  was  deathly  afraid  of  rattle- 
snakes and  always  wore  high  boots.  Every 
time  we  went  into  a  take,  he'd  kill  it  by  turn- 
ing pale  and  begging  the  prop  man  to  as- 
sure him  that  the  boots  were  thick  enough! 
And  the  rest  of  the  cast!  They  did  their  part 
by  backing  into  cactus  and  spending  half 
their  time  in  the  hospital  having  the  stickers 
pulled  out  of  their  pants!" 

A  NOTE  ON  MUSIC 

Allan  Jones  was  recently  invited  to  warble 
"The  Star  Spangled  Banner"  at  an  important 
national  convention  but  had  to  decline  be- 
cause of  studio  commitments.  "Too  bad,  too 
bad,"  lamented  a  local  scribe.  "Allan  is 
probably  the  only  American  who  can  hit  the 
top  note  and  remember  the  third  stanza  at 
the  same  time!" 

A  DOG'S  BEST  FRIEND? 

A  powerful  toothache,  the  kind  to  which 
death  is  preferable,  struck  a  pretty,  young 
starlet  the  other  A.M.  and  sent  her  scrambling 
to  the  nearest  dentist.  Yowling  with  pain 
she  rushed  into  the  good  man's  home, 
brushed  aside  his  secretary  and  barged  into 
his  inner  office.  There,  to  her  surprise,  stood 
George  Brent — in  the  flesh  and  smiling.  One 
look  was  enough.  Our  starlet  passed  out. 
Relating  the  story  to  some  friends  that  eve- 
ning, she  apologized  for  her  display  of  emo- 
tion. "But  you  can  stop  your  ribbing  right 
now,"  she  said,  "because  it  wasn't  Mr.  Brent 
who  made  me  faint.  It  was  his  dog.  While 
Brent  stood  there  grinning,  the  pup  sat  in  the 
dentist's  chair  having  his  teeth  treated!"  It 
seems  that  George,  who's  old  enough  to  be 
done  with  such  whimsy,  feels  that  what's 
good  enough  for  him  is  good  enough  for  his 
pet  and,  though  both  the  dentist  and  the  dog 
hate  the  idea,  the  will  of  Brent  prevails. 

MAYBE  HE  NEEDS  IT! 

We  are  happy  to  report,  however,  that  the 
will  of  Brent  does  not  always  prevail.  It 
took  an  awful  beating  a  short  while  ago 
when  Ann  Sheridan  discovered  that  George 
was  a  strict  vegetarian  and  had  been  for 
years.  Now,  Annie's  not  the  wan  and  wist- 
ful type  and  her  idea  of  a  he-man  is  not  the 
gent  who  derives  his  virility  from  mashed 
potatoes  and  green  peas.  Early  in  their 
romance  she  began  to  twit  George  about  his 


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MODERN  SCREEN 


abstinence  from  meat — and  the  last  time  we 
saw  him  he  was  passing  up  the  boiled  onions 
and  sheepishly  wrapping  his  molars  around 
a  big,  bloody  steak. 

BENNY  THE  BOUNTIFUL 

A  star-stricken  visitor  to  the  Paramount  lot 
got  Oscar,  the  studio  bootblack,  to  give  him 
a  polish  job  the  other  afternoon.  While 
Oscar  rubbed  and  scrubbed,  the  visitor  shot 
guestion  after  question  at  him.  "Does  Bob 
Hope  get  his  shoes  shined  here?"  he  queried. 
"Yassuh,"  replied  Oscar.  "Does  Bing  Crosby 
get  his  shoes  shined  here?"  "Yassuh,"  from 
Oscar.  "Does  Jack  Benny?"  "No,  suh,"  and 
with  contempt,  "Benny  shines  his  own." 

WE'D  CELEBRATE.  TOO 

Nelson  Eddy  stuck  the  thirty-ninth  candle  into 
his  birthday  cake  a  few  weeks  back  and 
apparently  the  occasion  was  no  secret.  Nel- 
son received  dozens  of  phone  calls  and  tele- 
grams, fourteen  thousand  birthday  cards  and 
a  load  of  gifts.  The  thing  that  gave  him  the 
biggest  bang,  however,  was  a  visit  from  a 
little  messenger  boy  who  had  been  sent 
around  to  deliver  one  of  those  singing  greet- 
ings. When  Eddy  appeared,  the  kid  parted 
his  lips,  closed  them  again  and  then  blurted 
out,  "Here,  you  sing  it.  I'm  scared  to  open 
my  mouth  when  you're  around!"  Nelson, 
incidentally,  had  something  better  than  a 
birthday  to  celebrate  that  day.  He'd  just 
completed  the  third  year  in  which  he'd  been 
earning  $11,000  a  week.  Come  Wednesdays 
and  he  gets  $5,000  for  his  picture  work  and 
$6,000  for  his  radio  broadcasts.  His  concert 
income  is  extra. 

BIGGEST  SURPRISE  OF  THE 
MONTH 

Hollywood  never  thought  he'd  be  bom  in 
this  century — an  "actor"  who  admitted  he 
couldn't  act  and  didn't  care  who  knew  it! 
This  wonder  of  the  age,  this  man  whom 
Diogenes  so  patiently  sought,  is  none  other 
than  John  Carroll,  Louisiana's  donation  to 
Universal's  "Hired  Wife."  "I'm  a  cook,  a 
pilot,  a  truck  driver,  a  barber  and  a  boot- 
black," says  John.  "But  doggone  it,  I'm  no 
actor!  I  just  got  into  this  business  by  acci- 
dent and  it  pays  pretty  well,  so  I  guess  I'll 
hang  around  until  they  bounce  me  out." 

ANYTHING  FOR  A  LAUGH 

The  Marx  Bros,  tip  us  off  that  the  gags  you'll 
hear  in  their  new  movie,  "Go  West,"  will  be 
old  stuff  to  thousands  by  the  time  they  reach 
the  screen.  That's  an  amazing  admission, 
but  here's  how  come.  Before  making  the 
film  they  decided  to  test  their  jokes  on  a 
personal  appearance  tour  rather  than  pres- 
ent them  cold  to  movie  audiences.  They 
salvaged  those  that  got  the  laughs  and  only 
the  rib-ticklers  were  written  into  the  picture — 
they  hope.  It's  possible  though,  that  a  few 
of  the  others,  sneaked  in,  too,  for  the  other 
day,  when  they  fetched  Harpo's  red  wig  from 
his  traveling  trunk,  Harpo  looked  at  it  and 
discovered  two  grey  hairs.  "Hmmm,"  said 
he,  "even  the  wig  worried  about  that  last 
personal  appearance  trek!" 

GABLE  GETS  THE  BREAKS 

Clark  Gable  and  the  Missus  are  burned  up 
about  the  story  going  round  that  all  is  not 


These  Rising  Young  Hollywood  Stars 
Have  GLAMOR  GALORE  in 
Their  KLAD-EZEE  SUITS 

"I  certainly  like  to  wear  KLAD-EZEE  Self  Help  suits,"  says 
Bobby  Larson,  brilliant  six  year  old  star  of  such  motion  pic- 
ture successes  as  "Earthbound",  "Five  Little  Peppers,"  "Doc- 
tor Takes  a  Wife",  "Howards  of  Virginia",  and  "The  Coura- 
geous Dr.  Christian".  And  you'll  admit  that  lovely 
little  Bobette  Bentley,  who  was  Ruth  Williams  in 
"The  Courageous  Dr.  Christian",  and  Gene- 
vieve in  "The  Women",  looks  glamorous  and 
dainty  in  her  trim  fitting  KLAD-EZEE  play- 
suit. 

•    H...I*  '.I 


BOBETTE 
BENTLEY 


BANISHES  BUTTON  SEWING 

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back  drop  beat  relieves  .ier  of  worry  about  me  tearing  off  buttons  or 
buttonholes  when  I'm  playing"  .  .  .  "And  my  mother  says  KLAU-Wtb 
are  smarter  looking  on  account  of  the  adjustable  self  help  belt  which 
assures  a  trim  fit  waist  line",  says  Bobette. 

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URGENT  MESSAGE! 

to  you  women  suffering  functional 

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Read  Every  Word! 


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OCTOBER,  1940 


81 


NAILS 


AT  A  MOMENTS  NOTICE 


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Simply  cover  short,  broken,  brittle 
nails  wi  th  NU-NAILS.  NU-NAILS 
can  be  worn  any  length  and  polished 
with  any  desired  enamel.  So  natural  they  can- 
not be  detected.  They  even  have  half-moons. 
Helps  check  nail-bitinghabit.  Protects  frag- 
ile nails  while  they  grow  strong  again.  Easily 
applied,  remains  firm,  waterproof.  Removed 
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can  instantly  beautify  your  hair  with  L  B.  Hair  Oil! 
Famous  Hollywood  discovery  makes  hair  lustrous, 
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At  Barber  and  Beauty  Shops, 
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PACKING  6  POSTACC 


1 


well  between  them.  Those  who  are  spread- 
ing the  poison  should  be  squelched  by  the 
announcement  that  the  pair  intend  taking 
a  four-month  honeymoon-vacation  just  as 
soon  as  Carole  completes  "Mr.  and  Mrs. 
Smith."  Another  muffler  for  the  gossip  was 
provided  by  Clark  just  a  few  days  ago  when 
he  told  the  following  story  about  the  won- 
derful Lombard  sense  of  humor.  It  seems  a 
bad  case  of  poison  ivy  hit  Cafole  recently 
and  swelled  her  face  until  it  looked  like  an 
automobile  tire  about  to  pop.  A  vainer 
woman  would  have  hidden  from  the  world — 
but  not  Carole.  She  borrowed  a  mask  of 
Joan  Crawford  that  M-G-M  had  made  for 
"Broadway  Serenade"  and  when  Clark 
ankled  in  one  evening  he  was  greeted  by 
Joan's  face  smiling  pleasantly  above  Carole's 
neck! 

SUPPOSE  THEY  COMPARE 
NOTES! 

Rita  Hayworth  is  smarter  than  your  sister's 
baby.  In  the  past  few  months,  thousands  of 
people  have  written  in  requesting  her  photo- 
graph and,  knowing  the  value  of  a  fan  fol- 
lowing, Rita  wants  to  keep  all  of  them 
happy.  Therefore,  she  has  two  kinds  of 
pictures  mailed  out — one  to  her  male  admir- 
ers and  the  other  to  the  females  of  the 
species.  The  ladies  get  a  picture  of  Rita 
in  sports  clothes,  exercising  her  dog,  but  the 
gentlemen — lucky  stiffs — they  get  a  photo 
of  her  in  a  clinging  evening  gown  with  the 
accent  very  definitely  on  allure. 

SHORT  SHOTS 

Mickey  Rooney  has  been  gifted  with  seven 
wrist  watches  and  wears  a  different  one  each 
day  .  .  .  Joan  and  Constance  Bennett  are 
going  to  do  a  picture  together  .  .  .  Kay 
Francis  is  so  tall  that  both  Jack  Oakie  and 
Charles  Winninger  have  had  their  shoes  built 


up  for  scenes  with  her  in  "Little  Men"  .  .  . 
Fred  Astaire  has  the  greatest  inferiority 
complex  in  show  business  .  .  .  Paulette  God- 
dard  is  taking  ballet  lessons  from  Madame 
Nijinsky  and  in  her  next  picture  will  dance 
with  Astaire  (which  may  help  that  complex) 
.  .  .  Pearl  White,  the  most  famous  silent 
serial  heroine  never  saw  Hollywood.  Her 
pictures  were  made  in  Bound  Brook,  N.  J. 
.  .  .  The  bar  stools  at  the  Brown  Derby  are 
chained  to  the  counter  ...  In  an  hour's  con- 
versation, Herbert  Marshall  will  refer  to  his 
wife  as  "Lee,  God  bless  her"  at  least  twenty 
times  .  .  .  The  Gene  Markey — Hedy  Lamarr 
separation,  whisper  those  in  the  know,  is 
only  temporary. 

CAN  HELEN  TOP  THAT  ONE? 

The  Helen  Parrish-Forest  Tucker  engagement 
has  been  dead  these  many  months  but  Helen 
and  Forrest  still  like  to  "show"  each  other. 
Helen  was  recently  escorted  to  a  neighbor- 
hood eatery  by  two  young  men,  Actor 
Charles  Lang  and  Edward  Arnold's  son, 
Bill.  A  few  tables  down  she  spotted  Forrest 
with  just  a  single  female,  pretty  Martha 
O'Driscoll.  Boasted  Helen,  "See,  I'm  one  up 
on  him!"  And  it  did  look  like  her  inning — 
until  two  nights  later  when  Forrest  retaliated 
by  renting  the  Grace  Hayes  Lodge,  and 
throwing  a  party  for  practically  all  the  Earl 
Carroll  beauties! 

THESE  MODERN  MOTHERS! 

When  Jane  Wyman  was  assigned  to  "Honey- 
moon for  Three"  she  scratched  her  head  and 
said,  "Boy,  that's  a  thought!"  Ever  since  she 
and  Ronald  Reagan  were  married  they've 
been  so  busy  in  pictures  they  haven't  had 
time  for  their  own  honeymoon.  Now,  ac- 
cording to  Jane,  they're  going  to  wait  until 
their  baby  is  born  in  January  so  that  all 
three  can  take  it  together! 


LB 


HAIR  OIL 

•  HOLLYWOOD,  CAL. 


SILVER  STARS 

(Continued  from  page  67) 


of  silver  in  contact  with  the  aluminum. 
Bring  to  a  boil  and  remove  silver  just  as 
soon  as  tarnish  has  disappeared.  Do  not 
let  silver  soak  in  the  mixture  but  carry 
out  the  treatment  expeditiously,  following 
it  with  a  thorough  washing  in  fresh,  hot 
soapsuds.  Rinse  and  dry  very  thoroughly. 

+   TABLE  SETTING  RULES  FOR 
SILVERWARE 

These  are  few  but  important.  Start  off 
by  thinking  of  each  place  as  a  picture  in 
a  frame,  that  frame  being  the  amount  of 
space  allotted  to  each  individual  place 
at  the  table.  As  with  any  picture  the 
effect  should  never  be  crowded,  and  cor- 
rect spacing  is  also  important. 

Place  knives  to  the  right  of  the  plate, 
cutting  edge  in.  Spoons  go  to  the  right 
of  the  knives.  Forks  are  placed  to  the  left 
of  the  plate — with  the  exception  of  oyster 
forks  which  go  to  the  extreme  right. 
Plenty  of  space  must  be  left  between 
right  and  left  hand  implements  for  the 
largest  of  the  plates  you  intend  using. 
All  silver  must  be  placed  parallel  and 
with  the  lower  edges  in  a  straight  line 
an  inch  from  the  table  edge. 

Place  butter  knife  on  butter  plate, 
handle  at  the  right,  cutting  edge  toward 
you.  Place  spoons  for  coffee,  tea  or  cocoa 
on  individual  saucer. 

The  order  of  use  governs  the  placing 
of  the  silverware.   One  starts  with  the 


knife,  fork  or  spoon  farthest  from  the 
plate  and  as  the  meal  progresses  one 
works  towards  the  plate.  Once  this  is 
realized  one  should  have  no  difficulty  set- 
ting places  for  a  meal  of  several  courses 
(or  in  eating  one's  way  through  a  many- 
course  banquet  for  that  matter!)  Never 
have  more  silverware  on  the  table  than 
will  be  needed  for  that  particular  meal. 
In  placing  serving  spoons,  forks  and 
carving  tools  remember  that  they  can  be 
placed  crosswise  as  well  as  lengthwise — 
but  never  diagonally. 
SPECIAL  SHOPPING  SUGGESTIONS 
Your  local  five  and  ten  cent  store 
carries  the  silver  cleaning  cloths  that 
work  like  a  charm,  silver  polish,  soft 
chamois  in  convenient  size  pieces, 
enamel  dish  pans,  and  rubber-covered 
drainers  to  hold  the  silver — after  wash- 
ing— for  a  thorough  scalding.  For  ex- 
tensive silver  cleaning,  be  sure  to  have 
on  hand  a  pair  of  rubber  gloves.  That 
polish  was  never  intended  for  finger- 
nails, so  protect  your  hands  with  these 
new  longer-lasting  Latex  gloves.  A  pair 
of  10c  food  tongs  is  fine  to  have,  to  lift 
the  silver  out  of  the  galvanizing  cleaning 
bath  piece  by  piece.  As  an  added  pre- 
caution against  scratching,  wrap  the 
ends  of  the  tong  with  strips  of  cheese 
cloth,  kept  for  this  and  countless  other 
household  purposes.  The  tongs,  too, 
have  unnumbered  uses  besides  this  one. 


82 


MODERN  SCREEN 


NURSERIES  FOR  NEWCOMERS 

(Continued  from  page  27) 


in  'Waterloo  Bridge'  and  I  couldn't  help 
remembering  the  first  time  he  came  to 
me,  a  handsome,  young  college  graduate 
from  Pomona.  He  was  raw,  but  very 
sincere  and  wholly  unaffected.  He  stood 
before  me,  voice  a  little  tight  from  ner- 
vousness, and  read  a  scene  from  his 
favorite  play,  'Journey's  End.'  I  was  im- 
pressed and  did  all  I  could  for  him. 

"I  don't  claim  to  have  discovered  Pau- 
lette  Goddard,  but  I  helped  her.  After 
she'd  appeared  in  one  movie,  she  was 
sent  to  me  by  Charlie  Chaplin.  He  asked 
me  to  give  her  polish.  That  was  easy. 
Paulette  was  talented,  cooperative  and 
over-anxious  to  learn.  I  drilled  her  on 
technique,  both  in  classes  with  other  stu- 
dents and  privately.  And,  well,  she  seems 
to  be  doing  all  right  these  days. 

"If  you'll  take  your  eyes  off  Betty  Gra- 
ble's  picture  a  moment,  mister,  I'll  tell 
you  about  her.  Cute  but  inexperienced, 
she  came  to  town  from  Kansas  City.  Her 
family  encouraged  her  to  come  to  the 
Community  Theatre,  and  she  worked 
overtime,  never  relaxing  or  gossiping,  but 
just  working." 

THERE  was  an  old  portrait  of  Julie 
Haydon,  as  she  appeared  with  Noel 
Coward  in  "The  Scoundrel."  Julie  looked 
like  a  poem  by  Shelley.  Even  better, 
maybe.  I  sighed.  Neely  Dickson  sighed, 
too.    Julie  Haydon  was  her  pet. 

"Her  father,  editor  of  a  Hollywood 
newspaper,  brought  her  to  me  when  she 
was  sixteen.  She  wanted  to  be  an  actress, 
and  he  wanted  her  to  get  it  out  of  her 
head.  She  didn't  have  much  basic  equip- 
ment, physically.  She  wasn't  beautiful, 
wasn't  strong,  was  over-sensitive.  But 
she  was  endowed  with  a  vivid  imagina- 
tion and  a  will  of  steel. 

"After  Julie  had  been  with  us  a  year, 
her  father  dropped  in  one  night  to  see  her 
play  in  Eugene  O'Neill's  'Anne  Christie.' 
She  played  the  old  hag,  you  know,  the 
drunken  hag  Marie  Dressier  had  por- 
trayed. Her  father  stood  with  me  in  the 
back.  He  watched  his  shy,  ethereal, 
blonde  daughter  come  out  on  the  stage, 
stooped,  ancient,  her  voice  rasping  with 
the  burn  of  whiskey.  He  grabbed  my 
arm.  'Neely,'  he  whispered,  'I'm  wrong. 
You're  right.    She's  going  to  be  great!' 

"After  three  years  she  left  me.  She's 
been  the  star  of  four  Broadway  shows  in 
the  last  four  years.  I  feel  like  exploding 
with  pride." 

Neely  Dickson  spoke  of  her  most  re- 
cent discovery,  a  virile  Apollo  named 
Dana  Andrews.  He  had  appeared  in  her 
productions  and  she  secured  an  agent  for 
him.  The  agent  brought  a  Goldwyn 
scout.  The  scout  blinked  his  orbs  and 
brought  a  director,  a  cameraman  and  one 
of  Goldwyn's  relatives.  Dana  Andrews 
was  tested  opposite  Sigrid  Gurie — and  re- 
cently signed  to  a  long-termer. 

"What  I  object  to,"  stated  Miss  Dick- 
son, "is  that  Goldwyn  publicity  insists 
Dana  Andrews  was  discovered  in  a  filling 
station,  when  he  was  found  right  here! 

"In  fact,  I  think  Hollywood  fosters  too 
much  bad  publicity  about  everyone  being 
discovered  at  ribbon  counters,  in  grocery 
stores,  or  on  the  boulevard.  It's  false  and 
deceiving.  It  makes  the  movies  appear 
too  easy.  As  if  good  looks  and  luck  alone 
can  get  you  in. 

"Youngsters  write  to  me  and  say  they 
want  to  work  in  my  theatre  so  that  they'll 
be  seen.  But  they  don't  realize  what  they 
might  look  like  when  they  are  seen.  Most 
newcomers  have  poor  voices,  no  tech- 
nique, no  control,  no  stage  culture,  no 


poise.  They  must  learn  much  before  being 
seen.    That's  my  job,  and  I  love  it!" 

Ten  minutes  from  the  Community  The- 
atre, toward  the  heart  of  Hollywood, 
squats  the  low,  spacious  Max  Reinhardt 
Workshop.  The  building  is  actually  the 
old  Columbia  Broadcasting  Studios  with 
its  face  lifted.  The  interior  is  cool,  airy, 
expensive  and  artistic.  Walking  down 
the  long  corridors,  you  expect  Stanislav- 
ski  or  some  other  alumnus  of  the  Moscow 
Arts  Theatre  to  greet  you.  Instead,  the 
world  famous  Dr.  Max  Reinhardt,  with 
his  gray  pompadour  and  his  thick  accent, 
greets  you.  He  is  a  Colossus,  this  man, 
and  you  know  his  name  will  be  alive 
when  all  your  favorite  movie  stars  are 
long  in  the  wastebasket. 

It  is  costly  to  study  under  the  eminent 
doctor.  I  learned  his  Workshop  fee  is 
$100  a  month  for  the  first  year.  The 
qualifications  necessary  for  entrance  are 
"special  talent,  sincerity  and  natural- 
ness." The  price  for  the  second  year  is 
$50  a  month — and  only  at  Dr.  Reinhardt's 
personal  invitation,  thank  you. 

Upon  becoming  a  student  of  the  Work- 
shop, you,  along  with  fifty-four  others, 
spend  your  first  four  months  under  the 
guidance  of  Rudolph  Amendt,  film  heavy. 
With  basic  thespian  knowledge  under 
your  belt,  you  move  along  to  Helene 
Thimig  Reinhardt,  the  doctor's  brilliant 
wife,  for  three  more  months.  And  from 
there  on,  the  great  man  himself  takes  you 
over. 

Side  by  side  with  students  from  sixteen 
states  and  three  foreign  countries,  you 
will  slave  in  three  rehearsal  studios.  If 
you  don't  know  Shakespeare,  you  will  be 
generally  frowned  upon.  If  you  don't 
know  the  solid  classics,  you  will  be  taught 
them. 

Finally,  in  an  upholstered  CBS  record- 
ing studio,  on  a  platform  before  fifty  seats 
full  of  sundry  friends  and  glum  talent 
scouts,  you  will  do  your  bit. 

I  learned  that  the  odds  were  with  Dr. 
Reinhardt's  students.  He,  who  enchanted 
Europe  in  1905  with  his  gorgeous  "Mid- 
summer Night's  Dream,"  who  in  1911 
popularized  the  revolving  stage,  who  in 
Berlin  trained  the  'teen-aged  Hedy  La- 
Marr  in  "The  Weaker  Sex,"  has  had  fifty 
percent  of  his  students  accepted  by  the 
movies.  And  in  spite  of  the  fact  that  he 
has  only  had  his  Workshop  for  two  years. 

IN  this  little  recording  room,  Alaine 
Brandes,  the  slender  nineteen-year-old, 
who  had  been  selected  by  Chicago  artists 
as  that  city's  "Ad  Queen,"  appeared  for 
three  months  before  she  was  grabbed  by 
Twentieth  Century-Fox.  In  this  same 
room,  George  Cukor's  find,  Bebe  Ander- 
son, and  Rosemary  Lane  worked  for  addi- 
tional seasoning.  Here,  Nanette  Fabares, 
the  New  Orleans  beauty,  was  first  sighted 
by  Warners  and  hired  to  be  a  lady-in- 
waiting  to  Bette  Davis  in  "Elizabeth  and 
Essex."  Here,  too,  Robert  Ryan,  a  six- 
feet-two  prizefighter  from  Dartmouth, 
played  a  character  role,  was  seen  by 
Paramount  and  inked  for  the  lead  oppo- 
site Jeanne  Cagney  in  "Golden  Gloves." 

"But  frankly,  we  do  not  guarantee  to 
place  people  in  the  movies,"  admitted  Dr. 
Reinhardt.  "Nor  is  that  our  aim.  My 
primary  desire  is  to  teach  the  sound 
fundamentals  of  the  acting  art,  not  to  sell 
new  talent.  When  my  people  learn  to 
act,  they  are  naturally  signed  by  the 
movies.   It  goes  hand  in  hand. 

"The  biggest  weakness  in  newcomers  is 
localized  speech.  They  come  to  us  from 
Kentucky,  New  York,  Alabama,  Dakota, 


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and  it  takes  us  four  months  to  standard- 
ize their  speech.  Then  it  takes  three 
more  months  to  curb  them  from  over- 
acting." 

Dr.  Reinhardt's  favorite  word  is  "sin- 
cerity." He  mentioned  the  humorous 
incident  of  a  student  named  Ray  Ran- 
dolph, who  was  wanted  by  all  of  the 
studios,  but  who,  upon  being  cast  as 
Death  in  "Everyman"  and  desiring  to  do 
a  sincere  and  realistic  job,  shaved  off  all 
his  hair  and  eyebrows — and  horrified  the 
talent  scouts  who  came  to  sign  him  as  a 
matinee  idol.  (P.  S. — His  hair  is  growing 
back  and  he'll  soon  be  in  films!) 

I  left  the  doctor  as  he  returned  to  his 
rehearsal  of  "Fortunate."  His  method  of 
direction  was  quiet;  his  instructions,  a 
spoken  caress.  In  leaving  him,  I  was 
aware  of  one  impression — that  an  hour 
with  Dr.  Reinhardt  was  like  living  an 
hour  with  the  Theatre's  history. 

Forty-five  minutes  from  Movieland, 
and  suddenly  you  stand  before  the  seven- 
story  Spanish  styled  Pasadena  Playhouse. 

Some  twenty-three  years  ago  it  was 
established  in  a  tumbledown  burlesque 
house,  with  pails  on  the  rafters  to  keep 
the  rain  from  leaking  down  on  the  paid 
customer.  Today,  it  is  a  magnificent 
showhouse,  built  at  a  cost  of  $600,000  and 
having  three  theatres  and  countless  class- 
rooms from  which  such  stars  as  Anne 
Shirley,  Wayne  Morris,  Robert  Young, 
Randolph  Scott  have  emerged. 

Every  day,  from  8: 30  o'clock  in  the 
morning  until  5  o'clock  in  the  afternoon, 
about  two  hundred  future  dramatic  greats 
attend  classes  and  rehearsals.  Half  of 
them,  especially  those  in  their  second  and 
final  year,  appear  on  the  main  stage — that 
of  the  Pasadena  Playhouse  itself — with  its 
$15,000  switchboard,  its  special  sound 
booth  where  records  are  played  for  off- 
stage noises,  its  balcony  and  eight  hun- 
dred and  thirty-two  seats. 

In  another  section  of  the  building  is 
the  Playbox,  where  intimate  dramas  are 
produced.  It's  a  crazy  place,  almost  Eliz- 
abethan— you  act  in  a  pit  with  the  audi- 
ence almost  in  your  lap.  It  was  in  this 
topsy-turvey  Playbox,  incidentally,  that 
Bill  Holden  was  discovered  by  a  scout 
while  playing  the  role  of  an  aged  man  in 
a  version  of  the  life  of  Madame  Curie. 

THEN,  also,  there  is  the  Laboratory 
Theatre.  It  has  two  hundred  seats, 
and  produces  twenty  new  scripts  annual- 
ly. If  you  don't  have  $600  necessary  for 
your  first  year  in  the  Pasadena  Play- 
house proper,  or  the  $400  for  your  second 
year,  you  can  try  out  any  Sunday  night 
for  the  Laboratory  Theatre,  and  if  you 
are  talented  enough,  appear  entirely  free 
of  charge. 

The  thankless  job  of  instructing  half  of 
their  students  to  emote  is  in  the  hands  of 
seventy-five  faculty  members,  fifteen  of 
them  associate  directors  like  Morris  An- 
krum,  who  was  bitten  by  Carmichael  the 
bear  in  "Buck  Benny  Rides  Again,"  and 
Victor  Jory  and  Onslow  Stevens.  High 
Mogul  of  the  directorial  crew  is  the 
legendary  Gilmor  Brown,  once  decorated 
by  the  French  government  for  his  artistic 
achievements.  Behind  him  there  is  also 
an  advisory  silent  and  imposing  council 
containing  Beulah  Bondi,  Elmer  Rice, 
Walter  Hampden  and  Paul  Green. 

None  of  the  faculty  receive  salaries. 
The  arrangement  is  entirely  cooperative. 
Out  of  every  dollar  bill  earned,  forty- 
seven  cents  goes  to  the  faculty. 

"Only  half  of  our  students  want  to  be 
actors,"  pointed  out  Gilmor  Brown.  "The 
rest  are  interested  in  other  phases  of 
drama,  like  directing,  designing,  teaching 
and  so  forth.  And  there  are  more  jobs 
open  on  those  ends.  Why,  do  you  know, 
we  have  a  waiting  list  of  jobs  for  young 
men  and  women  talented  enough  to  de- 


sign stages,  build  flats  and  things  like 
that!" 

To  prove  the  wide  interest  in  these 
other  phases  of  the  theatre,  Mr.  Brown 
led  me  up  the  entire  seven  stories  of  the 
colorful  Playhouse.  He  showed  me  the 
wardrobe  department,  holding  nine  thou- 
sand costumes  valued  at  $35,000,  most 
of  them  home-made  or  donated  by 
actresses.  He  showed  me  students  sew- 
ing, dyeing  clothes,  some  constructing 
sets.  He  showed  me  the  drama  library, 
packed  with  donated  volumes.  "It's  the 
largest  play  library  in  America,  aside 
from  the  New  York  Public  Library," 
remarked  Brown. 

On  the  subject  of  production,  Brown 
proudly  confessed  that  his  was  the 
only  theatre  in  America  to  have  staged 
all  thirty-seven  of  Shakespeare's  plays. 
Also,  it  has  staged  eighty  famous  world 
premieres,  including  Eugene  O'Neill's 
"Lazarus  Laughed,"  with  its  cast  of  two 
hundred  players.  In  its  two  decades  plus, 
Pasadena  has  produced  one  thousand 
plays,  and  in  them  have  appeared  tyros 
who  are  today  headline  stuff. 

THERE  was  Randolph  Scott,"  recalled 
Brown.  "He  wrote  to  DeMille  from 
Georgia,  and  DeMille  sent  him  to  us  for 
seasoning.  He  was  sighted  and  signed 
from  our  boards.  Robert  Young  used  to 
be  a  board  marker  in  the  stock  exchange 
down  the  street.  His  boss  told  him  to 
keep  his  mind  on  his  job  instead  of  on 
acting  or  quit.  Bob  quit,  walked  over  to 
the  Playhouse  and  was  later  found  by 
M-G-M. 

"Gloria  Stuart,  beautiful  blonde,  tal- 
ented, was  given  a  lead  in  'The  Seagull' 
by  me.  Universal  snatched  her.  Vic 
Mature  came  to  us.  He'd  never  acted 
before.  Just  a  big  good-looking  lad.  He 
stayed  three  years,  lived  in  a  trailer,  and 
now  Hal  Roach  is  making  him  a  name. 
Lloyd  Nolan  arrived  one  day,  fresh  out 
of  Stanford.  He  wanted  to  be  a  tech- 
nician. He  wasn't  going  to  be  an  actor 
and  starve.  Oh,  no!  He  spent  a  year 
backstage  with  the  props,  got  the  his- 
trionic bug  watching  others,  went  on  our 
stage  himself  and  clicked.  And  John 
Carradine.  How  can  I  ever  forget  him! 
Tall,  gaunt,  standing  in  the  street  in  front 
of  the  Playhouse,  dressed  in  checkered 
sox  and  golf  knickers,  swinging  a  cane, 
bellowing  lines  from  'Macbeth'  and  try- 
ing to  hitch  a  ride  to  his  home  in  Holly- 
wood! 

"Wayne  Morris  graduated  in  June  of 
1936.  Before  graduation  I  cast  him  in 
'Yellow  Jack.'  A  small  role,  nothing  im- 
pressive. He  was  seen  by  the  Warners 
casting  director  and  rushed,  without  a 
test,  into  'Kid  Galahad'." 

Pasadena's  roll-call  is  bright  with  other 
stars!  Tyrone  Power,  Helen  Mack, 
Michael  Whalen,  Akim  Tamiroff,  who 
then  played  comedy,  and  Mischa  Auer, 
who  then  played  serious  drama. 

Even  the  immortal  Paul  Muni  found 
Pasadena  Playhouse  a  haven.  He  was 
brought  out  from  New  York  to  play  Lon 
Chaney  roles  and  was  buried  in  the  goo 
of  make-up  instead  of  being  given  a 
chance  to  act.  He  finally  quit  the  old  Fox 
company,  went  to  Pasadena,  appeared  in 
"The  Man  Saul,"  then  went  on  to  Broad- 
way, greater  success — and  returned  to 
Hollywood  in  triumph. 

Just  before  I  left  Gilmor  Brown,  I 
prodded  him  for  a  capsule  of  wisdom. 
He  stood  immersed  in  thought,  then  said, 
"Well,  just  this.  I  want  to  break  the 
illusion  that  all  the  names  I've  mentioned 
got  some  place  by  luck  or  by  good  breaks. 
They  got  to  the  top  by  work,  the  kind 
of  work  you  do  in  a  construction  gang  or 
in  a  laboratory  or  on  your  feet  in  a  store. 
That's  how  actors  are  shaped,  and  let 
every  beginner  remember  that!" 


84 


MODERN  SCREEN 


The  next  stop  was  the  Bliss-Hayden 
Miniature  Theatre,  situated  off  fabulous 
Wilshire  Boulevard.  Located  behind  a 
store,  drab  as  to  exterior,  seven  years  of 
longevity  behind  it,  it  was  founded  by 
stately  Lela  Bliss  and  her  pipe-puffing, 
myopic,  chubby  husband,  Harry  Hayden. 

In  their  miniature  theatre  they  instruct 
and  display  forty  students,  two-thirds  of 
them  girls.  These  students  pay  $35  a 
month — and  to  enter  they  must  be  over 
sixteen  years  of  age  and  serious  about 
their  work. 

Should  you  happen  to  sign  to  work 
with  Miss  Bliss  and  Mr.  Hayden,  you  will 
be  expected  to  rehearse  four  weeks  for 
your  first  part,  maybe  a  mere  walk-on. 
You  will  rehearse  once  in  the  morning, 
once  in  the  evening.  You  will  no  doubt 
have  the  faults  Harry  Hayden  finds  in 
most  greenhorns — inability  to  project 
your  voice  and  inability  to  sustain  a  defi- 
nite characterization.  After  six  weeks 
you  won't  know  yourself,  they  say. 

Lucille  Fairbanks,  niece  of  the  late 
Doug,  enacted  a  society  girl  as  her  first 
character  at  Bliss-Hayden.  It  was  a  weak 
role.  She  was  a  strong  actress.  Warner 
Brothers  took  her  in  tow.  Marilyn  Mer- 
rick, after  appearing  in  two  plays,  was 
sitting  in  the  audience  one  night  watch- 
ing her  understudy  when  Solly  Baiano  of 
Warners  edged  over  to  her  and  whispered 
the  open  sesame,  "Would  you  like  a 
screen  test?" 

Others  hatched  by  Bliss-Hayden  were 
Jean  Muir,  Jon  Hall,  Fay  Holden,  and 
Ann  Gwynn,  who  was  spotted  by  Uni- 
versal during  her  fourth  play. 

To  those  with  a  desire  to  emulate  the 
happy  discoveries,  Harry  Hayden  offered 
this  tidbit:  "You  can  improve  yourself 
at  home,  before  coming  to  this  town. 
Spend  a  half-hour  a  day  reading  aloud. 
Not  straight  prose,  but  dialogue — Shake- 


speare, when  possible.  The  main  trouble 
with  beginners,  I  think,  is  that  they  speak 
with  their  mouths  half  closed.  Their 
speech  is  reduced  to  incoherent  mum- 
blings. I'd  advise  beginners  to  take  a 
large  cork,  hold  it  between  their  teeth, 
and  read  an  entire  part  from  a  play 
aloud.  This  rounds  tones,  develops  the 
voice,  lowers  the  pitch.  Fifteen  minutes 
a  day  of  this,  plenty  of  ambition  inside, 
and  then  come  to  us!" 

NEXT  we  visited  the  Ben  Bard  Play- 
house, blue,  white  and  beautifully 
modernistic,  outside   and  in. 

The  owner  and  director  is  Ben  Bard 
himself,  dark-haired,  middle-aged  hus- 
band of  the  late  Ruth  Roland. 

It  costs  $50  a  month  to  benefit  from 
Bard's  vast  experience.  If  you  show  no 
talent  or  drive,  Bard  reserves  the  privi- 
lege of  sacking  you  after  a  month.  He 
will  not  put  you  in  any  play  for  three 
months.  He  will  work  you,  aided  by  his 
staff,  from  10:30  every  morning  to  3:30 
every  afternoon,  with  many  night  re- 
hearsals. 

Self-educated,  Ben  Bard  spent  six  years 
in  films  before  he  took  over  a  store 
front,  converted  it  into  a  theatre  and 
taught  his  first  pupils — among  them  two 
little  kids  named  Shirley  Temple  and 
Jane  Withers. 

More  recently  Bard  has  developed  some 
of  the  finest  finds  in  the  business.  At  the 


Don't  miss  the  complete  story  of 

MARLENE  DIETRICH'S 

newest  screen  hit  in  the 
November  MODERN  SCREEN 


drop  of  a  script,  he  will  recall  his  best  bets. 

"John  Archer,  for  example.  His  real 
name  was  Ralph  Bowman.  One  after- 
noon I  went  into  MacDonald's  Restaurant 
for  lunch.  He  was  working  there,  trot- 
ting food.  He  looked  like  something,  so 
I  asked  him  to  drop  over  to  the  Play- 
house. He  did.  I  coached  him  like  a 
demon,  got  him  into  the  'Gateway  To 
Hollywood'  contest,  which  he  won.  You've 
seen  him  in  many  RKO  pictures  since." 

Ben  Bard  gave  the  facts  in  the  case 
of  Bill  Orr.  "He  was  a  case,  too,  take  it 
from  me.  Very  shy,  too  bashful  to  get 
up  in  front  of  a  class  and  read  aloud,  but 
excellent  at  imitations.  He  worked  them 
up  for  one  of  our  talent  scout  revues, 
was  hired  for  that  stage  hit,  'Meet  the 
People,'  and  M-G-M  cast  him  as  Bob 
Stack's  brother  in  'The  Mortal  Storm.' 

"Another  tough  one  was  Jack  Carson, 
soon  to  appear  with  Ronald  Colman  and 
Ginger  Rogers  at  RKO.  He  used  to  be  a 
hick  town  vaudeville  comedian — had  a 
Chaplin  walk,  jerky  gestures,  the  usual 
double-talk  style.  He  would  get  these 
mannerisms  into  all  his  characterizations. 
In  a  year  I  broke  him  of  these  habits — 
and  the  scouts  mobbed  him. 

"Sure  you  can  be  discovered,  but  it 
takes  talent  and  time.  A  physician  slaves 
eight  years  and  a  lawyer  six.  It's  the 
same  with  actors.  They've  got  to  learn 
their  profession  right  on  the  legitimate 
stage.  That  overnight  ride  to  fame  can't 
be  depended  upon." 

There  you  are.  Five  representative  Little 
Theatres.  They  may  make  you,  or  they 
may  break  you,  because  the  stage  is  tough 
and  cruel.  You'll  know  when  you've  at 
last  become  a  real  actor  or  actress.  It'll 
be  this  way,  the  way  Ben  Bard  puts  it: 
"You'll  really  be  an  actress,  mam,  when 
you  can  tear  someone  else's  heart  out  and 
still  not  tear  out  your  own!" 


14/Aerewr 


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HURRY  I  HURRY  I  SEE  THE  N.Y.  WORLD'S  FAIR 

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drive  near  the  lovely  Mohawk  Valley  of  New 
York,  stop  at  Canajoharie  and  see  how  Beech- 
Nut  products  are  made. 


OCTOBER,  1940 


85 


5  FEATURES  YOU  GET  IN 


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WHY  GIRLS  CAN'T  RESIST  HIM 

(Continued  from  page  37) 


Appearing  at  the  same  spot  at  the  same 
time,  they  couldn't  help  knowing  each 
other.  Bing  thought  she  had  a  future. 
He  went  out  of  his  way  to  tell  her  so. 
Something  about  the  guy  convinced  her 
that  he  meant  it.  That  was  enough  to 
make  her  think  of  him  as  a  friend.  Be- 
fore she  knew  it,  she  was  telling  him  her 
ambitions.  And  the  fact  that  she  con- 
fided in  him  seemed  to  make  Bing  think 
of  her  as  a  friend. 

'Anyway,  after  a  while  she  came  to 
Hollywood.  A  few  months  later,  Bing 
came  out.  She  called  him  up  to  wish 
him  luck.  He  said,  'I'm  giving  a  little 
party  and  I  want  you  to  come  and  bring 
your  boy  friend.'  Five  seconds  after  he 
heard  my  name,  he  was  calling  me 
Johnny.  In  self-defense,  I  had  to  call 
him  Bing.  Anybody  would  have  thought 
we  had  known  each  other  for  years. 
Somehow,  we  got  to  kidding  about  golf. 
One  of  us  suggested  a  game.  And — well, 
we've  been  friends  ever  since. 

"Maybe  I'll  go  off  to  New  York  to  do  a 
play  and  won't  see  him  for  months.  And 
maybe,  when  I  get  back,  I'll  see  him  only 
casually.  But  he  doesn't  change  in  the 
meantime.  If  you're  his  friend  today, 
you're  still  his  friend  the  next  time  he 
sees  you,  whenever  that  may  be. 

I DON'T  know  what  it  takes  to  be  a 
friend  of  Bing's,"  he  said.  "I've  never 
thought  about  it.  I  know  fellows  who 
have  been  trying  to  get  close  to  him  for 
years — fellows  he  sees  every  day  at  Lake- 
side. You  can  see  him  freeze  every  time 
they  say,  'Hiya,  Bing.'  If  he  doesn't  like 
you,  he  just  doesn't  like  you.  And,  with 
that  open  face  of  his,  he  can't  keep  from 
showing  it. 

"These  fellows  are  in  the  same  racket 
he's  in — movies.  They  play  the  same 
game  he  plays— golf.  That  gives  them 
two  big  interests  in  common,  but  Bing 
just  doesn't  want  anything  to  do  with 
them.  Yet  he'll  make  a  buddy  out  of 
some  dirty-faced  little  caddy  with  patches 
on  the  seat  of  his  pants. 

"As  near  as  I  can  figure  it  out,  he  has 
the  caddy  pegged  as  a  kid  with  the  right 
stuff  inside  and  these  other  fellows 
pegged  as  four-flushers.  They  talk  too 
loud  and  too  much. 

"Maybe  he  was  a  sucker  sometime  or 
other  for  some  high-pressure  salesman 
who  failed  to  deliver.  Or  maybe  he  was 
double-crossed  somewhere  along  the  line 
by  some  blowhard  he  trusted.  Or  maybe 
he  just  has  a  strong  instinct  for  sincerity. 
I  don't  know.  All  I  know  is  that  he  can 
spot  phonies  a  mile  away.  And,  if  possi- 
ble, he'll  keep  them  a  mile  away. 

"He's  a  pretty  average  guy,  himself, 
and  I've  noticed  he  likes  to  be  around 
average  people,  whether  they're  bankers 
from  Wall  Street  or  down-and-outers 
from  Skid  Row.  He  doesn't  seem  to  care 
what  else  a  man  is,  if  he's  a  down-to- 
earth  human  being." 

To  an  outsider,  it  might  look  like  smart 
business  on  Bing's  part  to  keep  in  touch 
with  the  common  people.  After  all,  he 
usually  plays  one  of  them. 

"It's  not  a  matter  of  smartness,"  John 
assured  us.  "It's  a  matter  of  taste.  Bing 
did  a  lot  of  scratching  around  before  he 
struck  pay  dirt.  All  those  years,  people 
didn't  like  him  for  what  he  had,  because 
he  didn't  have  anything;  if  they  liked 
him,  they  had  to  like  him  for  what  he 
was.  He  wanted  other  people  to  find 
things  to  like  in  him,  so  he  got  in  the 
habit  of  looking  for  things  to  like  in  other 
people.    That's  an  easy  habit  to  break,  I 


hear  tell,  when  everybody  starts  telling 
you  how  wonderful  you  are.  But  Bing 
hasn't  lost  it. 

"For  one  thing,  he  doesn't  believe  all 
the  flattery  he  hears.  I  happen  to  know 
that  he  still  carries  around  an  old  worn 
clipping,  a  review  of  another  star's  pic- 
ture, with  this  part  underlined:  So-and- 
so  'has  a  marvelous  voice,  but  can't  act 
as  well  as  Bing  Crosby,  who  can't  act  at 
all.'  For  another  thing,  he  doesn't  be- 
lieve that  important  people  are  the  only 
people  worth  knowing.  He  gets  a  kick 
out  of  proving  it.  He's  forever  finding 
characters,  God  knows  where. 

"Like  the  General,  for  instance.  Did 
you  ever  hear  about  the  General?  One 
week-end  Larry,  Bing's  brother,  went 
down  to  the  ranch  at  Del  Mar.  It  gets 
black  dark  down  there  at  night.  This 
particular  night,  about  nine  o'clock,  Larry 
stepped  out  to  the  kitchen  for  a  glass  of 
water.  There  was  a  knock  on  the  kitchen 
door.  Larry  opened  it.  Out  there  in  the 
darkness  stood  this  grizzled  old  char- 
acter with  a  gun  in  his  hands.  He  said, 
T  want  to  see  Bing.'  Larry  said,  'Er — 
who  wants  to  see  him?'  The  old  codger 
said,  'Just  say  the  General.'  Larry  thought 
he  had  a  crazy  hill-billy  on  his  hands. 
He  said,  'Er — wait  here.'  He  shut  the 
door  and  jittered  into  the  living-room. 

"  'We'd  better  locate  the  guard,'  he 
warned  everybody.  'There's  an  old  guy 
outside  with  a  gun.'  He  tapped  his  head 
meaningly.  'Says  he  wants  to  see  you, 
Bing.'  Bing  asked,  reasonably  enough, 
'Did  he  say  who  he  was?'  Larry  said, 
'Yeah.  Said  he  was  the  General.'  Bing 
laughed.  'Well,  bring  him  in.  He's  a 
friend  of  mine.' 

"How  Bing  met  him  or  where,  Heaven 
only  knows.  He  was  an  old  soldier  who 
had  a  little  farm  somewhere  up  in  the 
hills,  where  he  spent  most  of  his  time 
hunting.  Anyway,  Bing  liked  the  old 
guy,  and  the  old  guy  liked  Bing.  And  it 
seems  they  had  a  date  to  go  'coon  hunt- 
ing the  first  night  the  hunting  looked 
ripe.  The  General  said  this  looked  like 
the  night.  So  what  did  Bing  do?  He 
passed  up  the  little  party  that  was  just 
getting  started  to  go  'coon  hunting  with 
the  General. 

JUST  to  show  you  how  Bing  gets 
around,  the  last  time  he  and  Dixie 
went  east,  they  were  house  guests  of  a 
millionaire  polo  player,  who's  also  an 
interesting  guy." 

John  wanted  to  straighten  out  one 
thing. 

"He  gets  along  all  right  with  women, 
but's  he's  a  man's  man.  He  played  with 
one  female  once  who  thought  he  should 
also  be  a  ladies'  man.  She  went  on  the 
make  for  him.  And  Bing  thought  it  was 
a  gag! 

"She  didn't  seem  to  get  anywhere  as 
long  as  they  worked  at  the  studio.  But 
then  the  company  went  on  location  to  a 
small  town  up  the  Coast.  They  put  up  at 
a  small  hotel.  All  the  rooms  were  on  the 
second  floor,  looking  out  on  a  balcony 
that  went  across  the  front  of  the  build- 
ing. One  night,  after  they  had  gone  to 
their  rooms,  Bing  looked  up,  to  see  her 
coming  through  one  of  his  windows.  With 
that,  he  went  out  the  other. 

"Last  year,  Bing  and  I  went  up  to  Del 
Monte  for  a  golf  tournament.  On  the  way 
up,  we  got  to  talking  about  an  actor 
whose  wife  was  soon  bound  to  discover 
that  he  was  cheating.  'Thank  God,  I 
don't  have  any  of  those  worries,'  said 
Bing.   'I  don't  have  to  be  afraid  some  girl 


86 


MODERN  SCREEN 


will  caTT  up  the  house  and  get  Dixie  by 
mistake.' 

"He  has  his  own  way  for  handling 
temperamental  women.  I  remember  one 
little  spitfire  he  played  with.  She'd  throw 
a  fit  every  few  days.  And  Bing  would 
say,  'When  you  get  her  straightened  out, 
let  me  know.  I'll  be  out  at  Lakeside.' 
He  doesn't  let  people  bother  him.  He 
doesn't  let  anything  bother  him.  He's 
easygoing.  He  could  have  been  just  as 
happy  as  a  tramp  as  he  is  as  a  movie 
star." 

John  grinned  persuasively. 

"If  you're  going  to  be  around  Bing,  you 
want  to  have  your  sense  of  humor  in 
working  order,  because  he's  always  try- 
ing to  get  a  rise  out  of  people.  A  certain 
banker  who  was  due  out  from  New  York 
a  while  back  found  that  out. 

THERE  was  going  to  be  a  tournament 
at  Lakeside,  with  amateurs  teaming 
up  with  pros,  and  the  banker  wanted  to 
get  in  it.  Bing  said,  "I'll  team  you  up  with 
somebody  good.'  When  the  banker  ar- 
rived, he  said,  'Well,  who's  going  to  be 
my  partner?'  Bing  answered,  'Lew  Ga- 
daro.'  The  banker  had  never  heard  of 
him.  'Why,  he's  the  pro  at  the  Hard- 
scrabble  Country  Club,  just  outside  Phila- 
delphia,' said  Bing.  The  banker  thought 
he  knew  all  the  clubs  around  Philadel- 
phia, but  he'd  never  heard  of  that  one. 
Bing  said,  'Why,  it's  famous.  And  Ga- 
daro's  famous.  A  great  golfer.  Of  course, 
he's  a  little  eccentric,  but  that's  because 
he's  deaf.  You'll  have  to  yell  to  make 
him  hear.' 

"The  banker  began  to  look  worried.  'Oh, 
yes,  and  he's  an  insurance  salesman  on 
the  side,'  Bing  added.  'He'll  probably  be 
trying  to  sell  you  insurance.  But  he's  a 
great  golfer.'  The  banker  was  speechless 
with  dismay.  'He's  a  mountain  boy,'  Bing 
went  on  blithely,  'so  don't  be  surprised 
if  he  takes  off  his  shoes  and  goes  bare- 
footed, if  he  has  to  work  hard  to  win.' 
About  that  time  the  banker  exploded. 
Bing  could  count  him  out  of  the  tourna- 
ment. 'That's  too  bad,'  said  Bing,  'be- 
cause I've  really  got  you  paired  with  Sam 
Snead.'    He  had  dreamed  up  'Lew  Ga- 


daro'  as  a  gag.  The  banker's  still  laugh- 
ing at  the  way  he  fell  for  the  gag. 

"Bing  goes  for  people  who  can  laugh 
at  themselves.  Everybody  does.  And 
between  you  and  me,  that's  one  reason 
why  everybody  goes  for  Bing. 

"People  rave  about  his  voice,  and  he 
pokes  fun  at  it.  They  can't  help  liking  a 
success  who's  that  modest.  The  funny 
thing  is  that  he  honestly  doesn't  take  his 
voice  seriously.  I've  seen  proof.  I've 
been  with  him  during  recordings,  and  I've 
seen  him  smoke  a  big  cigar  between 
songs. 

"He  cracks  about  his  being  a  movie 
star  and  this  tickles  people.  He's  not 
only  a  star,  he's  near  the  top  of  the  heap, 
but  you'd  never  know  it  to  see  him  on  a 
set.  Two  years  ago,  Paramount  gave  him 
a  fancy  portable  dressing-room.  A  while 
back,  a  character  actress  started  scream- 
ing that  it  was  an  outrage  that  she  didn't 
have  a  portable  dressing-room;  every  im- 
portant player  was  entitled  to  one.  'Take 
mine,'  said  Bing.  'I  never  use  it.'  He 
hadn't  even  been  inside  the  thing  after 
two  years.  A  camp  chair's  good  enough 
for  him,  between  scenes. 

"People  can't  help  going  for  a  guy  who 
is  a  success,  but  who  hasn't  let  it  go  to  his 
head  because  he's  so  busy  thinking  of 
other  things.  All  of  us  have  asked  our- 
selves what  we'd  do  if  we  ever  had 
money,  and  we've  said,  'We'd  enjoy  life.' 
Well,  here's  a  guy  who  has  followed 
through  on  that.  He  does  the  kind  of  work 
he  likes,  plays  the  kind  of  games  he  likes, 
pals  around  with  the  kind  of  people  he 
likes.  He  lives  in  the  kind  of  house 
he  likes  and  has  the  kind  of  wife  he 
always  dreamed  about  with  four  kids  of 
the  kind  he  always  hoped  to  have.  No- 
body knows  anybody  who  gets  as  much 
out  of  life  as  Bing  does.  That's  his  big 
attraction." 

Was  John  trying  to  tell  us  that  a  wife 
and  four  children  fitted  into  the  explana- 
tion of  Bing's  appeal  to  women? 

"Yes,"  John  said.  "Women  like  to  see 
a  man  who's  frankly  sold  on  matrimony. 
He's  an  encouragement  to  other  men. 
Especially  when  he's  a  man's  man — one 
hundred  percent  masculine." 


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today.    Sold  at  all  stores.  


GET  YOUR  BODY  OUT  OF 

TUC  nilMDC  Stimulate  Digestion 
I  ML,  UUIYIrO  Build  up  Vitality 

Feel  down  in  the  dumps?  Lack  your  old  PEP? 
Have  frequent  slight  digestive  upsets?  Then — if 
there  is  nothing  organically  wrong  with  you  — 
SLUGGISH  DIGESTION  may  have  you  down.  It 
can  give  you  heartburn,  gas,  a  dizzy  head. 

Don't  resort  to  harsh  laxatives  or  drugs  for  slug- 
gish digestion.  START  those  slow  DIGESTIVE 
JUICES  FLOWING  FASTER.  Set  the  millions  of 
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In  test  cases  digestion  was  greatly  increased.  Eat 
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DR.  C.  H.  BERRY'S  FRECKLE 
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BABY  COMING? 


In  "When  the  Daltons  Rode,"  Brod  Crawford  and  Randolph  Scott  are  arch 
rivals  for  Kay  Francis'  affections.     It  all  seems  to  be  getting  them  down! 


Consult  your  doctor  regular- 
ly. Diet  and  exercise  should 
be  regulated  from  the  earli- 
est days  of  pregnancy.  Your 
doctor's  constant  advice  on 
the  right  foods  and  amount 
can  control  your  weight  and 
keep  the  baby  the  right  size 
to  facilitate  birth.  Above  all, 
ask  a  doctor's  advice  on 
feeding  infant. 

SAFER  because 
easier  to  clean! 


HYGEIA 

NURSING  BOTTLE  AND  NIPPLE 


OCTOBER,  1940 


87 


Information,  Pleats! 

names  this  Classic 
Frock  with  Four  Pock- 
ets for  Accent.  That 
Pompadour  is  New, 
Smart  and 
Anchored  with 


THE  LETTER 

(Continued  from  page  48) 


Almost  Everybody  Asks  for  De  LONG 


BACKACHE, 
LEG  PAINS  MAY 
BE  DANGER  SIGN 

Of  Tired  Kidneys 

If  backache  and  leg  pains  are  making  you  miser- 
able, don't  just  complain  and  do  nothing  about  them. 
Nature  may  be  warning  you  that  your  kidneys  need 
attention. 

The  kidneys  are  Nature's  chief  way  of  taking  excess 
acids  and  poisonous  waste  out  of  the  blood.  They  help 
most  people  pass  about  3  pints  a  day. 

If  the  15  miles  of  kidney  tubes  and  filters  don't 
work  well,  poisonous  waste  matter  stays  in  the  blood. 
These  poisons  may  start  nagging  backaches,  rheu- 
matic pains,  leg  pains,  loss  of  pep  and  energy,  getting 
up  nights,  swelling,  puffiness  under  the  eyes,  head- 
aches and  dizziness.  Frequent  or  scanty  passages  with 
smarting  and  burning  sometimes  shows  there  is  some- 
thing wrong  with  your  kidneys  or  bladder. 

Don't  wait!  Ask  your  druggist  for  Doan's  Pills, 
used  successfully  by  millions  for  over  40  years.  They 
give  happy  relief  and  will  help  the  15  miles  of  kidney 
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weird,  native  music  began  to  come  from 
the  bunkhouse  again.  Deep  in  the 
shadows  where  they  could  not  see  him, 
stood  the  Head  Boy  and  beside  him  was 
a  woman.  In  the  eerie  light  of  that 
hour  that  separates  night  and  day,  her 
features  looked  Eurasian.  She  followed 
the  Head  Boy  to  where  Hammond  lay. 
As  she  gazed  down,  no  emotion  stirred 
her  mask-like  face.  But  in  her  eyes 
were  tears.  From  the  distance  came  the 
fading  sound  of  the  motor  on  its  way 
to  Singapore. 

As  Leslie's  lawyer,  Joyce  recognized 
one  possible  difficulty.  If  she  had  shot 
Hammond  only  once,  it  would  be  plain 
sailing,  but  all  six  chambers  of  the  gun 
had  been  emptied  into  him,  some  of  them 
evidently  after  he  had  fallen.  Though 
no  one  had  made  a  point  of  it,  this  was 
still  worrying  him  three  weeks  later  as 
he  sat  in  his  office  in  Singapore  and 
studied  the  case  of  "The  Crown  vs.  Leslie 
Crosbie,  Defendant."  Technically,  the 
charge  was  murder.  They  had  kept  Les- 
lie in  prison  and  she  was  taking  it  like  a 
thoroughbred. 

It  was  bewildered  Bob  who  was  a 
wreck  from  the  strain  of  it,  kind  old 
Bob — not  brilliant,  a  bit  on  the  stupid 
side  really,  but  Leslie's  loyal  husband  and 
his  own  good  friend.  He  kept  saying,  "She 
shot  him  as  she  would  a  mad  dog,"  and 
everyone  agreed  with  him.  They  all  felt 
there  was  no  question  but  that  Leslie 
would  be  acquitted.  Hammond's  real 
character  had  been  revealed  with  investi- 
gation. It  seemed  that  he  owned  a 
gambling  house  on  the  quiet  and  that 
the  Eurasian  woman  had  secretly  been 
his  wife.  Public  opinion  was  flatly  against 
Hammond. 

THERE  was  a  knock  at  the  office  door 
and  Joyce's  Cantonese  clerk,  Ong  Chi 
Seng,  came  in.  He  was  a  small,  trim, 
gleaming  fellow.  His  English  was  precise. 
The  night  before,  Ong  had  gone  with 
the  Crosbie  Head  Boy  to  a  room  above 
the  shop  of  one  Chung  Hi.  There,  Ham- 
mond's Eurasian  woman  had  shown  him 
a  letter  and  he  was  instantly  aware  of 
its  value.  Now  he  spoke  of  it  to  Howard 
Joyce. 

'A  friend  of  mine  has  brought  infor- 
mation, sir,  that  there  is  in  existence  a 
letter  from  the  defendant,  Mrs.  Crosbie, 
to  the  unfortunate  victim  of  the  tragedy, 
written  on  the  day  of  Mr.  Hammond's 
death." 

Joyce  was  startled.  He  knew  that  Ong 
was  no  fool,  but  he  pretended  to  be  un- 
perturbed. Ong  gave  him  a  hand-written 
copy  of  the  letter. 

"Robert  will  be  away  for  the  night. 
I  absolutely  must  see  you.     I  shall 
expect  you  at  eleven.  I  am  desperate 
and,  if  you  don't  come,  I  won't  an- 
swer for  the  consequences.  .  .  .  Don't 
drive  up.  Leslie.  .  .  ." 
"It  is  inconceivable  that  Mrs.  Crosbie 
should  have  written  such  a  letter,"  scoffed 
Joyce.    But  as  he  left  the  office  a  few 
minutes  later,  undoubtedly  for  the  prison 
and  a  conference  with  his  client,  the 


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wily  Ong  Chi  Seng  knew  he  had  made 
his  point. 

Leslie  came  into  the  visiting  room  and 
held  out  her  slim,  fine  hand  to  Joyce  as 
though  she  were  receiving  him  in  a  draw- 
ing room.  She  was  perfectly  groomed — 
not  a  hair  out  of  place.  Her  fragile  grace 
as  she  sat  on  the  rough  bench,  her  quiet 
voice,  every  detail  of  her  being,  seemed 
strange  in  these  surroundings,  made  the 
letter  unbelievable. 

To  speak  of  it  was  even  harder  than 
he  had  anticipated.  He  heard  her  say- 
ing cheerily,  "Only  five  more  days  now — 
then  I'll  be  home,"  and  he  pulled  himself 
up. 

"I  need  to  ask  a  few  more  questions," 
he  said.  "I  suppose  I'm  right  in  believing 
you  had  no  communication  with  Ham- 
mond for  several  weeks  before  the  catas- 
trophe?" 

"Oh  quite,"  she  answered. 

"And  you  hadn't  written  to  him?" 

"No." 

'At  one  time  you  and  Bob  and  he  were 
on  fairly  intimate  terms,"  he  went  on. 
"How  did  it  happen  you  stopped  asking 
him  to  your  house?" 

CHE  waited  a  moment,  then  spoke 
^  frankly.  "I  may  as  well  tell  you, 
Howard,  we  heard  about  his — his  wife. 
Once,  just  by  chance,  I  saw  her — " 

Joyce  watched  her  closely.  "I  think 
I  should  tell  you  that  there  exists  a  letter 
to  Geoff  Hammond  in  your  handwriting." 

"Oh,  I've  often  sent  him  little  notes  to 
invite  him  to  something  or  to  ask  him  to 
get  me  something  when  he  was  in  Singa- 
pore." 

"You'd  better  read  this  for  yourself," 
Joyce  showed  her  the  letter. 

She  scarcely  looked  at  it.  "That's  not 
my  handwriting,"  she  said. 

"It  is  said  to  be  an  exact  copy  of  one 
written  the  day  Hammond  died."  He 
made  her  read  it.  "If  the  original  were 
in  your  handwriting?" 

"It  would  be  a  forgery.  I  didn't  write 
it!  I  swear  I  didn't —  Anyhow,  it's  not 
dated.  It  might  have  been  written  years 
ago — "  Then  as  he  kept  looking  at  her, 
"Give  me  a  little  time — I'll  try  to  re- 
member— " 

"Leslie,"  he  said  and  his  voice  was 
grave,  "if  it  falls  into  the  hands  of  the 
Prosecution,  they  could  cross-examine 
your  houseboys  and  soon  find  out  if 
someone  took  a  letter  to  Hammond  on 
the  day  of  his  death."  As  she  didn't  an- 
swer, he  turned  as  though  to  go. 

Suddenly  she  cried  out.  "Wait,  Howard 
—wait  a  minute."  He  paused  and  she 
went  on,  "I  did  write  that  letter,  but  I 
was  afraid  to  mention  it.  I  thought  none 
of  you  would  believe  my  story  if  I  told 
you  he'd  come  at  my  invitation.  You 
see,"  she  gathered  speed  as  the  words 
tumbled  out,  "Robert  wanted  a  new  gun 
for  his  birthday.  I  wanted  to  surprise 
him  with  it  and  I  don't  know  about  guns. 
I  thought  I'd  get  Geoff  to  order  it  for 
me."  Her  eyes  were  begging  desperately 
for  belief. 

Joyce's  voice  sharpened.  "Leslie — until 
now  I  was  certain  of  your  acquittal.  But 
this  will  start  suspicion  in  the  mind  of 
the  Prosecution.  I  won't  say  what  entered 
my  mind  when  I  read  it.  It's  my  job  to 
defend,  not  convict  you  even  in  my  own 
mind.  But  if  the  jury  decides  you  killed 
Hammond  in  self-defense — Leslie,  don't 
tell  me  anything  except  what  is  needed 
to  save  your  neck!" 

Before  he  could  catch  her,  she 
crumpled  to  the  floor.    In  the  first-aid 


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room,  they  revived  her.  When  the  others 
were  gone,  she  sighed  and  looked  up  at 
Joyce.  "Are  you  going  to  let  me  be 
hanged?"  she  asked.  He  looked  at  her 
questioningly  and  she  added,  "You  could 
get  hold  of  that  letter.  If  they  brought  it 
to  you,  they  are  prepared  to  sell." 

Buying  that  letter  was  the  same  as 
suborning  a  witness.  It  would  finish  him 
if  he  were  known  to  do  such  a  thing. 
Yet  she  asked  it.  She  seemed  so  helpless 
and  she  was  the  wife  of  his  best  friend. 

"If  Robert  loses  his  trust  in  me,  he  loses 
everything,"  she  said. 

"I'll  do  what  I  can,"  Joyce  finally  told 
her.  He  would  have  to  advance  the 
money  and  collect  it  from  Bob  after  the 
trial.  Crosbie  was  a  witness  and  he  must 
go  on  the  stand  with  his  faith  in  her 
unshaken. 

Ong  Chi  Seng  demanded  $10,000  for  the 
letter.  He  had  discovered  by  devious 
ways  that  Mr.  Crosbie's  account  in  the 
Bank  of  the  British  Malaya  Company 
totaled  $10,450.  Bargaining  was  useless. 
There  was  also  one  other  condition.  The 
Eurasian  woman  insisted  the  money  must 
be  brought  to  her  at  Chung  Hi's  place  by 
Mrs.  Crosbie — no  one  else. 

"Great  heavens,  man,"  cried  Joyce,  "do 
you  think  she  can  walk  out  of  prison 
whenever  she  likes?" 

Ong  had  thought  that  out,  too.  "I 
shouldn't  be  surprised  if  she  had  been 
taken  ill  this  morning,"  he  replied  easily. 
"Perhaps  on  the  plea  of  ill  health,  the 
Judge  will  permit  her  to  stay  at  your 
house  until  the  trial,  if  you  are  responsible 
for  her,  sir."  As  usual,  Ong  was  right. 

The  night  before  the  trial  found  Leslie 
a  guest  in  Joyce's  home.  He  watched  her 
as  she  sat  on  the  garden  terrace  working 
peacefully  at  her  lace  in  the  light  of  an 
overhead  lantern.  He  had  come  to  realize 
that  this  lace-work  was  like  an  opiate  to 
her  in  moments  of  tension.  Crosbie  gazed 
adoringly  at  his  wife,  and  Dorothy  Joyce 
was  light-heartedly  planning  a  party  to 
be  given  in  Leslie's  honor  after  the 
verdict. 

JOYCE  reflected  ironically  that  some- 
how he  and  Leslie  had  to  get  away 
from  the  two  innocents  and  meet  the 
Eurasian  woman  at  Chung  Hi's  that 
night — or  there  would  be  no  party.  His 
manner  had  been  casual  when  he  had 
mentioned  the  letter  to  Crosbie.  With- 
out revealing  its  true  contents,  but  stat- 
ing simply  that  it  might  be  awkward  in 
wrong  hands,  he  adroitly  got  Bob  to  say, 
"Do  as  you  think  best  and  put  in 
your  charges."  Now,  grateful  for  Bob's 
docile,  stupid  goodness,  Joyce  sent  him 
and  Dorothy  to  a  cinema,  telling  them  it 
might  help  pass  the  time  while  he  and 
Leslie  went  over  preliminaries  to  her 
morning  in  court. 

As  soon  as  they  had  gone,  Leslie  and 
Joyce  went  down  a  dark  garden  path  to 
where  Ong  Chi  Seng  was  waiting.  He 
took  them  through  dim,  narrow  streets 
until  they  paused  before  the  shop  of 
Chung  Hi.  As  they  waited  for  Ong  to 
reconnoitre,  Joyce  and  Leslie,  looking  in 
his  window,  were  idly  interested  in  the 
carving  on  the  ivory  handles  of  two  little 
knives.  "Imagine  all  that  on  a  knife!" 
exclaimed  Leslie. 

"He  who  kills  with  an  unworthy  tool 
commits  two  crimes — one  against  him- 
self," said  Ong's  voice  suddenly  at  their 
shoulders.  But  he  was  smiling  so  im- 
personally that  he  seemed  merely  to  have 
spoken  an  old  adage  with  no  ominous 
intent.    "My  friend  is  ready,"  he  added. 

Up  steep,  dark  stairs  they  went  into  the 
dingy  room  of  Chung  Hi,  who  received 
them  with  polite  ceremony. 

Joyce  spoke  abruptly,  "Have  you  the 
letter?" 

"Woman  have  got,"  said  Chung  Hi,  and 


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89 


when  it  was  clear  these  people  would  not 
allow  the  proper  Chinese  politenesses 
before  business,  he  sent  for  her. 

Suddenly  the  Eurasian  woman  stepped 
noiselessly  through  the  doorway.  She 
was  dressed  in  Oriental  style.  On  her 
arms  were  heavy  gold  bangles,  around 
her  neck  a  heavy  gold  chain,  and  there 
were  gold  pins  in  her  hair.  But  these 
were  forgotten  when  one  saw  the  face. 
Only  her  eyes  had  expression,  eyes  that 
shot  daggers  of  hate  and  contempt  at  the 
white  woman.  While  Joyce  gave  her  the 
money  and  Ong  translated  to  her  the 
request  for  the  letter,  she  kept  that  un- 
wavering stare  on  Leslie  and  said,  "Tell 
her  to  stand  up."  Then,  "Tell  her  to  walk 
over  here." 

Standing  very  straight,  Leslie  walked 
slowly  to  the  Eurasian  woman.  The 
woman  took  the  letter  out  of  a  pocket  in 
her  tunic,  then  tossed  it  to  the  floor  at  her 
feet.  She  would  make  this  white  woman 
bow  before  her.  Leslie  looked  at  her  with 
the  faintest  trace  of  a  smile,  then,  with  a 
deliberate  and  graceful  motion,  she 
stooped  and  picked  up  the  letter. 

"Thank  you,"  said  Leslie,  and  her  man- 
ner lessened  the  other's  triumph. 

The  Eurasian's  hate  followed  her  as  she 
and  Joyce  went  out. 

IN  the  crowded  court  room,  though 
beads  of  perspiration  were  on  his  fore- 
head and  it  seemed  to  him  that  one  word 
would  not  follow  the  other,  Joyce  held  his 
voice  firm  as  he  made  his  plea  to  the 
jury.  In  the  small  room  where  they  went 
to  await  the  verdict,  Leslie's  fingers  wove 
the  delicate  spider-web  of  her  lace  and 
she  quieted  Bob,  who  was  nervous.  When 
they  were  recalled  to  the  court  room, 
Joyce  saw  the  Eurasian  woman  and  the 
Crosbie  Head  Boy  at  the  back  of  it. 
Leslie  rose  and  faced  the  jury. 
"We  find  the  defendant — not  guilty," 
pronounced  the  foreman. 

There  was  scarcely  a  change  in  her, 
only  a  slight  relaxing  through  the  body. 
The  crowd  rushed  to  congratulate  her. 
In  the  eyes  of  the  Eurasian  there  was 
sardonic  amusement. 

Back  in  Joyce's  garden,  Bob  Crosbie 
could  not  taste  the  cocktail  he  drank.  All 
he  could  know  for  the  moment,  all  he 
could  feel,  was  "Leslie's  safe,  Leslie's 
safe."  Then,  when  he'd  got  his  bearings, 
he  told  Leslie  and  Joyce  what  he  had 
been  planning.  "We  can't  live  at  the 
old  place  again.  We've  gone  through  too 
much  there,"  he  said.  He  had  found  a 
plantation  in  Sumatra.  A  man  in  financial 
trouble  had  agreed  to  sell  it  to  him  at  a 
great  bargain — $30,000  if  he  got  the  money 
tomorrow. 

"I've  got  ten  thousand  in  the  bank,"  he 
exulted,  "and  Charlie  Meadows  will  let 
me  have  the  balance  on  a  mortgage." 

Joyce  and  Leslie  exchanged  glances. 
Ten  thousand  in  the  bank?  It  was  what 
he  owed  Joyce  for  the  letter,  only  Bob 
didn't  realize  that.  Crosbie  began  getting 
out  blueprints,  chattering  happily  of 
details. 

At  last  Howard  Joyce  broke  in  on  him. 
"I  hate  to  throw  cold  water  on  your  plans 
but — "  Somehow  he  got  it  out — the  fact 
that  he  had  had  to  pay  ten  thousand  for 
the  letter. 

"You  must  have  been  mad!"  Crosbie 
exclaimed.  "Ten  thousand — why,  that's 
all  I  have  in  the  world!"  After  a  while  he 
began  to  see  it  was  absolutely  necessary. 
"But  what  was  in  it?"  he  demanded.  "At 
the  time,  you  said  only  that  Leslie  had 
requested  him  to  get  something  for  me 
and — " 

"I  wanted  to  get  you  a  new  gun,"  she 
said.   "I  wanted  Geoff  to  help  me." 

For  the  first  time,  his  voice  became 
hard.  "I  was  buying  a  gun  myself.  You 
knew  that."  Then  he  demanded  the  letter. 


"If  I've  got  to  pay  that  much  for  it,  I'm 
going  to  see  it,"  he  shouted,  his  temper 
shaking  him  with  emotion. 

Joyce  gave  it  to  him.  He  read  it. 
"What — does  it — mean?"  he  asked  in  a 
whisper. 

Leslie's  voice  was  flat.  "It  means  that 
I  was  in  love  with  Geoff  Hammond,"  she 
said,  and  then  she  told  him  all  of  it.  "We 
met  constantly.  Oh — I  hated  myself  for  it 
and  yet  I  wasn't  happy  except  when  I  was 
with  him.  Then  a  time  came  when  he 
began  to  change  toward  me.  I  was 
frantic.  I  heard  about  that — that  woman. 
I  wouldn't  believe  it.  I  couldn't — until 
at  last  I  saw  her.  I  sent  for  him.  That 
was  the  one  letter  he  didn't  take  care 
to  destroy.  I  don't  know  what  I  said. 
At  last,  he  turned  on  me.  He  said  she 
was  the  only  one  who  meant  anything  to 
him.  I  was  beside  myself.  I  grabbed  the 


Cute  Jane  Wyman  even  has  her  pet 
mount  eating  out  of  her  hand.  Watch 
for  her  in  "Tugboat  Annie  Sails  Again." 


revolver.  I  fired.  When  I  saw  I'd  hit  him, 
I  ran  after  him  and  I  fired  again  and 
again  until  the  gun  was  empty."  She 
finished  bitterly.  "I've  no  excuse — I  don't 
deserve  to  live." 

There  was  a  moment  of  silence.  As  she 
had  spoken,  Crosbie  had  begun  to  sob — 
huge,  dry  sobs.  But  when  she  ended,  he 
managed  to  control  himself.  He  looked 
at  her  with  a  kind  of  pity.  "I'm  sorry, 
Leslie,"  he  said  and  turned  and  went  to 
the  house. 

"He's  going  to  forgive  you,"  said  Joyce. 

Leslie  and  Bob  had  the  same  room. 
Mechanically,  they  dressed  for  the  party. 
At  last  she  said,  "It's  no  use,  is  it?  We 
can't  go  on,  can  we?" 

He  said,  "If  you  love  a  person,  you  can 
forgive  anything.  But  Leslie,  can  you 
go  on?" 

At  first  she  said,  "Yes."  She  had 
wakened  from  a  horrible  nightmare.  She 
even  said  she  loved  him.  Then  suddenly 
she  cried  out,  "I  can't — I  can't!"  And  the 
truth  broke  through.  "With  all  my  heart, 
I  still  love  the  man  I  killed." 


Somehow,  Bob  Crosbie  gof  out  of  the 
room.  Perhaps  it  took  Leslie  a  little 
longer  to  finish  dressing  than  it  would 
have  otherwise,  but  she  was  composed 
again  as  she  turned  out  the  light  to  go 
downstairs.  Then,  as  the  moonlight  fell 
through  the  French  door  to  the  balcony 
that  overlooked  the  terrace,  she  was 
drawn  to  it.  Something  light  lying  on  the 
threshold  caught  her  eye.  Dread  ran 
through  her.  It  was  one  of  the  small 
ivory-handled  daggers  from  Chung  Hi's 
window.  She  knew  its  meaning.  Should 
she  pick  it  up  and  use  it?  It  seemed  to 
hold  a  strange  power  over  her.  Then  with 
sudden  determination,  she  pulled  herself 
free  of  the  thought.  She  turned  and 
walked  out  of  the  room  and  down  the 
short  flight  of  stairs  to  the  party  that  was 
being  given  in  her  honor. 

"I'm  sorry,  Dorothy,"  she  smiled.  "I 
took  rather  a  long  time  to  dress." 

They  surrounded  her,  saying  pleasant, 
admiring  things.  She  answered  them  all 
gently  and  beautifully,  a  modest  and 
lovely  woman.  It  was  while  she  was 
dancing  with  Mr.  Withers  that  her  nerves 
began  to  jump.  His  complimentary 
memories  were  almost  more  than  she 
could  stand.  She  was  alarmed,  too, 
because  of  Robert.  He  hadn't  left  the  bar 
since  he  had  come  downstairs.  Then  she 
saw  Dorothy  go  rushing  up  to  Joyce  and 
it  was  clear  they  were  trying  to  do 
something  about  him. 

Crosbie  was  not  merely  tight.  Some- 
thing more  than  that  had  disordered  his 
mind  and  set  his  tongue  to  spinning  the 
story  of  the  plantation  he  intended  to  buy 
tomorrow,  his  and  Leslie's  plans  to  go 
there  and  be  happy.  Nothing  could  dam 
the  flood  of  words  that  poured  out  the 
story  Crosbie  wanted  to  believe  and 
wanted  others  to  believe.  His  mind 
rehashed  the  terrible  truth  it  could  not 
endure.  "There'll  be  just  the  two  of  us," 
he  babbled.  "But  my — my  wife's  a  good 
sport.  Always  can  count  on  her.  We'll 
have  each  other.    That's  important." 

Leslie  could  stand  no  more.  Abruptly 
she  turned  and  left  the  room.  Crosbie 
just  talked  on.  People  grew  embarrassed. 
Joyce  asked  the  native  orchestra  to  play 
so  that  they  could  dance. 

LESLIE  rushed  upstairs  to  the  bed- 
room. Frantically  she  got  out  her 
lace  to  quiet  her  mind,  but  her  fingers 
twisted  it  and  ripped  the  thread.  She 
jumped  to  her  feet,  a  cry  tearing  at  her 
throat.  The  dagger  was  gone  from  over 
the  balcony  doorway!  She  ran  out  into 
the  night,  a  slim  wraith  with  pale  hair 
shining  in  the  moonlight.  She  ran  across 
the  terrace — down  the  path  through  the 
garden.  Tears  flowed  from  her  eyes  that 
were  wide  with  anguish.  She  ceased  to 
run.  She  stood  still  in  a  moment  of  un- 
bearable grief. 

Did  a  cloud  pass  over  the  moon  or  was 
it  only  the  cloud  that  passed  through  her 
soul  and  shadowed  her  face  with  fear? 
A  scarf  swiftly  thrown  over  her  head 
from  behind  muffled  her  scream.  A  man 
held  her  arms  pinned  to  her  body.  The 
Crosbie  Head  Boy  was  strong.  In  the 
hand  of  the  Eurasian  woman  who  stood 
beside  him,  was  the  dagger  that  had  dis- 
appeared from  the  doorway — a  beautiful 
and  not  "unworthy  tool,"  according  to  the 
belief  of  the  one  who  held  it  and  plunged 
it  into  soft  flesh. 

Once  again,  the  Crosbie  Head  Boy  saw 
a  woman  standing  in  the  moonlight  and 
her  shadow  lay  across  a  still  figure 
huddled  on  the  ground.  The  Eurasian 
woman  stood  proudly. 

Within  the  house,  the  dance  music  had 
stopped.  The  boys  of  the  orchestra  started 
singing  softly,  a  weird  tune  that  wound 
like  a  question  through  the  garden  and 
into  the  quiet  tropic  night. 


90 


Printed  in  the  U.  S.  A.  by  the  Art  Color  Printing  Company,  Dunellen,  N.  J. 


MODERN  SCREEN 


DURA-GLOSS 


Serenely  confident  of  their  startling  beauty,  your  fingernails 
blaze  with  the  gem-like  lustre  of  Dura-Gloss !  How  welcome  each 
casual  chance  to  highlight  all  their  loveliness!  For  Dura-Gloss  is 
new,  is  different!  —  created  deliberately  to  bring  new  longer-last- 
ing beauty  to  your  fingernails,  to  help  them  be  the  most  beau- 
tiful fingernails  in  the  world!  Switch  now,  with  millions  of 
other  fastidious  women,  to  this  exciting  new  nail  polish.  It's 
not  a  dollar,  as  you  might  expect  from  using  it.  No,  Dura-Gloss 
costs  only  a  tiny  dime !  In  20  shades  that  fashion  favors,  at  cos- 
metic counters  everywhere.  Buy,  enjoy  Dura-Gloss,  this  very  day! 

The  New  and  Better  Nail  Polish  by  LORR 


Look  for  the  life-like  fingernail 
bottle  cap  —  colored  with  the 
actual  polish!  No  guess-work: 
you  get  the  color  you  want! 


10* 


•  FASHION  BULLETIN  •" 

NEW  COLORS 

Red  Wine,  Pink  Lady,  True  Red 


Lorr  Laboratories 
Paterton,  N.  J. 

FOUNDED    BY  E.  T.  REYNOLDS 


%  Actual  color  photograph — BUI  Currin  chants  "Sold  American!" — and  another  lot  of  fine  golden  leaf  goes  to  Lucki 

Luckies'  finer  tobaccos 
mean  less  nicotine 


As  tobacco  experts  like  Bill  Currin 
will  tell  you,  Luckies  buy  the  finer  leaf. 
These  men  know  .  .  .  for  they  spend 
their  lives  buying,  selling  and  handling 
tobacco. 

Now  here's  what  this  means  to  you 
as  a  smoker ...  Luckies'  finer  tobaccos 
mean  less  nicotine.  The  more  you 
smoke,  the  more  you  want  a  cigarette 
of  proven  mildness.  So  remember  this 
fact:  for  two  years,  the  average  nico- 


QgarettES, 


tine  content  of  Luckies  has  been  12% 
less  than  the  average  of  the  four  other 
leading  brands* — less  than  any  one 
of  them. 

Luckies,  you  see,  analyze  tobacco 
before  buying  it.  So  our  buyers  can 
select  leaf  that  is  ripe  and  mellow,  yet 
milder — low  in  nicotine. 

Remember,  with  independent  to- 
bacco experts,  with  men  who  know 
tobacco  best — it's  Luckies  2  to  1. 


*  NICOTINE  CONTENT  OF  LEADING  BRANDS 

From  January  1938  through  June  1940 
Lucky  Strike  has  averaged 

9.46%  less  nicotine  than  Brand  A 
20.55%  less  nicotine  than  Brand  B 
15.55%  less  nicotine  than  Brand  C 

4.74%  less  nicotine  than  Brand  D 

For  this  period  Lucky  Strike  has  had  an  average 
nicotine  content  of  2.01  parts  per  hundred. 


With  men  who  know  tobacco  best— it's  LUCKIES  2  TO  1 


QTADPIKir;    MAPI  FNF    HI  FTP  If  14  •   IN    rOMDI  ETC    CTODV  CAD 


Mrs.  Charles  Carroll,  Jr. 

of  the  "Carrolls  of  Carrol Iton"  and  a  direct  descendant  of  Francis  Scott  Key 

"The  thing  I  like  best  about  Camels  is  their  taste 
—so  mild,  yet  so  full  of  flavor." 


ifiiiillWffifKflill 


A TRUE  AMERICAN,  young  Mrs. 
Carroll  has  a  great  pride  in  family 
heritage  and  a  warm  love  of  gracious  liv- 
ing. She  is  the  great-great-granddaughter 
of  the  author  of  "The  Star  Spangled 
Banner"  and  she  is  married  to  a  de- 
scendant of  Charles  Carroll  of  Carrollton, 
signer  of  the  Declaration  of  Independence. 

•  •  • 

A  cup  and  saucer  that  once  belonged  to 
that  illustrious  Carroll  ancestor  appear  in 
the  portrait.  Mrs.  Carroll,  as  usual,  is 
smiling  as  she  smokes.  "All  the  time  I'm 
smoking  a  Camel,"  she  says,  "I  enjoy  it 
thoroughly.  Camels  never  tire  my  taste." 

•  •  • 

At  "Homewood,"  the  small  family  estate 
near  Baltimore,  Maryland,  Mrs.  Carroll 
raises  dogs,  tries  her  hand  at  farming,  en- 
tertains with  outdoor  suppers.  She  says: 

•  •  • 

"When  I  entertain,  I  always  have  Camels 
handy.  They're  the  favorite  cigarette  of 
so  many  of  my  friends.  As  for  me— well, 
Camels  suit  me  down  to  the  ground.  A 
really  fine  cigarette  — milder,  cooler,  and 
with  much  more  flavor!" 

Copr.,1940,  R.  J.  Reynolds  Tob.  Co.,  Winston-Salem,  N.  C. 

In  recent  laboratory  tests,  Camels 
burned  25%  slower  than  the  average 
of  the  15  other  of  the  largest- 
selling  brands  tested  —  slower  than 
any  of  them.  That  means,  on  the 
average,  a  smoking  plus  equal  to 

5  EXTRA  SMOKES 
PER  PACK! 


"Those  Camel 'extras'  mean  a  lot  to  the  pleasure  of  smoking," 
says  Mrs.  Carroll.  Among  the  many  other  distinguished  women 
who  prefer  Camel  cigarettes: 

Mrs.  Nicholas  Biddle,  Philadelphia  •  Mrs.  Gail  Borden,  Chicago  •  Mrs.  Powell  Cabot, 
Boston  •  Mrs.  Thomas  M.  Carnegie,  Jr.,  Philadelphia  •  Mrs.  J.  Gardner  Coolidge  2nd, 
Boston  •  Mrs.  Anthony  J.  Drexel  3rd.  Philadelphia  •  Mrs.  Alexander  Cochrane  Forbes, 
New  York  •  Miss  Eleanor  Frothingham,  Boston  •  Miss  Polly  Peabody,  New  York  • 
Mrs.  Nicholas  Griffith  Penniman  III,  Baltimore  •  Mrs.  Rufus  Paine  Spalding  III, 
Pasadena  •  Mrs.  Louis  Swift,  Jr.,  Chicago  •  Mrs.  Oliver  DeGray  Vanderbilt  III, 
Cincinnati  •  Mrs.  Kiliaen  M.  Van  Rensselaer,  New  York 


THE  CIGARETTE  OF  COSTLIER  TOBACCOS 


Get  the  "extras"  with  slower-burning  Camels 


e?^^-C^#(ez/  sa^o-  "Why  not  Show  the  World  your 

'NEW-BORN-SKIN' 

-It  can  make  you  look  YOUNGER  and  LOVELIER!" 


Is  it  TRUE?  Is  some  of  your  skin  dying  away— today? 
Is  a  lovely  New-Born  Skin  really  crowding  forth  to 
take  its  place?  A  thousand  times  . . .  yes!  And  you 
can  make  your  New-Born  Skin  bring  you  new  love- 
liness . . .  with  the  help  of  my  4-Purpose  Face  Cream! 

It's  NOT  a  dream— not  a  hopeless  wish  never  to  be  ful- 
filled—but a  fact!  Underneath  your  older,  your  worn- 
out  skin  . . .  you  are  getting  a  younger  skin,  a  lovelier  skin, 
a  skin  just-about-to-be-born! 

Will  it  look  smooth  and  fresh?  Will  your  New-Born  Skin 
make  you  more  alluring?  The  answer,  says  Lady  Esther, 
lies  with  you.  With  you,  yes,  and  with  your  face  cream! 

If  you  remove  those  drab  and  lifeless  flakes  of  worn- 
out  skin  gently  and  soothingly— if  you  promptly  banish 
them  with  my  4-Purpose  Face  Cream— your  New-Born 
Skin  will  be  born  in  all  its  beauty ! 

Why  put  off  using  the  right  complexion  care— why  dull 
your  loveliness?  Smooth  away  that  veil  of  old  and  worn- 
out  skin  with  the  help  of  my  4-Purpose  Face  Cream !  See 
how  the  drab,  dried  flakes  of  lifeless  skin  are  whisked 
away!  My  cream  permeates  them,  softens  them,  loosens 
them.  It  helps  Nature  actually  refine  enlarging  pores  as 
well . . .  because  it  whisks  away  impurities,  dirt,  old  bits 
of  skin  from  pore  openings. 

It  leaves  your  skin  so  soft ...  so  delightfully  smooth- 
that  face  powder  clings  as  you  never  thought  it  could.  My 
cream  helps  you  look  lovelier . . .  yes,  gives  you  the  effect 
of  showing  gaily  to  the  world  your  New-Born  Skin ! 

Ask  Your  Doctor  About  Your  Face  Cream 

Ask  your  doctor,  and  all  the  better  if  he  is  a  specialist  on 
the  skin.  Ask  him  if  he  has  ever,  for  any  skin  condition, 
administered  vitamins  or  hormones  through  the  medium 
of  a  face  cream. 

Ask  him  if  every  word  Lady  Esther  says  isn't  true— that 
her  cream  removes  the  dirt,  impurities,  and  worn-out  skin 
beclouding  your  new  skin  about-to-be-born. 

Try  my  4-Purpose  Face  Cream  at  my  expense.  See  if  it 
doesn't  leave  your  skin  lovelier ...  smoother  looking  — if 
it  doesn't  show  your  New-Born  Skin ! 


+  P,nVE  AT  IAY  EXPENSE ■» 


'  1 


The  Miracle  of  Reborn  Skin 

Your  skin  is  constantly  wearing  out — 
drying — flaking  off  almost  invisibly.  But 
it  is  immediately  replaced  by  new-born 
skin — always  crowding  upward  and  out- 
ward. Lady  Esther  says  you  can  help 
make  each  rebirth  of  your  skin  a  true 
Rebirth  of  Beauty  I 


Lady  Esther, 

7110  West  65th  St.,  Chicago,  111.  (61) 
Please  send  me  your  generous  sample  tube  of 
Lady  Esther  Face  Cream;  also  nine  shades  of 
Face  Powder,  free  and  postpaid. 

Name  


Address. 
City  


-State- 


ly yoa  live  in  Canada,  write  Lady  Esther,  Toronto,  Ont.) 


NOVEMBER,  1940 


3 


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-2  I9W 


©C1B  471514 


/  ^ 


»-&0 


Although  we've  never  had  our  face 
lifted,  we  do  know  what  it's  like  to  feel 
young  all  of  a  sudden. 

★     ★     ★  ★ 
There  was  Mickey  Rooney  at  the  drums, 
there  was  Judy  Garland  at  the  voice, 
and  there  were  we  and  all  the  audience 
at  our  happiest. 


That  trip  to  see  "Strike  Up  The  Band" 
was  a  trip  to  the  Fountain  of  Youth. 

★  ★     ★  ★ 

It  started  us  singing.  Usually  our  vocal 
efforts  are  confined  to  the  marbled  halls 
of  the  shower-room,  but  after  seeing 
this  new  M-G-M  sooper  dooper  musical 
smash,  our  little  voice  went  pattering 
all  over  the  house. 

★  ★     ★  ★ 

The  boys  and  girls  in  the  picture  get 
the  plot  inspiration  from  Maestro  Paul 
Whiteman  himself.  Over  the  years 
Whiteman  has  deserved  the  title  His 
Royal  Highness  of  Rhythm.  Paul's 
music  never  palls. 

★  ★     ★  ★ 

We  have  a  flock  of  bouquets  to  pass 
around  on  this  one.  We'll  toss  a  few  to 
Arthur  Freed,  the  hit  Ascap  song-writer 
who  turned  producer ;  to  Busby  Berkeley, 
the  director;  and  to  those  brother  rats, 
Monks  and  Finklehoffe,  who  wrote  the 
screen  play. 

★  ★     ★  ★ 

When  you  hear  "Our  Love  Affair", 
others  will  hear  you.  It's  more  than  a 
melody,  it's  an  infection. 

★  ★     ★  ★ 

But  the  final  repeat  rave  must  be  held 
for  those  incomparable  artists  of  the 
present  and  future,  those  babes  in  arms, 
Rooney  and  Garland.  We  call  them 
Punch  and  Judy,  because  punch  is  what 
they've  got. 

★  ★     ★  ★ 

It's  remarkable  the  way  M-G-M  keeps 
up  the  parade  of  hits.  This  summer  has 
revealed  "The  Mortal  Storm",  "Pride 
and  Prejudice",  "New  Moon",  "Andy 
Hardy  Meets  Debutante",  "I  Love 
You  Again",  not  to  mention  the  record- 
breaking  "Boom  Town." 

★  ★     ★  ★ 

That  leaves  you  all  set  for  the  master- 
piece, "Escape"  (Norma  Shearer  and 
Robert  Taylor)  as  well  as  this  month's 
delightful  "Third  Finger,  Left  Hand" 
(Myrna  Loy  and  Melvyn  Douglas). 

★  *     ★  ★ 

No  wonder 
we're  n 

—Jleo. 


singing 


Advertisement  for 
Metro- Goldwyn- Mayer  Pictures 


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26 


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MODERN  SCREEN 


The  exciting,  romantic 
novel  is  even  more 
exciting  on  the  screen! 


ERT  TAYLOR 

with 


CONRAD  VEIDT  NAZIMOVA 

FELIX  BRESSART  •  ALBERT  BASSERMAN 
PHILIP  DORN  •  BONITA  GRANVILLE 

A  MERVYN  LeROY  Production 
Screen  Play  by  Arch  Oboler  and  Marguerite  Roberts 
Based  on  the  Novel  "Escape"  by  Ethel  Vance 
Directed  t?y  MERVYN  LeROY 
A  METRO -GOLDWYN- MAYER  PICTURE  ^ 


NOVEMBER,  1940 


S 


AN  EYE-OPENER  FOR 


YOU  FANS  WHO  HAD  AN 


IDEA  THAT  MARIA  OUS- 


PENSKAYA  WAS  A  DOD 


DERING  DOWAGER! 


Even  when  Madame  tries  to  look  solemn 
(above  left)  there's  a  twinkle  in  her 
(Right)  Off  for  a  riotous  evening 
with  Heavy  Suitor  Eddie  Albert,  she  wears 
one  of  her  little  collegiate  numbers  (size 
10)  and  snappy  open-toe  shoes  (size  2). 


John 


r  a  n  c 


DON'T  YOU  go  shedding  any  foolish  tears  over  that  an- 
cient, fragile  little  woman  you've  met  in  "Love  Affair," 
"The  Rains  Came,"  "The  Mortal  Storm"  and  a  half-dozen 
other  productions.  She's  very  happy,  thank  you,  and  can 
take  care  of  herself  in  a  fashion  calculated  to  astound  you! 

Her  name  is  Maria  Ouspenskaya,  one  of  the  great  char- 
acter actresses  of  our  time  with  a  positive  genius  for 
playing  doddering  dowagers.  In  fact,  she's  so  convincing 
that  when  she  starts  to  cross  from  one  side  of  a  sound 
stage  to  another,  a  half  dozen  electricians,  sound  men  and 
prop  boys  rush  to  help  her  over  the  cables.  The  funny 
part  of  it  all  is  that  Maria  Ouspenskaya  could  toss  any 
one  of  them  over  her  shoulder  in  jig  time,  by  dint  of  her 
training  in  jiu-jitsu  technique! 

The  real  Maria  Ouspenskaya,  alumna  of  the  famed 
Moscow  Art  Theatre  and  a  woman  whom  the  distinguished 
drama  critic,  Richard  Watts,  once  hailed  as  the  "actors' 
actress,"  is  known  to  none  but  her  intimates.  To  Hollywood 
at  large  she  is  the  magnificent  matriarch,  the  living  theat- 
rical legend,  the  oracle  of  art  whence  issue  eternal  truths 
concerning  acting  and  the  stage. 

Maria  Ouspenskaya,  beneath  the  legend,  is  an  individual 
with  no  counterpart  anywhere.  To  begin  with,  she's  not 
sixty-four  as  the  wire  services  always  print  (with  no 
protest  on  her  part)  nor  anything  like  it.  She  was  fifty- 
three  on  July  29th.  And  there's  another  little-known  item 
about  her;  she's  a  siren  with  the  boys! 

George  Brent  thinks  she's  "amazing."  He  swoops  down 
on  her  whenever  he  feels  the  need  of  civilized  fun.  He 
calls  her  "Mousie."  They  tell  one  another  droll  stories, 
down  a  highball  or  two,  sing  songs. 

To  John  Garfield  she's  "Jitterbug."  It  all  came  about 


when  she  took  him  up  a  year  or  so  ago  on  an  invitation 
to  "cut  a  rug."    And  they've  been  friends  ever  since. 

Eddie  Albert,  another  one  of  the  inner  circle,  calls  her 
"Ooksie,"  talks. hours  without  end  of  the  "new  theatre" 
and  the  "new  pictures,"  idealist  fashion. 

For  a  colossal  legend  the  lady  comes  mighty  small,  so 
small  that  she  has  to  buy  her  clothes  in  the  debutante 
department  of  I.  Magnin,  or  wherever  she  happens  to  be 
doing  her  shopping.  And  does  Madame  mind  this?  Halle- 
lujah, no!  She  scampers  through  the  shop,  bowling  over 
the  little  debbies  who  are  out  to  snag  a  new  dress  for  the 
Deke  formal  over  at  U.C.L.A.  She  adores  a  buying  binge. 
No  blacks  for  her.  She  gets  enough  sombre  colors  on  the 
set.  But  warm  colors- — ah,  that's  the  ticket. 

Her  hats  are  a  revelation. 

"How  simply  incandescent!"  gurgled  Rosalind  Russell, 
after  catching  a  glimpse  of  the  lady  in  a  bonnet  resem- 
bling a  grenadier's  headpiece.  Less  eloquent  souls  than 
Miss  Russell  simply  stare  until  hat  and  wearer  are  out 
of  sight.  So  rabid  is  the  Ouspenskaya  on  hats  that  a 
season  or  two  ago  when  a  bewimpled  photograph  of  Mar- 
lene  Dietrich  appeared  in  one  of  the  Los  Angeles  papers 
with  a  caption  stating  that  Miss  Dietrich  had  created  the 
streamlined  chapeau,  the  Muscovite  snorted:  "Created  the 
wimple — indeed!  Why  I,  myself,  designed  that  hat  two 
years  ago." 

To  watch  Maria  in  motion  is  a  prelude  to  hysteria.  She's 
at  her  best  in  crowds.  Watch  her  pile  out  of  a  cab  escorted 
by  a  proud  swain — Garfield,  Albert,  Brent  or  who  have 
you — and  sporting  a  monocle,  as  she  will  on  occasion.  She 
plows  through  a  premiere  crowd  with  the  daring  of  a 
gridiron  halfback.    Onlookers  fall  (Continued  on  page  89) 


Vol.  21,  No.  6,  November,  1940.  Copyright,  1940,  the  Dell  Publishing  Co.,  Inc.  149  Madison  Ave.,  New  York.  Published  monthly.  Printed  in  U.  S.  A.  Office  of  publication 
at  Washington  and  South  Aves.,  Dunellen,  N.  J.  Single  copy  price  10c  in  U.  S.  and  Canada,-  U.  S.  subscription  price  $1.00  a  year,-  Canadian  subscription  $2.00  a  year,- 
foreign  subscription  $2.20  a  >ear.  Entered  as  second-class  matter,  Sept.  18,  1930,  at  the  Postoffice,  Dunellen,  N.  J.,  under  Act  of  March  3,  1879.  Additional  second  class 
entries  at  Seattle,  Wash. ,■  San  Francisco,  Calif.;  Houston,  Texas;  Savannah,  Ga.,  and  New  Orleans,  La.  The  publishers  accept  no  responsibility  for  the  return  of  unsolicited 
material.    Names  of  characters  used  in  semi-fictional  matter  are  fictitious.    If  the  name  of  any  livinq  person  is  used  it  is  purely  a  coincidence.    Trademark  No.  301773. 


MODERN  SCREEN 


HEY!  hook  Who's  Here! 


They're  back  again — 
Tugboat  Annie  and  Capt. 
Bullwinkle  —  the  most 
lovable  characters  who 
ever  appeared  in  Satur- 
day Evening  Post  fiction 
— coming  to  life  on  the 
screen  just  as  you've 
pictured  them  —  in  the 
happiest  hit  of  any  year! 


MARJORIE  RAMBEAU  •  ALAN  HALE 
RONALD  REAGAN  •  JANE  WYMAN 

Directed  by  LEWIS  SEILER 
From  the  screenplay  by  Walter  de  Leon 
A  WARNER  BROS.— First  National  Picture 


-Annie. , 


Based  on  the  Saturday 
Evening  Post  stories 

by  NORMAN 
REILLY  RAINE 


NOVEMBER,  1940 


j  ft!  i 

T 

11  I    r     a  t 


J 


s 


WE  LOOKED  IN  THE  BACK  OF  THE  BOOK  AND  KNOW  ALL 
THE  ANSWERS!  WRITE  IN  IF  YOU'D  LIKE  A  PERSONAL  REPLY 


NOTE:  If  you  desire  a  reply  by  mail, 
send  a  stamped,  self-addressed  envelope^ 
to  Information  Desk,  Modern  Screen,  149 
Madison  Avenue,  New  York,  N.  Y. 

A  Fan.  Central  Square,  N.  Y.  Dick 
Greene  has  departed  for  England,  but 
you  can  continue  to  address  him  at 
Twentieth  Century-Fox,  Box  900,  Beverly 
Hills,  Calif.  Mail  will  be  forwarded  to 
him  and  he'll  appreciate  it  so  much  more 
now.  He's  unmarried,  but  is  engaged  to 
Virginia  Field,  the  lovely  English  ac- 
tress. .  .  .  John  Shelton  is  an  M-G-M 
player  and  can  be  reached  at  Culver 
City,  California.  His  photo  sells  for 
twenty-five  cents.  John's  past  pictures 
include  "The  Lady  Behaves,"  "The 
Smartest  Girl  in  Town,"  "Navy  Blue  and 
Gold,"  "Go-Getter"  and  "I  Take  This 


Woman."  His  latest  is  "We  Who  Are 
Young."  Yes,  John's  married — to  Sally 
Sage,  Bette  Davis'  stand-in.  However, 
we  hear  they  have  agreed  to  disagree 
and  may  be  Reno-bound  when  you  read 
this.  John's  six  feet  one,  weighs  170 
pounds  and  has  brown  hair  and  brown 
eyes.  His  only  phobia  is  height.  His  most 
prized  possession  is  his  birth  certificate— 
"because  I'm  glad  to  be  alive."  His  hobby 
is  candid  photography  and  his  favorite 
sports  are  swimming  and  water  polo. 

Junior  Dyer.  Arthur,  111.  That's  a  pretty 
fabulous  collection  of  stars'  photographs 
you  have — practically  as  colossal  as  Jane 
Withers',  who  considers  her  gallery  of 
232  pictures  something  of  an  eighth  won- 
der. .  .  .  Paulette  Goddard  was  born  in 
Great  Neck,  Long  Island,  on  June  3,  1911. 


WHAT'S  IN  A  NICKNAME? 


Rosemary  Lane,  in  sisterly  apprecia- 
tion of  Priscilla's  mental  prowess,  calls  her  "Beetle 
Brain."     Priscilla   retaliates   by  shouting:  "Bird 

Head"  whenever  she  wants  Rosemary  .  .  .  Carole 
Lombard,  upon  first  meeting  Charles  Laughton,  dubbed  him 
"Buster,"  probably  because  it  was  the  roost  suitable 
name  she  could  think  of  .  .  .  Before  Ray  Milland  became 
famous  he  was  known  as  "Reginald.''    He  couldn't  stand 

that,  so  he  trained  friends  to  call  him  "Jack."  Even 
today  few  people  call  him  "Ray" — and  no  one  dares  call 
him  "Reggie!"  .  .  .  Jeffrey  Lynn  signs  his  letters  "Rags" 
because  his  birth  certificate  reads  "Ragnar  Lind"  .  .  .  Gene 

Raymond  speaks  of  Jeanette  MacDonald  as  "my  wife,  Mrs. 
MacRaymond"  .  .  .  The  20th  Century-Fox  cuties,  Alice 

Faye   and   Linda   Darnell,   are'  known   as   "Cuddles"  and 

"Tweedles,"  respectively  ,  .  .  Francis  Lederer's  nickname 
is — of  all  things — "Glamour  Pants!"  .  .  .  The 
only  one  who  doesn't  call  Joan  Crawford  "Billie" 
is  her  brother.     He  speaks  of  her  as  "the  Kid"  .  .  .  Fred 
MacMurray's  tag  is  "Bud,"  a  contraction  of  "Rosebud."  His 

mother  was  disappointed  because  Fred  wasn't  born  a  girl 
and  consoled  herself  by  giving  him  the  flossy  nickname. 
She  used  it  until  he  was  old  enough  to  protest  .  .  . 

Wallace  Beery's  tendency  toward  heftiness  has  earned 
him  the  title  of  "Jumbo"  .  .  .    "Tiger"  is 
really  Eddie  Albert  in  disguise.    His  astonishing 

pep  got  him  that  one  .  .  .  May  Robson  is  affectionately 
referre3  to  as  "Muzzie,"  stage  slang  for  "Mother,"  because 
she  took  care  of  everyone  from  the  walk-on  to  the 

star  when  she  was  trouping  behind  the  foot- 
lights .  .  .  And  the  most  far-fetched  nickname  of 
all   belongs   to   George   Raft.     He   is   usually  addressed 
as   "Peter"  and   not  even  Norma   Shearer  knows  whv! 


While  she  was  still  in  high  school,  her 
mother  was  taken  ill  and  Paulette  became 
her  sole  support.  She  was  attractive  and 
loved  to  dance,  so  inevitably  she  became 
a  chorus  girl.  Her  first  big  show  was 
"Rio  Rita."  At  eighteen,  the  Hollywood- 
bug  bit  her  fatally,  and  she  was  off  for 
the  Coast.  She  had  platinum  blonde  hair, 
a  cute  but  uninteresting  face,  and  looked 
like  any  one  of  a  million  other  Hollywood 
gate-crashers.  She  got  a  few  bits  in 
Hal  Roach  comedies,  but  didn't  amount 
to  a  thing  until  1936.  Charlie  Chaplin 
saw  her  in  "The  Kid  From  Spain,"  real- 
ized her  possibilities  and  advised  her  to 
let  her  hair  grow  back  to  its  natural 
brown.  She  did,  he  approved,  and  she 
got  the  much-sought-after  role  of  the 
gamin  in  his  tremendous  hit,  "Modern 
Times."  Around  this  time,  she  and  Charlie 
were  quietly  married  aboard  his  yacht. 
Paulette  is  five  feet  four,  weighs  110 
pounds  and  has  brown  hair  and  huge  blue 
eyes.  Has  one  fetish,  and  that  is  never 
to  let  her  tan  fade.  She  suns  herself 
daily.  .  .  .  We  suggest  you  write  for 
Dixie  Lee's  photo,  care  of  Hubby  Bing 
Crosby  at  Paramount  Studios,  5451  Mara- 
thon Street,  Hollywood,  Calif.  .  .  .  Arline 
Judge,  Louise  Hovick  and  Peggy  Fears 
aren't  under  contract  at  present,  so  we 
can't  advise  you  how  to  get  their  pic- 
tures. Sorry. 

Anne  Love,  Hazelhurst,  Miss.  That  rumor 
you've  been  hearing  that  Nelson  Eddy  is 
going  blind — is  slightly  exaggerated.  It's 
true  his  sight  isn't  perfect,  but  it's  not 
very  badly  impaired.  His  eyes  are  ex- 
tremely sensitive  to  klieg  lights,  as  are 
those  of  Fred  Allen,  Merle  Oberon  and 
Joan  Bennett,  and  he's  frequently 
troubled  with  klieg  eyes.  ...  As  far  as 
we  know,  Ty  Power  and  Annabella  aren't 
tiffing.     They  seem  very  happy. 

Dottie  Pagotzy.  Battle  Creek,  Mich.  Here's 
a  blow!  Your  love,  Bob  Cummings,  is 
a  married  man  and  the  lucky  gal  is 
Vivian  Janis.  He's  crazy  about  fan  mail 
and  answers  just  as  much  as  he  possibly 
can  on  his  occasional  days  off.  Write  to 
aim  at  Universal  Studios,  Universal  City, 
California,  marking  the  envelope  "per- 
sonal." No,  he  has  no  favorite  leading 
ladies — likes  'em  all.  His  wife  used  to 
be  a  golf  widow,  but  now,  she  says, 
aviation's  the  thing  in  Bob's  life.  He's 
been  a  licensed  pilot  for  thirteen  years, 
and  recently  bought  himself  a  magnificent 
new  plane.  He  absolutely  lives  in  it, 
and  wifie  says  she  thinks  she'll  have  to 
sprout  wings  to  compete  with  it!  Watch 
for  Bob  in  "Spring  Parade." 

Isabel  O.  Neary,  Bridgeport,  Conn.  Those 
intriguing  few  bars  of  music  that  George 
Sanders  always  (Continued  on  page  11) 


8 


MODERN  SCREEN 


\ 


'^Jdou  have  seen  great  motion  pic- 
tures. .  We  believe  you  have  not  seen 
a  greater  motion  picture  than  this! 


Two  great  screen  careers  cli 
maxed  in  one  unforgettable  ro 
mance  .  .  .The  story  of  a  love 
too  deep  to  know  betrayal— too 
strong  to  feel  the  sting  of  shame! 
It  is  urgently  recommended  to 
the  most  exacting  picturegoers. 


Carole  Lombard  is  brilliant 
Charles  Laughton  is  amazing 

In  They  Knew  What  They  Wanted' 

With  WILLIAM  GARGAN  "HARRY  CAREY  •  FRANK  FAY 

Directed  by  Garson  Kanin 
Harry  E.  Edington,  Executive  Producer  •  RK.O  RADIO  PICTURE  •  Produced  by  Erich  Pommer 

Screen  Play  by  Robert  Ardrey  •  From  ihe  Pulitzer  Prize  Play  by  Sidney  Howard 


NOVEMBER,  1940 


CONFUSED  BY 
MAKE-UP?  JUST.  . 

BeYourself.. 
Be  Natural! 


■Hi   _  * 


Before  you  despair  of  ever  find- 
ing the  one  lipstick  shade  which  suits  your 
coloring  best... turn  to  Tangee's  natural. 
Just  make  up  with  Tangee's  natural  Lip- 
stick, the  matching  Rouge,  and  Tangee's 
Face  Powder. . .  and . . . 

Tangee's  natural  is  orange  in 
the  stick  but,  as  it  is  applied,  your  own 
most  flattering  shade  of  rich  blush  rose  is 
produced  like  magic.  That's  how  Tangee's 
natural  will  help  you  — 


•k  The  pure  cream  base  in  this 
world  famous  lipstick  ends  that  dry,  drawn 
feeling ...  helps  prevent  chapping ...  And 
Tangee's  natural  really  stays  on... giving 
you  smooth,  soft,  inviting,  kissable  lips  for 
hours  and  hours. 


"WORLD'S  MOST  FAMOUS  LIPSTICK" 

SEND  FOR  COMPLETE 
MAKE-UP  KIT 


The  George  W.  Luft  Co.,  417  Fifth 
Ave.,  New  York  City. ..  Please  rush 
"Miracle  Make-up  Kif'of  sample  Tangee  Lipsticks  and 
Rouge  in  both  Natural  and  Theatrical  Red  Shades.  Also 
Pace  Powder.  I  enclose  10£  (stamps  or  coin).  (154  in 
Canada.) 

Check  Shade  of  Powder  Desired: 
□  Peach  □  Light  Rachel  □  Flesh 

□  Rachel  □  Dark  Rachel       □  Tan 

Name  

(Please  Print) 

Street  


City. 


-MM110 


MOVIE  SCOREBOARD 


(200  pictures  rated  this  month) 


Turn  to  our  valuable  Scoreboard  when  you're  in  doubt  about  what  movie  to  see.  The 
"general  rating"  is  the  average  rating  of  our  critic  and  the  authoritative  newspaper 
critics  all  over  the  country.    4-^-  means  very  good;  good;  fair;  l^-,  poor. 

C  denotes  that  the  picture  is  recommended  for  children  as  well  as  adults.  Asterisk 
shows  that  only  Modern  Screen  rating  is  given  on  film  not  yet  reviewed  by  news- 
papers as  we  go  to  press. 


Picture 


General 
Rating 


Abe  Lincoln  in  Illinois  (RKO)  C  4* 

Adventure  in  Diamonds  (Paramount)   2* 

Alias  the  Deacon  (Universal)  2V2  + 

All  This,  and  Heaven  Too  (Warners)   4llr 

And  One  Was  Beautiful  (M-G-M)  2V2* 

Andy  Hardy  Meets  Debutante  (M-G-M)   3* 

Angel  From  Texas,  An  (Warners)   2ir 

Anne  of  Windy  Poplars  (RKO)   2* 

Babies  For  Sale  (Columbia)  2V2  + 

Bad  Men  of  Carson  City  (Universal)   2-<r 

Bill  of  Divorcement,  A  (RKO)   3* 

Biscuit  Eater,  The  (Paramount)   3 -A- 

Blaclc  Friday  (Universal)  2V2* 

Blondie  on  a  Budget  (Columbia)   2 

Blue  Bird,  The  (20th  Century-Fox)  C  3* 

Boom  Town  (M-G-M)  3V2* 

Boys  from  Syracuse,  The  (Universal)   3  if 

*Brigham  Young  (20th  Century-Fox)   4-A: 

Broadway  Melody  of  1940  (M-G-M)   3* 

Brother  Orchid  (Warners)   3* 

Buck  Benny  Rides  Again  (Paramount)  ZVz-k 

Calling  Philo  Vance  (Warners)  2V4* 

Captain  Is  a  Lady,  The  (M-G-M)  2V2* 

Castle  on  the  Hudson  (Warners)  2Vzif 

Charlie  Chan's  Murder  Cruise  (20th  Century-Fox).    3  + 

Chump  at  Oxford,  A  (United  Artists)  2V2* 

Courageous  Dr.  Christian,  The  (RKO)   2  * 

Cowboy  From  Texas  (Republic)   2  + 

Cross  Country  Romance  (RKO)  2V2* 

Curtain  Call  (RKO)  2V2* 

*Dance,  Girl,  Dance  (RKO)   2* 

Dark  Command  (Republic)   3 + 

Devil's  Island  (Warners)  2V2* 

Double  Alibi  (Universal)  2V2* 

Dr.  Christian  Meets  The  Women  (RKO)   2* 

Dr.  Cyclops  (Paramount)  C     3  if 

Dr.  Ehrlich's  Magic  Bullet  (Warners)  3V2* 

Dr.  Kildare's  Strange  Case  (M-G-M)  2V2* 

Doctor  Takes  A  Wife,  The  (Columbia)   3  tr 

Earthbound  (20th  Century-Fox)...   2* 

Edison,  the  Man  (M-G-M)  3V2* 

Farmer's  Daughter,  The  (Paramount)  2V2^r 

Five  Little  Peppers  at  Home  (Columbia)  C  2'/2^ 

Flight  Angels  (Warners)  2>/2* 

Florian  (M-G-M)  2VS-* 

Foreign  Correspondent  (United  Artists)   4-k 

Forty  Little  Mothers  (M-G-M)  2V2* 

Four  Sons  (20th  Century-Fox)   3-fr 

Free,  Blonde  and  21  (20th  Century-Fox)   2* 

French  Without  Tears  (Paramount)  2Vzir 

Gambling  on  the  High  Seas  (Warners)  iV2~k 

Ghost  Breakers,  The  (Paramount)   3 

Girl  in  313  (20th  Century-Fox)   2V2* 

Gone  With  the  Wind  (M-G-M)   4* 

Grapes  of  Wrath,  The  (20th  Century-Fox)   4  ★ 

Great  McGinty,  The  (Paramount)  3Vzif 

*Great  Profile,  The  (20th  Century-Fox)   3  * 

Half  a  Sinner  (Universal)   2^r 

He  Stayed  for  Breakfast  (Columbia)  2V2* 

Hidden  Gold  (Paramount)  2V2* 

Honeymoon  Deferred  (Universal)  iVz-k 

Hot  Steel  (Universal)   2* 

House  Across  the  Bay,  The  (United  Artists)   2* 

House  of  Seven  Gables  (Universal)  2Vz~k 

"Howards  of  Virginia,tThe  (Columbia)  3Vzit 

If  I  Had  My  Way  (Universal)  C  3* 

I  Love  You  Again  (M-G-M)   3* 

"I  Married  Adventure  (Columbia)   3  + 

In  Old  Missouri  (Republic)   2* 

Irene  (RKO)   3* 

Island  of  Doomed  Men  (Columbia)   1-k 

Isle  of  Destiny  (RKO)  -   2  ★ 

I  Take  This  Woman  (M-G-M)   2* 

It  All  Came  True  (Warners)  2V2* 

It's  a  Date  (Universal)  3V2Hr 

I  Was  an  Adventuress  (20th  Century-Fox)  2Vi* 

Johnny  Apollo  (20th  Century-Fox)   3* 

La  Congo  Nights  (Universal)   2  if 

Lillian  Russell  (20th  Century-Fox)   3* 

Little  Old  New  York  (20th  Century-Fox)   2* 

Lone  Wolf  Meets  A  Lady,  The  (Columbia)   2  ★ 

Lucky  Cisco  Kid  (20th  Century-Fox)   3* 

*Lucky  Partners  (RKO)   3* 

Mad  Men  of  Europe  (Columbia)   lie 

Ma!  He's  Making  Eyes  At  Me  (Universal)  2V2^r 

Man  From  Dakota,  The  (M-G-M)   2  * 

Man  I  Married,  The  (20th  Century-Fox)   3* 

Man  Who  Talked  Too  Much,  The  (Warners). . .  .2V2* 

Man  With  Nine  Lives,  The  (Columbia)   2* 

Maryland  (20th  Century-Fox)  3V2* 

Midnight  (Paramount)   3* 


Picture 


General 
Rating 


Millionaire  Playboy  (RKO)   2* 

Mortal  Storm,  The  (M-G-M)   4* 

Murder  in  the  Air  (Warners)   2  if 

Music  in  My  Heart  (Columbia)   2-ir 

My  Favorite  Wife  (RKO)  3* 

My  Little  Chickadee  (Universal)  2V2* 

My  Love  Came  Back  (Warners)  3Vzi 

My  Son,  My  Son  (United  Artists).,  3V2* 

New  Moon  (M-G-M)   3  ★ 

Northwest  Passage  (M-G-M)   4* 

Of  Mice  and  Men  (United  Artists)   4* 

Oklahoma  Kid,  The  (Warners)   3* 

One  Crowded  Night  (RKO)   2* 

One  Million  B.  C.  (United  Artists)  C  3* 

Opened  by  Mistake  (Paramount)  2V2* 

Our  Town  (United  Artists)   4* 

Outside  3-Mile  Limit  (Columbia).  2V2* 

Out  West  With  The  Peppers  (Columbia)  C  2* 

Parole  Fixer  (Paramount)  2l/zit 

Passport  to  Alcatraz  (Columbia)   2* 

Phantom  Raiders  (M-G-M)   2* 

Pier  13  (20th  Century-Fox)  2V2* 

Pinocchio  (RKO)  C  4* 

Pioneers  of  the  Frontier  (Columbia)   2if 

Prairie  Law  (RKO)   2* 

Pride  and  Prejudice  (M-G-M)  3V2* 

Primrose  Path,  The  (RKO)  3V2* 

Private  Affairs  (Universal)  2V2* 

Queen  of  the  Mob  (Paramount)   3  if 

Rebecca  (United  Artists)   4-*- 

Remember  the  Night  (Paramount)   3* 

Rhythm  on  the  River  (Paramount)  3V2* 

Road  to  Singapore,  The  (Paramount)  2Vzi 

Safari  (Paramount)  2V2* 

Sailor's  Lady  (20th  Century-Fox)   2* 

Saint's  Double  Trouble,  The  (RKO)  2V2* 

Saint  Takes  Over  The  (RKO)  2V2* 

Sandy  Is  a  Lady  (Universal)  C  2  Vz  Ik- 
Saturday's  Children  (Warners)  2l/z~k 

Sea  Hawk,  The  (Warners)  3'/2* 

Secret  of  Dr.  Kildare,  The  (M-G-M)   3* 

Seventeen  (Paramount)  C     3  if 

Shooting  High  (20th  Century-Fox)  C  2Vz~k 

Shop  Around  the  Corner,  The  (M-G-M)   3  if 

Sidewalks  of  London  (Paramount  Release)   3*- 

Sing,  Dance,  Plenty  Hot  (Republic)   2* 

Slightly  Honorable  (United  Artists)   3* 

Smashing  the  Money  Ring  (Warners)  iVzif 

Son  of  the  Navy  (Monogram)  2Vzif 

South  of  Pago  Pago  (United  Artists)  2V2* 

South  to  Karanga  (Universal)  iVzif 

Spirit  of  Culver,  The  (Universal)  C  2V2* 

Sporting  Blood  (M-G-M)  2V2* 

Stanley  and  Livingstone  (20th  Century-Fox)  3V2* 

Star  Dust  (20th  Century-Fox)  2l/2* 

Strange  Cargo  (M-G-M)   3-jlr; 

Stronger  Than  Desire  (M-G-M)  2V2* 

Susan  and  God  (M-G-M)  

Swiss  Family  Robinson  (RKO)  C     3  * 

Tear  Gas  Squad  (Warners)   2-k 

That's  Right,  You're  Wrong  (RKO)  C  3* 

They  Drive  by  Night  (Warners)   3* 

Those  Were  the  Days  (Paramount)  C  2V2* 

Three  Cheers  for  the  Irish  (Warners)   3if 

Three  Faces  West  (Republic)   3* 

Three  Smart  Girls  Grow  Up  (Universal)  C  3^r 

'Til  We  Meet  Again  (Warners)   3* 

Tom  Brown's  School  Days  (RKO)   3* 

Too  Many  Husbands  (Columbia)   3* 

Torrid  Zone  (Warners)   3^ 

Tower  of  London  (Universal)   2it 

Turnabout  (United  Artists)   3* 

Twenty  Mule  Team  (M-G-M)   3* 

Twenty-One  Days  Together  (Columbia)   3-*- 

Two  Girls  on  Broadway  (M-G-M)  2V2-*r 

Typhoon  (Paramount)   3  -k 

Underpup,  The  (Universal)  C     3 -Ar 

Untamed  (Paramount)   2-*- 

Vigil  in  the  Night  (RKO)   3* 

Virginia  City  (Warners)   iif 

Viva  Cisco  Kid  (20th  Century-Fox)   2* 

Waterloo  Bridge  (M-G-M)  3V2* 

Way  of  All  Flesh,  The  (Paramount)   3* 

We  Are  Not  Alone  (Warners)  3»/2* 

When  the  Daltons  Rode  (Universal)   3* 

Women  in  War  (Republic)  2l/2* 

Women  Without  Names  (Paramount)  2Vz~k 

You  Can't  Fool  Your  Wife  (RKO)   2* 

Young  As  You  Feel  (20th  Century-Fox)   2-*: 

Young  People  (20th  Century-Fox)  C  2V2  ★ 

Young  Tom  Edison  (M-G-M)  C  4* 


10 


MODERN  SCREEN 


INFORMATION  DESK 

(Continued  from  page  8) 


whistles  in  the  "Saint"  pictures  is,  un- 
fortunately, untitled  and  unpublished.  It 
was  written  especially  for  those  films. 
You  might  try  writing  to  RKO-Radio 
Studios,  780  Gower  Street,  Hollywood, 
California,  for  additional  information,  but 
we  doubt  if  you  can  obtain  a  copy  of  it. 
George's  pictures  include:  "Lloyds  of 
London,"  "Love  Is  News,"  "Slave  Ship," 
"Lancer  Spy,"  "International  Settlement," 
"Four  Men  and  A  Prayer,"  "Mr.  Moto's 
Last  Warning,"  "The  Saint  Strikes  Back," 
"Confessions  of  a  Nazi  Spy,"  "The  Saint 
in  London,"  "Allegheny  Uprising,"  "Nurse 
Edith  Cavell,"  "Saint's  Double  Trouble," 
"Green  Hell,"  "The  House  of  Seven 
Gables,"  "The  Saint  Takes  Over,"  "Re- 
becca" and  "Foreign  Correspondent." 
You'll  next  be  seeing  him  in  "Bitter 
Sweet."  His  name  is  pronounced  "Saun- 
ders." 

Ralph  Derrick.  Vassar,  Mich.  Buddy  Rog- 
ers hasn't  been  in  the  movies  since  1938, 
when  he  made  "Let's  Make  a  Night 
of  It."  He's  been  traveling  with  his  band 
for  the  past  couple  of  years,  but  will  soon 
be  back  in  Hollywood  again,  though  not 
as  an  actor  this  time.  He  hopes  to  get 
a  producing  job  with  United  Artists  and, 
if  he  does,  he's  going  to  officially  drop 
the  "Buddy"  and  be  known  as  Charles. 
He's  thirty-six;  Mary  Pickford's  forty- 
seven. 

Jane  Goetz,  Birmingham,  Ala.  Bill  Powell 
is  forty-eight,  believe  it  or  not,  and  he 
was  born  in  Pittsburgh,  Mass.  He's  a 
fraction  under  six  feet  when  standing 
straight,  but  he  usually  walks  with  a 
debutante  slouch.  His  weight  has  re- 
cently gone  up  to  160,  but  for  a  while 
he  was  down  in  the  140's.  He  has  blue 
eyes  and  brown  hair  that's  greying  at  the 
temples.  Bill  was  educated  in  Pittsburgh 
schools  and  at  the  American  Academy 
of  Dramatic  Art  in  New  York.  Spent  ten 
years  on  the  dramatic  stage,  starting  off 
as  a  slapstick  comic  and  progressing  to 
villain  roles.  In  1921  he  came  to  Holly- 
wood for  a  part  in  "Sherlock  Holmes" 
and  has  been  a  fixture  ever  since.  He's 
been  thrice  married.  First  to  Eileen  Wil- 
son, then  for  two  years  to  Carole  Lom- 
bard and  now  to  20-year-old  Diana 
Lewis.  He  has  a  son,  William  D.,  by 
his  first  marriage.  Bill  has  no  hobbies. 
His  favorite  sports  are  golf  and  tennis. 
Has  only  one  bad  habit — he's  always 
hours  late  for  his  appointments. 

Lois  Perry.  Detroit,  Mich.  All  of  those 
stars  you  name  have  dogs  with  the  ex- 
ception of  George  Raft.  Rosemary  Lane 
has  an  Irish  setter;  Priscilla  Lane's  is  a 
Skye  terrier;  Hedy  Lamar r  has  a  great 
Dane;  Brenda  Joyce  has  an  Airedale  and 
Marjorie  Weaver  has  a  collie. 


Want  to  see  your  own  Hollywood  honey 
in  our  GALLERY  SECTION?  Just  send 
us  his  or  her  name  on  the  coupon  be- 
low, then  watch  the  next  few  issues! 

Information  Desk,  Modern  Screen 
149  Madison  Ave.,  New  York  City 

I'd  like  to  see  a  gallery  picture  of 

in  a  forthcoming  issue  of  Modern  Screen. 

Name  

Street   

City   State  


Easier  to  fire  Helen 
than  to  say  "You  Need  Mum 


Life's  more  fun . . .  success  is  surer . . .  for  the 
girl  who  guards  her  charm  with  Mum! 


WHY  didn't  somebody  tip  Helen  off? 
One  of  the  other  girls  could  have 
done  it.  But  it's  hard  to  mention  a  fault 
like  underarm  odor.  That's  why  every  girl 
should  use  Mum  each  day. 

Nowadays  in  business— if  a  girl's  not 
smart  enough  to  know  the  penalties  of 
offending,  she's  just  not  smart  enough! 
It's  so  easy  to  understand  that  underarms 
perspire  .  .  .  that  a  bath,  while  it's  grand 
for  past  perspiration,  can't  prevent  risk  of 
odor  to  come! 

That  task  goes  to  Mum!  For  Mum  is 
especially  made  to  keep  underarms  fresh 
—not  by  stopping  the  perspiration— -but  by 


neutralizing  the  odor.  Mum  guards  the 
charm  of  thousands  of  girls  each  and 
every  day. 

MUM  SAVES  TIME!  30  seconds  and  you're 
through.  Slip  right  into  your  dress. 
MUM  SAVES  CLOTHES!  The  American 
Institute  of  Laundering  Seal  tells  you 
Mum  is  harmless  to  fabrics.  And  you'll 
find  Mum  so  safe,  that  even  after  under- 
arm shaving  it  won't  irritate  your  skin. 
MUM  SAVES  CHARM!  And  charm  is  very 
important  to  any  girl— in  business— or  in 
love!  Get  Mum  at  your  druggist's  today. 
Be  sure  you're  safe  from  underarm  odor. 
Use  Mum  every  day! 


For  Sanitary  Napkins  — 

Thousands  of  women  use 
Mum  for  Sanitary  Napkins 
because  they  know  that  it's 
safe,  gentle.  Always  use 
Mum  this  important  way. 


Mum 


TAKES  THE  ODOR  OUT  OF  PERSPIRATION 


NOVEMBER,  1940 


11 


BY   MARJORIE  DEEN 

Are  you  a  gadgeteer?  If  not,  you  are  missing  a  lot 
of  fun,  according  to  Fred  MacMurray— the  most 
gadget-minded  of  all  our  Hollywood  stars.  The 
MacMurray  collection  runs  the  gamut  of  gadgetry  and 
includes  everything  from  windshield  wipers  for  steamy 
bathroom  mirrors  to  jewelry  retrievers  for  swimming 
pools!  Fred  takes  pride  in  making  these  novelties 
himself  in  his  home  workshop.  We  gals,  on  the  other 
hand,  have  the  manufacturers  constantly  thinking  up 
all  sorts  of  fascinating  new  things  for  us  to  use  in  our 
workshop — the  kitchen.  Here  are  a  few  "collector's 
items"  which  you  can  find  on  chain  store  counters. 


1.  NOTHING  BETTER!    For  getting  every  last 
bit  of  batter,  egg  white  and  cream  out  of  bowls  and 
beaters  use  a  rubber  spatula  like  this.   2.  SQUEEZE 
PLAY!    Something  new  in  the  line  of  juice  extractors 
is  this  unique  Little  gadget,  made  in  trans- 
parent glas-ite.    It's  just  the  thing  for  squeezing  citrus 
fruits.     3.  HIDE  OUT!    Glamourize  your  scouring-powder  cans  and 
soap  chip  containers  with  bright  enamelled  tin  covers,  artistically 

designed  and  in  color  schemes  to  go  with  your  kitchen 
and  bathroom.    4.  KEEN  LITTLE  TIME  CUTTERS.    All  three 
of  these  little  gadgets  have  razor-type  movable  twin  blades  that 
stay  sharp.    They  slice,  shred  and  pare  fruits  and  vegetables 
paper-thin  with  such  speed,  safety  and  simplicity  that 
women  everywhere  are  applauding  their  fine  perform- 
ance.   What's  more,  two  of  the  three  offer  a  special  slicer- 
attachment  for  green  beans.    5.  GETTING  TO  THE  CORE 
OF  THINGS!    This  gadget  cores  and  cuts  an  apple  or  pear  in  a 
single  operation!    It  comes  in  gay  kitchen  colors  and  is  Jjj: 
positively  stainless.    Think  of  the  saving 
in  time   and   effort   when  preparing 
apples  for  pies,   applesauce  and   puddings — 
of  particular  interest  right  about  now! 


12 


MODERN  SCREEN 


\ 


HANG  IT  ALL!     Why  didn't 

someone  think  of  this  before? 
Seventeen    different    types  of 

kitchen  utensils  are  now  avail- 
able with  "hang  up"  holes  in 

their  attractive,  natural-finish 
maple  handles.     We  who  like 

our  kitchens  arranged  for  con- 
venience as  well  as  neatness  will 

find  this  "line  up"  practically 
perfect  —  and  so  inexpensive ! 


THEY'RE  OFF!  Tops  of  cans 
are  speedily  removed,  leaving  no 

jagged  edges,  with  this  handy 
new  can  opener.     Sturdily  built 

of  nickel-plated  steel,  it  can 
be  fastened  on  the  wall  for  greater 

convenience  and  sells  for  only 
15c,  a  hitherto  unheard  of  price. 


SWING  AND  SPRAY!  Swing 

over  the  little  lever  of  this  anti- 
splash  faucet  strainer  to 

change  the  flow  of  water  from  a 
steady  stream  to  a  fine  spray 

that  is  ideal  for  dishes,  vegetables 
and  plants.     Women  who 

have  used  these  easily  adjusted 
rubber  filters  look  with  pity 

on  those  who  have  still  to  learn 
how   very   useful   they  are. 


Hear  that,  Matilda? 

SHE'S  STILL  CRYING  LIKE  A  BABY! 


BUT  THE  POOR  THING  WORKS  SO  HARD.  IT'S  HER 
WEAK-KNEED  SOAP  THAT  LEAVES  DIRT  BEHIND. 
SHE  OUGHT  TO  CHANGE  TO  FELS-NAPTHA' 
SOAP  —  GOLDEN  BAR  OR  GOLDEN  CHIPS 


THAT'S  WHY  I  HE BEEN SAVING THIS AD  THAT  TELLS  HOW 
FELS-NAPTHA'S  RICHER,  GOLDEN  SOAP  AND  REAL  NAPTHA 
HUSTLE  OUTEVERY  LAST  SPECK  OF  DINGY,  TATTLE-TALE 
GRAY.  LET'S  SLIP  IT  UNDER  HER  DOOR 


FEW  WEEKS  LATER 


A  PRESENT  FOR 
US? -WHY,  WE 
DIDNTDOATHING! 


YES,  YOU  DID -YOU  LITTLE  FOXES !  AND 
MY,  HOW  SWEET  AND  WHITE  MY  WASHES 
LOOK  SINCE  I  TOOK  YOUR  TIP  AND  PUT 
THAT  BIG,  GOLDEN  FELS-NAPTHA 
BAR  TO  WORK 


HUMPH!  I  KNEW  YOU'D  BE  pleased!  AND 
THERE'S  NOTHING  LIKE  FELS-NAPTHA  SOAP 
CHIPS  FOR  WASHING  MACHINES.'  HUSKIER 
GOLDEN  CHIPS- THEY'RE  NOT  PUFFED  UP 
WITH  AIR  LIKE  FLIMSY,  SNEEZY  POWDERS. 

SO  SUDSY,  TOO -THANKS  TO  THAT 
NEW  ADDED  SUDS- BUILDER  ! 

— -.  ■ 


Golden  bar  or  golden  chips— 
Fels-Naptha  banishes  "Tattle-Tale  Gray" 


Wherever  you  use  bar-soap, 
use  Fdls-Naptha  Soap. 
Wherever  you  use  box-soap, 
use  Fels-Naptha  Soap  Chips. 


CO  PR.  1940.FELS&  CO 


NOVEMBER,  1940 


13 


Ty  Power  and  Linda  Darnell 
handle  the  young  love  ele- 
ment in   "Brigham  Young." 


**★*  BRIGHAM  YOUNG 

Here  is  a  strong  and  entrancing  spec- 
tacle. It  has  some  of  the  most  spectacu- 
lar outdoor  shots  ever  filmed;  it  has  some 
of  the  finest  acting  in  recent  films;  it  has 
integrity  and  dignity. 

Its  only  fault  is  that  it  has  no  lift.  It 
is  a  difficult  and  heart-breaking  saga  of  a 
downhill  battle  and,  if  it  weren't  for  the 
fact  that  it  all  ends  well,  you'd  be  de- 
pressed for  weeks.  But  there  is  a  happy 
end — and  a  true  and  honest  one,  for  once. 

In  manufacturing  this  particular  film, 
the  studio  had  two  major  problems  to 
cope  with.  First  was  the  fact  that  it  had 
a  religious  theme,  which  is  always  dan- 
gerous ground  for  movies  to  tread  on.  And 
on  that  score,  it  is  pleasant  to  report  that 
the  picture  minces  no  words,  turns  no  cor- 
ners, and  at  the  same  time  manages  to 
hurt  nobody's  feelings. 

Then  there  was  the  question  oL  polyg- 
amy. That  must  have  really  given  the 
studio  heads  gray  hair.  From  the  stand- 
point of  the  average  moviegoer,  the 
thought  of  a  man  married  to  a  slew  of 
wives  is — well,  either  distasteful  or  funny. 
However,  this  subject,  too,  is  handled 
honestly  and  tastefully.  Brigham  Young's 
many  wives  are  seen  in  quick  shots  here 
and  there,  but  never  really  discussed; 
they're  just  taken  for  granted. 

Even  the  cast  was  selected  with  as- 
tounding courage.  Tyrone  Power  and 
Linda  Darnell  are  there  to  look  pretty  and 


play  their  little  boy  and  girl  love  scenes 
for  those  of  you  who  want  them,  but  the 
essential  roles  are  in  the  hands  of  more 
experienced  and  matured  actors.  The 
title  role  is  played  by  Dean  Jagger,  from 
Broadway,  an  important  and  fine  actor 
whom  you  will  go  away  remembering  and 
talking  about.  He  is  a  star  of  consider- 
able magnitude- — or  will  be  when  this 
film  is  released.  And  Mary  Astor,  who 
plays  one  of  the  wives,  has  never  been 
given  credit  enough.  Sometimes,  in  this 
critic's  opinion,  she  comes  mighty  close 
to  being  the  finest  actress  in  films;  she  has 
depth,  understanding  and  real  emotion. 

It  would  be  a  long  and  boring  task 
to  enumerate  and  evaluate  every  member 
of  the  cast.  Suffice  it  to  say  that  you'll  like 
'em  all  and  that  the  most  important  parts, 
aside  from  those  mentioned,  are  handled 
by  Brian  Donlevy,  John  Carradine  and 
Vincent  Price.  Directed  by  Henry  Hath- 
away— 20th  Century-Fox. 

PREVIEW  POSTSCRIPTS:  One  oi  the 

most  expensive  films  oi  modern  times, 
"Brigham  Young"  cost  $2,700,000  to  film; 
the  trek  of  500  persons  in  prairie  schoon- 
ers through  Utah,  Nevada  and  California 
alone  cost  close  to  a  million  dollars  to 
photograph.  Louis  Bromfield,  author, 
spent  four  months  in  research  in  Utah 
before  starting  to  write  the  film  .  .  .  Ac- 
tually, Brigham  Young  had  27  wives,  but 
only  four  show  up  in  the  film,  played  by 
Mary  Astor,  Jean  Rogers,  Lucille  Miller 
and  Esther  Brodelet  .  .  .  The  Tyrone 
Power-Linda  Darnell  romantic  team  seems 
to  be  gaining  in  popularity  .  .  .  Linda  loves 
dogs.  When  filming  was  over,  she  spent 
many  hours  finding  good  homes  for  the 
19  mongrels  used  in  the  movie  .  .  .  Dean 
Jagger  was  chosen  for  the  title  role  after 
46  other  actors  had  been  tested  for  it  .  .  . 
Jagger  tried  Hollywood  twice  before,  but 
both  times  failed  to  make  any  impression 
and  both  times  returned  to  Broadway  dis- 
gusted. .  .  .  John  Carradine  loved  his  part; 
he  was  not  a  heavy  for  once,  but  a  good 
guy.  However,  he  had  to  keep  the  right 
side  of  his  face  to  the  camera  at  all  times 
because  there  is  just  no  way  of  keeping  his 
left  side  from  looking  sinister  .  .  .  Vincent 
Price  was  chosen  for  the  role  of  Joseph 
Smith  partially  because  he  bears  a  re- 
markable resemblance  to  the  founder  of 
the  Mormon  faith  .  .  .  Watch  little  Ann 
Todd,  who  has  a  small  part  here.  Holly- 
wood rumor  says  that  this  youngster  is 
going  to  be  Shirley  Temple's  successor. 


★***  FOREIGN  CORRE- 
SPONDENT 

Don't  let  the  title  of  this  picture  fool 
you.  It  is  just  a  plain,  old-fashioned  melo- 
drama— if  you  can  imagine  an  old-fash- 
ioned anything  done  in  a  modern  manner. 
It  is  spine-tingling  and  exciting.  It  is  two 
solid  hours  of  chills  and  thrills.  Just  a 
newspaper  story?  Sure.  But  such  a  one 
as  you  have  never  witnessed  in  your  whole 
life. 

Walter  Wanger,  the  producer,  has  a  way 
of  taking  current  subjects  for  his  texts,  and 
Alfred  Hitchcock,  the  director,  is  famed 
for  his  use  and  portrayal  of  suspense  and 
action.  Get  the  two  together  and  you  have 
— "Foreign  Correspondent" — as  fresh  as 
this  morning's  newspaper;  as  exciting  as 
every  mystery  and  adventure  yarn  you 
have  ever  heard  rolled  into  one. 

Joel  McCrea  is  the  star,  and  you've 
never  seen  him  in  a  part  better  suited  to 
him  than  this  one  of  Johnny  Jones,  a  re- 
porter who  gets  sent  to  Europe  and  finds 
himself  in  the  middle  of  one  of  the  biggest 
international  plots  in  modern  history.  He 
handles  the  situation  in  the  same  way  he 
handles  the  girl,  Laraine  Day — directly, 
briskly,  straight  from  the  shoulder.  He 
gets  both,  needless  to  say,  the  story  and 
the  girl. 

Every  last  cliche  is  used  in  this  picture, 
including  one  of  those  phony  "hold-the- 
presses-here-comes-an-extra"  scenes.  But 
somehow  it  all  rings  true.  This  Hitchcock 
gent  is  a  director,  that's  all  there  is  to  it! 
You  thought  there  was  suspense  in  "Re- 
becca?" Well,  you  haven't  seen  a  thing! 
Just  wait  until  Hitchcock  gets  you  into 


Joel  McCrea  and  Laraine 
Day  in  the  newspaper  thriller, 
"Foreign  Correspondent." 

his  Atlantic  Clipper  and  begins  to  let  it 
drop  into  the  middle  of  the  ocean.  You 
actually  feel  as  though  you  are  on  the 
plane!  You  can  almost  taste  the  salt  water! 

Since  there  has  to  be  a  note  of  distress 
somewhere,  we'll  admit  that  Herbert  Mar- 
shall is  badly  miscast  as  the  international 
spy.  But  to  make  up  for  it,  McCrea  (as 
mentioned)  is  top-notch;  Laraine  is  beau- 
tiful; Albert  Basserman  gives  out  with 
another  of  his   (Continued  on  page  16) 


14 


MODERN  SCREEN 


.....       ..  :.  ...  

§  I  a1 


OF  "BRIGHAM  YOUNG 


M   "' 


99 


Ty  Power  and  Linda 
Darnell  lead  the  pa- 
rade down  the  main 
street  in  a  low-slung, 
super-charged  racing 
car,  chauffeured  by 
Mayor  Ab  Jenkins — a 
crack  speed  driver. 


While  the  rest  of  the 
boys  spent  the  after- 
noon napping,  "Butch" 
Romero  panicked  the 
ladies  (Jean  Rogers, 
Nancy  Kelly  and  Mary 
Astor)  with  his  famous 
Cisco  Kid  imitations. 


The  studio  chartered 
two  planes  at  a  cost  of 
$10,000  to  take  the 
"Brigham  Young"  cast, 
publicity  men,  photog- 
raphers, etc.,  to  Salt 
Lake  City  and  back. 
Here's  half  of  the  gang. 


No  one  enjoyed  the 
trip  more  than  novice 
flyer  Jane  Withers — or 
less  than  Brenda  Joyce, 
who  suffered  from  air- 
sickness. The  gals 
chatted  and  the  men 
played  cards  en  route. 


The  Salt  Lake  City  pre- 
miere was  strictly  in- 
formal!  100,000 
people  mobbed  the 
seven  theatres  and  hun- 
dreds of  kids  trailed 
the  weary  stars  to  the 
airport  at  midnight. 


100,000  Mormons  got  the  thrill  of  a  lifetime  when  20th  Century-Fox  turned  out 
practically  en   masse   for   the   750-mile   flight  to  Salt  Lake  City's  first  premiere! 

NOVEMBER,   1940  ^ 


No  one  was 
sick  at  our  house 
when  the  family  doctor  stopped 
in  yesterday.  But  he  was  tired  out 
and  came  in  to  rest  before  his  next 
call.  Then  I  had  an  inspiration. 

"Here's  your,  medicine,"  I  cried,  hand- 
ing him  a  stick  of  Beeman's.  "Take 
this  and  relax."  "Beeman's ! ",  said  he, 
"my  favorite  chewing  gum.  It's 
mighty  good  medicine  for  tired 
tastes.  I'm  really  rested  now. 
Send  me  your  bill  —  your  treatment 
is  a  treat." 


(Continued 

astonishingly  powerful  performances; 
Robert  Benchley  gets  a  number  of  good 
laughs;  and  George  Sanders  comes  very 
close  to  stealing  the  picture  from  McCrea 
in  a  couple  of  spots.  Directed  by  Alfred 
Hitchcock. — Walter  Wanger. 

PREVIEW  POSTSCRIPTS:  This  picture 
started  out  to  be  "Personal  History,"  by 
Vincent  Sheehan,  but  so  many  changes 
were  made  that  eventually  nothing  at 
all  was  left  of  the  original  story.  .  .  . 
More  than  600  technicians  were  employed 
for  this  film,  working  in  four  shifts.  .  .  . 
Intention  was  to  shoot  some  of  the  back- 
ground abroad,  but  this  couldn't  be  done, 
of  course,  so  the  filmers  built  a  hunk  of 
Europe  right  on  the  back  lot.  .  .  .  Joel 
McCrea's  850-acre  ranch  is  one  of  the 
biggest  in  America.  It's  about  80  miles 
from  Hollywood.  .  .  .  The  hardest 
props  to  duplicate  were  the  Dutch  bi- 
cycles in  the  Amsterdam  scenes;  studio 
finally  located  83  of  'em.  .  .  .  Most  ex- 
pensive film  ever  made  by  Wanger,  the 
picture  cost  about  $1,500,000. 

***'/2  The  Howards  of  Virginia 

It  is  always  good  to  think  back  and  re- 
member some  things  about  the  beginnings 
of  this  country,  but  perhaps  it  is  es- 
pecially important  today.  That,  at  any 
rate,  seems  to  be  what  Producer-Direc- 
tor Frank  Lloyd  had  in  mind  when  he 
set  about  making  this  film. 

Based  on  Elizabeth  Page's  novel,  "The 
Tree  of  Liberty,"  the  picture"  tells  of  the 
strange  courtship  between  Matt  Howard 
(Cary  Grant),  a  country  bumpkin,  and 
Jane  Peyton  (Martha  Scott),  a  lady  of 
quality  in  the  true  Virginia  fashion.  It 
is  pre-Revolutionary  times,  and  the 
American  settlers  are  just  beginning  to 
get  the  meaning  of  words  like  liberty 
and  freedom.  As  they  grow  in  their 
understanding  and  eventually  go  into 
battle  for  their  ideals,  we  follow  the  for- 
tunes of  the  land  as  a  whole  and  the 
Howards  in  particular.  Cary  and  Martha 
raise  a  family  of  three  children,  and 
there  is  never  any  understanding  or  soli- 
darity because  their  backgrounds  and 
beliefs  are  so  different.  At  the  close  of 
the  film,  after  many  vicissitudes,  we  see 
the  rise  of  hope  on  all  fronts. 

Well,  all  of  it  is  very  imposing  and  a 
great  deal  of  it  is  exciting,  but  there  is, 
throughout,  just  a  shade  of  disappoint- 
ment from  an  audience  standpoint  in 
that  the  human  and  personal  elements 
are  glossed  over.  You  keep  thinking 
that  you  don't  care  about  this  little  fam- 
ily; you  want  to  know  about  the  bigger 
thing,  the  founding  of  America.  And  yet 
you  miss  a  good  number  of  personal 
family  incidents.  How  the  father  brushed 
off  his  eldest  son  for  many  years,  for 
instance,  without  realizing  what  he  was 
doing,  is  a  good,  solid  story  which  is  not 
told  but  merely  hinted  at.  Maybe  it 
couldn't  be  told  in  the  space  of  this  one 
film,  which  already  runs  almost  two 
hours,  but  that's  the  penalty  you  pay  for 
transmitting  important  novels  to  the 
screen. 

Martha  Scott  hands  in  an  absolutely 
top-notch  performance  as  the  girl.  You 
love  her  always;  you  feel  sorry  for  her 
frequently.  She  is  fuller  in  quality  and 
depth  here  than  she  was  in  "Our  Town." 
Grant,  however,  doesn't  come  through  as 
well.  He  is  still  a  great,  big,  sweet  guy, 
and  he  is  natural  and  human,  and  you 
feel  as  though  you've  known  him  all 
your  life,  but  the  role  seems  to  call  for 
a  more  serious  player.  It's  not  his  fault; 
blame  it  on  the  fact  that  Hollywood  is 
going  through  an  astonishing  shortage  of 
leading  men  and  rest  assured  that  you 


from  page  14) 

will  still  like  him  in  his  other  pictures. 

Sir  Cedric  Hardwicke's  impersonation 
of  an  embittered  and  haughty  aristocrat 
is  magnificent;  Alan  Marshal  and  Rich- 
ard Carlson  are  swell  and  there's  one 
young  kid,  in  a  small  part,  named  Phil 
Taylor.  Watch  him;  he's  going  places! 
Directed  by  Frank  Lloyd. — Columbia. 

PREVIEW  POSTSCRIPTS:  Most  of  the 
background  shots  in  the  film  are  one 
hundred  percent  authentic.  They  were 
made  in  Williamsburg,  Va.,  which  was 
restored  to  its  pre-Revolutionary  appear- 
ance by  the  Rockefellers  at  a  cost  of  $20,- 
000,000.  .  .  .  Frank  Lloyd,  who  started  his 
movie  career  as  a  stunt  man,  celebrated 
his  twenty-sixth  year  as  a  director  while 
filming  "The  Howards".  .  .  .  The  1,500 
extras  used  in  the  mob  scenes  were  Wil- 
liam and  Mary  students.  They  were 
thrilled  to  death  and  considered  their 
five  dollars  a  day  fabulous!  .  .  .  The 
chauffeur  of  the  standby  car  used  by 
Frank  Lloyd  and  the  camera  crew  was 
none  other  than  the  young  Dupont  scion 
— Coleman  III.  For  himself  and  his  car 
— an  elegant  European  job — he  charged 
the  company  $15  a  day.  .  .  .  The  harpsi- 
chord seen  in  the  picture  is  one  of  four 
in  the  entire  world! 

***'/2  Rhythm  on  the  River 

"Rhythm  on  the  River"  is  the  name  of 
one  of  the  songs  in  this  picture.  Other- 
wise the  movie  has  nothing  whatever  to 
do  with  a  river,  but  it  has  plenty  to  do 
with  rhythm. 

First  there  was  Bing  Crosby  and  Bob 
Hope  on  "The  Road  to  Singapore"  and 
then  there  was  Bob  Hope  in  "The  Ghost 
Breakers"  and  now  here  comes  Bing 
Crosby  as  a  ghost.  But  it's  a  different 
kind  of  ghost.  In  this  case  the  word 
"ghost"  could  mean  chump.  It  means  the 
guy  who  does  the  work  in  order  that 
someone  else  can  take  the  bows. 

Well,  it  seems  that  both  Bing  and 
Mary,  unknown  to  each  other,  do  the 
work,  which  is  song-writing.  Now,  there 
might  be  a  lot  of  quibbling  about 
whether  song-writing  is  work,  but  can 
you  do  it?  Neither  can  Basil  Rathbone, 
who  merely  sticks  his  "Hancock"  on  the 
finished  product,  collects  all  the  money 
and  honor  and  throws  Mary  and  Bing 
some  small  change  for  their  labor.  Nat- 
urally, they  don't  like  it.  Naturally, 
they  eventually  go  out  into  the  world 
to  try  it  on  their  own.  And  naturally, 
after  some  minor  ups  and  downs,  they 
make  the  grade,  both  economically  and 
Cupidically  speaking. 

But  the  point  is  that  it's  all  in  fun. 
The  writer  of  the  movie  was  obviously 
having  a  good  time  writing  the  lines  and 
all  the  actors  immensely  enjoy  spieling 
them.  Bing  is  in  rare  form  and  you'll 
be  astonished  at  how  good  Mary  Martin 
is;  the  gal  can  do  anything  and  make 
you  like  it.  Basil  Rathbone  gets  a  new 
lease  on  life  in  a  light  role;  he's  still  the 
villain,  but  with  a  smooth  fine. 

There  are  seven  swell  tunes,  most  pop- 
ular of  which  will  probably  be  "Moon 
Over  Madison  Square,"  "That's  For  Me" 
and  "Rhythm  On  the  River."  In  case  you 
happen  to  be  a  hot  jive  fan,  you'll  find 
both  John  Scott  Trotter,  "Wingy"  Man- 
none  and  their  bands  right  in  the  groove. 
Directed  by  Victor  Schertzinger. — Para- 
mount. 

PREVIEW  POSTSCRIPTS:  Bing  Crosby 
plays  the  drums  for  one  number.  The 
studio  didn't  know  he  could  do  it;  he 
sprang  a  surprise.  It  used  to  be  a  regular 
routine  of  his  when  he  worked  for  Paul 
Whiteman.  .  .  .  If  Mary  Martin  bounced. 


16 


MODERN  SCREEN 


\ 


through  this  film  gaily,  it  is  understand- 
able; a  few  days  before  shooting  started, 
she  eloped  with  Richard  Halliday,  Para- 
mount story  editor.  .  .  .  Oscar  Levant, 
who  hands  out  the  droll  drool  on  the 
radio  in  "Information,  Please,"  makes  his 
debut  as  a  film  actor.  He  refused  to  learn 
any  lines,  preferring  to  make  'em  up  as 
he  went  along.  After  worrying  about  this 
for  the  first  few  days,  Director  Schert- 
zinger  let  Oscar  alone.  It  was  better  that 
way.  .  .  .  Film  debuts  are  also  made  by 
John  Scott  Trotter,  "Wingy"  Mannone  and 
Oscar  Shaw,  Broadway  actor.  .  .  .  Ken 
Carpenter,  who's  the  announcer  on  Bing's 
radio  show,  admits  this  is  his  second 
picture  but  refuses  to  name  the  first; 
he'd  rather  forget  about  it,  he  says.  .  .  . 
Rathbone  liked  this  role  better  than  any 
he's  had  in  years,  because  it  takes  him 
away  from  boogyman  parts.  Before 
coming  to  Hollywood  he  was  a  romantic 
juvenile  and  his  last  Broadway  perform- 
ance was  as  Romeo  to  Katherine  Cornell's 
Juliet.  .  .  .  Victor  Schertzinger,  who  di- 
rected, is  also  a  song-writer  and,  as 
usual,  has  one  song  in  the  film,  "I  Don't 
Want  to  Cry  Any  More." 


Boom  Town 

This  one  could  be  called  "Biff  Bang 
Boom  Town."  It's  a  sock  saga  of  saloons 
and  sin  wound  around  an  intriguing  love 
story.  And,  just  to  make  it  absolutely 
sure-fire  box  office,  it  has  the  strongest 
cast  of  stars  in  the  season's  acting  line- 
up. There's  Gable,  Tracy,  Colbert,  La- 
marr  in  the  star  roles  and  a  pretty  hefty 
galaxy  of  near -stars  in  supporting  parts. 

You  would  think  that,  with  so  many 
personalities,  the  director  needn't  have 
bothered  with  the  story.  But  not  so  Di- 
rector Jack  Conway.  He  has  seen  to  it 
that  every  sequence  is  packed  chock  full 
of  action  and  punch.  In  fact,  there  is  al- 
most a  danger  of  the  film's  being  too 
rough  and  tough  for  femme  audiences. 
But  here  is  where  the  director's  and  pro- 
ducer's cunning  shows  itself — the  love 
story  is  so  interesting  and  strong,  the 
battle  of  Tracy  and  Gable  for  Claudette 
is  so  beautifully  spun,  that  women  are 
sure  to  be  intrigued  by  it. 

Spencer  is  in  love  with  Claudette  when 
the  film  starts,  but  then  along  comes 
Clark — who  marries  her.  Both  men  love 
her  sincerely,  each  in  his  own  way,  and 
life  is  none  too  easy  for  her.  But  you'll 
have  to  see  the  picture  to  find  out  who 
gets  her  for  keeps. 

Who  comes  off  best  in  the  acting  race? 
That's  a  natural  question  with  a  picture 
like  this  one,  but  it's  a  toughie  to  answer. 
There's  very  little  to  choose  from  be- 
tween Clark  and  Spencer.  They're  both 
top-notch  in  characters  thoroughly  and 
totally  manufactured  for  their  exclusive 
use.  Spencer  probably  gets  the  break — ■ 
only,  however,  because  his  is  a  more 
sympathetic  role.  They're  both  rough 
and  tough  customers,  but  the  scenarists 
made  Clark  a  bit  of  a  rat  and  Spencer 
is  the  gent  with  the  heart  of  gold. 

Which  leads  right  up  to  a  very  delicate 
point  that  has  been  crying  to  be  made. 
Casting  like  this  is  no  fair,  from  the 
standpoint  of  the  glamour  gals.  Clau- 
dette Colbert,  who  is  one  of  the  very  best 
screen  actresses  there  is,  hasn't  a  chance 
when  she's  stacked  up  against  two  guys 
like  Tracy  and  Gable.  They  mugg  and 
ham  all  over  the  place — no  criticism  in 
that,  gents,  it's  just  descriptive — while 
she  has  to  try  and  be  repressed,  genteel 
and  ladylike.  Naturally,  she  doesn't 
stack  up  as  well  in  the  totals.  Hedy  La- 
marr?  She  doesn't  bother  even  trying  to 
act.  She's  just  any  man's  eyeful. 
{Continued  on  page  85) 


_    5  _ask 

yourselves  only  3  questions 


Flat  paper  and  printer's  ink 
cannot  match  the  beauty 
of  our  shades.  Send  for 
free  samples  today  and 
see  them  for  yourself. 


The  only  questions  any  brunette,  des- 
perately or  hopefully  fluttering  from 
one  powder  shade  to  another,  need 
ever  ask  herself  are  these: 

Shall  I  lighten  my  skin? 

Shall  I  match  it? 

Shall  I  warm  its  coloring? 
It  settles  down  to  this:  — 

Are  you  lovelier  when  your  skin  looks 
pearly  white  against  your  dark  hair? 

Does  enchantment  lie  for  you  in  a 
creamy  tone  that  brings  out  the  dark 
depths  in  your  eyes? 

Does  a  warm,  vivid 
color  suit  your  lively 
temperament? 

Pond's  has  the  answers 
for  you  in  3  superla- 
tively successful  bru- 
nette shades. 


MRS.  MARY  ELIZABETH 
WHITNEY  (the  former  MRS. 
JOHN  HAY  WHITNEY)  is  a 
brunette  with  lovely  creamy 
skin.  She  thinks  that  match- 
ing her  skin  is  the  most 
flattering,  so  she  uses 
Pond's  Brunette- Rachel. 


A    light  cream 
shade,  with  a  little 
pink  in  it  — Rose  Dawn.  It  is  light  enough 
to  match  fair-skinned  brunettes.  Slightly 
darker  brunettes  by  the  thousands  use  it  to 
lighten  and  brighten  their  skin. 

A  deeper  cream — Brunette-Rachel 
— but  all  cream  and  no  pink.  Countless 
brunettes  use  this  to  match  their  natural 
creaminess  of  tone.  Some  use  it  to  add 


MRS.  MARY  ELIZABETH  WHITNEY 
(THE  FORMER  MRS.  JOHN  HAY  WHITNEY) 


warmth  to  a  pale  ivory  skin.  Dark  brunettes 
use  it  to  lighten  their  skin  when  they  prefer 
an  even  beige  tone  without  pink  in  it.  By- 
far  our  most  popular  brunette  shade. 

A  deeper,  sunnier  shade — Rose 
Brunette — in  which  there  is  more  rose  than 
cream.  This  is  the  powder  that  matches  most 
successfully  the  brunette  skin  with  a  great 
deal  of  warmth.  Darker  brunettes  use  it  to 
lighten  their  skin.  A  third  group  finds  that 
the  pink  in  the  powder  takes  the  dull  yel- 
lowy tones  out  of  the  skin. 

And  there  is  also  our  new  Dusk 
Rose,  the  darkest,  rosiest  of  our  shades.  It 
brightens  muddy  tans.  It  matches  a  deep, 
rosy  tan.  Other  brunettes,  who  dislike  grow- 
ing paler  in  winter,  keep  a 
warm,  sunny  tan  all  the 
year  with  Dusk  Rose. 

Pond's  Powders  give  a 
smooth-as-baby-skin  fin- 
ish to  your  face.  They  keep 
away  shine  for  hours  with- 
out giving  that  powdered 
look.  They  are  faintly, 
delightfully  perfumed. 

Brunettes  will  find  their 
3  shades  grouped  together 
on  the  counter.  Blondes  will  find 
an  equally  successful  group  for 
them,  too.  You  can  pick  your  own 
shade  easily. 

Or  write  to  Pond's,  Dept.  9  MS-PL, 
Clinton,  Conn.,  and  state  whether  you 
are  a  blonde  or  brunette — you  will  re- 
ceive generous  samples  FREE. 

Copyright,  1940,  Pond's  Extract  Company 


NOVEMBER,  1940 


17 


20t(,  CENTURY- FOX  HAS  MADE  THE  GREATEST  MUSICAL 
EXTRAVAGANZA  EVER  BROUGHT  TO  THE  SCREEN! 


AMECBE 


Music  and  Lyrics  :"Two  Dreams  Met", 
"Down  Argentine  Way"  (Argentina), 
"Nenita",  "Sing  To  Your  Senorita" 
by  Mack  Gordon  and  Harry  Warren 

Songs  Sung  by  Carmen  Miranda: 
"South  American  Way",  "Bambu", 
"Mamas  Eu  Quero",  "Touradas  Em 
Madrid" 


The  irresistible  rhythms  of  Rhumbas 
Congas!  The  glamorous  spell  of  the  Argentine! 
A  cast  of  stars  brilliant  as  the  Southern  Cross! 
?JpS>^p  Show = stopping  new  personalities!  Romance  — 

The  spectacular 


the  South  American  way! 
entertainment  two  continents  have  been  waiting  for! 


18 


MODERN  SCREEN 


RD 


eajjcMt  AonietAwMf  /new       /m&v-ie  jetc/b  M 

/At^  baw=6&ned  Aeko  of ^Ha^nei^  "CfCntile  £Rac4me  —        tldtneuctwi " 


obalind 


20 


MODERN  SCREEN 


ICHARD  CARLSON 

22  MODERN  SCREEN 


/ 


\^ucky  everybody  who  enjoys  the  finest 
in  motion  picture  entertainment.  For  here's 
Paramount  with  a  grand  college  football  picture, 
"THE  QUARTERBACK",  featuring  Wayne  Morris  and 
Virginia  Dale,  directed  by  H.  Bruce  Humberstone. 
Yes,  and  Dorothy  Lamour,  Robert  Preston,  and 
Preston  Foster  in  a  heart-searing  drama  of  the 
teakwood  forests,  "MOON  OVER  BURMA",  with 
Doris  Nolan  and  Albert  Basserman,  directed  by 
Louis  King.  Dick  Powell  and  Ellen  Drew  in 
CHRISTMAS  IN  JULY",  with  Raymond  Walburn, 
a  completely  new  kind  of  comedy,  written  and 


directed  by  Preston  Sturges,  whose  "The  Great 
McGinty"  is  the  talk  of  the.  country.  And,  most 
exciting  of  all,  the  Claudette  Colbert-Ray  Millahd 
starrer,  "ARISE  MY  LOVE",  directed  by  Mitchell 
Leisen...Claudette's grandest  heart-picture  in  years. 


.  .  .  with  the  Loveliest  Ladies  in  Hollywood  to  Entertain  Hint! 


NOVEMBER,  1940 


23 


Transcribed 
by  Gladys  Hall 

I  think  it  was  Oscar  Wilde  who  once  quipped  that 
it's  better  to  be  talked  about,  no  matter  how,  than  not 
to  be  talked  about  at  all.  But  somehow,  I  just  can't 
feel  that  way.  I  can't  help  caring  how  people  feel  about 
me.  That's  why  I'm  taking  the  opportunity  Modern 
Screen  has  offered  to  answer  some  of  your  questions 
and  at  the  same  time  get  things  off  my  chest. 

"Why  don't  you  tell  us  more  about  your  children?" 
you  write  me.  I  don't  because,  in  the  first  place,  I  feel 
it  is  unfair  to  bring  them  into  the  limelight  of  publicity 
before  they  have  any  choice  in  the  matter.  How  do  I 
know  they  are  going  to  like  publicity  when  they  are  old 
enough  to  judge?  After  all,  there  are  those  who  don't. 
Too,  though  I  adore  my  children  and  love  to  talk  about 
them,  I  don't  feel  that  "child-talk"  should  be  forced  on 
the  fans  who,  for  the  most  part,  regard  me  more  as  an 
actress  than  a  mother.  Don't  you  agree?  I'd  really  like 
to  know. 

Then  there's  the  question  of  money.  Although  I  have 
been  asked  many  times  about  my  finances,  I've  always 
felt  that  was  something  that  shouldn't  be  discussed.  I 


think  it's  poor  taste  to  parade  one's  bankbook  in  public, 
and  this  feeling  has  often  led  me  into  trouble.  On  one 
occasion,  I  tried  to  pass  off  a  direct  question  and  suc- 
ceeded only  in  creating  a  wrong  impression.  It  happened 
in  New  York,  when  an  interviewer  asked  me,  point 
blank,  how  rich  I  was.  I  remember  saying  that  I  didn't 
want  to  discuss  it,  but  he  stuck  to  his  guns  and  I  tried 
to  compromise  with  half-answers. 

By  the  time  all  expenses  were  paid,  I  said  finally,  my 
income  was  really  only  about  $25,000  a  year  and,  by  way 
of  explanation,  added  that  the  net  was  naturally  much 
less  than  the  gross  income. 

When  the  interview  was  published,  I  found  myself 
quoted  as  saying  I  couldn't  live  on  $25,000  a  year!  What 
a  ridiculous  thing  for  anyone  to  say!  As  a  matter  of 
fact,  I  enjoy  an  extremely  good  income  and,  though  it 
does  not  leave  me  enormously  rich,  I  consider  myself  one 
of  the  world's  luckiest  persons. 

Now,  I  believe  that  that  kind  of  story  about  income 
and  expenses  hurts  us  and  also  annoys  you,  our  fans. 
Am  I  right?  I  know  that  frequently  we're  at  fault,  but 
when  something  like  that  is  printed  about  us,  there  it  is, 
and  we  never  have  a  chance  to  tell  you  whether  or  not 
it's  true.  That's  why  I  am  so  eager  to  make  the  most  of 
this  chance  and  speak  without  reserve.  We  can't  make 
retractions  because  they  always  sound  weak  and  silly. 
And  the  minute  you  make  a  retraction  you're  not  be- 
lieved anyway.    Isn't  that  so? 

As  another  example  of  what  I  mean,  take  my  opera- 
tions— or  the  ones  I'm  supposed  to  have  had.  Why, 
every  time  I've  gone  to  New  York  in  the  past  three  or 
four  years  I've  been  startled  to  hear,  while  lunching  at 
the  Colony  or  dancing  at  21,  that  "Norma  Shearer  is  in 


Here's  a  personal  reply — friendly  as  a  handclasp — to  all  those 


24 


MODERN  SCREEN 


the  hospital,  following  a  major  operation,"  and  if  not 
at  death's  door,  preparing  to  rap  on  it!  I  can't  very 
well  take  the  floor  and  announce  that  I'm  not  having  an 
operation!  It's  really  rather  funny,  this  rumor  that  keeps 
popping  up.  I  wouldn't  object  to  it  at  all  except  that, 
actually,  I'm  one  of  the  healthiest  persons  in  the  world 
and,  of  course,  glad  of  it.  The  real  reason  for  the  story 
is  this:  A  few  years  ago  I  arrived  in  New  York  with 
some  badly  impacted  wisdom  teeth.  I  found  a  very  fine 
surgeon  who  corrected  the  condition  and  now  every  time 
I  come  to  New  York  I  go  to  him  for  a  check-up.  There 
you  have  it! 

Another  question  frequently  asked  me  has  to  do  with 
my  so-called  power  and  influence  at  the  studio.  It  al- 
ways embarrasses  me,  and  I  can  only  answer  by  saying 
that  I  don't  think  anyone  has  ever  behaved  more  like 
an  employee  than  myself.  You  can  ask  any  of  my  asso- 
ciates. They'll  testify  to  that,  I'm  sure.  Just  because 
of  my  marriage  to  Mr.  Thalberg  and,  as  a  consequence, 
my  friendship  with  other  executives,  there  have  been 
any  number  of  times  when  I  did  not  put  up  as  stiff  a 
fight  as  another  actor  or  actress  would  have  under 
similar  circumstances.  I  didn't  want  to  appear  to  be 
taking  advantage  of  my  association.  For  instance,  I 
didn't  want  to  make  "The  Women."  I  did  make  it,  for 
the  reason  I've  just  explained  and  also  partly  because 
I  was  taught  by  Mr.  Thalberg  to  think  of  what  is  good 
for  a  picture  as  a  whole  rather  than  what  is  good  for 
me  as  an  individual.  I've  really  tried  to  refrain  from 
ever  being  temperamental.  I've  never  attempted  to  use 
any  influence  which  I,  as  Irving's  wife,  might  have  had 
— and  all  because  I  feared  I  would  be  accused  of  wield- 
ing a  power  I  do  not  wish  to  have.  (Cont'd  on  page  59) 


f/fe  teat?  sas/t  j/^tr  a/<rt'A"'<? 


questions  you  want  answered 


NOVEMBER,  1940 


25 


In  this  scene  from  "The  Philadel- 
phia Story,"  Cary  (whose  next  16 
films  are  already  lined  up ! )  is 
more  than  holding  his  own  with 
John  Howard  and  Jimmy  Stewart. 
Typical  of  the  Grant  way  with  the 
ladies!  This  is  the  third  time  he's 
played  opposite  Katie  Hepburn. 


THE 


BY  GEORGE  BENJAMIN 


One  of  Cary  Grant's  pals  once  said,  "Everybody  seems  to  think  he 
wants  to  get  married — except  Cary,  himself." 

S-v  The  few  people  who  heard  the  remark  didn't  take  it  seriously.  They 

preferred  to  believe  their  eyes.  They  were  seeing  Cary  constantly  with  a 
certain  girl,  and  they  were  convinced  that,  this  time,  he  was  in  love. 
They  were  also  convinced,  as  were  the  columnists  and  the  girl,  herself 
(according  to  her  intimates),  that  he  would  elope  with  her  at  any 
moment.  But  he  didn't.  That  romance  has  been  on  ice  for  months! 

Ever  since  Virginia  Cherrill  left  his  bed  and  board  five  years  ago, 
people  have  suspected  Cary  of  searching  for  her  successor.  He  hasn't 
been  a  hermit.  He  has  sought  the  society  of  one  attractive  girl  after 
another.   The  kind  the  hero  always  wants  to  marry  in  the  last  reel. 

Now  he's  being  seen  constantly  with  Barbara  Hutton,  the  heiress.  And 
people  are  saying  that  this  time  he's  "unmistakably  in  love;"  that  wed- 
ding bells  will  ring  very  soon.  Perhaps  they  will.  But  don't  bet  on  it. 

For  one  thing,  Barbara  has  run  into  legal  difficulties  divorcing  Count 
von  Haugwitz-Reventlow  due  to  the  German  invasion  of  the  Count's 
native  Denmark.  Furthermore,  Cary  has  been  "unmistakably"  interested 
in  girls  before  without  marrying  them.  That  leads  directly  to  the  questions:  What  is  it  like  to  be  a  girl-friend  of  Cary's? 
And,  what  can  the -future  Mrs.  Grant  expect  him  to  be  like?  Know  the  answers,  and  you'll  know  Cary.  Which  isn't  an 
easy  thing  to  do.  You  can  judge  some  men  instantly  by  the  feminine 
companionship  they  seek,  because  they  always  go  for  the  same  type. 
Not  so,  Mr.  G 

Ginger  Rogers,  who  has  no  taste  for  large  parties,  isn't  the  same 
type  as  Elsa  Maxwell.  Forceful  Dorothy  di  Frasso  isn't  a  double 
for  shy  Mary  Brian.  Talkative  Rosalind  Russell  isn't  the  spiritual 
twin  of  serenely-relaxed  Marlene  Dietrich.  Phyllis  Brooks  and 
Barbara  Hutton  are  psychological  opposites.  And  these  are  only  a 
few  of  the  females  Cary  has  found  companionable.  The  mere 
fact  that  his  tastes  in  feminine  companionship  are  so  diverse  reveals 
this  about  him:  He  isn't  a  man  with  a  one-track  mind  as  far  as 
women  are  concerned. 

A  girl  can  go  out  with  Cary  without  wearing  armor.  She  doesn't 
have  to  expect  him  to  make  passes.  He  doesn't  have  any  reputation 
as  a  Great  Lover  to  maintain.  And  he  doesn't  want  any.  He's  a 
fugitive  from  Romeo  roles.  He  bought  up  his  Paramount  contract 
four  years  ago,  remember,  because  Paramount  wouldn't  let  anybody 
think  of  him  except  as  some  glamour  girl's  love  interest.  He  has 
put  in  his  time  since,  building  up  a  reputation  as  an  amusing  young 
man,  who  can  be  serious  on  occasion.   And  that's  the  reputation 


He's  tall,  prosperous 


and  knockout  look- 


ing.   There  must  be 


a  catch  somewhere! 


26 


MODERN  SCREEN 


he's  out  to  maintain,  be  it  ever  so  disappointing  to  his  would-be  romantic  date. 

To  understand  Cary,  you  have  to  realize,  first  of  all,  that  nobody  lifted  him  out 
of  some  other  profession  and  made  a  movie  star  of  him.  His  first  ambition  was 
to  be  an  entertainer.  He  ran  away  from  home  when  he  was  thirteen  to  join  a 
troupe  of  music-hall  comedians.  He  starved  for  years — but  even  when  he  had 
to  walk  on  stilts  at  Coney  Island  with  a  sign  on  his  back  to  get  money  for  food,  he 
didn't  think  of  giving  up  show  business.  Nothing  else  interested  him.  He  concen- 
trated on  that  one  idea  so  long  that,  when  he  did  make  good,  he  wasn't  able  to 
stop  concentrating  on  how  to  be  more  entertaining.  It's  uppermost  in  his  mind  still. 

Any  girl  he  takes  out  can  expect  him  to  put  some  thought  and  effort  into  amus- 
ing her.  The  reason  for  it  is  this:  After  concentrating  all  day  on  what  he  likes 
to  do,  he  relaxes  by  doing  what  others  like  to  do. 

He  has  found  so  many  different  women  companionable  because  he  goes  out 
of  his  way  to  be  companionable  himself.  He  adapts  himself  to  whatever  com- 
pany he's  in.  He  doesn't  take  a  recluse  to  night-clubs.  He  doesn't  take  a  girl 
to  a  movie  she  isn't  interested  in  seeing.  He  doesn't  suggest  a  drive  to  a  girl 
who  would  rather  dance. 

Before  he  invites  a  girl  out,  he  goes  to  the  trouble  of  discovering  her  special 
interests  and  guides  the  conversation  accordingly.   (Continued  on  page  87) 


The  censors  nix  Mae 
West's  ad  libs  and  ex- 
cessive hip-swinging. 


All  piggy-back  scenes 
must  be  scissored  for 
Maryland  audiences. 


Ann  Sheridan's  much- 
publicized  bosom  must 
be  adequately  covered. 


Joseph  Ignatius  Breen  is  probably  the  most  power- 
ful man  in  Hollywood  today. 

He  is  fifty  years  old,  this  Celluloid  Caesar,  and  all 
Irish,  with  the  body  of  a  longshoreman  and  the  vocabulary 
of  an  uninhibited  gob.  In  four-letter  words,  minus  may- 
be's,  Joe  Breen  daily  tells  Darryl  Zanuck,  Joe  Pasternak 
and  the  brothers  Warner  how  to  make  their  movies.  He 
tells  Frank  Capra  and  John  Ford  how  to  direct  their 
actors  in  an  assortment  of  scenes — and,  so  help  me,  he 
often  tells  Clark  Gable,  Tyrone  Power  and  Errol  Flynn 
how  to  make  love,  what  not  to  say  to  women  and  what 
to  wear. 

That's  Joe  Breen,  the  strong-arm  man  of  Hollywood. 

"For  all  the  power  he  wields,"  one  producer  told  me, 
"I  wouldn't  trade  positions  with  him,  because  he's  got 
the  hardest  job  in  the  world." 

For  six  years  now,  ever  since  the  churches  of  America 
decided  the  films  needed  a  thorough  rinsing,  Joe  Breen 
has  slumped  in  his  easy  chair — located  in  a  private  pro- 
jection room  on  the  second  floor  of  the  Hollywood  Roose- 
velt Hotel — and  cussed  bitterly  at  an  endless  variety  of 
dramas,  comedies,  animated  cartoons  and  short  subjects. 

As  Hollywood's  Number  One  Watchdog,  as  the  man 
in  the  Will  Hays  office  who  censors  naughty  feet  of  film, 
Joe  Breen  has  perspired  and  suffered  much.  He  has  never 
been  able  to  view  Ann  Sheridan  from  a  purely  esthetic 
point  of  view.  Instead,  he  has  had  to  keep  an  eye  peeled 
to  see  that  Ann's  publicized  bosom  was  covered  by  an  ade- 
quate frontispiece.  He  has  never  been  able  to  roar  at 
Mae  West's  libido-inspiring  antics.   Instead,  remembering 


No  bathtub  shots  for 
the  Australians.  They 
are  strictly  taboo! 


28 


MODERN  SCREEN 


Hollywood's  parity  boy,  Joe  Breen,  wields  a  ruthless  scissors,  but 
now  when  we  go  to  the  movies  we  can  usually  bring  the  kiddies! 


his  duty  to  his  country  and  Will  Hays,  Breen  has  had  to 
see  that  Mae  didn't  ad-lib  salacious  innuendoes  or  move 
her  hips  like  a  Notre  Dame  halfback. 

To  earn  the  $25,000  a  year  paid  to  him  by  the  producers 
of  Hollywood,  he  has  to  see  that  films  don't  offend  the 
Legion  of  Decency  and  its  twenty  million  Catholic  fol- 
lowers. He  has  to  watch  that  a  star  or  a  script  doesn't 
insult  the  Mormons,  the  P.T.A.,  the  Boy  Scouts  of  America, 
the  Republicans,  the  YMCA  and  the  eight  states  and  260 
cities  with  individual  censorship  boards. 

For  instance,  Robert  Taylor  mustn't  take  a  shower  in 
Massachusetts,  because  shower  scenes  are  barred  in  that 
state.  James  Cagney  can't  slap  that  ingenue  in  the  face, 
since  Ohio  lists  face -slapping  as  taboo.  The  hero  dare  not 
carry  the  heroine  piggy-back  in  Maryland,  and  kissing 
scenes  must  be  cut  down  to  a  minimum  for  supposedly 
sophisticated  New  York.  The  film  gangster  can't  speak  of 
taking  a  man  "for  a  ride"  or  self-conscious  Chicago  will 
nix  the  pix.  In  Pennsylvania,  Myrna  Loy  mustn't  be 
pregnant  nor  Claudette  Colbert  anticipating  a  child. 

Wait,  though,  that's  not  all.  While  Joe  Breen,  squirming 
in  his  uneasy  chair,  has  already  taken  these  domestic  taboos 
into  consideration,  he  mustn't  forget  what's  left  of  the 
foreign  market.  He  must  remember,  also,  minor  prejudices 
of  folks  in  other  lands.  For  example: 

Greece  won't  tolerate  Gene  Autry  or  any  other  range- 
rider.  Japan  abhors  kissing.  Catholic  prayers  must  be 
scissored  if  the  epic  is  to  be  shown  in  England.  Australia 
won't  stand  for  Ginger  Rogers  or  any  other  glamour  gal 
in  a  bathtub.  All  poker  games  have  to  be  eliminated  if 
the  picture  is  to  be  shown  in  Latvia.  Dialogue  like  "blasted," 
"by  Gad"  and  "bloody"  has  to  be  removed  to  please 
Canadian  high  moguls.  And  Peru  doesn't  allow  mob  scenes, 
since  they  give  the  populace  ideas. 

All  of  this  blue-penciling  came  to  be  through  a  curious 
phenomena.  In  1922,  the  producers,  searching  for  a  super 
spokesman,  someone  who  could  be  a  combination  go-be- 
tween and  public  relations  representative,  hired  a  little 
phlegmatic-faced  gentleman  who  had  served  in  President 
Harding's  cabinet.  His  name  was  Will  H.  Hays.  Wise  pro- 

BY  IRVING  WALLACE 


ducers  figured  that  since  Will  Hays  was  a  Phi  Delta  Theta, 
an  Elk,  a  Presbyterian  elder,  a  32nd  degree  Mason  and  a 
solid  Republican,  he  would  be  regarded  as  a  good,  pure  man 
who  could  prove  to  women's  clubs  that  the  movies  he 
represented  were  also  good  and  pure.  The  producers  paid 
Mr.  Hays  $150,000  a  season  to  help  them  in  "establishing 
and  maintaining  the  highest  possible  moral  and  artistic 
standards  of  motion  picture  production." 

At  this  point,  one  thing  went  wrong.  Business  fell  off. 
Movie  theatres  were  packed  with  empty  seats.  Desperate 
for  customers,  Hollywood  producers  neglected  to  follow  the 
ethical  and  moral  laws  they'd  asked  Will  Hays  to  establish, 
and  began  to  throw  Clara  Bow,  John  Gilbert,  Colleen 
Moore  into  pictures  that  ranged  from  the  forbidden  to  the 
downright  filthy.  There  were  nude  scenes  that  smoked. 
There  was  dialogue  that  sizzled.   The  reformers  raved. 

In  1933,  the  big  blow-off  came.  Archbishop  Amleto  Cico- 
gnani  broke  front  pages  with  this  poetic  blast:  "Catholics 
are  called  by  God,  the  Pope,  the  bishops  and  the  priests 
to  a  united  and  vigorous  campaign  for  the  purification  of 
the  cinema,  which  has  become  a  deadly  menace  to  morals!" 

Hollywood  producers  squirmed.  This  moral  boycott 
might  ruin  them,  might  shut  down  the  movies  forever. 
They  went,  en  masse,  to  Will  Hays.  They  begged  him  to 
give  them  another  chance.  They  begged  him  to  set  up 
more  stringent  rules  and,  so  help  them,  they  promised 
to  obey.  Will  Hays  immediately  sent  out  an  SOS  for  his 
old  friend,  Joe  Breen,  an  ex-press  agent  who  had  been  a 
diplomat  in  the  Jamaica  Consular  Service. 

Mr.  Breen  hit  Hollywood  like  a  cyclone.  He  summoned 
the  rich  and  quaking  producers  to  him.  All  of  them,  even 
big  producers  like  Louis  B.  Mayer,  Sam  Goldwyn  and 
the  late  Carl  Laemmle!  Mr.  Breen  looked  them  in  the 
eye  and  said  something  like  this: 

"Gentlemen,  if  you  want  someone  you  can  push  around, 
then  you've  got  the  wrong  man.  Because,  take  my  word, 
gentlemen,  I'm  going  to  get  honor  and  purity  into  the 
movies  if  it  kills  you  and  it  kills  me.  I'm  going  to  throw 
plenty  of  your  scripts  in  the  ashcan.  I'm  going  to  toss 
plenty  of  expensive  film  in  the  (Continued  on  page  81) 


r  their 
This 
is  out. 


NOVEMBER,  1940 


A  RED-HEADED  WOMAN 


Angel-voice  and  all,  Jeanette's 
really  a  spit-fire  at  heart 


Gene  and  "Jam"  (that's  Jeanette's 
nickname)  have  been  married  just 
three  years.  Both  are  terrific  senti- 
mentalists and  share  a  love  for  de- 
tective chillers  and  swing  music. 


BY  KIRTLEY  BASKETTE 


Once  upon  a  time  it  was  Jeanette  MacDonald's 
painful  duty  to  reproach  her  little  nephew,  Earl,  for 
some  juvenile  prank.  She  took  a  deep  breath  and 
launched  into  a  self-conscious  flow  of  auntly  lecturing. 
When  Jeanette  ran  out  of  words,  Earl  simply  stared, 
mute  and  plainly  astonished  at  the  whole  business. 

There  was  an  aching  silence  and  Jeanette  found  her- 
self without  a  finish.  She  was  left  hanging  in  the  air 
and  it  bothered  her  far  worse  than  it  did  Earl.  She  had 
to  say  something,  so  she  blurted  out,  "And  I  don't  mean 
a  thing  I  say,  either!" 

That,  unfortunately,  is  the  anticlimactic  way  both 
temper  and  temperament  turn  out  for  Jeanette  Mac- 
Donald.  Nature  made  her  a  red  head  and  destiny  made 
her  a  prima  donna.  But  any  connection  between  the 
two  is,  as  the  movie  title  sheets  say,  purely  coincidental. 

Years  ago,  at  thirteen,  when  she  first  tripped  out  on  a 
Broadway  stage,  hard-boiled  chorus  girls  took  one  look 
at  her  angelic  face,  her  shining  curls  nipped  neatly  with 
a  silken  bow  and  cracked,  "Elsie  Dinsmore!"  In  Holly- 
wood a  producer  once  referred  to  Jeanette  respectfully 
as,  "the  singing  governess."  Of  course,  all  this  burned, 
and  still  burns  vital,  vivacious  Jeanette  to  a  fine  crisp, 
but  she  can't  do  much  about  it.  The  same  Nature  which 
endowed  her  with  those  dangerous  copper  tresses  and 
naughty  flashing  eyes,  tempered  the  danger  signals  with 
a  beatific  smile  and  a  voice  straight  from  Heaven.  Her 
practical  Scotch  ancestry  and  a  Philadelphia  upbringing 
have  helped  spread  the  conviction  that  Miss  MacDonald 
is  a  cross  between  a  Y.W.C.A.  librarian  and  your  maiden 
Aunt  Minnie. 

That  isn't  necessarily  so.  There's  a  little  bit  of  bad 
in  every  good  little  girl  and  Jeanette  MacDonald  is  no 
exception — as  any  of  her  good  friends  can  tell  you. 
The  only  trouble  is,  when  MacDonald  has  her  flare-ups, 
they  usually  fizzle  right  down  to  her  funny  bone — and 
the  whole  thing  is  immediately  forgotten  in  a  gale  of 
laughter.  Whenever  she  tries  to  five  up  to  her  red  hair, 
she  has  to  five  down  a  joke  on  her  pride.  When  she 
sticks  out  her  dignity,  it  turns  out  to  be  her  neck.  It's 
a  little  discouraging. 

At  the  first  Broadway  stage  try  out  Jeanette  ever  had, 
she  tried  to  be  cool  and  calm.  Result?  She  started  her 
song  in  the  wrong  key.  When  she  saw  she  wasn't  going 


to  make  the  high  notes,  she  broke  into  a  dance — to  cover 
up — and  fell  flat  on  her  face!  That  should  have  warned 
her  Fate  wasn't  going  to  let  her  sweep,  like  a  grand 
lady,  through  a  theatrical  career.  It  should  have  tipped 
her  off  to  the  fact  that  she  wasn't  the  type. 

But  when  she  came  to  Hollywood  a  few  years  later, 
the  painful  memory  had  faded.  Jeanette,  you'll  remem,- 
ber,  in  her  early  movie  days,  was  reputed  to  be  more 
or  less  Trilby  to  clever  Ernst  Lubitsch's  Svengali  in 
those  gay  continental  musicals  opposite  Maurice  Che- 
valier at  Paramount.  Lubitsch  practically  discovered 
Jeanette  for  Hollywood  and  developed  her  into  a  star, 
but  red  heads  resent  being  under  anyone's  spell  and 
things  began  happening  right  at  the  start. 

One  day,  for  instance,  it  was  hot  enough  to  fry  eggs 
on  the  stage  floor  and  Jeanette  had  a  trying  scene  with 
a  difficult  dress.  It  had  three  long  trains  and  was 
clumsy  to  move  in  before  the  camera.  She  muffed  take 
after  take  and  finally  blew  higher  than  Old  Faithful. 
"It's  simply  impossible  to  do  the  scene  in  this  dress!" 
cried  Jeanette. 

"No  it's  not,  Jeanette,"  soothed  Lubitsch. 

"All  right,"  stormed  Jeanette,  "you  do  it!"  She  swished 
off  into  her  dressing-room!  In  a  second,  the  exasperating 
gown  sailed  out  the  door  and  wrapped  itself  around 
Lubitsch's  feet. 

It  was  only  after  no  one  disturbed  her  for  a  long 
time  that  Jeanette's  huff  surrendered  to  gnawing  curi- 
osity. Looking  stealthily  out  the  door,  she  saw  Lubitsch, 
cigar  and  all,  dolled  up  in  the  offending  creation  and 
going  through  her  paces  without  a  hitch.  She  yelled 
with  laughter!  That  ended  the  fit  of  temperament,  a 
little  ingloriously — but  that's  what  always  happens 
when  Jeanette  flies  off.  Her  sense  of  humor  gets  the 
better  of  her.  - 

Another  time,  also  in  the  Lubitsch  days,  when  things 
weren't  going  well  with  a  scene,  she  stalked  off  the 
set  in  the  best  Hollywood  manner,  proclaiming  that  she 
would  never,  never  return.  There  was  just  one  slip — 
she  left  behind  the  keys  to  her  dressing-room,  her  car, 
her  apartment  and  everything  else.  In  a  few  minutes 
she  had  to  sneak  back  and  rummage  around  for  the  keys, 
while  Lubitsch's  dark  little  eyes  gleamed  wickedly  as 
he  inquired,  "Why,  what  are  you  (Continued  on  page  63) 


NOVEMBER,  1940 


31 


on  end.  They  want  me  to  face  some  mechanical  gadgets 
and  say  "Boo"  until  I  can't  even  frighten  myself.  A  joke 
is  only  funny  once.  And  yet  they  want  me — they  want 
me — "  and  he  began  to  really  splutter,  "Why,  do  you  know 
what  they're  trying  to  do  with  me?  They're  trying  to  turn 
me  into  a  inferior,  second-rate  guy  with  no  imagination,  j 
no  spontaneity,  no  wit — they  are  trying  to  make  a  number 
two  company  Jack  Benny  out  of  me!" 

Jack  Benny!  That's  the  name  that  brings  the  lovelight 
into  Allen's  eyes.  Nothing  makes  him  happier  than  to, 
think  of  Benny. 

Feud?  Sure,  there's  a  feud  and  here's  the  way  the  whole 
thing  started.  It  was  back  somewhere  in  1936.  Allen  was 
doing  his  regular  broadcast  when  a  stooge  brought  up  a 
boy  of  twelve  or  so  to  play  the  violin.  He  played  "The 
Bee,"  a  very  difficult  number  and  Allen,  interviewing  him 
afterward,  ad  libbed  some  humorous  comment. 

"Did  it  take  you  long  to  learn  the  piece?"  he  asked. 

"No,"  said  the  boy.   "I  learned  it  in  about  two  months." 

"My,  my,"  Allen  replied.    "Think  of  that!    Two  months  j 
and  you  do  it  perfectly.  Jack  Benny's  been  trying  for  forty 
years  and  he  hasn't  learned  it  yet!" 

That  did  it.  It  was  an  extemporaneous,  unrehearsed 
wisecrack  and  it  led  to  one  of  the  most  talked  about,  most- 
humorous  personality  feuds  in  the  history  of  show  business. 

A  week  or  so  later,  on  his  own  broadcast,  Benny,  still  not  1 
realizing  the  implications,  answered  by  throwing  a  line 
into  his  script  reading,  "I  can  so  play  'The  Bee!'  " 

That  was  all  Allen  needed.  He  started  such  a  campaign 
of  badgering,  baiting  and  teasing  that  poor  Benny  had  to  go 
out  and  have  his  fingers  Umbered  up  for  the  big  test.  He 
had  to  play  "The  Bee"— and  he  did! 

But  by  that  time  both  Benny  and  Allen  realized  that  i 
they  had  uncorked  something  very  big.  The  mail  both 
received  was  tremendous.  The  interest,  the  partisanship, 
were  phenomenal.  They  never  discussed  it.  They  never 
planned  it  ahead,  but  both  of  them  being  natural  born 
showmen  realized  it  was  a  gag  worth  playing  to  the  hilt. 

Allen  admits,  quite  frankly,  that  it  helped  him  more  than 
it  did  Benny.    To  begin  with  (Continued  on  page  65) 


Stage  9  was  teeming  with  activity.  Lights  were  being 
turned  on  and  off,  extras  were  walking  in  and  out,  cameras 
were  grinding  merrily  and  assistant  directors  were  shouting. 
In  a  dim  corner  sat  a  sour-faced  gent,  his  head  buried  in  a 
script,  his  pencil  dancing  briskly  over  the  pages.  Who  was 
the  sour-faced  gent?    Why,  Fred  Allen,  comedian. 

For  hours  he  had  been  sitting  there,  waiting,  just  waiting. 
The  call  had  been  for  7:30  A.  M. — and  he  was  always  a 
guy  to  be  punctual.  Now  it  was  well  into  the  afternoon, 
and  he  was  still  waiting. 

Suddenly,  the  director  shouted,  "Allen!  Where's  Fred 
Allen?" 

The  comedian  looked  up  sadly  from  his  script  and  an- 
swered meekly,  "The  last  I  heard  from  him  he  was  on  the 
way  to  the  hospital  from  underwork." 

He  groaned,  gave  a  weary  stretch  and  rose  carefully. 

"I've  got  to  do  this  very  slowly,"  he  explained.  "If  my 
limbs  find  out  that  they're  actually  going  to  stretch,  they'll 
get  so  excited  there's  no  telling  what'll  happen." 

A  script  girl  came  up  timidly. 

"We're  ready  for  your  scene  with  the  bell-boy,"  she  said. 

"Thank  you,"  said  Allen.    "Where's  the  boy?" 

The  script  girl  pointed  off  to  another  end  of  the  stage. 
Allen  looked.  Then  he  burst  into  raucous  laughter.  He 
turned  to  a  group  of  us  and  explained.  "They  brought 
this  boy  here  at  the  same  time  they  brought  me  and  told 
us  to  wait  a  few  minutes  until  they  were  ready  to  shoot 
the  scene." 

Again  laughter. 

"Well,  they're  ready  for  us  now  but  they'll  have  to  send 
out  and  get  a  new  boy.  The  one  they  had  couldn't  stand 
the  pace." 

Get  one  thing  straight.  Fred  Allen  does  not  like  movies. 
To  put  it  more  accurately,  he  does  not  like  acting  in  movies. 
They're  too  slow  for  him,  too  stereotyped,  too  routine. 

Here's  the  way  he  explains  it.  "All  my  life  has  been 
bound  by  a  few  bars  of  opening  music  on  one  end  and  a 
week's  layoff  in  Toledo  on  the  other.  All  my  life  I've  had 
to  think  and  keep  on  the  move.  Now  they  try  to  change  me 
over.   They  want  me  to  sit  down  and  be  patient  for  weeks 


32 


MODERN  SCREEN 


B  Y    WO  LFE  KAUFMAIV 


Why  should  Allen  and  Benny  be  friends 


when  it's  so  darn  lucrative  to  be  enemies? 


Hit 


V 


A  beautiful  friendship  is  swell,  but 
we'll  still  take  this  beautiful  feud ! 
Sad-eyed  Fred,  who  always  looks 
as  if  he's  going  to  his  best  friend's 
funeral,  dreams  up  most  of  his  best 
gags   while   downing   a  malted. 


/ember.  1940 


Anything  can  happen  when  Movie! own  has  its  whacky  innings! 


Captain  Goddard  of  the  Comedians'  team  shows  off  her  self-designed  costume  (christened  The  Mid- 
riff)   to  Mischa  Auer.   Opposing  Captain   Dietrich  was  escorted  by  Leading  Man  Brod  Crawford. 


If  he's  still  conscious,  a  14-highball  drunk  is  a  guy 
with  a  pretty  terrific  imagination.  So's  a  "hopped  up" 
opium  eater — and  Orson  Welles  isn't  bad  either.  But 
were  three  such  boys  to  pool  their  unfettered  fancies 
in  an  attempt  to  cook  up  an  evening's  entertainment, 
the  result  would  be  dreary  fare  compared  to  the  wild 
and  whacky  show  dished  out  recently  at  Hollywood's 
Wrigley  Field! 

The  occasion  was  Movietown's  own  World  Series, 
the  alleged  "baseball"  game  held  annually  between  a 
team  of  Comedians  and  a  team  of  Leading  Men  for  the 
benefit  of  a  local  hospital  and  40,000  screaming  spec- 
tators. After  years  of  daytime  playing,  the  athletes  in- 
volved agreed  that  their  tactics  looked  better  after  dark, 
and  so  this  year's  classic  was  held  at  night.  The  com- 
petition ran  for  three  innings  (or  maybe  it  was  four — 


no  one  knows)  and  was  won  by  the  Comedians  (or 
maybe  it  was  the  Leading  Men — no  one  knows  that, 
either) .  Rules  and  reason  were  abandoned  at  the  gate. 
Everybody  who  turned  up  in  a  uniform  went  into  the 
struggle — and  anything  constituted  a  uniform!  Players 
garbed  as  Hindus,  backwoodsmen  and  funeral  directors 
entered  the  field  on  scooters,  horses  and  bicycles! 
Daring  each  other  to  steal  scenes  or  bases,  they  em- 
ployed such  proven  baseball  strategy  as  the  use  of  sling 
shots,  butterfly  nets,  plaster  balls  and — believe  it  or 
not— smoke  bombs! 

Fireworks  flared,  bands  blared,  there  was  vaudeville 
between  innings,  and  the  crowd  went  wild!  It  didn't 
make  a  bit  of  sense,  but  it  did  make  a  lot  of  money  and 
that,  after  all,  is  what  counts.  The  pictures  on  this 
and  the  facing  page  will  show  you  how  it  was  done. 


34 


MODERN  SCREEN 


NOVEMBER,  1940 


35 


she  didn't  say 


A  big  transcontinental  airliner  took  off  from  New 
York  and  roared  upward  into  the  sky.  In  one  seat  was 
a  young  girl  whose  lips  were  tightly  pursed  and  whose 
huge  brown  eyes  stared  straight  ahead.  She  was  appre- 
hensive, not  of  the  journey,  but  of  the  destination  for 
which  she  was  bound. 

It  was  Martha  Scott's  second  trip  to  Hollywood  and  the 
first  had  been  a  disappointment  indeed.  But  why  worry? 
She  shrugged  her  slight  shoulders  to  reassure  herself. 
What  had  she  to  lose? 

At  Burbank  she  was  met,  not  as  before,  by  a  fanfare  of 
publicists  and  photographers,  but  by  a  lone  individual 
holding  an  open  umbrella  to  keep  off  the  rain.  It  was 
Agent  Noll  Gurney,  the  man  who  had  persuaded  her  to 
come. 

It  wasn't  an  inspiring  morning  and  Martha  Scott's  spirits 
were  about  as  damp  as  the  weather. 

"I'm  not  in  the  least  optimistic,"  she  told  Noll  Gurney. 
"Why  should  this  test  do  us  any  more  good  than  the 
other?" 

She  looked  back  unhappily  to  the  time  when  she  had 
gone  with  high  hopes  to  the  David  O.  Selznick  Studio  to 
be  tested  for  Melanie  in  "Gone  With  The  Wind." 

"I  want  to  compliment  you  very  highly  upon  your 
performance  in  the  test,"  Selznick  had  said,  "but  you 
simply  do  not  photograph.  The  kindest  thing  I  can  tell 
you  is  to  go  back  to  the  stage.    I'm  sorry." 

Those  words,  coming  from  such  a  man  as  Selznick,  just 
about  ended  her  screen  career  even  before  it  began. 
Selznick's  opinion  carries  tremendous  weight  on  the 
Celluloid  Coast  and  no  other  producer  there  could  be  in- 
duced to  give  her  a  test  for  any  part.  Why  should  they 
waste  their  money  on  a  girl  whom  David  O.  Selznick  said 
hadn't  a  chance?    They  didn't. 

As  a  matter  of  fact,  the  real  reason  for  Mr.  Selznick's 
cinematic  condemnation  of  Martha  Scott  was  Paulette 
Goddard.  Or,  to  be  more  exact,  it  was  one  of  the  camera- 
men who  had  photographed  Paulette  Goddard  when  she 
was  being  considered  for  the  role  of  Scarlett  O'Hara. 
Paulette  had  just  finished  a  test  one  day  when  Martha 
came  on  the  set,  and  the  cameraman,  being  a  bit  bored 
with  the  endless  number  of  unknowns  his  boss  was  digging 
up  from  here,  there  and  everywhere  for  the  Margaret 
Mitchell  epic,  didn't  bother  to  change  the  lights.  No 
two  women  could  be  more  unlike  photographically  than 
Paulette  Goddard  and  Martha  Scott,  so  the  lighting  that 


brought  out  the  best  in  the  former  literally  blitzkrieged 
the  latter. 

The  only  person  in  the  entire  motion  picture  industry 
who  refused  to  accept  that  test  as  final  was  Noll  Gurney, 
a  very  obstinate  guy.  He  was  still  convinced  that  Martha 
had  everything  it  takes  to  make  a  first  rate  star  and,  even 
after  she  had  left  the  town,  he  doggedly  kept  on  trying  to 
put  her  over.  Everybody  gave  him  the  run-around. 
Whenever  he  mentioned  Martha  Scott,  they  mentioned 
Selznick.  Months  passed,  during  which  Sol  Lesser,  the 
producer  of  "Our  Town,"  tested  girl  after  girl  for  the  part 
of  Emily  in  the  film  version  of  Thornton  Wilder's  play. 
Gurney  kept  pleading  with  Lesser  to  give  Martha  Scott 
another  test  for  the  role  which  she  had  created  upon  the 
New  York  stage  and  finally  Lesser  wearily  agreed.  His  next 
move  was  to  persuade  Martha  Scott  to  come  out  to  Holly- 
wood again. 

"That,"  he  said,  "was  just  about  as  difficult  as  persuading 
Lesser  to  make  the  test  itself.  She  didn't  believe  there 
was  any  use  in  coming.  First  I  pleaded  with  her,  then  I 
heckled.  She  still  couldn't  make  up  her  mind.  Finally,  I 
dashed  off  a  wire — terse  and  to  the  point.  'Are  you  com- 
ing?' "Well," "  Gurney  beamed,  "she  didn't  say  no!" 

As  soon  as  she  arrived,  Noll  rushed  her  off  for  her 
test  and,  while  it  was  being  made,  he  paced  the  alley- 
way off  stage  like  a  young  father  having  his  first  baby. 
When  the  film  was  run  off  he  sat  jittering  in  a  corner  of 
the  projection  room  with  his  feet  as  well  as  his  fingers 
crossed.  Gradually  he  relaxed  and  an  I-told-you-so  grin 
appeared  on  his  face,  for  this  time  Martha  Scott  was  prop- 
erly lighted  and  a  new  star  was  discovered.  .  .  . 

Outside  of  Mark  Twain  or  the  movies  themselves,  there 
simply  couldn't  be  any  place  named  Gee's  Creek.  But 
there  is,  and  Martha  Scott's  birth  certificate  proves  it. 
Gee's  Creek,  a  community  of  a  church,  a  school,  a  store 
and  a  population  of  half  a  hundred  souls,  is  near  James- 
port  in  Missouri.  If  you've  never  heard  of  Jamesport, 
either,  don't  think  you've  flunked  in  geography.  Compared 
with  Jamesport  the  "Our  Town"  of  the  picture  is  quite  a 
city!  Martha  is  like  all  the  folks  from  Gee's  Creek — -just 
a  small  town  girl  at  heart.  There  was,  for  instance,  the 
time  she  was  invited  to  a  party  where  she  was  certain  to 
meet  a  raft  of  bigshots.  She  was  discussing  with  Vicky 
Abbott,  her  roommate  both  in  New  York  and  in  Holly- 
wood, the  eternal  problem  of  what  to  wear. 

"But  you  can't  go  in  that,"  (Continued  on  page  67) 


BY  REGINALD  TAVINER 


36 


— > 


There's  an  old  gag,  "If 
a  lady  says  'yes,'  she's 
no  lady,"  but  Martha 
Scott  did — and  is! 


Gentle,  ultra-feminine  Martha  occasionally 
goes  on  absolute  bats  of  tomboyishness. 
She'll  climb  trees,  go  fishing  and  even 
chew  gum  and  yell  herself  hoarse  at  one 
of  the  local  baseball  games. 


"Picture-snatching"  is  fun  for  candid 
photographer*  like  Ruth  Hussey,  but 
it's  a  headache  tor  movie  cameramen  I 


they're  not  all  PERFECT! 

Blowing  the  lid  off  one  of  Holly- 
wood's most  hushed -up  subjects! 


Her  nose  and  complexion  are  Merle 
Oberon's    photographic  handicaps. 


MODERN  SCREEN 


SOMEONE  once  said  that,  in  Hollywood,  all  is  not 
Goldwyn  that  splutters.  Nor  for  that  matter  is  all 
beautiful  that  glistens. 

You  pay  your  money  at  the  box  office  and  you 
sit  in  the  audience  sighing  ecstatically,  "Lovely,  lovely, 
lovely."  And  if  you're  the  kind  of  person  who  wonders 
about  things,  you  wonder  how  those  movie  people  man- 
age to  find  such  a  constant  parade  of  beautiful  and  per- 
fectly formed  creatures. 

Well,  the  answer  is  that  they  don't.  There  isn't  one 
single  star  in  Hollywood  who  is  perfect.  They've  all  got 
their  little  flaws  to  hide  and  to  camouflage.  They  all  have 
their  Achilles'  heel — and  "heel,"  of  course,  is  no  word  to 
bandy  loosely  in  a  town  like  Hollywood. 

You  have  read  reams  of  stuff  about  how  perfectly  formed 
Vivien  Leigh's  features  are.  Well,  don't  you  believe  it! 
It  took  Vivien  half  a  dozen  film  tests,  for  instance,  to  realize 
that  she  had  practically  no  underlip!  You  saw  one  in  the 
movies?    Sure.    It's  painted  on.  • 

Alice  Faye's  beauty  in  "Lillian  Russell"  was  breath- 
taking. But  well  covered  by  long  and  flowing  gowns 
were  her  legs,  which  are  so  thin  that  the  cameraman 
had  to  get  special  shots  of  them. 

You  have  heard  a  lot  about  Myrna  Loy's  freckles.  She 
quite  frankly  admits  she  has  them.  But  what  you've 
probably  not  heard  is  that  Myrna  has  leg  trouble  too — 
very  thick  ankles.  They  never  see  the  fight  of  the  screen 
except  on  rare  occasions,  whereupon  they  are  specially 
photographed. 

Speaking  of  legs,  Anita  Louise  probably  has  the  skin- 
niest set  in  town.  They're  not  much  bigger  around  than 
the  strings  of  the  harp  she  loves  to  play! 

You  can  easily  see,  handicaps  alone  are  not  enough  to 
keep  you  from  being  a  screen  star.  As  a  matter  of  fact, 
a  number  of  stars  have  capitalized  on  their  defects.  Garbo's 
big  feet  have  been  a  target  for  years. 

Consider  for  a  moment  the  famous  John  Barrymore 
profile.  Perfect,  isn't  it?  Well,  has  it  ever  occurred  to 
you  that  it's  always  the  left  side  of  John's  face  you're 
looking  at?  Always!  The  right  side  of  his  face,  John 
once  admitted  in  one  of  his  bursts  of  candor,  "looks  a  good 
deal  like  a  moribund  fish." 

Claudette  Colbert,  who  was  the  top-earning  actress  in 
Hollywood  last  year,  earned  every  cent  of  it  with  just 
one  side  of  her  face.  Again,  it's  the  left  side.  The  right 
side  isn't  at  all  pretty,  so  you  never  get  a  chance  to  see  it. 
Incidentally,  even  at  a  full  view  Claudette  has  a  difficult 
face;  she  doesn't  look  French  at  all,  but  Dutch.  That's  why 
she  was  given  the  part  in  the  much-discussed  "Drums 
Along  the  Mohawk,"  and  that's  also  the  reason  why  she 


was  photographed  full  face  all  the  way  through  that  picture. 

When  a  definitive  history  of  Hollywood  is  written,  the 
cameramen  will  probably  rate  the  greatest  amount  of 
credit.  For  instance,  Sonja  Henie  is  a  real  problem  to 
photograph.  Almost  any  full-face  shots  or  camera  angles 
that  shoot  down  at  her  make  her  look  squatty  and  dumpy. 
On  the  other  hand,  it's  impossible  to  shoot  up  at  her  be- 
cause of  her  turned-up  nose.  And  just  to  round  out  the 
picture,  her  famous  skating  legs  are  muscley  and  far  from 
fragile.  Yet  you  look  at  her  on  the  screen  and  sigh 
ecstatically,  "Lovely,  lovely." 

Carole  Lombard  is  an  interesting  case.  Her  forehead 
is  too  high  and  bulgy  for  real  beauty,  and  she  really  has 
a  moon-shaped  face.  For  several  years,  at  the  beginning 
of  her  career,  her  chief  claims  to  fame  were  her  beautiful 
legs.  Then  one  day,  in  the  Paramount  still  gallery,  where 
some  pictures  were  being  made  for  advertising  purposes, 
a  cameraman  had  an  idea.  He  painted  some  lines  in  her 
cheeks  to  make  them  appear  sunken  and  mysterious.  It 
worked  so  well  that  today  those  lines  are  always  painted 
on  before  she  faces  any  camera. 

Helen  Gilbert's  chief  worry  is  her  hair.  She  knows  that 
her  flowing  golden  locks  are  the  most  distinguished  mark 
of  beauty  she  has,  and  she  guards  this  very  jealously.  She 
goes  to  a  special  hairdresser  regularly,  and  during  the  film- 
ing of  a  recent  picture  she  even  quarrelled  with  Director 
Woody  Van  Dyke  simply  because  he  wanted  her  to  use 
one  of  the  regular  studio  hairdressers.  She  insisted  on 
having  her  own  specialist,  explaining  that  if  she  didn't 
watch  out  she  would  become  just  another  insignificant 
little  blonde. 

Ginger  Rogers  dyed  her  hair  black  because  it  photo- 
graphs better  that  way.  And  the  studio  has  another  little 
ruse  to  make  her  more  photogenic.  There's  a  mole  on  her 
cheek  which  is  always  retouched  for  filming. 

Ann  Sothern  drives  studio  designers  crazy.  She's  one  of 
the  hardest  girls  to  dress.  Her  figure  is  short  and  inclined 
to  dumpiness  and  she's  always  on  a  reducing  diet. 

The  same  goes  for  Madeleine  Carroll,  who  practically 
starves  herself  through  every  production,  then  goes  on 
a  rampage  of  eating  between  pictures,  and  winds  up  having 
to  go  on  a  very  strict  diet  just  before  going  into 
another  film. 

Patricia  Morison  almost  lost  her  Paramount  contract 
recently  because  she  put  on  so  much  weight  that  it  was 
becoming  impossible  to  make  her  look  thin  from  any 
camera  angle. 

Tyrone  Power,  on  the  other  hand,  has  to  fight  thinness. 
His  studio  orders  him  to  eat  plentifully  and  heartily. 
Merle  Oberon  has  a  nose  that  (Continued  on  page  60) 


BY  JAMES  CARSON 


Red-haired  Myrna  Loy's  millions  of 
freckles   are   retouched   for  films. 


NOVEMBER,  1940 


39 


When  Tyrone  Power  was  handed 
the  title  role  in  "The  Californian,"  he  thought 
seriously  of  telling  Darryl  F.  Zanuck  off 
and  quitting  the  picture  business.    For  the 
sake  of  his  art,  Tyrone  has  endured  beatings,  lost 
weight,  gained  weight,  been  half  blinded  by  sand 
storms  and  half  drowned  by  floods,  all 
without  a  whimper,  but  his  "Californian"  assign- 
ment carried  with  it  a  greater  abuse  than  he 
intended  to  swallow.    "Come  hell  or  high 

water,"  bellowed  Ty  when  they  brought  him  the 

news,  "I'll  be  damned  if  I'll  permit  Alice  Faye's 
personal  hairdresser  to  fingerwave  my  hair  every 
morning  and  sit  me  under  a  dryer,  loaded  with 
hairpins!    Who  do  they  think  I  am?"  he  demanded. 

Tyrone's  trot  on  his  high  horse  was  sincere.    If  he 
was  to  be  the  leading  man  in  the  picture,  he  didn't  want 
to  look  like  the  leading  lady.    However,  his  fight  was  a 
losing  one  from  the  start.  When  you  see  him  on  the 
screen,  he's  going  to  remind  you  of  Hedy  Lamarr, 
for  "The  Californian,"  a  remake  of  the  20-year-old 
Douglas  Fairbanks,  Sr.,  starrer,  "The  Mark  of 
Zorro,"  has  as  its  hero  a  Spanish-style  Robin  Hood 
who  raids  the  countryside  by  night,  but  during 
the  day  conceals  his  identity  by  posing  as  a  sissy. 

Set  in  Spanish-ruled  Los  Angeles  of  1820,  the  picture  is  ad- 
mittedly a  celluloid  lure  for  South  American  shekels.  Holly- 
wood's European  markets  have  bitten  the  dust  and  the 
studio's  frank  winks  at  the  dollars  below  the  Rio 
Grande  are  prompting  it  to  behave  like  a  lovesick  boy 
before  the  lady  of  his  heart.    From  the  lair  of  Darryl 
Zanuck  has  come  word  that  "Californian"  is  to  be  made 
as  flattering  as  possible  to  Spanish  eyes  and  ears  and 
that  authenticity  is  to  prevail  only  whenever  it  is  pleasant.  Hence 
Ty's  curly  tresses.   Aristocratic  Angelenos  wore  their  hair 

that  way.     Hence  Ernesto  Romero,  former  Mexican 
vice-consul,  is  in  Los  Angeles.    Romero's  on  the  set 
daily  just  to  see  that  cast  members  pronounce  correctly 
the  25  Spanish  words  used  in  the  picture.  South 

Americans  are  sensitive  about  mispronunciations  and 
a  wrongly-placed  accent  may  cost  the  studio  the  market  for  which 
it  hungers!    And  hence  Ty's  $15,000  "glamour  girl"  wardrobe. 
It  took  that  many  dollars  to  make  him  a  letter-perfect 
dandy.    Costumes  for  the  average  male  star  cost  between  $500  and 

$1,000,  but  Ty  will  have  22  changes  for  his  fop  scenes  alone!  He'll 
wear  exquisite  brocaded  waistcoats,  satin  shirts  and  tight  velvet 
trousers  (making  him  a  literal  "fancy  pants")  and  will  carry 
the  "quizzing  glasses"  which  young  Spaniards  used  for  staring 
at  their  inferiors.    Ty  loathes  his  outfits  as  much  as  his  hairdo 
because  he  can't  budge  without  fearing  he'll  split  his  breeches ! 

In  the  creation  of  then*  sets,  Fox  is  being  a  little  less  veritable. 

Los  Angeles  under  the  Spanish  was  a  dump.    It  was  a  hot,  dry, 
dusty  town,  inhabited  mostly  by  Indians  and  half-breeds 
whose  health  required  a  street  brawl  before  and  after 
each  meal.    When  Fox  introduces  Los  Angeles,  however,  it 

will  be  a  replica,  not  of  the  original,  but  of  some  modern- 
day  architect's  dream.    It  will  be  shining,  white  and  beautiful  and  boast 
a  select  population  of  dashing  caballeros  and  flirtatious  senoritas! 

ost  flirtatious  of  the  senoritas  is  Dallas  town's  Linda  Darnell,  who  appears 
opposite  Ty  for  the  third  time  in  six  months.    Linda  was  senorita- 
ized  at  a  cost  of  over  $7,000  spent  on  38  make-up  tests,  23  different 
coiffures,  dancing  lessons,  vocal  lessons,  and  Spanish  lessons  in  addition 
to  Romero's  tuition.  Her  costumes  lifted  another  measly  $10,000  out  of  the 
budget  but  Linda  in  any  one  of  them  is  just  about  the  most  glorious 
creature  on  the  lot.  Observe  that  we  say  "just  about."  Linda  doesn't  quite 
hit  the  top.    The  dandified  Mr.  Power  is  there,  too— and  he  looks  divine! 


42 


MODERN  SCREEN 


lit  which  we  discuss  hands  that  always  leave  a  lovely  memory 


Yes,  there  certainly  are  fashions  for  fingers — exciting, 
fascinating  fashions.  Did  you  ever  stop  to  think  what  an 
important  part  color  alone  plays  in  the  beauty  and  charm 
of  your  hands?  Would  you  care  to  return  to  the  drab, 
colorless,  unattractive  nails  of  a  few  short  years  ago?  We 
didn't  think  so.  You  may  be  a  hard-working  homemaker 
or  an  ambitious  career  girl,  but  a  touch  of  frivolity  in  the 
guise  of  gay,  glamorous,  beautifully  colored  nails  will  give 
you  a  sense  of  decorative  fermninity  that  can't  be  achieved 
in  any  other  way. 

This  fall  the  call  to  colors  is  distinctly  American.  Rich, 
sparkling  Indian  paint  colors;  deep,  subtle  autumnal  shades 
borrowed  from  our  own  Western  plains  and  mountains; 
bold,  blazing  pinks  and  reds  from  our  good  neighbors, 
the  South  Americans,  and  the  exotic  jewel-like  tones  of  all 
the  nearby  tropical  islands  have  inspired  our  color  stylists 
to  outdo  themselves  in  furnishing  us  with  new  beauty  for 
our  finger  tips. 

In  selecting  nail  polishes,  study  your  own  complexion  and 
also  the  clothes  and  accessories  in  your  wardrobe.  Are  you 
dark  and  dashing?  Then  go  in  for  the  deep,  lush-colored 
nail  polishes  that  compliment  your  own  rich  coloring. 
Dark  shades  are  always  striking  on  large  hands,  and  they 
make  any  skin  look  whiter  by  contrast.  Rich-toned  pol- 
ishes, too,  are  dramatic  with  neutral  colored  costumes — 
greys,  browns,  shades  of  plum,  rose  and,  of  course,  with 
black  or  white. 

If  you  are  very  fair,  the  softer,  subtler  tints  may  be  your 
choice,  though  experiment  may  uncover  many  a  darker 
tone  that  will  give  you  a  new  thrill. 

Clear,  bright  reds  seem  to  succeed  in  setting  off  all  kinds 
of  complexions  whether  medium,  dark  or  light.  These  "red 
reds"  make  marvelous  highlights  against  the  new  pine 
greens,  dark  blues,  brown  beiges  and  blacks.  Tawny  red 
polishes  are  for  the  golden-skinned  and  for  all  who  have 
browns  or  yellows  in  their  hair,  eyes  or  complexion.  These 
warm  shades  are  lovely  with  soft  blues,  coppers,  fruity 
reds,  color-flecked  tweeds  and  also  with  grays  and  brown 
beiges. 

Color  is  a  tonic,  a  real  lifter-upper  that  has  a  decided 
effect  not  only  upon  your  appearance  but  upon  your  mood 
and  disposition  as  well  It  will  pep  you  up  like  anything, 
or  the  lack  of  it  will  let  you  down  in  a  heap.  Think  of 
the  most  glamorous  girls  in  the  movies — Ann  Sheridan, 
Rita  Hayworth,  Hedy  Lamarr,  Paulette  Goddard,  Jane  Wy- 
man  and  Vivien  Leigh  for  example.  Don't  you  just  naturally 
associate  them  with  gaiety,  dash  and,  above  all,  color? 

If  you're  going  to  do  justice  to  color  you  must,  of  course, 
give  it  the  proper  background  of  cleanliness,  grace  and 
perfect  grooming.  In  the  case  of  hands,  that  means  regular 
scrubbing  with  mild  soap  and  soft  brushes,  lots  of  lotions 
for  softness  and  whiteness,  exercise  for  suppleness  and 
grace  and  frequent  manicures  for  that  well-groomed  look. 

Use  a  free  lathering,  sudsy  soap  and  don't  wear  your 
hand  brush  out  completely  before  replacing  it.  Have  the 
bristles  firm  without  being  harsh,  the  kind  you  can  get 
around  and  under  your  nails  without  hurting  them.  Hands 


should  be  lotioned  after  every  contact  with  water,  the  last 
thing  at  night,  and  before  and  after  every  manicure.  There 
are  many  delightful  and  effective  lotions  of  both  clear  and 
milky  consistency.  Pay  your  money  and  take  your  choice — 
just  so  long  as  you  use  some  kind  regularly. 

A  few  well-planned  exercises  taken  in  spare  moments 
will  add  thrilling  grace  and  suppleness  to  the  plainest  of 
hands.  Try  stretching  your  fingers  out  wide  apart,  then, 
one  at  a  time,  rotate  each  finger  slowly  and  carefully.  Now 
rotate  your  wrists,  first  clockwise,  then  counter-clockwise. 
Flop  your  hands  up  and  down  loosely  from  the  wrists  to 
let  the  blood  circulate  to  your  very  finger  tips.  Play  imag- 
inary trills,  runs  and  similar  piano  exercises  on  your  table, 
desk  or  chair  arm.  (Do  this  when  you  are  alone,  however. 
They  are  a  bit  disconcerting  in  the  presence  of  others.) 
Clasp  your  hands  together,  then,  twisting  the  wrists  back 
and  forth,  pull  the  fingers  against  one  another.  Massage 
your  hands  from  finger  tips  firmly  back  over  the  wrists. 
When  you  do  this  always  use  a  bit  of  cold  or  lubricating 
cream.  Otherwise  .  you  may  stretch  the  skin  and  add 
wrinkles. 

Use  your  hands  with  poise  and  composure.  Streamline 
your  motions  by  keeping  them  free  and  flowing.  When  you 
pick  up  an  object,  don't  double  up  your  fist.  Bring  your 
fingers  to  a  smooth,  graceful  point  and  make  your  motions 
in  curves,  not  in  darts. 

Your  manicure  is  the  cornerstone  of  conditioning  and 
the  basis  for  much  of  your  finger  beauty.  Keep  a  kit  of 
clean,  workable  tools  always  ready  and  a  variety  of  several 
polish  shades  to  suit  your  moods,  your  clothes  and  the 
occasion.  You'll  need  a  cake  or  jar  of  good  sudsy  soap, 
a  little  bowl  for  soaking,  a  long  flexible  nail  file  and  a 
few  variously  textured  emery  boards,  manicure  scissors, 
orangewood  stick,  cotton,  cuticle  softener,  hand  cream  or 
lotion,  nail  white,  polish  and  oily  polish  remover.  It  should 
be  one  of  the  most  important  ceremonials  of  your  week. 
In  fact,  if  you  are  like  most  girls  we  know,  it  would  be 
more  accurate  to  say  your  two  manicures  should  be  two 
of  the  most  important  ceremonials  of  each  week — for  it 
takes  two  to  keep  most  hands  in  perfect  trim. 

Wash  your  hands  thoroughly.  Remove  all  old  polish  with 
a  good  polish  remover.  Now  shape  your  nail  tips  with 
your  file  and  emery  board,  being  sure  that  the  nail  contours 
conform  to  your  special  hand  type. 

There  are  five  distinct  types  of  hands — exotic,  artistic, 
creative,  patrician  and  practical.  The  exotic  hand  has  very 
slender,  tapering  fingers  and  almost  claw-like  nails  that 
should  be  left  fairly  long  with  slightly  rounded  points. 
Artistic  hands  are  more  rounded  and  less  sensational  than 
the  exotic  type  and  their  nails  should  be  filed  a  bit  shorter, 
broader  and  less  pointed.  If  yours  is  a  creative  hand  with 
short,  square  fingers  and  sturdy  bone  structure,  file  your 
nails  the  short,  rounded  way.  If  you  have  an  aristocratic, 
ladylike  hand,  with  dainty  almond-shaped  nails,  file  them 
to  a  conservative  oval.  Practical  hands  with  their  straight, 
capable  fingers  should  have  nails  that  are  pleasantly 
rounded  and  comparatively  short.  (Continued  on  page  84) 


NOVEMBER,  1940 


43 


Rumors  that  brunette  Songbird  Ginny  Simms  and  blonde 
ditto  Franny  Langford  are  feuding '  ain't  so.  Here  they 
are    Ciro's-bound    with    Kay    Kyser    and    Jon  Hall. 


Bob  Montgomery,  who  put  on  pounds  and  pounds 
abroad,  is  still  Hollywood's  man  of  the  hour.  We  caught 
him  with  Ouida  Rathbone  and  wifie  at  a  war  relief  party. 


It's  a  celebration  for  the  Doc  Griffins. 
Irene's  just  made  her  third  hole-in-one, 
and  her  golfing  hubby,  Frank  is  begin- 
ning to  think  he  married  a  miracle. 


Jean  Negulesco,  Warner's  French  di- 
rector, helps  cute  but  unemployed 
Simone  Simon  make  herself  decent  for 
one  of  her  inimitable  grand  entrances. 


Did  you  know  that  Fay  Bainter's  the 
most-proposed-to  gal  around?  But  she's 
darn  hard  to  get.  Why  not  with  a  hus- 
band like  Lieut.  Commander  Venable. 


JULES  BUCK,  OUR  KING  OF  CLICK,  INVADES  THE  SWING  'N'  SWIG  JOINTS  AND 


44 


MODERN  SCREEN 


\ 

Kichard  Halliday  and  his  darling  wife,  Mary  Martin,  take 
their  favorite  neighbor — Mary's  mother — to  the  movies 
Mary's  eight-year-old  son,  Larry,  lives  with  Mrs.  Martin. 


Reggie  Gardiner  puts  a'nother  phone  number  in  his  little 
black  book — it's  exiled  German  actress,  Hilda  Kruger's. 
He  likes  her  'cause  she  laughs  at  every  one  of  his  jokes. 


Mom  'n'  Pop  Payne  leave  four-months-old  Julie  Ann 
home  in  the  nursery  (John  calls  it  "the  noisery")  and 
tear    off    on    their    once-a-week-without-fail  gallivant. 


The  Coopers  entertain  at  Ciro's — Mrs.  Gary  looking  her 
most  glamorous  what  with  that  lifeguard  tan  and  her 
nails  painted  white,  with  a  monogram  on  each  pinky. 


Mary  Beth  Hughes,  who  spent  13  years 
in  a  convent  and  is  now,  paradoxically, 
being  groomed  for  Jean  Harlow  roles, 
shows    George    Montgomery  around. 


The  hand-holdingest  kids  we  know  - 
Jackie  Cooper  and  Bonita  Granville — 
are  off  for  a  "quick  one"  after  the 
movies.    A  couple  of  chocolate  sodas! 


Celebrity-hunting  Binnie  Barnes,  with  a 
brand  new  nose  but  the  very  same  suitor 
— Mike  Frankovitch — points  out  home- 
body Jean  Arthur  at  the  Brown  Derby. 


COMES  UP  WITH  MORE  UNCENSORED  SHOTS  OF  HOLLYWOOD'S  PLAYTIME 


NOVEMBER,  1940 


45 


Look  at  Hollywood  through  rose-colored  spectacles  with 


JOHNNY  GOT  HIS  FUN 

Now  that  the  feverish  excitement  of  becoming  a  father  is  past  and 
Baby  Julie  Anne  is  outgrowing  her  first  pair  of  diapers,  John  Payne 
is  willing  to  sit  back  and  admit  that  the  birth  of  his  daughter  brought 
him  the  death  of  a  dream.  It  seems  that  Johnny,  since  earliest  man- 
hood, had  envisioned  a  dramatic  entrance  for  his  particular  package 
from  heaven.  As  he  saw  it,  his  wife  would  one  day  announce  that 
her  baby  was  to  be  born  any  moment,  and  that  her  chosen  hospital 
was  miles  and  miles  away.  Then  John,  master  of  the  situation,  was 
to  bundle  her  into  his  car,  race  through  town,  be  stopped  by  cops, 
explain  his  mission,  acquire  a  motorcycle  escort  and  reach  the  delivery 
room  just  in  the  nick  of  time.  When  Julie  Anne  was  born,  however, 
Anne  Shirley  gave  her  husband  several  hours'  notice.  John,  never- 
theless, would  not  be  cheated  of  his  moment.  He  packed  his  pro- 
testing wife  into  the  family  car  and  tore  furiously  down  Sunset 
Boulevard,  weaving  in  and  out  of  traffic  and  honking,  his  horn 
madly  all  of  the  way!  To  his  vast  surprise,  not  a  soul  bothered  him 
and  he  and  Anne  arrived  at  the  hospital  in  sufficient  time  to  have 
twelve  babies  with  a  game  of  mah  jong  thrown  in.  Said  John,  "Next 
time,  I'll  write  the  Chief  of  Police  and  tell  him  I'm  coming!" 

CRAWFORD  STARS  IN  "RAIN" 

At  first  glance  it  looked  like  murder.  To  the  New  York  policeman  who 
discovered  the  black  sedan  exposed  to  the  driving  rain  in  Central 
Park,  the  figure  huddled  on  its  floor  was  obviously  the  victim  of  a 
killer.  "It's  awful,"  he  murmured,  as  with  great  effort  he  reached  out 
to  touch  the  silent  form.  Suddenly  his  blood  froze.  The  "body"  had 
stirred!  It  was  sitting  up!  It  was  smiling!  It  was  Joan  Crawford! 
The  policeman  groped  for  his  composure  which  had  fled  down  the 
road.  "What  are  you  doing  here?"  he  demanded,  when  he'd  pulled 
it  back.  Joan  explained.  She'd  hired  the  car  and  embarked  on  a 
solo  jaunt  around  the  park  when  the  storm  had  come  up — and  she 
is  deathly  afraid  of  storms.  What  could  she  possibly  have  done, 
she  asked,  but  bury  herself  on  the  car's  floor?  The  policeman 
couldn't  answer  that  one.  Still  pale  from  his  shock,  he  grunted  twice, 
requested  Joan's  address,  and  without  uttering  a  word,  drove  the 
shamefaced  star  to  her  hotel. 

"LITTLE  MEN,"  WHAT  NOW? 

Elsie,  the  Cow,  is  not  the  only  bucolic  wonder  to  appear  in  RKO's 


"Little  Men."  The  picture  will  also  feature  a  flock  of  "quackless" 
ducks!  When  the  studio  made  "Swiss  Family  Robinson,"  they  dis- 
covered that  $5,000  worth  of  "takes"  had  been  ruined  by  impertinent 
birds  who  quacked  at  the  wrong  time.  "Little  Men"  is  therefore 
employing  mutes,  whose  voices  will  be  dubbed  in  in  the  proper 
places.    Now,  if  they  could  only  find  "quackless"  actors! 

MEXICAN  REVOLT 

There's  something  about  a  Spaniard.  If  you  haven't  discovered  it 
yourself,  just  tap  Linda  Darnell  for  the  lowdown.  Linda's  really 
found  out  from  a  guy  called  Jaime  Jorba.  Linda's  known  Jaime  since 
her  powderless,  rougeless,  Dallas  days  when  he,  fresh  from  Madrid, 
joined  her  class  in  high-school  and  effortlessly  swept  her  Texas-bred 
swain  out  of  the  picture.  When  Linda  came  to  Hollywood,  Jaime 
visited  her  often,  but  a  few  months  ago — catastrophe  of  catastrophies! 
— his  parents  moved  to  Mexico  City  and  dragged  their  unwilling  son 
with  them.  However,  the  Jorba-Darnell  friendship  did  not  wane. 
The  pair  immediately  struck  up  a  correspondence  which  continues  to 
this  day  and,  in  addition  to  her  letters,  Linda  each  week  sends  Jaime 
a  batch  of  her  latest  stills.  The  most  recent  batch  contained,  by  ac- 
cident, several  shots  of  Linda  reposing  blissfully  in  the  arms  of  Mr. 
Tyrone  Power  and  drew  an  explosive  letter  from  Jaime  in  which  he 
threatened  to  fly  to  Hollywood  if  she  didn't  put  a  stop  to  such  non- 
sense. Poor  Jaime!  He  had  better  learn  to  curb  his  impetuosity. 
Linda's  contract  says  she  can't  marry  till  she's  twenty-one.  And  if 
you  think  that's  not  going  to  be  tough  on  a  smouldering  Latin,  re- 
member that  Linda,  despite  reports  to  the  contrary,  is  still  only  16 
years  old! 

THE  MINORITY  SPEAKS 

A  harassed-looking  magazine  writer  rang  Humphrey  Bogart's  bell  one 
morning  and  asked  the  maid  who  answered  it  to  please  summon  both 
the  master  and  the  mistress  of  the  house.  !A  few  moments  later, 
Humphrey  and  his  wife,  Mayo,  appeared  at  the  door  and  invited  the 
gentleman  in.  The  weary  scribe  refused  to  budge!  "I  came  here 
to  interview  you,"  he  moaned,  "but  last  month  they  arranged  an  in- 
terview for  me  with  the  Gene  Markeys  and  then  with  the  Wayne 
Morrises — and  you  know  what  happened.  So — before  I  start — is  it 
all  right?"  Mayo  grabbed  his  arm.  "Come  on  in,  mister,"  she  com- 
manded. "We'll  talk.  And  even  if  you  hold  this  story  until  1990,  it'll 
still  be  good!"    Look's  like  Bogie's  got  a  long-term  contract! 


46 


MODERN  SCREEN 


our  West  Coast  see-it-all,  Sylvia  Kahii.  Every  item's  an  extra! 


WAR  ACTIVITIES  "OVER  HERE" 

.  In  a  recent  movie,  Bob  Hope,  startled  by  a  sudden  blast  of  noise,  turns 
to  his  companion  and  quips,  "Hmmm,  Basil  Rathbone  must  be  giving 
a  party."  Out  of  justice  to  Basil  and  his  wife,  we  want  to  say  that 
Rathbone  parties,  though  frequently  hilarious,  are  not  always  such 
thunderous  shindigs.  Actually,  in  past  weeks,  even  the  hilarity  has 
been  missing,  for  the  latest  Rathbone  efforts  have  all  been  for  the 
benefit  of  the  Red  Cross.  Typical .  was  the  Ciro's  party  the  other 
evening  at  which  Robert  Montgomery  spoke  of  his  experiences  in 
France  and  exhibited  movies  he  had  taken  in  affected  areas.  So 
dismal  was  the  whole  affair  that  when  Bob  ended  his  address  the 
entire  gathering  dove  for  the  bar,  and  no  one  ordered  less  than  a 
double  or  triple-strength  drink!  We  should  not  blame  the  would-be 
forgetters  too  much  when  we  remember  that  since  the  Red  Cross  drive 
first  began  Hollywood  folks  have  opened  their  purses  much  more 
widely  than  their  gullets.  The  contributions  of  time  and  money  have 
been  made  in  the  true  theatrical  tradition.  Constance  Bennett,  who 
has  outdone  herself  as  Lady  Bountiful,  admits  that  the  other  day  she 
discovered  herself  absent-mindedly  signing  her  checks  "Constance 
Benefitl" 

MISINFORMATION,  PLEASE 

George  Raft  got  the  season's  worst  publicity  when  Anna  Sten 
waltzed  up  to  a  microphone  in  a  local  radio  station  to  participate  in 
a  quiz  contest.  "Miss  Sten,"  said  the  silken-voiced  announcer,  "will 
you  please  tell  us  what  three  ham  actors  rose  to  fame  by  singing  and 
dancing?"  Anna  beamed  brightly.  "Certainly,"  she  replied.  "There 
was  George  Raft.  .  .  ."  The  howling  of  the  audience  stopped  her 
slander.  "I  said  HAM  actor,"  choked  the  announcer.  "HAM  actor! 
I'm  certain  you  misunderstood!  Next  contestant  pleass'"  The  em- 
barrassed Anna  slunk  away  and,  the  last  we  heard,  was  busily 
consulting  slews  of  travel  literature  trying  to  decide  whether  the 
Yukon  or  the  Argentine  was  the  better  place  to  hide  from  the  wrath 
of  Raft.  "I  did  misunderstand,"  she's  still  insisting,  "but  who'll 
believe  me?"  We're  sure  Norma  Shearer  will,  Anna,  so  just  stop 
your  fretting. 

NOTHING  IS  ENOUGH 

There's  treachery  among  the  Crosbys.  The  other  evening  Papa  Bing 
brought  his  son  Gary  down  to  the  radio  station  and  parked  him  in 


the  audience  while  he  and  his  gang  went  into  their  weekly  broad- 
cast. As  the  show  proceeded,  Gary  laughed  at  the  dialogue,  hummed 
with  the  orchestra  and,  all  in  all,  looked  like  a  young  man  having  a 
great  time.  Then  his  father  began  to  sing.  Gary  squirmed  in  his 
seat,  clenched  his  fists  and  screwed  his  face  into  the  most  vivid  ex- 
pression of  misery.  His  wrigglings  finally  caught  the  attention  of 
an  entranced  matron  seated  beside  him.  "Don't  you  like  to  hear 
your  father  sing?"  she  asked.  "Oh,  I  suppose  so,"  was  the  clipped 
answer.  "Don't  you  think  he's  the  world's  greatest  singer?"  "Yeah, 
maybe,"  said  Gary.  "Then  what's  the  matter  with  you?"  The 
youngster  finally  broke  down.  "It's  those  songs,"  he  admitted.  "Dad 
sings  them  around  the  house  all  the  time  and  I'm  sick  and  tired  of 
them!    Shucks,  I  wish  he'd  left  me  home!" 

DOUGH-RE-MI 

And  speaking  of  Bing,  Crosby,  Inc.,  the  firm  which  handles  his  vari- 
ous and  fabulous  businesses,  is  expanding  so  rapidly  that  "The 
Groaner"  has  had  to  open  a  branch  office  in  New  York  to  supple- 
ment the  one  he  has  in  Hollywood.  The  new  layout  may  receive  a 
visit  from  the  big  boss  soon,  for  Bing's  thinking  of  going  East.  He's 
been  offered  a  mint  of  money  to  star  in  a  Broadway  musical  and 
will  snatch  at  the  opportunity  if  Paramount  gives  him  the  okay.  And 
why  does  Bing  want  more  cash?  This  story  may  give  you  a  hint. 
Last  week  he  sang  three  songs  on  a  broadcast  to  Admiral  Byrd's  ex- 
pedition in  Little  America  and  was  paid  at  the  rate  of  $5.47  a  song, 
or  a  total  of  $16.41!  "Thanks,"  Bing  told  the  payee.  "Now  I  can 
buy  myself  another  race  horse."  It  would  be  so  much  easier  just  to 
burn  the  dough! 

FAN-NING  INTEREST 

Slinging  insults  at  Jeanette  MacDonald  and  Nelson  Eddy  may  sound 
like  a  lowdown  occupation  to  you,  but  it's  kept  many  a  movie  radio 
commentator  from  losing  his  job!  From  experience,  commentators 
have  learned  that  nasty  cracks  about  the  pair  draw  a  greater  bar- 
rage of  listener  letters  (all  of  protest,  of  course)  than  anything  they 
can  say  about  any  other  personalities.  From  experience,  they  have 
also  learned  that  radio  sponsors  gauge  the  popularity  of  their  broad- 
caster by  the  amount  of  mail  he  receives.  Therefore,  whenever  a 
broadcaster's  contract  is  about  to  expire,  he  launches  into  a  blistering 
criticism  of  Jeanette  and  Nelson.  The  sponsor,  noting  the  deluge  of 
mail,  says  "By  Golly,  that  guy's  terrific!"  and  promptly  engages  him 
for  three  more  years!    Believe  it  or  not,  it's  never  failed  yet! 


NOVEMBER,  1940 


47 


APOLLO.  TAN  THIS  HIDE 

Thanks  to  Cleopatra,  Gene  Tierney  turned  bright  yellow  the  other 
morning.  Snooping  around  her  local  library,  Gene  discovered  a  fat 
volume  containing  all  the  known  beauty  secrets,  of  the  Egyptian 
"Oomph  Girl."  The  one  that  most  intrigued  her  was  a  "quick  tan" 
suggestion.  "Mix  one  pound  of  powdered  sugar  with  three  table- 
spoonsful  of  powdered  cloves,  add  some  water,  apply  to  body,  allow 
to  dry  and  rinse  away  in  25  minutes,"  read  the  item.  "Stain  will  last 
three  weeks  and  fade  evenly."  Gene  dropped  the  book  and  sped  to 
the  nearest  drugstore.  In  ten  minutes  she  was  at  home  with  the 
prescribed  ingredients  and  within  five  minutes  had  her  arms  and  legs 
covered  with  a  sticky  paste.  A  half  hour  later  Gene  was  cold  with 
horror.  In  her  haste,  she'd  misread  the  recipe  and  put  in  just  3  tea- 
spoonsful  of  cloves.  Her  skin  had  turned  the  color  of  grapefruit! 
Scared  stiff,  she  dove  for  her  scrubbing  brush  and  finally  succeeded 
in  removing  most  of  the  stain.  But  did  that  discourage  her?  Nothing 
of  the  sort!  She  was  all  set  to  start  again,  when  her  mother  walked 
in.  "Cleopatra,"  sniffed  Mrs.  Tiemey  when  Gene  had  described  her 
accident.  "Look  at  what  happened  to  her !  The  only  way  you'll 
ever  become  a  bronzed  goddess  is  to  get  out  in  the  sun  and  bake  the 
way  nature  intended  you  to!" 

PERSONAL  HISTORY 

Dates  with  Dorothy  Lamour  and  Lana  Turner  have  made  Apolloesque 
Greg  Bautzer  almost  as  famous  as  a  movie  star.  Greg's  actually 
acquired  a  little  public  of  his  own  which  follows  his  activities  avidly 
and  which  has  begun  to  wonder  just  what 
he's  got  that  gets  'em.  For  those  persons, 
and  for  Dotty  and  Lana  who  may  have  a 
few  questions  themselves,  we've  compiled 
a  brief  profile  of  the  gentleman  which  we 
present  herewith,  (a)  He  inherited  a  lot  of 
money,  '(b)  He  has  shoulders  as  broad  as 
a  fullback's  and  a  body  as  lithe  as  a 
panther's,  (c)  He's  an  exercise  fiend,  (d) 
He  has  a  sleek  tan  which  he  obtained  and 
retains  by  basking  daily  under  a  battery 
of  sun  lamps,  (e)  He's  annoyed  by  cash 
in  his  pockets.  When  he  comes  home,  he 
flings  all  his  money  on  table  tops  and 
chairs  and  never  keeps  an  eye  on  any 
of  it.  If  a  bill  collector  comes  in,  he  says, 
"There's  some  money  around  the  room. 
Take  what  I  owe  you."  (f)  He's  really  a 
very  good  lawyer  and  extremely  popular 
with  judges,  (g)  When  he  and  his  part- 
ner, Bentley  Ryan,  determined  to  become 
movie  lawyers,  they  hired  a  press  agent, 
(h)  Most  of  his  dates  become  his  clients. 

MacMURRAY  MEETS  YEHOODI 

Few  people  know  it,  but  Fred  MacMurray  is  the  man  who  gets  the 
credit  (or  the  cusses)  for  putting  "Who's  Yehoodi"  on  the  music  stands 
of  the  nation.  "Who's  Yehoodi"  is  issued  by  the  Vanguard  Publish- 
ing Co.,  a  firm  formed  by  Fred  a  year  ago  and  turned  over  to  a 
pair  of  boys  who  played  in  his  "California  Collegians"  band  when 
Fred  himself  was  tooting  the  sax.  Now  that  Fred's  on  top,  he'd  like 
to  lend  a  hand  to  his  old  buddies,  and  it's  his  ambition  to  have  the 
firm  grow  large  enough  to  demand  the  services  of  all  of  them.  If 
Yehoodi  turns  out  to  be  the  little  man  who  makes  sheet  music  sell, 
and  it  certainly  looks  as  though  he  might,  the  entire  "Collegians" 
alumni  will  trek  to  Hollywood  and  immediately  go  to  work  for  Boss 
MacMurray. 

THE  AMERICAN  WAY 

Once  upon  a  time,  Hollywood  smarted  under  unjust  charges  that  it 
was  a  wicked  little  village  whose  citizens  ignored  the  Ten  Com- 
mandments and  merrily  broke  every  man-made  law  that  blocked 
their  road  to  hell-raising.  It  took  more  than  a  dozen  years  to  con- 
vince the  public  that  those  accusations  were  as  false  as  your  Uncle 
Joe's  teeth,  but  the  last  remnant  of  scandal  was  finally  washed  away. 
Now,  something  new  and  just  as  ugly  has  turned  up  to  replace  it. 
That's  the  charge  that  many  of  our  top-notch  stars  are  Communists. 
We  don't  for  a  minute  believe  any  of  these  imputations  but,  never- 
theless, decided  to  check  local  registration  lists  and  find  out  just  how 
the  colony's  citizens  intend  to  vote  in  the  coming  election.  We  dis- 
covered that,  as  in  thousands  of  American  towns,  the  ballots  are  to 


be  divided  almost  equally  between  the  two  major  parties,  with  such 
stars  as  Myrna  Loy,  Robert  Montgomery,  James  Cagney,  Virginia 
Bruce,  Jimmy  Stewart,  Melvyn  Douglas  and  Joan  Bennett  registered 
as  Democrats,  and  Robert  Taylor,  Barbara  Stanwyck,  Bing  Crosby, 
Jeanette  MacDonald  and  others  registered  as  Republicans.  The  regis- 
tration lists  turned  up  other  interesting  items,  too.  They  revealed 
that  Margaret  Sullavan  and  her  husband,  Leland  Hayward,  will  vote 
for  opposing  candidates,  and  that  Claudette  Colbert  and  Jeanette 
MacDonald  do  not  wish  to  be  known  as  actresses.  Jeanette  lists 
her  occupation  as  "singer"  and  Claudette  calls  herself — a  housewife! 

'TWAS  THE  NIGHT  BEFORE  .  .  . 

What  a  beautiful  woman  does  the  night  before  she  marries  is  always 
interesting,  but  when  that  beautiful  woman  is  Loretta  Young  it's  prac- 
tically historic!  Anyway,  we  thought  so,  and  the  day  after  Loretta 
was  wed  launched  a  little  investigation  of  our .  own  to  discover  how 
she  spent  her  pre-nuptial  eve.  The  answer  may  surprise  you.  It 
did  us,  for  we  learned  that  instead  of  burning  old  love  letters  or 
simply  retiring  early  as  many  a  wife-to-be  does,  Loretta  spent  the 
night  with  a  masseuse!  Yessir,  from  sunset  to  sunup  she  was  beaten, 
pounded  and  massaged,  and  recessed  only  when  her  attendant  left 
to  pay  a  brief  visit  to  another  client! 

HO,  HUM 

By  the  way,  the  above  is  probably  the  last  item  of  interest  you'll 
read  about  the  newly-united  Tom  Lewises.    From  the  gossip-mongers 


»    ■  i 

m  m 


* 

w 

Mischa  Auer  ribs  Franchot  Tone  about  his 
new  moustache  at  a  recent  stag  party  at 
Ciro's.  Tone  at  first  refused  to  be  snapped. 

standpoint,  their  marriage  is  going  to  be  a  stuffy  affair,  for  Loretta 
has  confided  to  friends  that  her  personal  life,  like  her  wedding,  will 
be  strictly  private.  Even  movies  are  going  to  take  a  back  seat  in  her 
theatre  of  life.  From  now  on,  she's  going  to  live  wherever  her 
husband's  business  takes  him  and  will  commute  between  New  York 
and  Hollywood  if  that  becomes  necessary.  During  her  Hollywood 
stay,  her  adopted  daughter,  Judy,  will  live  with  her  and  Tom,  and 
night-clubbing  will  be  cut  to  a  minimum.  And  try  to  make  interesting 
copy  out  of  people  like  that! 

BLAME  IT  ON  AN  HEIR-RAID 

Jack  Benny  is  growing  even  more  famous  for  his  "thrift"  than  for  his 
wit.  The  rumor  that  he's  a  skinflint  was  started  by  Jack  himself  as 
a  publicity  gag  and,  while  he's  always  encouraging  it,  his  co-workers 
are  always  confirming  it.  For  example,  the  other  day  Rochester  and 
his  dusky  screen  girl  friend,  Theresa  Harris,  engaged  in  a  little  crap 
game  on  the  set  of  "Love  Thy  Neighbor."  Rochester  didn't  know  it, 
but  Theresa  had  brought  her  own  dice  and  took  him  for  $260.  "I'll 
be  Old  Black  Joe  before  I  earn  that  much  money  from  Benny,"  moaned 
Rochester  as  he  forked  over.  Bill  Morrow,  one  of  Jack's  writers,  has 
a  squawk  too.  He's  just  bought  a  new  toupee  which  looks  so  good 
he's  afraid  the  boss  may  take  it  away  from  him  and  not  even  give  him 
one  of  his  old  ones  to  replace  it!"  However,  Jack's  economy  is  par- 
donable these  days.  He  and  Mary  Livingstone  are  expecting  a  baby 
and  you  know  what  those  items  cost.  Luckily,  there'll  be  no  need  for  a 
wing  to  the  swank  Cenny  home;  it  already  has  a  sound-proof  nursery. 


48 


MODERN  SCREEN 


ACTRESS  DISCOVERED-^CURVES  COVERED 

.Having  decided  that  Ida  Lupino  can  act,  the  Warner  Brothers  have 
begun  to  strain  their  publicity-conscious  brains  to  get  that  {act  across 
to  the  public.  Practically  every  morning  they  announce  a  new  dra- 
matic opus  in  which  Ida  is  to  appear,  and  practically  every  evening 
they  announce  that  the  story  last  mentioned  is  unworthy  of  her  talents 
and  that  their  search  for  a  suitable  vehicle  is  to  be  carried  further. 
We  agree  that  Ida  is  a  wonderful  actress,  but  we  wonder  if  the  boys 
aren't  working  a  bit  too  hard  to  prove  it.  They've  actually  written 
a  clause  into  the  Lupino  contract  stating  that  in  all  advertising  matter 
about  the  star  they  will  not  emphasize  her  beauty  or  otherwise  direct 
the  public's  attention  to  her  physical  features!  It's  a  good  idea,  but 
the  next  time  you  see  an  ad  boasting  about  Ida's  dramatic  strength, 
look  for  the  eye-filling  portrait  that's  certain  to  accompany  it.  His- 
trionic talent  is  worthy  of  exploitation,  but  the  Lupino  curves  were 
not  born  to  blush  unseen  either — and  the  Warner  Brothers  know  it! 

MORE  SHORT  SHOTS 

Ann  Sheridan  has  eaten  the  same  lunch  every  day  for  a  year.  It 
consists  of  scrambled  eggs,  tomatoes,  cole  slaw  and  coffee  .  .  . 
Shirley  Temple's  folks  plan  to  gift  her  with  a  playhouse  like  Jane 
Withers'  .  .  .  Back  home  in  Johnstown,  Pa.,  they  know  Hedda 
Hopper  as  Elda  Furry  .  .  .  Mrs.  Julie  Powell,  first  wife  of  William 
Powell,  is  in  a  Hollywood  hospital  recovering  from  a  serious  opera- 
tion .  .  .  When  you  ring  the  chimes  for  admission  to  Eddie  Cantor's 
house,  they  play  "We  Want  Cantor"  .  .  .  Oscar,  Paramount's  famous 


"plugging"  themselves,  and  had  Annie  state,  in  one  sequence,  that 
she'd  been  signed  by  .  .  .  Wamer  Brothers!  When  the  picture  was 
shown  around  town  the  audience  response  was  terrific.  The  studio 
therefore  decided  to  repeat  the  gag  whenever  possible  and  you'll 
meet  it  again  in  "Four  Mothers"  in  a  scene  in  which  Priscilla  Lane, 
pleading  with  Eddie  Albert,  says  "Doctors  never  quit!  Did  Ehrlich 
quit?  Did  Pasteur  quit?"  And  Eddie  answers,  "I  don't  know.  I 
haven't  been  to  the  movies  lately." 

FAMINE  IN  HOLLYWOOD 

If  Cary  Grant,  Errol  Flynn,  Melvyn  Douglas  and  a  half  dozen  other 
leading  men  were  to  sprout  doubles  overnight,  Hollywood's  most 
serious  problem  would  be  solved.  The  town  is  just  plain  man- 
starved  (professionally,  not  socially)  and  unless  a  new  crop  of  mas- 
culine talent  is  uncovered  soon  the  industry's  going  to  find  itself  in 
an  awful  fix.  As  it  is,  stories  are  being  rewritten  and  productions 
are  being  postponed  because  of  the  shortage  of  glamour  boys.  Pro- 
ducers who  pray  nightly  for  a  carload  of  personable  male  actors 
can't  understand  why  their  well-paid  jobs  must  go  a-begging,  but 
one  talent  scout  seems  to  have  hit  the  answer.  He  claims  men  are 
more  bashful  than  women.  Women,  he  tells  us,  are  seldom  toa 
shy  to  confess  they  consider  themselves  glamorous  and  gifted,  and 
it's  not  difficult  to  discover  them.  Men,  on  the  other  hand,  would 
rather  spend  their  lives  as  insurance  salesmen  or  taxicab  drivers  than 
admit  they  think  themselves  attractive  enough  to  be  in  the  movies — 
and  even  if  you  approach  them  and  tell  them  they  are,  they  blush 
and  run  away! 


shoeshine  boy,  has  hired  a  "stand-in"  to  conduct  his  business  while 
he  appears  in  "Dead  on  Arrival"  .  .  .  June  Duprez  has  a  husband 
in  England  .  .  .  The  Charley  Grapewins  have  been  married  44 
years  .  .  .  Gary  Cooper's  just  one  long  pain  in  the  neck  to  Barbara 
Stanwyck.  Since  they  began  working  together  in  "Meet  John  Doe," 
Barbara's  had  a  continual  crick  between  the  ears,  caused  by  look- 
ing up  at  her  lanky  leading  man  ...  A  new  high  in  economy  has 
been  reached  by  Producer  Harry  Sherman.  He  changed  the  title 
of  "The  Round-Up"  to  "The  Roundup,''  thereby  saving  one  hyphen 
.  .  .  Marjorie  Weaver  has  a  husband  in  China  .  .  .  George  Raft 
loves  jelly  beans  ...  A  friend  sends  him  a  20  lb.  carton  every 
two  weeks  .  .  .  There's  a  young  man  in  Boston  who  has  such  an 
infectious  laugh  the  manager  of  a  local  theatre  has  given  him  a 
lifetime  pass.  The  manager  hopes  he'll  come  in  often  and  drop  a 
hint  to  dozing  audiences  .  .  .  "Gone  With  The  Wind"  will  go  on 
the  air  shortly  as  a  half-hour  show  to  be  heard  on  Tuesdays  .  .  . 
Mrs.  Baby  Sandy  took  her  daughter  to  the  movies  the  other  afternoon 
so  that  the  youngster  could  see  herself  on  the  screen  for  the  first 
time.  Sandy  recognized  everyone  in  the  cast — except  Baby  Sandy 
.  .  .  Mary  Pickford  is  considering  a  return  to  the  celluloid  .  .  .  Mickey 
Rooney  is  a  Christian  Scientist  .  .  .  Lana  Turner's  flashing  a  new 
65-carat  star  sapphire.    She  bought  it  herself. 

MAYBE  HE  HATES  DOUBLE  FEATURES 

In  "Tugboat  Annie  Sails  Again,"  Warner  Brothers  introduced  a  new 
method  of  coaxing  laughs  out  of  jaded  theatre-goers.    They  tried 


CITY  SLICKER  FINDS  A  SUCKER 

Since  the  team  of  Tyrone  Power  and  Linda  Darnell  has  proved  itself 
to  be  just  what  the  movie  fans  ordered,  20th  Century-Fox  is  going  to 
bring  the  pair  together  again  in  "Brooklyn  Bridge"  and,  possibly,  in 
a  sequel  entitled  "Tammany  Hall."  Both  "Brooklyn  Bridge"  and 
"Tammany  Hall"  are  the  brain  children  of  Arthur  Caesar,  clever 
young  screen  writer  who  received  $10,000  for  each  of  his  stories. 
Gloated  Caesar  as  he  accepted  a  check  for  his  second  opus:  "The 
Indians  sold  all  of  Manhattan  for  $24.  Now  I'm  selling  it  to  Zanuck 
hunk  by  hunk — and  look  at  the  way  he  pays  me  for  it!" 

SHOOT  BEFORE  YOU  LEAP 

"We  are  not  engaged  and  we  have  no  intention  of  becoming  en- 
gaged" was  Bill  Holden's  comment  the  day  after  it  was  announced 
that  he  and  Brenda  Marshall  plan  to  wed  as  soon  as  Brenda's  di- 
vorce becomes  final.  According  to  Bill,  the  announcement  was  made 
as  the  result  of  a  misunderstanding,  on  the  part  of  a  local  columnist, 
and  he  and  Brenda  will  concentrate  on  their  careers  and  not  on  each 
other  for  the  next  year  or  so.  That  may  be  true,  but  it's  not  stopping 
Bill  from  entering  Brenda's  home  loaded  with  gifts  for  her  five-year- 
old  daughter,  Virginia  Gaines,  and  it's  not  keeping  Brenda  from 
driving  Bill  to  the  studio  every  morning  in  her  brand  new  Buick.  And 
it  certainly  isn't  explaining  why  both  have  been  seen  exercising  their 
trigger  fingers  in  neighborhood  shooting  galleries-  _  pure  sign  of  im- 
pending marriage  if  ever  we  saw  one!       (Continued  on  page  77) 


NOVEMBER,  1940 


49 


Bijou  MARLENE  DIETRICH 

Lt.  Dan  Brent  JOHN  WAYNE 

Sasha  MISCHA  AUER 

Little  Ned ... .  BRODERICK  CRAWFORD 

Antra  OSCAR  HOMOLKA 

Dr.  Martin  ALBERT  DEKKER 

Dorothy  Henderson.  . .  ANNA  LEE 

Governor  Henderson .  SAMUEL  S.  HINDS 

Tony  BILLY  GILBERT 

Commander  Church    REGINALD  DENNY 

Adapted  from  the  UNIVERSAL  Film^JOE 
PASTERNAK,  producer— TAY  GARNETT, 
director — TED  KENT,  assistant  director — 
CHARLES  PREVIN,  musical  director- 
Screen  play  by  JOHN  MEEH AN— Based 
on  the  original  story  by  HARRY  TUGEND, 
LADISLAS  FODOR  and  LASZIO  VADNAI. 


A  Oft* 


There  were  two  opinions  about  Bijou  in  the  East  In- 
dies. The  governors  of  twenty  different  islands,  who  had 
deported  her  for  "exciting  and  inciting  a  riot  and  being  a 
public  nuisance,"  were  unanimous  in  the  belief  that  Bijou 
was  a  good-looking  bit  of  human  backwash  which  had 
somehow  retained  the  element  of  dynamite  but  not  the 
element  of  good.  In  fact  they  thought  she  was  pretty  bad. 
The  sailors  of  the  Dutch,  French  and  English  navies,  whose 
ships  had  anchored  in  various  harbors  occupied  by  Bijou, 
disagreed  with  the  governors.  To  a  man,  they  were  for 
her.  She  had  never  been  known  to  fail  the  navy — any 
navy.  Her  sympathies,  so  to  speak,  were  international. 
But  even  aside  from  that,  the  sailors  considered  her  a 
very  good  egg. 

It  is  true  that  there  was  a  third  opinion,  but  it  was  really 
a  combination  of  the  other  two.  It  came  from  the  somewhat 
doubtful  characters  who  owned  the  cafes  in  which  she 
entertained.  From  their  viewpoint,  Bijou  had  the  best 
legs  in  the  East  Indies,  a  personality  that  drew  cash  cus- 
tomers like  a  magnet,  and  a  murmuring,  singing,  whisper- 
ing voice  that  seeped  through  your  pores  and  into  your 
blood  like  wine — or  maybe  poison.  But  she  also  had  sudden 
fits  of  discrimination  that,  as  the  governors  said,  incited 
riots — the  kind  of  riots  that  broke  up  their  cafes  so  that 
not  a  table  could  be  recognized  and  not  a  license  retained. 
The  cafe  proprietors  liked  Bijou  but  they  were  scared  to 
death  to  have  her  in  the  place.  The  situation  in  Borneo 
was  an  example.  For  years  no  one  on  the  island  had  really 
understood  the  old-time  reference  to  "the  wild  man  of 
Borneo"  until  Bijou  landed  there.  After  that  the  word 
man  became  men. 

Things  began  to  sizzle.  Then  one  foggy  four  A.  M.  even 


"A  spot  ot  cognac?"  asked  the  doctor.  Bijou  got  her  voice 
back.  "Nope.  I  tried  that,"  she  said,  "but  I  decided  it's 
better  to  know  what  you're  doing — even  if  it's  wrong." 


Dorothy  and  the  doctor  looked  down  at  the  lower  deck 
where  Bijou,  with  her  two  ragged  knights,  Sasha  and  Little 
Ned,  by  her  side,  was  singing  in  her  low,  husky  voice. 


50 


MODERN  SCREEN 


OH 


some  sleepy  oxen,  hitched  to  early-morning  market  carts 
in  the  street,  raised  their  heads  and  wondered  at  the  noise 
coming  from  the  joint  known  as  "The  Blue  Devil."  Three 
Dutch  officers  arrived  to  scatter  the  combatants.  Rubio, 
the  proprietor,  and  a  few  civilian  customers  peeked  hesi- 
tantly up  from  behind  the  bar  and  some  half-drunken 
sailors  muttered  as  they  put  their  blouses  back  on.  But  a 
broad-shouldered  six-footer  called  Little  Ned  refused  to 
be  interrupted  as  he  slugged  a  big  Russian,  picked  him  up 
and  slugged  him  again. 

"I'll  show  you  she's  a  lady!"  he  growled  and  got  in 
another  blow  before  the  officers  reached  him. 

The  chief  officer  was  in  no  doubt  as  to  the  cause  of  the 
trouble.  "I  warned  you  a  month  ago  about  that  girl,"  he 
said  to  the  cafe  owner. 

Rubio  found  Bijou  in  her  dressing-room.  "You  did  not 
make  the  riot,"  he  mourned,  "but  they  don't  believe  it." 

"Sure,  I  know,"  said  Bijou  wearily  when  he  told  her 
she  was  to  appear  before  the  Chief  Magistrate  in  the 
morning.  "Again  it's  'Get  off  my  island.'  Say!  With 
sailors  just  in  from  the  sea,  and  a  mob  of  men  from  the 
jungle,  what  do  they  expect  me  to  do — sing  'Rock-a-bye 
baby?' " 

He  gave  her  a  fistful  of  money.  Bijou  banked  it  in  her 
stocking  and  sent  her  Malayan  maid  home  to  pack.  When 
you've  had  the  same  verdict  twenty  times,  you  learn  to  get 
ready  for  it.  Not  that  it  dampened  Bijou's  spirit.  When 
Rubio  said,  "You  are  wonderful!"  she  gave  him  a  smile, 
put  him  out  of  the  room  and  went  to  sleep. 

The  District  officer  was  in  a  bad  mood  the  next  morning. 
He  had  already  automatically  issued  deportation  orders  to 
a  long  line  of  island  riff-raff,  including  Little  Ned  and  one 


Bijou  drifted  into  the  smoky  billiard  room  of  the  Seven 
Sinners  Cafe.  The  men  flocked  around  her  and  dragged  her 
into  their  game,  shouting  with  joy  that  she  was  back  again. 

NOVEMBER,  1940 


FICTIONIZED  BY  KATHARINE  ROBERTS 


Sasha-Menken  who,  though  listed  as  a  pickpocket,  sneak- 
thief  and  general  vagrant,  had  claimed  to  be  a  magician 
and  had  demonstrated  his  ability  by  taking  the  officer's 
watch,  putting  it  into  a  pitcher  of  water  and  turning  it 
into  goldfish.  The  trick  did  not  improve  the  magistrate's 
mood.  By  the  time  Bijou  had  been  disengaged  from  a 
crowd  of  Dutch  sailors  at  the  door  of  the  court-room  and 
brought  before  him,  he  was  in  a  state  of  fury. 
"Hello,  Curly,"  Bijou  greeted. 

"You  are  accused — "  he  began,  trying  to  control  himself. 

"Of  inciting  and  exciting  a  riot — and  being  a  public 
nuisance,"  chanted  Bijou  cheerily.  "I  make  rough  seas, 
set  the  jungle  on  fire — a  ba-a-a-ad  influence.  So  I  am  to 
be — "  She  picked  up  his  official  stamp,  ready  to  use  it. 
He  took  it  away  from  her. 

He  tried  to  preach  a  little  and  got  the  worst  of  it.  She 
remembered  him  in  moments  when  he  had  not  preached. 
Finally,  he  managed  to  write  "to  be  deported"  on  her  case 
papers. 

"Don't  be  sorry  for  me,  Curly,"  she  flung  back  as  she 
left  the  court.  "The  next  island  will  be  wonderful — Bijou 
will  sing  again — and  the  cafe  will  be  full."  She  started  to 
leave.  "And  may  an  angel  take  my  place  here.  It  will 
serve  you  right!" 

That's  how  Bijou  happened  to  leave  Borneo  and  head  for 
her  twenty-first  island.  Sasha  and  Little  Ned  went  with 
her.  They  became  at  once  her  satellites  and  her  bodyguard. 

Before  deportees  from  one  island  are  allowed  to  land  on 
another,  they  must  have  a  medical  examination  and  present 
a  clean  bill  of  health.  So  the  S.S.  Malacca  carried  Dr. 
Frank  Martin  as.  a  permanent  passenger.  He  seemed  a 
strange  man  for  this  sort  of  job  on  a  South  Sea  freighter. 


Bijou's  gratitude  was  a  bit  elaborate  and  she  looked  into 
Dan's  eyes  a  little  longer  than  was  necessary.  He  leaned 
closer  and  so  did  she.     It  was  just  a  game,  she  knew. 

51 


Dorothy  congratulated  Dan  on  the 
entertainment,  but  he  knew  there 
was  venom  in  every  light  comment. 


Bijou  had  never  looked  more  beau- 
tiful, and  Dan  was  in  a  semi-daze 
as  the  dancing  began  once  more. 


"Make  her  leave  at  once,"  barked 
Church.  Dan  saluted,  although 
he'd    rather    have    struck  him. 


Anger  went  through  Little  Ned. 
"What  are  you  trying  to  make  out 
of  Dan,  Bijou — somp'n  like  me?" 


It  wasn't  just  that  you  suspected  he 
had  seen  better  days,  but  that  you 
felt  he  should  still  be  enjoying  them. 
His  calm  intelligent  face,  his  dry  cyn- 
ical manner  were  out  of  tune  with  his 
surroundings  and  his  job  on  the 
Malacca. 

Bijou  and  Little  Ned  and  Sasha 
were  the  only  white  people  in  the 
smelly,  chattering  crowd  of  shabby 
natives  that  milled  outside  his  door, 
waiting  their  turns.  Some  were  Chi- 
nese. Some  were  mahogany-colored. 
They  represented  every  degree  of  the 
cut-throat,  the  poverty-stricken  and 
the  floating  fool.  Dr.  Martin,  with  a 
stethoscope  around  his  neck  and  a 
reflector  on  his  forehead,  ticked  them 
off  one  by  one.  When  Sasha  tried  his 
tricks,  the  doctor  was  not  amused. 
He  sent  him  out  to  deposit  the  coat 
filled  with  magician's  junk  elsewhere 
before  he'd  bother  with  him.  He 
passed  Little  Ned  quickly  enough.  He 
didn't  even  look  up  as  Bijou  came  in. 

"Strip  to  the  waist."  He  muttered 
the  usual  formula,  studying  some  pa- 
pers. He  raised  his  eyes  just  as  she 
was  angrily  yanking  up  her  dress. 
"Put  that  down!"  he  yelled.  It  didn't 
seem  like  the  start  of  a  perfect 
friendship. 

Bijou  baited  him  in  every  way  she 
knew  how  as  the  examination  went 
on.  "Do  you  examine  the  goats  that 
are  down  in  the  hold,  too?  Is  that 
why  you  get  like  this?"  she  demanded. 
A  little  later  she  sniffed,  "Isn't  it  a 
bit  early  in  the  morning  for  cognac?" 

"It's  a  bit  soon  for  impertinence," 
snapped  Dr.  Martin. 

"Just  human  junk  to  you,  aren't 
we?"  she  observed.  "Your  small  two- 
franc  jobs  feel  big  when  you  can  bully 
somebody!" 

He  got  out  his  predecessor's  record 
book  and  found  a  series  of  notations 
on  Bijou.  They  read,  "Deported. 
Health  A-l."  "Deported.  Health  A-l." 
"Deported.  Health  A-l."  All  three  of 
them. 

"You  ought  to  be  used  to  this  by 
now,"  he  answered. 

Bijou  exploded.  "For  little  men  to 
be  gods  because  they  can  kick  me 
about? — Never!"  She  spat  her  con- 
tempt. "Your  job  is  for  old  men  or 
cowards  who  run  away  from  every- 
thing to  hide — easy  and  lazy!" 

Suddenly  Dr.  Martin  looked  straight 
at  her  soberly.  "You're  right,"  he 
said.  "You  were  paying  me  off  for 
every  beating  you've  had,  but  you're 
damned  right.  Will  you  accept  my 
apology?" 

It  was  unexpected.  Bijou  had  been 
keyed  up  to  insults  but  not  to  kind- 
ness. Her  eyes  filled.  The  doctor  knew 
what  she'd  been  through.  "How  about 
a  spot  of  cognac  yourself?"  he  sug- 
gested. When  Bijou  managed  to  smile 
and  shake  her  head,  he  asked,  "Too 
early?"   She  shook  it  again,  and  he 


inquired,  "Don't  you  use  any?" 

Bijou  got  her  voice  back.  "Nope, 
I  tried  that,"  she  said,  "and  when  I 
try,  I  try  hard.  But  after  a  while,  I 
decided  it's  better  to  know  what 
you're  doing — even  if  it's  wrong." 

And  so  they  got  acquainted  and 
they  liked  each  other. 

"Health  A-l?"  asked  Bijou  as  she 
left  the  office. 

"Health  A-l,"  he  laughed. 

The  next  time  he  saw  her  it  was 
evening  and  he  was  standing  on  the 
top  deck  with  Dorothy  Henderson. 
Dorothy  was  on  her  way  to  join  her 
father,  the  new  resident  governor  of 
Boni  Kbmba,  a  small  island  under  the 
United  States'  protection.  Music  was 
coming  from  the  boat's  lower  deck 
where  the  steerage  passengers  were 
herded.  Dorothy  and  the  doctor 
looked  down  over  the  rail.  A  sleek 
Oriental  played  a  concertina.  Bijou, 
with  her  two  ragged  knights,  Sasha 
and  Little  Ned,  at  her  side,  was  sing- 
ing in  a  low,  husky  voice,  "I've  Been 
in  Love  Before."  She  gave  the  words 
a  sardonic  twist.  Dorothy  called  out 
enthusiastically  for  more  and  tossed 
down  a  coin.  Bijou  looked  up.  She 
recognized  her  as  the  girl  who  had 
come  to  the  boat  in  Borneo  with  the 
governor,  that  man  who  had  had  her 
deported  and  who  had  now  joined  the 
other  governors  on  her  hate-list.  The 
coin  infuriated  her.  When  Sasha 
grabbed  it,  she  made  him  perform. 
Then  she  made  Little  Ned  show  how 
strong  he  was.  But  she  did  not  sing. 

Dorothy  Henderson  was  unhappy. 
"I  didn't  mean  to  hurt  her  feelings," 
she  said. 

The  next  day,  Dr.  Martin  looked 
up  Bijou  to  deliver  Dorothy's  apology. 
He  found  her  bent  over  a  map,  pen- 
ciling circle  around  the  places  where 
she  couldn't  land.  "I'm  running  out  of 
islands,"  she  told  him,  then  asked, 
"Who  is  that  sweet  young  thing 
above?" 

He  explained. 

"A  new  governor  on  Boni  Komba?" 
gasped  Bijou  ecstatically,  rubbing  out 
one  of  the  circles  on  the  map.  "Hello, 
Seven  Sinners — here  comes  Bijou!" 
Would  she  forgive  Dorothy,  whose 
father  was  a  new  governor  who  had 
never  deported  her?  She  would! 
"Give  the  sweet  young  thing  a  big 
kiss!"  cried  Bijou.  "And  you  come  to 
Tony's  Seven  Sinners  Cafe  and  I  will 
smg  to  you!" 

That  night,  at  Dr.  Martin's  invita- 
tion, she  had  supper  with  him  in  his 
cabin.  It  was  a  different  Bijou  from 
the  sultry,  rebellious  person  who  had 
taunted  him  the  day  before.  This 
Bijou  was  gay,  companionable  and 
peaceful.  While  he  drank  brandy,  she 
drank  grape-juice.  It  amused  him. 
They  told  each  other  the  stories  of 
their  lives.  Neither  had  had  such  a 
bad  start;   (Continued  on  page  71) 


52 


MODERN  SCREEN 


This  month  we're  putting  on  our  Cap  of 
Adventure  and  bird's-eye-viewing  our  favor- 
ite fashion  finds  from  the  Pacific  to  the  Atlan- 
tic. We  call  it  our  Fall  Fashion  Tour  and, 
believe  me,  we  think  of  it  as  a  very  real  trip 
...  so  real  that  we  like  to  imagine  that  all 
of  you  have  reserved  seats  on  our  fashion 
bus  and  are  traveling  'cross-country  with  us. 

Reporting  En  Route: 

In  Hollywood,  we  find  Brenda  Marshall  sa- 
luting Autumn  in  a  smart-as-punch  Freshy 
Sportswear  jersey  with  close  neck,  sport 
sleeves  and  full  skirt.  Sizes  10-18,  in  9  grand 
colors.    $7.95.    Broadway  Hollywood,  Cal. 

Stopping  in  Kansas  City  for  a  breath  of  fresh 
Western  air,  we  spy  a  Nelly  Don  darling  of 
Sag-No-Mor  jersey,  excitingly  new  thanks  to 
its  square  neck,  high  square  pockets.  $7.95. 
Emery,   Bird,   Thayer,   Kansas   City,  Mo. 

In  Chicago,  the  home  of  Ann  Foster,  the  news 
is  a  four-pocketed  Sheer  Cord  corduroy  with 
major-domo  buttons  of  brass  and  a  slip- 
under-tabs  pig-grained  belt.  Convertible  col- 
lar.   $7.95.    Carson,  Pirie  Scott,  Chicago. 

Landing  in  New  York,  it's  an  Audrey  Jane 
coat  that  strikes  our  fancy,  in  green  and 
salmon  tweed,  princess  style,  with  the  plaid 
cut  and  matched  to  accentuate  the  natural  lines 
of  the  figure.  $19.95.  James  McCreery,  N.  Y. 


MODERN  SCREEN 


California,  here  we  go  in  All  bets  on  this  one-piece  Isn't  this  a  lovely  way  to  On  schedule!  Three  bright 

a  pocketful  two-piece  of  favorite  of  rayon  crepe  be  caught  in  tne   rain?  flannels   make  one  heap 

Chinese  Cashmere!  Separate  with  tucked  bodice,  multi-  Coat  $5.95  at  McCreery.  smart  suit.  Jerkin  $4.50; 

blouse.   All  for  $16.74  at  gored  skirt.    $12.95.  Gaytees  Overboots.  $2.98.  Coat  $7.95;  Skirt  $5.95. 

R.  H.  Macy,  New  York.  Franklin  Simon,  New  York.  Bloomingdale's,  New  York.  B.  Altman,  New  York. 


56 


For  the  stores  nearest  you  carry- 
ing your  favorite  MODERN 
SCREEN  fashions  write  Fashion 
Editor,  Modern  Screen,  149  Mad- 
ison Avenue,  New  York,  N.  Y. 


UTTA  GAYNES  loves  girls,  loves  to  design  young, 
alert,  important  coats  for  them.    This  kick-off- 
red  tweed  with  velveteen  collar  proves  all  that;  proves 
too,  that  a  warm  winter  coat  need  not  be  expensive. 
$29.75.  Available  at  Bonwit  Teller,  New  York  City. 


WASWHCTOM  -    J  I 


Prim  pin*  at  the  Nation's 
Capital  in  a  slim-lined, 
shirred-front  velvet.  Defi- 
nitely dress-up!  $14.95. 
at  McCreery's,  New  York. 


An  entrancing  dancing 
dress  and  so-so-short  jacket. 
Shirred  bra-top  dress,  twirl- 
ing gored  skirt.  $14.95.  Ar- 
nold Constable,  New  York. 


PROP SHOP 


PRETTY  PENNY  says  no  matter 
what  date  Thanksgiving*  you've  always 
something  to  be  grateful  for  when  yon 
find  extra  special  "props"  like  these 


Step-Outs 

Fall-ward  march  in 
these  two  indispensa- 
bles.  A  suede  sport- 
ster with  calf  plat- 
form 'n'  lacings,  soft 
as  a  glove — and  for 
your  taller  moments, 
a  spectator  pump  of 
calf -trimmed  suede. 
$5.98  each.  Sold  at 
Ansonia,  New  York. 


Adornables 

What's  your  choice — 
a  pirate  chief,  a  Bag- 
dad Thief,  an  autumn 
leaf?  All  are  tops  in 
jewelry  fashions.  An- 
tiqued gilt  or  silvered 
group.  Bracelets  $2. 
Necklace  $2.  Leaf 
and  dagger  pin  $1. 
Available  at  Arnold 
Constable,  New  York. 


Do-Re-Mi 

Sing  a  song  of  sizes 
with  Do  for  small, 
Re  for  average  and 
Mi  for  full  figures. 
You'll  love  this 
glamour-bra  scientifi- 
cally proportioned  by 
Adola.  In  tearose  and 
white  broadcloth  and 
only  59c.  Saks  34th 
Street,  New  York. 


Band-Ohs 

Dangerous  curves 
ahead!  Adola's  cap- 
tivating bra-beauty  is 
designed  to  taper 
your  torso  and 
"oomphasize"  your 
figure  'neath  new  fall 
fashions.  In  satin 
and  broadcloth;  tea- 
rose  and  white.  59c. 
Saks  34th,  New  York. 


Beau  Bag 

Appropriately  named 
"Leading  Lady"  and 
is  there  one  who 
wouldn't  crave  it! 
Fashioned  of  Camel- 
suede,  this  roomy 
prize  comes  in  black, 
brown,  wine  or  green, 
and  is  only  $1. 
Ellanbee,  Inc.,  17  E. 
22nd  St.,  New  York. 


Fan-Fair 

Yankee  Hankies  all, 
and  worthy  of  some 
old-fashioned  hoo- 
r  a  h  i  n  g  !  American 
Beauty  Rose  on  voile 
is  designed  for  skip- 
a-beat  daintiness.  The 
Stars  and  Stripes  on 
linen  for  sturdier  pa- 
triotic moments.  25c 
ea.  at  Gimbel's,  N.  Y. 


AMERICAN  TRADITION  of  Beauty 


Before  the  pearly  freshness  of  the  American  girl's 
face,  came  an  enduring  tradition  of  fastidious 
care  of  her  person. 

Cultivate  your  skin's  smooth  enchantment 
gladly,  frankly,  without  falter.  Give  your  face  at 
least  once  daily  the  authoritative  Pond's  ritual, 
based  on  the  structure  and  behavior  of  the  skin. 
Its  users  are  among  the  fresh-skinned,  soignee 
daughters  of  America's  foremost  families. 

BATHE  your  face  in  an  abundance  of  luscious  Pond's  Cold 
Cream — spreading  it  all  over  with  creamy-soft  slapping 
fingers.  Slap  for  3  full  minutes — yes,  even  5  minutes.  This 
cream  has  2  actions.  One,  cleansing.  The  other,  softening.  It 
achieves  these  effects  by  mixing  with  the  dead  surface  cells, 
make-up  and  foreign  accumulations  on  your  skin. 


WOMAN  SKIN 

owes  its  witchery  to  that  tender 
look  and  feel,  so  different  from 
a  man's.  And  women  through  the 
ages  intuitively  have  tended  and 
coveted  this  treasured  birthright  of 
theirs,  this  delicacy  of  skin  which 
lovers  and  poets  have  ever  likened 
to  the  delicate  face  of  a  flower. 


WIPE  OFF  with  bland  and  persuasive  Pond's  Tissues — 
and  you've  wiped  off  the  softened  debris,  helped  remove 
some  of  the  softened  tops  of  blackheads,  making  it  easier  for 
the  little  plugs  of  hardened  sebum  to  push  their  way  to 
the  surface. 

FLOOD  and  SLAP  a  second  time  with  releasing  Pond's 
Cold  Cream.  This  slapping  increases  both  the  cleansing  and 
the  softening.  As  dirt  is  released,  wipe  off  with  gentle  Pond's 
Tissues.  Pores  seem  finer.  In  the  softened  skin,  lines  are 
less  apparent. 

LUXURIATE  now  in  the  cooling  astringence  of  Pond's  Skin 
Freshener,  splashed  on  with  a  pad  of  cotton  dripping  with 
it.  Then 

COAT  your  whole  face  with  the  final  blessedness  of  Pond's 
Vanishing  Cream.  Here  is  a  cream  whose  specific  function  is 
to  disperse  harsh  skin  particles,  little  chappings  caused  by 
exposure,  and  leave  your  skin  delightfully  smoothed. 
Wipe  off  the  excess  after  one  full  minute.  Observe  that 
this  cream  has  laid  down  a  perceptible  mat  finish.  Your 
rich  reward  is  your  skin's  satin  touch — its  flattering 
reception  of  and  faithful  hold  on  powder. 

This,  in  full,  always  before  retiring  or  during  the  day. 
A  shorter  ritual  whenever  your  skin  and  make-up  need 
freshening.  Act  now  to  start  your  new  daily  ritual — aid 
to  a  fresh,  flower-soft  skin.  Already  some  thirteen  mil- 
lion women  in  the  United  States  use  Pond's! 


GIVE-AWAY  for  the  thrifty  minded — Frankly  to  lure  you 
to  our  larger  cream  jars,  which  are  actually  a  better  buy,  we 
are  handing  you  FREE  (for  a  limited  period)  a  tempting 
supply  of  our  equally  authoritative  hand  lotion,  DANYA,  with 
each  purchase  of  the  medium-large  Pond's  Cold  Cream.  Both 
for  the  price  of  the  cream!  At  beauty  counters  everywhere. 

Copyright,  1940,  Pond's  Extract  Company 


MRS.  VINCENT  ASTOR . . . .  MRS.  PHILIP  HARDING  (THE  FORMER  ALICE  ASTOR) . . . .  MRS.  JOHN  JACOB  ASTOR.... 
present  leaders  of  the  family  which  has  dominated  American  society  for  generations,  have  for  years  observed  the  Pond's 
ritual  ...MRS.  VINCENT  ASTOR  devotes  much  time  to  the  cause  of  music,  especially  the  Musicians'  Emergency  Fund 


NOVEMBER,  1940 


59 


PffESf/lfTS 

RUBY  RED 

•  7€ew  ma^e/te^/ -mz^e  aft 


You'll  look  lovely  in  Irresistible's  new 
sensational  lipstick  ...  for  "Ruby  Red" 
is  a  rich,  ripe  red  .  .  .  the  season's  live- 
liest, most  flattering  color.  Blends  bril- 
liantly with  all  the  fashionable  new 
clothes  colors.  Applies  smoothly  and 
stays  on  stubbornly  for  hours  because 
of  the  secret  new  Whip-Text  process. 
Get  Irresistible  "Ruby  Red"  Lipstick  to- 
day, with  matching  Rouge  and  Face 
Powder,  and  know  the  superb  flattery 
of  a  complete  Irresistible  make-up. 


USE  IRRESISTIBLE  LIPSTICK 


IT'S 

LASTS  LONGER 
SMOOTHER 


AT  ALL 
5  &  10  CENT 
STORES 


THEY'RE  NOT  ALL  PERFECT 

(Continued  from  page  39) 


USE  IRRESISTIBLE  PERFUME 


looks  almost  hooked  from  certain  camera 
angles.  This  has  always  been  a  prob- 
lem, and  she  has  even,  on  occasion,  con- 
sidered an  operation.  Merle's  complexion 
is  far  from  the  skin  you  love  to  touch. 
But  make-up,  of  course,  takes  care  of 
the  blemishes. 

Operating  on  noses,  come  to  think  of 
it,  is  not  so  unusual.  Carole  Landis  had 
a  bump  taken  out  of  her  nose  before 
going  into  "Turnabout."  And  there  have 
been  any  number  of  others. 

The  bald-headed  gentry  of  Hollywood 
are,  of  course,  legion.  Charles  Boyer  is 
probably  the  most  famous  of  all,  with 
Bing  Crosby  a  close  second. 

Warner  Baxter  is  an  exception  among 
the  men,  as  a  matter  of  fact.  He's  one 
of  the  few  who  wears  his  own  hair,  and 
is,  oh,  so  proud  of  it. 

There's  a  good  story  they  tell  about 
the  gentlemen  of  the  toupee.  While 
making  "When  the  Daltons  Rode"  at 
Universal,  Brian  Donlevy  was  called  to 
the  set.  He  looked  frantically  all  over 
his  dressing-room  for  his  favorite  hair 
piece,  but  couldn't  find  it.  Finally  he 
gave  up  in  despair  and  went  out  to  the 
set  to  tell  George  Marshall,  the  director, 
about  his  trouble.  Everyone  there,  in- 
cluding Stuart  Erwin,  Broderick  Craw- 
ford and  Andy  Devine  reached  into  their 
pockets  and  produced  hairy  mats  of 
their  own. 

"This  yours,  Brian?"  they  chorused. 

And  while  on  the  subject  of  embar- 
rassing gadgets,  why  slight  Preston  Fos- 
ter? He  wears — of  all  things — a  corset 
under  those  smoothly  fitted  clothes.  It 
seems  those  week-end  fishing  trips  for 
yellow-tail  off  Santa  Catalina  haven't 
helped  his  figure  any. 

HANDS  are  frequently  a  problem  in 
films.  Ronald  Colman  posed  for  a 
still  picture  at  RKO  not  long  ago,  and  his 
hands  were  so  badly  lined  the  retoucher 
had  to  eliminate  two  fingers  from  the 
picture. 

Roz  Russell  is  one  of  the  girls  whose 
hands  always  have  to  be  retouched.  As 
a  matter  of  fact,  very  few  actresses  have 
hands  that  they  can  use  in  close-ups. 
Other  hands  are  almost  always  cut  in. 

In  the  new  Frank  Capra  picture,  "Meet 
John  Doe,"  you  will  see  Barbara  Stan- 
wyck doing  a  lot  of  typing.  Well,  it's 
supposed  to  be  against  the  rules  to  tell 
the  general  public  the  inside  secrets  of 
picture  making,  but  we'll  risk  it  just 
this  once.  Actually,  Barbara  does  none 
of  the  typing.  A  stenographer  with 
lovely  hands  does  it,  and  Barbara  sits 
on  the  girl's  lap  for  these  scenes.  After 
you  see  the  picture  you  will  probably 
call  us  a  fibber,  for  you  can't  tell  that 
Barbara  is  using  someone  else's  hands. 
But  it's  the  truth,  nevertheless. 

Kay  Francis  presents  a  different  kind 
of  a  problem  to  studios.  It's  the  sound 
engineer  who  worries  when  she  comes 
on  the  set.  She's  never  managed  to 
conquer  her  lisp  and  still  pronounces  r's 
like  w's. 

Don  Ameche  has  an  abnormally  long 
neck.  You've  probably  noticed  the  extra 
wide  collars  he  always  wears.  They've 
become  a  trade-mark,  sticking  up  as  they 
do  almost  two  inches  above  his  suit 
coats.  Just  another  case  of  individuality 
triumphing  over  a  pronounced  defect. 

Nelson  Eddy  has  very  weak  eyes.  The 
strong  klieg  lights  hurt  him  so  much 
that  his  doctor  permits  him  to  work 
under  them  only  a  few  minutes  at  a  time. 


Leslie  Howard  and  Joan  Bennett  are 
others  who  have  eye  trouble.  Leslie  is 
so  near-sighted  that  he  actually  runs 
into  things  on  the  set  when  he  is  in  a 
scene  which  does  not  permit  the  wearing 
of  glasses. 

Joan,  too,  can't  see  across  the  table 
without  her  specs.  Incidentally,  this 
works  out  as  a  boon  sometimes  when 
Joan  wants  to  walk  down  the  street 
without  being  noticed  by  too  many  fans. 
She  must  wear  the  glasses,  and  most 
fans,  of  course,  don't  recognize  their 
lovely  Joan  that  way. 

Brenda  Joyce  is  in  this  category,  too. 
After  each  scene,  on  come  the  glasses 
for  reading  or  knitting. 

Lionel  Barrymore  had  a  rather  amus- 
ing idiosyncrasy  for  a  long  time.  He 
went  through  a  period  of  falling  asleep 
at  the  slightest  provocation.  Several 
times  he  dozed  off  while  he  was  in  the 
middle  of  a  scene,  and  once  he  actually 
fell  asleep  while  Gregory  Ratoff,  the 
director,  was  talking  to  him. 

INCIDENTALLY,  Ratoff,  the  volatile 
*■  Russian,  has  a  peculiarity  all  his  own. 
He  gets  so  excited  while  working,  whips 
himself  into  such  a  frenzy,  that  he  per- 
spires at  an  astonishing  rate.  He  has  to 
change  his  shirt  every  half  hour  or  so. 
His  laundry  bill  was  something  to  look 
and  marvel  at  when  he  was  trying  to 
out-act  John  Barrymore  in  "The  Great 
Profile." 

Dorothy  Comingore,  whom  you  will 
meet  in  the  lead  of  Orson  Welles'  first 
film,  "Citizen  Kane,"  and  who  used  to 
be  known  as  Linda  Winters,  has  won- 
dered for  a  long  time  why  she's  had  such 
a  difficult  time  getting  parts.  Well,  the 
answer  is  her  very  crooked  teeth,  notice- 
able especially  when  she  laughs.  Almost 
all  female  screen  stars,  of  course,  have 
to  have  their  teeth  straightened  or 
worked  on.  Loretta  Young  still  wears 
braces — when  no  one's  watching. 

You  all  know  Mickey  Rooney's  trouble. 
He's  so  short  that  Metro  is  having  in- 
creasingly violent  headaches  finding 
leading  ladies  for  him.  He  needs  older 
girls,  but  the  older  ones  tower  over  him. 

Well,  Mickey  can  take  comfort  from 
the  fact  that  he's  not  the  only  shorty  in 
the  business.  George  Raft  also  has  the 
heels  of  his  shoes  built  up  to  give  him 
height,  because  he  is  a  surprisingly  little 
guy.  Likewise  Eddie  Robinson  and  John 
Garfield. 

And  it  will  probably  shock  some  of  you 
to  learn  that  many  girls  in  films  have 
to  be  built  up  in  front.  Hedy  Lamarr, 
for  example,  is  very  thin  and  has  prac- 
tically no  curves.  Loretta  Young  is  an- 
other slim  gal.  All  her  evening  gowns 
are  padded  in  the  proper  places  and 
camera  angles  have  to  be  well  planned 
to  properly  shadow  the  bones  of  her 
neck. 

On  the  other  hand,  Martha  Raye,  of 
course,  has  an  over-ample  bosom.  And 
Universal  has  been  worrying  and  fuss- 
ing for  the  past  two  years  because  trying 
to  keep  Deanna  Durbin  girlish  looking 
becomes  increasingly  difficult.  The  most 
artfully  contrived  bolero  dresses  cannot 
conceal  the  fact  that  she's  maturing. 

And  while  we're  on  this  subject,  we 
come  quite  naturally  to  Bob  Cummings, 
whom  you  probably  will  never  see  shirt- 
less. He  is  supposed  to  be  such  a  terrific 
he-man,  and  he  really  is  a  regular  guy, 
but — there  isn't  one  single  solitary  wisp  of 
hair  on  that  barrel  chest  of  his. 


60 


MODERN  SCREEN 


A  Perfect  Wife . . .  mOif  <fm. 


"Lysol"  could  have  helped  .  .  . 

Romance  is  all  bound  up  with  feminine 
daintiness.  Even  the  most  loving  husband 
may  find  it  difficult  to  forget — or  forgive 
—a  wife's  carelessness,  or  ignorance,  about 
intimate  personal  cleanliness.  That's  why 
so  many  women  use  "Lysol"  regularly. 

Mary  was  such  a  perfect  home-maker 
and  mother.  When  her  marriage  with  John 
ended,  people  called  him  a  brute.  They 
never  knew  John's  side  of  the  story.  Be 
sure  that  Mary's  heartbreak  does  not  be- 
come yours.  Do  YOU  use  "Lysol"  for 
feminine  hygiene? 

Thousands  of  women,  for  almost  3  gen- 
erations, have  used  "Lysol"  disinfectant 
for  feminine  hygiene.  Probably  no  other 


product  is  so  widely  known  and  used  by 
women  for  this  purpose,  for  6  reasons: 

I.  Non-Caustic  ...  "Lysol",  in  proper  dilu- 
tion, is  gentle,  efficient;  contains  no  free 
caustic  alkali.  2.  Effectiveness  .  .  .  "Lysol"  is 
a  powerful  germicide,  active  under  practical 
conditions;  effective  in  the  presence  of  or- 
ganic  matter    (dirt,   mucus,   serum,  etc.). 


FOR  FEMININE  HYGIENE 


3.  Spreading  .  .  ."Lysol"  solutions  spread  be- 
cause of  low  surface  tension;  virtually  search 
out  germs.  4.  Economy  .  .  .  "Lysol"  is  concen- 
trated, costs  only  about  one  cent  an  applica- 
tion in  proper  dilution  for  feminine  hygiene. 
5.  Odor  .  .  .  The  cleanly  odor  of  "Lysol"  dis- 
appears after  use.  6.  Stability  .  .  .  "Lysol" 
keeps  its  full  strength  no  matter  how  long  it  is 
kept,  or  how  often  it  might  be  left  uncorked. 


•  PASTE  THIS  COUPON  ON  A  PENNY  POSTCARD  •  • 
What  Every  Woman  Should  Know 

SEND  COUPON  FOR  "LYSOL"  BOOKLET 
Lehn  &  Fink  Products  Corp. 
Dept.  MS-411,  Bloomfield,  N.  J.,  U.  S.  A. 

Send  me  free  booklet  "War  Against  Germ9"  whicb  tells 
the  many  uses  ol  "Lysol". 

Name.   


Address- 


Copyright,  1940,  by  Lehn  &  Fink  Products  Corp. 


NOVEMBER,  1940 


61 


the  loveliest 
thing  in  make-up 


I  love  the  quality  of  this  ex- 
quisite new  Chiffon  Lipstick. 
Flesh-smooth  new  texture  for 
softer  contours.  Costlier  new 
perfume  that  whispers  love  in 
every  kiss.  Stop  at  your  five- 
and-ten  for  one  of  these  allur- 
ing new  shades.  Your  choice, 
only  10£. 

Chiffon  Red,  Raspberry,  Medium,  True  Red 

All-Purpose  Cream  luV 

I  love  the  excellence  of  this 
marvelous  cream — so  new,  so 
different.  It's  the  only  cream 
you  need  for  cleansing,  to  help 
clarify  and  soften  the  skin, 
and  as  a  perfect  foundation. 

^i^tw  Powder  10' 

I  love  this  perfect  face  pow- 
der of  finer,  longer -clinging 
texture  —  shine  -  proof —  cake  - 
proof — in  seven  high  fashion 
shades: 


Rachel,  Natural,  Hark  Tan,  Heine, 
Rrunclte,    Rose  Petal,   Rose  Reige 


OUR  IH1Z/I J]  I'/Hii 


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Puzzle  Solution  on  Page  71 


ACROSS  

1.  &  5.  The  star  of  58. 
this  puzzle  59. 
11.  Boy  actor  from  In- 
dia 

15.  "Wells  " 

16.  Nurse  in  "North 
West  Mounted  Po- 
lice" 

17.  "Woman  s 

Man" 

19.  Heroine  of  "Wag- 
ons Westward" 

20.  Director  Van 
Dyke's  nickname 

22.  Wife  of  Norman 
Foster 

24.  -  -  -  Blue 

25.  Heroine  of  "The 
Man  I  Married" 

27.  What  Buster  Kea- 
ton  throws  so  well 

29.  He's  in  "Foreign 
Correspondent" 

31.  B  -  -  -  Lugosi 

32.  Top-notch  film 
players 

34.  Our  English  star's 
favorite  drink 

35.  He's  in  "Rhythm 
On  The  River" 

38.  Holden's  mother  in 

"Our  Town" 
40.  Veteran  actor  in 

"Sporting  Blood" 

44.  Walter 

45.  Soapstone 

46.  Oceans 
48.  English  school 
49   "  Jungle  Love" 

50.  Through 

51.  Robert  -  -  -  w 

53.  Orchestra  leader 

54.  Star  of  "No^  Time 
For  Comedy" 

56.  What  Western  stars  112 
fight  with 


60. 
64. 
68. 
69. 
70. 

71. 

72. 
74. 

77. 


79. 


93. 

94. 
98. 
99. 
101. 
103. 
104. 

106. 

108. 

110. 
111. 


Atmosphere 
Ginger  Rogers' 
studio 

Star  of  "Victory" 

A  famous  director 

Endeavor 

Kay  Ky  -  -  - 

Color  of  Jeanette's 

hair 

Wife  of  our  star 
Move 

Hero  of  "They 

Drive  By  Night" 

Gloria  Jean's  sis  in 

"Little  Bit  Of 

Heaven" 

She  will  star  in 

"Back  Street" 

One  of  the  "Dead 

End"  kids 

Sea  nymph 

Very  popular  young 

lady 

A  theatre  sign 
Popular  juvenile 
actor 

Period  of  time 
Girl   in  "Foreign 
Correspondent" 
"-  -  -  and  In  The 
Sky" 

Girl's  name 
Past  . 
Gourd 

 a  Duff 

Fuss 

Star  of  "The  Let- 
ter" 

Actor  in  "The 

Westerner" 

Male  lead  of  "Pier 

13" 

Require 
Gratify 

Politician  in  "The 
Great  McGinty" 


1. 

Shirley's  successor 

50. 

at  20th  Century- 

52. 

Fox 

55. 

2. 

Jackie  M  

57. 

'3/ 

For  example:  abbr. 

60. 

4. 

Movietone  News 

61. 

commentator 

62. 

5. 

Angry 

6. 

Mystical 

63. 

64. 

7. 

Ambassador  in 

"The  Sea  Hawk": 

init. 

65. 

8. 

Beverly  

66. 

9. 

Measure  of  length 

10. 

Exclamation  of  sor- 

67. 

row 

11. 

What  films  are 

made  up  of 

73. 

12. 

Word  of  triumph 
Oliver  Hardy's 

75. 

13. 

76. 

nickname 

77. 

14. 

Employer 

15. 

Watch  chain 

78. 

16. 

Bed 

18. 

Life  in  the  abstract 

79. 

21. 

"The  Man  From 

81. 

Dak  -  -  -" 

23. 

Dumb  guy  in 

83. 

"Phantom  Raiders" 

26. 

Actor  Hamilton's 

84. 

first  name 

28. 

He  was  great  in 

86. 

"Strange  Cargo" 

30. 

"It's  A   " 

88. 

32. 

Salt 

89. 

33. 

Visualize 

90. 

35. 

Exclamations  of 

91. 

disgust 

92. 

36. 

Aid 

94. 
95. 

37. 

Withered 

38. 

What  friends  call 

Herbert  Marshall 

96. 
97. 

39. 

Grate 

41. 

Father  in  "Seven- 

100. 

teen" 

42. 

Famed  English  ac- 

102. 

tor  and  playwright 

105. 

43. 

Concludes 

45. 

Kind  of  dog 

107. 

47. 

Star  of  "Young 
People" 

109. 

 DOWN 

Couples 

Inquired 

Lump 

Boy's  name 
Fret:  Scotch 
Feminine  lead  in 
"Golden  Fleecing" 
Great  silent  day  ac- 
tor 

To  crowd  in 
One  of  "Too  Manv 
Husbands" 
Object  of  worship 
Rising  M-G-M  ac- 
tor 

Newcomer  in  "Re- 
turn Of  Frank 
James" 
Girl's  name 
Supplied  with  food 
Instructor 
Co-star  of  "Strike 
Up  The  Band" 
A  Basil  Rathbone 
film 

Star  of  "Arizona" 
Put  in  working 
condition 

7l-across'  title  in 
private  life 
Girl  in  "South  Of 
Pago  Pago" 
Mickey's  box-office 
rank 

Sea  eagle 
Laboratory:  abbr, 
"Espionage  -  -  - 
Mere  repetition 
Where  Napoleon 
was  imprisoned 
Movie  admirer 
Our  star's  birth- 
state:   fornia 

Kind  of  cheese 
Offspring 

Actor  in  "My  Love 
Came  Back" 
Curvacious  star 
"Wa  -  -  rloo 
Bridge" 

"U  -  -  on  Pacific" 
All  correct:  colloq. 
abbr. 


-  -  - 1" 


62 


MODERN  SCREEN 


YOU  CAN'T  CHANGE 
A  RED-HEADED  WOMAN 

(Continued  from  page  31) 

doing  here,  Miss  MacDonald?  I  thought 
you  had  left."  Jeanette  was  so  mortified 
she  could  have  wept.  But  she  didn't;  she 
laughed.  She  wasn't  mad  at  anyone — 
except  herself. 

Today  Jeanette  gets  along  with  her  co- 
workers like  peaches  and  cream.  The 
only  person  she  really  rips  up  and  down 
occasionally  is — Jeanette  MacDonald.  For 
instance,  not  long  ago,  she  was  recording 
a  song  number  at  the  studio.  Recording 
rooms  are  barren  places,  furnished  mainly 
with  microphones  and  dozens  of  spindly 
chairs.  Jeanette  always  records  perched 
upon  a  tall  stool,  wearing  glasses  and 
looking  very  glamourless  and  business- 
like. This  particular  morning  she  was 
having  difficulty  remembering  the  words 
to  the  song.  She  recorded  it  five  or  six 
times  more  than  usual,  and  at  last  her 
director,  Woody  Van  Dyke,  said,  "Okay." 
But  Jeanette  still  wasn't  satisfied. 

"Just  once  more?"  she  asked,  and 
Woody  nodded. 

AGAIN  Jeanette  muffed  the  tricky 
words.  Bang  went  her  foot  against 
a  chair!  Boom!  Bang!  Sock!  As  every- 
body ran  for  cover,  the  spindly  chairs 
flew  around  the  room  like  ten  pins. 
"Lunch!"  called  Van  Dyke,  running  out 
of  Jeanette's  way. 

When  she  returned  from  lunch,  cooled 
down  and  penitent,  Jeanette  reached  for 
a  chair  to  sit  on.  It  wouldn't  move.  Van 
Dyke  had  had  them  all  nailed  down  dur- 
ing the  noon  hour!  Jeanette  loves  to  tell 
that  one  on  herself. 

Woody  Van  Dyke  is  perhaps  Jeanette's 
best  pal  at  M-G-M,  along  with  director 
Robert  Z.  Leonard,  whom  she  calls  "Pop," 
and  Herbert  Stothart,  her  musical  direc- 
tor. Besides  being  one  of  the  fastest  and 
best  directors  in  town,  Woody  is  a  color- 
ful, debonair  guy  who  loves  nothing  so 
much  as  a  good  gag.  But  he's  also  a  strict 
disciplinarian  on  the  set.  Once,  when 
Lupe  Velez  defied  him,  he  turned  her 
over  his  knee,  gave  her  a  good  spanking 
and  then  walked  off  her  set.  When  he 
made  "Naughty  Marietta"  he  tangled  with 
Jeanette,  too,  but  not  as  strenuously. 

Van  Dyke  is  a  stickler  for  punctuality 
and,  if  Jeanette  MacDonald  has  any 
studio  fault,  it's  a  tendency  to  dilly-dally 
in  her  dressing-room,  primping  or  tele- 
phoning. She  did  this  one  fine  day  and  got 
herself  roundly  bawled  out  by  Woody. 

The  next  morning,  promptly  at  nine, 
as  Van  Dyke  lined  up  his  first  scene,  four 
sturdy  prop  men  trudged  in  bearing  on 
handles  a  strange  contraption  looking  like 
a  sedan  chair.  It  wasn't.  It  was  a  dog- 
house Jeanette  had  bribed  studio  car- 
penters to  build  during  the  night.  Out 
the  door  poked  Jeanette's  contrite  face, 
and  in  her  hand,  extended  toward  Woody 
Van  Dyke  was  a  big,  red  apple! 

Unlike  most  red-heads,  Jeanette's  tol- 
erant enough  with  others  to  be  perpet- 
ually imposed  on.  She  proved  that  during 
her  last  concert  tour  when  she  went 
about  the  country  breaking  attendance 
records  which  had  stood  for  years. 
Wherever  she  went,  worshipping  crowds 
ganged  up  on  her.  One  youth  even 
banged  on  her  hotel  door  when  she  was 
sleeping  and  handed  her  the  "Don't  Dis- 
turb" sign  to  autograph.  Jeanette  grinned 
sleepily  and  obliged.  At  another  city 
she  arrived  one  dawn  to  find  the  railroad 
station  gates  jammed  with  fans  to  meet 
her.  Her  manager  had  a  car  inside  ready 
to  whisk  her  away,  but  Jeanette  vetoed 


"You're  turning  my  own  child 
against  me!" 


1 .  Johnny  needed  that  spanking,  /  thought. 
Mary  didn't  agree.  She  took  him  in  her 
arms  and  protected  him  from  me.  Johnny 
clung  to  her — the  look  in  his  eyes  made  me 
feel  like  a  brute.  "I  hate  you!  I  hate  you!" 
he  sobbed. 


2.  Those  words  stung!  Johnny  is  the  apple 
of  my  eye,  and  I  want  him  to  think  I'm 
pretty  swell,  too.  "You're  turning  that  child 
against  me,"  I  stormed.  "I  don't  enjoy 
spanking  him.  But  he's  got  to  learn  he  can't 
act  up  every  time  he  has  to  take  a  laxative." 


3.  "But  he's  only  a  child,"  Mary  pleaded, 
"and  that  awful-tasting  stuff  terrifies  him. 
I  told  the  doctor  about  these  scenes  today. 
He  says  it's  bad  to  force  a  child  to  take  a 
bad-tasting  medicine.  It's  apt  to  shock  his 
entire  nervous  system." 


4.  "According  to  the  doctor,  children  should 
get  a  laxative  that  tastes  good— one  they 
take  willingly!  But  NOT  an  adult  laxative. 
A  child's  system  is  delicate,  after  all— and 
needs  a  special  laxative.  The  doctor  recom- 
mends Fletcher's  Castoria." 


5.  "He  says  it  tastes  good— and  it's  designed 
for  children  and  only  children,  it  works 
mostly  in  the  lower  bowel,  so  it  isn't  likely 
to  upset  a  youngster's  digestion.  It's  gentle 
and  thorough — contains  no  harsh  drugs.  And 
above  all  else,  Fletcher's  Castoria  is  safe!" 


6.  Well,  I  was  off  in  a  jiffy  for  a  bottle  of 
Fletcher's  Casto'ria.  And  it's  turned  out  to 
be  all  the  doctor  said.  But  more  than  that— 
Johnny's  my  boy  again.  No  more  tantrums 
when  he  needs  a  laxative.  He  comes  a  run- 
ning to  his  dad  for  Fletcher's  Castoria! 


GL^MfE^l  CASTORIA 

The  modern — SAFE — laxative  made  especially  for  children 


NOVEMBER,  1940 


63 


Mrs.  B — 
Solves  a  Tough 
Problem 


Jf2"8-  Jones,  next  h„ 
Ex-Lax  for'jW  \UggeSted 
tonight  and  hTj'    °a7e  W»  some 
te*ted  Just  Sce  ^n"-,  ^  « 
sweU  chocolate  I 


Jimp.8  like  a  "^^H^ 
3d  fine  f^fiftfter  taking  * 


The  action  of  Ex-Lax  is  thorough, 
yet  gentle!  No  shock.  No  strain.  No 
weakening  after-effects.  Just  an  easy, 
comfortable  bowel  movement  that 
brings  blessed  relief.  Try  Ex-Lax 
next  time  you  need  a  laxative.  It's 
good  for  every  member  of  the  family. 


W  and  25* 


the  idea.  "If  they  can  get  up  this  early 
to  see  me,"  she  argued,  "heavens  knows 
I  want  to  see  them."  She  never  gets 
peeved  when  other  people  take  up  her 
time. 

For  months  her  husband,  Gene  Ray- 
mond, has  been  trying  to  teach  Jeanette 
not  to  tear  up  her  pari-mutuel  tickets  at 
the  horse  races.  It's  no  use.  Jeanette  is 
Scotch,  too;  she  never  places  more  than 
a  two-dollar  bet.  But  as  soon  as  the 
pony  doesn't  rush  a  mile  out  in  front, 
she  rips  her  bet  receipts  to  shreds. 

One  afternoon,  at  Hollywood  Park, 
Jeanette  played  a  bangtail  across  the 
board  and,  in  spite  of  Gene's  last  minute 
remonstrations,  started  mutilating  the 
ticket  before  the  horses  came  down  the 
stretch.  Her  horse  won,  too,  and  Jea- 
nette spent  the  next  half  hour  gathering 
up  tatters  and  pasting  them  together 
with  flour  and  water  which  a  very 
startled  clubhouse  waiter  brought  to  her. 

One  standing  joke  among  Jeanette's 
close  friends  concerns  a  preview  she  at- 
tended in  Hollywood.  The  picture  was 
one  with  a  trick  beginning.  First  came 
some  scenery.  Jeanette  stood  a  few  feet 
of  it,  then  she  nervously  asked,  "But 
where 's  the  title?"  Just  then  the  title 
flashed  on  the  screen.  A  few  more  feet 
had  Jeanette  jittery.  "But,"  she  said 
aloud,  "where  are  the  cast  credits?"  No 
sooner  had  she  spoken  than  the  cast 
credits  came  on.  A  few  more  scenes  ran 
off.  Jeanette  couldn't  stand  it.  "I  thought 
this  was  a  Walter  Wanger  production!" 
she  stage-whispered,  just  as  "Produced 
by  Walter  Wanger"  ran  across  the  screen. 
By  that  time  the  whole  front  row  was 
in  stitches — and  laughing  loudest  at  her- 
self was  Jeanette. 

There  is  only  one  time  on  record  when 
Jeanette's  impatience  turned  away  from 
herself  to  someone  else.  But  that  can  be 
chalked  up  to  Cupid — and  they  do  say 
alls  fair  in  love  and  war.  The  object  of 
Jeanette's  dark  thoughts,  of  course,  was 
her  present  lord  and  master,  Gene  Ray- 
mond. It  was  during  their  engagement, 
a  particularly  trying  period  anyway. 

THEY'D  gone  up  to  Yosemite  Valley  in 
the  winter  with  a  group  of  friends. 
Gene's  an  excellent  skier;  Jeanette's  not. 
One  morning,  he  set  out  bright  and  early 
and  Jeanette  sat  and  twiddled  her  thumbs 
— for  ever  and  ever  it  seemed  to  her. 
When  night  fell,  and  no  Gene,  she  became 
concerned.  She  was  just  about  to  insti- 
tute a  search  when  she  saw  him  step  hale 
and  hearty  from  his  car.  In  a  huff,  she 
went  to  her  room,  packed  up,  left  a 
dramatic  note  and  drove  home  to  Holly- 
wood, arriving  at  four  in  the  morning, 
stewing  like  a  prune. 

Gene  arrived  the  next  morning,  think- 
ing it  was  all  a  gag,  but  he  soon  dis- 
covered differently.  Jeanette  fled  on 
south  to  Palm  Springs  with  a  friend. 
But  first  the  friend  had  a  phone  chat  with 
Mr.  Raymond. 

Well,  at  a  little  town  called  Azusa  in 
the  San  Gabriel  Valley,  Jeanette's  car 
was  forced  to  the  curb  rather  violently, 
and  a  breezy  young  man  hopped  out  and 
started  giving  her  a  mile-a-minute  sales 
talk  on  a  well-known  brand  of  tooth 
powder  which  he  brandished  in  her 
startled  face.  After  that,  he  reached  in 
the  car,  grabbed  her,  plopped  her  down  in 


his  car  and  roared  back  to  Hollywood — 
a  plain  case  of  kidnapping  if  there  ever 
was  one.  But  he  got  away  with  it. 

Today,  Jeanette  wears  on  her  charm 
bracelet  a  gold  replica  of  the  little  traffic 
tower  in  that  small  town,  and  whenever 
either  Mr.  or  Mrs.  Raymond  feels  an 
argument  coming  on  one  says  "Azusa!" 
and  the  other  says  "Azusa!" — and  they 
both  start  laughing. 

Despite  her  experience  on  Broadway 
and  ten  years  in  Hollywood,  the  Phila- 
delphia influence  is  still  very  strong  in 
Jeanette.  She's  a  conservative  person 
who  likes  things  done  according  to  tradi- 
tion. Christmas,  Thanksgiving,  Easter 
and  all  holidays  are  important  in  her 
life,  and  she  even  keeps  a  trim  little  book 
with  all  the  birthdays  and  anniversaries 
of  her  friends.  She  sends  engraved  invi- 
tations to  her  large  parties,  and,  of  course, 
everyone  remembers  Jeanette's  elaborate 
church  wedding  to  Gene — complete  with 
ushers,  bridesmaids,  rice  and  everything. 
That's  the  kind  of  wedding  Jeanette  had 
always  dreamed  about,  back  in  Phila- 
delphia as  a  girl.  No  airplane  hops  to 
Yuma  or  Las  Vegas  for  her! 

TN  some  ways,  Jeanette  and  Gene  have 
*■  pretty  divergent  likes,  but  they  don't 
let  that  bother  them.  Jeanette  loves  to 
garden,  while  to  Gene,  chasing  down 
slugs  and  sow  bugs  and  philandering  with 
philodendra  is  the  acme  of  nothing  to  do. 
He  plays  golf  instead.  Gene  likes  to  fly 
and  sail,  too.  Either  activity  makes  Jea- 
nette turn  green  around  the  gills.  What 
they  differ  on,  they  do  separately;  what 
they  both  like,  they  do  together — it's  as 
simple  as  that.  They  share  a  love  for 
horses  and  dogs,  for  instance,  as  their 
steeds,  Black  Knight  and  White  Lady,  and 
the  woofers  around  Twin  Gables,  Sunny 
Day  (a  Bedlington),  Stormy  Weather 
(a  Skye  terrier),  and  Saint  Nick  (a 
Newfoundland),  Trey  and  Mike  (Irish 
setters)  all  noisily  testify.  Jeanette  and 
Gene  ride  almost  every  day  and  take 
tramps  through  the  sage-dotted  hills  of 
Bel-Air  with  the  hounds. 

Night  clubs  and  the  showy  Hollywood 
social  circus  leave  them  both  pretty  un- 
interested. Twin  Gables,  atop  the  highest 
Bel-Air  knob,  is  the  center  of  most  of 
their  off-stage  life.  Neither  Jeanette  nor 
Gene  ever  makes  a  date,  however,  with- 
out letting  the  other  know.  That's  a  rule. 

Even  their  vacations  seem  to  find  them 
lingering  around  the  house.  Jeanette  and 
Gene  are  always  planning  trips,  but 
something  invariably  seems  to  go  wrong 
at  the  last  minute.  Consequently  at  last 
they've  decided  just  to  relax  and  spend 
play- vacations  at  home.  They  give  the 
servants  holidays  and  Jeanette  does  the 
cooking  herself,  with  emphasis  on  her 
two  specialties:  baked  beans  in  various 
guises,  and  home  made  ice  cream,  the 
hand-cranked,  old-fashioned  kind. 

In  spite  of  this  cozy  connubial  picture, 
the  gossip  columnists  have  an  impending- 
divorce-complex  about  Jeanette  and 
Gene.  When  Jeanette  reads  their  cracks, 
sparks  fly  from  her  fiery  mop  and  the 
MacDonald  battle  tartan  hoists  up  in  no 
uncertain  fashion.  But  Jeanette  has  a  pet 
line  she  delivers  with  smiling  aplomb, 
every  hair  of  her  coppery  coiffure  neatly 
in  place.  "Rumors  only  bother  discon- 
tented people,"  says  Jeanette. 


Who  are  the  most  talented  stars  in  Hollywood? 
Who  are  the  easiest  to  work  with?  Read  what 
the  leading  directors  reveal 
in  the  December  issue  of  Modern  Screen. 


64 


MODERN  SCREEN 


BATTLE  OF  WITS 

(Continued  from  page  32) 


Benny  had  a  larger  radio  following. 

"But  both  of  us,"  Allen  explains,  "bene- 
fited. The  reason  it  worked  is  very 
simple.  It's  the  human  element.  It's 
bringing  the  public  into  your  home  and 
sitting  down  with  'em  over  a  game  of 
parchesi.  And  talking  about  cheesy  tricks, 
did  you  see  what  Benny  did  to  me  at 
the  ball  game  the  other  day?" 

Benny  didn't  do  anything  to  Allen  at 
the  ball  game.  As  a  matter  of  fact,  it 
was  the  other  way  around.  It  was  Holly- 
wood's "Comedians  versus  Leading  Men 
Game,"  played  for  charity  each  year, 
and  everybody  who  is  anybody  in  the 
town  was  there  and  carrying  on.  Well, 
Allen  and  Benny  got  to  the  mike  and 
began  gagging.  Allen,  of  course,  was 
reeling  off  the  cracks  at  his  usual  mile- 
a-minute  pace,  so  that  Benny  couldn't 
get  a  word  in  edgewise.  Eventually, 
Benny,  past  master  at  timing  his  jokes, 
managed  to  sneak  in  a  very  funny  crack 
of  his  own.  The  audience,  of  course, 
laughed.  But  Allen  wasn't  stumped  for 
a  minute.  "No  fair  coming  here  with 
three  writers!"  he  yelled  back  into  the 
mike. 

RIGHT  there,  in  that  yarn,  is  the  key 
to  the  difference  between  Allen  and 
all  the  rest  of  his  clan.  He  is,  as  no  other, 
the  master  of  ad  lib.  It  means  sponta- 
neity, being  fast  on  your  toes,  nimble  in 
the  brain  sector.  Well,  that's  Allen  all 
over.  He  is  the  only  comedian  in  radio 
who  is  permitted  to  ad  lib  during  his 
program,  or  to  write  his  own  material. 
He  is  one  of  the  many  comedians  in  radio 
who  insists  on  the  last  line — but  one  of 
the  few  who  can  handle  it. 

Note  this.  Jack  Benny  studies  his  stuff 
very  hard.  He  sits  down  with  his  group 
of  writers  every  week,  and  they  work 
out  routines  and  they  work  out  gags  and 
lines.  But  every  line  of  it,  every  word 
of  it,  every  cough  and  hesitation  and 
slip  of  the  tongue — even  those  seem-to-be 
accidents — are  carefully  arranged.  That 
is  true  of  practically  everybody  else  in 
the  fun  business.  Bob  Hope,  for  instance, 
is  one  of  the  wittiest  gents  in  the  racket. 
He,  too,  has  a  nimble  and  facile  tongue. 
He,  too,  is  terrific  at  the  make-'em-up- 
as-you-go  wisecracks.  But  he  has  a  slew 
of  writers  helping  him  assemble  his  radio 
programs. 

Allen  has  two  writers  at  the  moment, 
but  it  is  a  different  kind  of  thing  alto- 
gether. Practically  all  other  comics  in 
the  business  let  their  writers  bring  in 
the  material,  then  they  choose  the  best  or 
help  to  arrange  it.  Allen  thinks  up  his 
own  quips,  but  lets  professional  writers 
line  it  up,  frame  it,  weave  it  into  some 
sort  of  continuity. 

When  Allen  started  in  radio,  he  hired 
a  writer  for  the  first  time.  It  was  prac- 
tically a  twenty-four  hour  job  and  the 
writer  would  traipse  around  with  him, 
pencil  and  notebook  always  handy.  Fred 
automatically  throws  off  so  many  cracks 
during  his  normal  day  that  he  simply 
wanted  the  writer  to  get  them  all  down. 
Then,  after  a  couple  of  days  of  this,  the 
rewrite  expert  wove  this  mass  of  mate- 
rial into  a  script. 

How  much  value  is  placed  on  Allen's 
ability  to  write  his  own  material,  inci- 
dentally, is  shown  by  the  procedure  with 
"Love  Thy  Neighbor."  The  picture  was 
written  in  the  normal  manner  by  regular 
Paramount  writers  and,  after  they  had 
finished,  Jack  Benny's  writers  polished 
up  his  lines.  After  that  was  completed 


of t/ie 

and 


woe. 


SCOTCH^MAPE 


Me/ids 


Sea/s 

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envelopes,  mothproof 
bags  and  boxes,  wind- 
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labels  to  fruit  jars  and 
jelly  glasses. 


WITH  FULL  TRANSPARENCY 

Torn  book  pages,  sheet 
music,  window  and 
lamp  shades;  trans-  1 
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tablecloths,  curtains; 
maps,  blueprints,  pic- 
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i 


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At  Stationery, 
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Snapshots  in  albums, 
clippings  in  scrapbooks, 
shelf  paper  in  cupboards, 
coins  to  letters  for  mail- 
ing, delivery-man-in- 
struction-slips to  doors 
or  windows. 


SCOTCH  TAPE— 900  FAUQUIER  ST. 
DEPT.  MS110.  SAINT  PAUL,  MINN.  \ 
Gentlemen: 

Please  send  me  a  300  inch  roll  of  Scotch  Tape  in  the 
new  utility  dispenser,  for  which  I  enclose  25  cents. 

Name   .._  

\  Address     _ 

c,iy  -  -  

State     

MAD*  (  PATENTED  IN  U.S.A.  BY  MINNESOTA  MINING  t  MFG.  CO, 
SAINT  PAUL  MINN.  FOREIGN  MFRS.  t  DISTRIBUTORS:  FOR  CANADA — 
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—ADDRESS  DUREX  ABRASIVES  CORP,  63  WALl  ST,  NEW  YORK,  N.  Y, 

Copr.  1940,  Minnesota  Mining  &  Mfg.  Co. 


NOVEMBER,  1940 


65 


CAROLE  LANDIS 
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4 


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♦REG.  U.  S.  PAT.  OFF 


new  HAND  CREAM 

More  than  10,000  women,  acting  as  an 
advance  CONSUMER-TESTING  GROUP,  told 
Campana  what  they  wanted  —  and  here  is 
the  result.  Quick-disappearing.  Absolutely 
free  of  stickiness.  No  greasy  after-feeling. 
Big  value.  Compare  Campana  with  other 
hand  cream  quantities.  At  toiletry  depart- 
ments everywhere  in  50(i,  25i  and  lOi  jars. 


and  approved  by  everyone  Fred  Allen 
was  handed  a  script  and  asked  to  rewrite 
all  his  own  lines.  He  didn't  employ  his 
own  radio  writers  for  this  chore.  All  he 
used  was  a  pencil — and  his  own  highly 
personalized  set  of  retorts. 

He's  a  pretty  simple  sort  of  soul,  this 
man  Allen.  Nothing  phony  about  him, 
no  doodads,  no  conceit.  A  stranger  came 
up,  was  introduced  to  him  and  wanted 
to  gab.  "See  if  you  can  find  yourself  a 
chair  and  sit  down,"  said  Allen.  "I  can't 
get  up.  There's  been  a  weight  on  my 
mind  for  several  days  and  now  it  seems 
to  have  descended." 

He  talks  to  anybody.  "Why  not? 
Chances  are  they  don't  know  I'm  not  up 
to  their  standards." 

He  lives  in  a  simple,  little  two-and-a- 
half  room  apartment.  "I'm  only  passing 
through  town.  It's  strictly  a  one-movie 
stand,  so  why  bother  renting  a  house 
and  stuff?" 

And  as  far  as  hotels  are  concerned — 
"I  can't  afford  that  high-class  stuff.  Too 
expensive.  Besides,  the  last  time  Port- 
land tried  to  cook  a  couple  of  eggs  in  a 
hotel  room,  the  house  detective  came  up 
to  join  us  and  he  wouldn't  even  con- 
tribute the  salt!" 

THIS  may  give  you  a  wrong  impres- 
sion. It  may  even  further  that  famous 
Benny  libel  about  Allen's  tightwadish- 
ness.  So  let  us  hasten  to  assure  you  that 
— by  actual  count — Allen  has  the  longest 
pension  list  in  the  business.  From  far 
and  near  they  come  to  see  Fred,  with 
palms  outstretched.  And  they  never  go 
away  empty-handed. 

Ask  him  about  it.  "Oh,  well,"  he  ex- 
plains, "you  can't  talk  about  things  like 
that.  In  the  first  place,  it's  embarrassing 
to  the  people  you're  helping.  In  the  sec- 
ond place,  the  day  after  it's  printed  eight 
hundred  more  guys  show  up  to  get 
theirs.  Besides,  how  are  you  going  to 
turn  down  a  pal?  And  how  can  you 
remember  pals  when  you  pick  'em  up, 
a  dozen  at  a  time,  every  week  for  years? 

"For  instance,  a  fellow  comes  to  see  us. 
He  says,  'Remember  me?  I  used  to  be  in 
an  act  called  "Early  and  Late,"  and  we 
played  on  a  bill  together  in  Peoria.'  Well, 
Portland  always  falls  for  it.  She  says 
sure,  sure,  and  starts  right  in  gabbing 
about  how  much  fun  it  was  that  week. 


Well,  naturally,  I  can't  make  a  sucker 
out  of  Portland,  so  I  chip  right  in  with 
a  hunk  of  reminiscences  of  my  own  and 
we  wind  up  having  a  swell  time — even 
if  it  does  cost  a  lot!" 

At  this  point  in  the  story  Allen  stops 
to  laugh.  Laugh  hard.  It's  evidently  very 
funny. 

"Poor  Portland!  She's  got  no  memory 
at  all.  We  never  played  Peoria!" 

Portland,  of  course,  is  the  missus. 
Curious  hunk  of  coincidence  there,  by 
the  way.  Fred  was  born  in  Boston  and 
is  just  about  as  New  England  as  they 
make  'em.  While  in  New  York  one 
year,  someone  introduced  him  to  Portland 
Hoffa  and  they  decided  to  do  an  act 
together.  It  clicked  and  later  they  were 
married.  Now  they're  always  together. 
Movies,  of  course,  came  close  to  breaking 
Portland's  heart.  They  wouldn't  sign  her 
— which  leads  directly  into  another  co- 
incidence. The  same  thing,  as  you  know, 
is  true  of  Mary  Livingstone,  Jack  Benny's 
wife.  She's  good  enough  to  work  with 
Jack  on  the  radio — but  not  in  pictures. 
Poor  Mary  and  Portland,  the  movie 
widows! 

And  so  here  we  are  back  on  the  sub- 
ject of  Benny  again.  "You're  really  good 
friends,  aren't  you?"  Fred  was  asked. 

"You've  probably  played  on  the  same 
bill  in  vaudeville  many  times?" 

No,  he  answered,  they  never  played  on 
the  same  bill.  They  never  did  anything 
together  in  the  past  except  once  when 
Allen  appeared  on  Benny's  program  and 
another  time  when  Benny  reciprocated. 

Yes,  it  took  a  feud — a  bitter  battle  of 
words  and  witticisms — to  make  them 
friends.  Not  that  either  of  them  would 
ever  admit  in  public  that  they're  friends. 
It  isn't  good  business  or  good  showman- 
ship. Nevertheless,  look  for  the  twinkle 
in  their  eyes  when  they're  maligning  each 
other.  It's  generally  there. 

It  may  add  just  a  final  ironic  fillip  to 
relate  one  other  item  about  the  early 
Fred  Allen  days.  Allen  started  out  in 
vaudeville  as  a  juggler.  When  he  ap- 
peared in  New  York  for  the  first  time, 
Variety,  the  theatrical  Bible,  wrote  a 
review  of  his  act  which  is  never  men- 
tioned these  days — either  by  Allen  or  .  the 
paper.  The  review  said  that  Allen  was  a 
pretty  good  juggler — but,  oh  my,  he'd 
never  get  very  far  as  a  comedian! 


Sweet-faced  Vir- 
ginia Grey,  who 
used  to  be 
Madge  Eva  ns ' 
stand-in  and, 
more  recently, 
Florence  Rice's, 
now  boasts  a 
stand-in  of  her 
own!  She's  doing 
right  well  as  an 
actress.  You'll 
see  her  in  "The 
SoldenFleecing." 


MODERN  SCREEN 


SHE  DIDN'T  SAY  NO 

(Continued  from  page  36) 


said  Vicky  when  Martha  hauled  out  a 
simple  formal  from  her  closet.  "You  can 
afford  expensive  things  now,  and  you'll 
be  competing  with  women  in  mink  wraps 
and  five-hundred-dollar  gowns!" 

"I  don't  care,"  declared  Martha.  "I 
paid  fifty  dollars  for  this  dress,  and  I've 
only  worn  it  twice.  I'm  going  to  get  my 
money's  worth  out  of  it." 

Martha  Scott's  earliest  recollections  are 
of  an  idyllic  childhood  spent  on  a  farm, 
for  her  father,  who  is  a  graduate  civil 
engineer,  preferred  to  practise  his  pro- 
fession in  the  country.  He  is  a  de- 
scendant of  the  novelist  Sir  Walter  Scott, 
for  whom  he  is  named,  and  Martha's 
mother,  the  former  Letha  McKinley,  is  a 
second  cousin  of  the  martyred  President. 
Nothwithstanding  these  distinguished 
forebears  the  Scotts  are  just  ordinary 
folks,  never  very  rich  and  never  very  poor, 
who  gave  Martha  the  perfect  American 
background  of  a  simple,  happy  home. 

When  Martha  was  twelve  years  old  the 
family  moved  to  Kansas  City.  While  in 
high  school  there,  Martha  showed  such 
intelligence  that  one  of  her  teachers,  a 
Miss  Ida  Lilly,  who  was  an  old  friend  of 
the  family,  suggested  that  Martha  become 
a  teacher  herself.  For  this  a  college  de- 
gree was,  of  course,  necessary,  and 
Martha's  father  and  mother  couldn't  quite 
decide. 

"I'm  sure  we  can  do  it,"  said  Martha's 
father,  "by  just  cutting  things  a  bit 
close." 

"Perhaps  if  we  used  just  a  little  of  the 
same  money  to  get  her  some  really  nice 
clothes  and  give  her  a  few  opportunities," 
said  Martha's  mother,  who  believed  in 
girls  marrying  and  settling  down,  "it 
would  be  better  than  sending  her  to 
college." 

Ida  Lilly  settled  all  that. 

"I'm  so  convinced  of  Martha's  future," 
she  said,  "that  I  want  to  advance  her 
the  money  to  ensure  it." 

SHE  did— a  check  for  $1500!  Martha's 
parents  could  do  no  less  than  accept 
the  offer  in  the  spirit  that  prompted  it, 
and  Martha  herself  is  justifiably  proud  of 
the  fact  that  she  has  since  paid  back 
every  cent. 

Anyway,  after  two  years  at  the  Kansas 
City  Junior  College  she  went  on  to  the 
University  of  Michigan,  from  which  she 
graduated  with  a  B.A.  degree  and  a 
teacher's  certificate.  And  she  did  teach 
school,  for  just  six  months — long  enough, 
though,  to  convince  her  of  what  she  had 
suspected  from  the  very  first  day — that 
teaching  was  not  for  her.  She  gave  up 
her  position  and  went  to  Chicago  to  crash 
the  theatre.  All  she  succeeded  in  crashing 
at  that  time  was  a  candy  store,  where  for 
twelve  dollars  a  week  she  sold  nice 
young  men  boxes  of  bonbons  for  other 
girls. 

Hearing  that  a  stock  company  was  be- 
ing formed  at  the  Bonstelle  Theatre  in 
Detroit,  she  gave  up  this  job  and  left 
for  Detroit.  She  was  able  to  get  a  few 
bits  and  walk-ons,  just  enough  to  keep 
her  going,  and  from  that  point  on  Martha 
began  to  live  the  customary  life  of  a 
theatrical  trouper — short  engagements 
and  long  lapses  in  between.  She  toured 
Michigan,  had  a  season  at  the  Globe 
Theatre  in  Chicago,  and  finally  went  on 
the  road  doing  abbreviated  versions  of 
Shakespeare.  The  company  got  as  far  as 
San  Diego  when  Martha  concluded  that 
she'd  had  enough  of  the  venerable  Bard 
of  Avon  and  equally  venerable  tank  town 


"Jiminee  Christmas  -  will  you  look  at  the  presents!  How  lovely  of  Mother  to  be 
helping  Santy  Claus!  .  .  .  Let's  see  now— wonder  if  it  would  hurt  to  peek  just  a 
little?  Tomorrow's  really  such  a  long  way  off  . . ." 


"Hm-m,  something  mysterious  about  this  package!  It  won't  come  open  and  it  won't 
stay  shut  .  .  .  Shucks,  it's  probably  just  another  bib!  So  far  I  haven't  gotten  a  thing 
I  wanted  .  .  .  And,  my,  I'm  awfully  hot  and  prickly!" 


"Ho  hum!  Guess  I'd  better  call  for  help  . . .  Mother!  Will  you  come  unravel  me?  I've 
had  too  much  Christmas  and  I'm  getting  cross.  But  a  rubdown  with  that  downy 
Johnson's  Baby  Powder  would  do  a  lot  for  my  holiday  spirit!" 


"It's  Christmas  every  day  for  babies  who 
get  sprinkles  of  Johnson's  Baby  Powder! 
It's  so  soothing  for  prickly  heat  and  chafes. 
And  it's  a  mighty  inexpensive  way  to  help 
keep  a  baby  feeling  merry!" 


JOHNSON'S 
BABY  POWDER 

Johnson  &  Johnson,  New  Brunswick,  N.  J. 


NOVEMBER,  1940 


67 


NGW  under -arm 

Cream  Deodorant 


safely 


Stops  Perspiration 


1.  Does  not  harm  dresses  —  does  not 
irritate  skin. 

2.  No  waiting  to  dry.  Can  be  used 
right  after  shaving. 

3.  Instantly  checks  perspiration  for  1 
to  3  days.  Removes  odor  from 
perspiration. 

4.  A  pure,  -white,  greaseless,  stainless 
vanishing  cream. 

5.  Arrid  has  been  awarded  the 
Approval  Seal  of  the  American 
Institute  of  Laundering  for  being 
harmless  to  fabric. 


More  than  25  MILLION 
jars  of  Arrid  have  been 
sold ..  .Try  a  jar  today. 


ARRID 


39^ 


a  jar 

AT  ALL  STORES  WHICH  SELL  TOILET  GOODS 
( Also  in  10  cent  and  59  cent  jart ) 


Sensational  Offer 
LOVELIGHT  and  LOVE  BOND 


V2   KARAT  (approx.) 
IMITATION 

Diamond  Rings 

MOUNTINGS   IN   1-30  14 
KARAT  YELLOW  GOLD  or 
STERLING  SILVER 

SEND  NO  MONEY.  Pay  postman 
$1.00  ONLY  if  for  one  or  SI. 69 
if  for  both,  plus  small  postage 
charge,  or  enclose  money  with 
order  and  we  wi  II  pay  postage. 
State  if  Gold  or  Silver,  giving 
size!  RINGS  are  of  the  finest 
craftsmanship.  Every  jewel 
Hand  set  and  imported  and  U.  S. 
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"""lO-DAY  FREE  TRIAL 

Wear  ring  10  days,  if  for  any 
reason  you  are  dissatisfied,  re- 
turn rings  and  your  money  will 
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Greatest  sale  in  our  history, 
RUSH  ORDER.  Limited  quantity. 
MAIL   COUPON  NOW! 


THE    DIAIYI-O-GEM  CO., 
303  5th  Ave.,  Dept. "M- 10, "N.  Y.  City 
Kindly  send  the  following  Ring  or  Rings 
□   LOVELIGHT  □  LOVEBOND 

□  Cold  □  Silver  □  Six* 


NAME   

ADDRESS   

CITY   STATE.. 


hotel  rooms  to  last  her  for  quite  a  while. 

"I  decided  to  go  to  New  York,"  she 
said,  "and  see  what  the  lights  on  Broad- 
way looked  like." 

She  arrived  in  New  York  with  fifty 
dollars  and  in  exactly  two  weeks  she 
landed  a  job.  It  lasted  exactly  two  weeks, 
too,  and  then  Martha's  luck  ran  low.  She 
learned  what  it  meant  to  walk  the  pave- 
ments looking  for  work;  to  sit  endlessly 
in  agents'  offices  where  dozens  of  other 
actresses  were  seeking  the  same  chance 
as  she;  and  in  short  went  through  all 
the  vicissitudes  seemingly  inescapable 
for  small  town  girls  who  try  to  beat  the 
big  city.  Her  courage  was  wearing  thin 
and  the  soles  of  her  shoes  even  thinner 
when  she  landed  a  bit  part  on  a  series  of 
radio  programs.  There  she  met  another 
young  optimist  suffering  from  the  delu- 
sion that  he  might  go  places  in  a  theatri- 
cal way.  His  name  was  Orson  Welles, 
and  at  that  time  he  hadn't  even  thought 
of  raising  a  beard. 

THAT  radio  shocker  series  was  Mar- 
tha's meal  ticket  until  she  got  another 
chance  at  summer  stock,  this  time  playing 
with  such  stars  as  Phillips  Holmes,  Mar- 
garet Anglin  and  Julie  Haydon.  However, 
it's  not  to  any  of  them,  but  to  Evelyn 
Warden,  a  character  woman  in  the  same 
shows,  that  Martha  Scott  owes  her  big 
break. 

Jed  Harris  was  putting  "Our  Town"  on 
Broadway,  and  Miss  Warden  was  chosen 
as  Mother  Gibbs.  Harris  asked  her  if 
she  knew  a  girl  suitable  for  Emily  and 
Miss  Warden  suggested  Martha  Scott. 
The  play  had  a  very  successful  run  and 
Martha,  reading  her  very  complimentary 
notices,  was  naive  enough  to  think  that 
her  career  was  set.  It  was  not  so  long 
after  "Our  Town"  closed  that  she  was 
brought  in  Queen  of  Sheba  style  to 
Hollywood  and  tested  for  "Gone  With 
the  Wind." 

When  she  heard  Selznick's  verdict  of 
her  screen  possibilities,  Martha  went  like 
the  wind  back  to  New  York.  But  it  was 
an  off  season,  plays  were  scarce,  and 
soon  she  was  just  another  actress  out  of 
a  job.  Most  of  the  money  which  she  had 
earned  had  been  used  to  repay  Miss  Lilly, 
and  so  Martha  fell  back  upon  radio 
again.  She  has  never  ceased  to  be  grate- 
ful to  radio  for  carrying  her  over  spots 
like  these. 

Even  before  "Our  Town"  was  finished, 
the  Hollywood  grapevine  was  loaded  with 


rumors  that  Sol  Lesser  had  discovered 
something  very  special  in  Martha  Scott. 
At  that  time  Joan  Fontaine,  who  had 
been  signed  by  Frank  Lloyd  for  "The 
Howards  of  Virginia,"  fell  sick,  and  Noll 
Gurney  went  after  the  part  for  Martha. 
Lloyd  broke  down  just  about  as  reluc- 
tantly as  Lesser  had  done  and  allowed 
Gurney  to  show  him  the  footage  Martha 
had  already  made  for  "Our  Town."  He 
signed  her  the  same  day,  but  only  as 
leading  woman  for  Cary  Grant,  whose 
contract  specified  that  he  was  to  be  the 
sole  star  of  the  picture.  After  a  few 
days'  shooting  it  was  Grant,  himself,  who 
suggested  to  Lloyd  that  Martha  be  co- 
starred  with  him — a  gesture  of  almost 
unprecedented  chivalry  in  Movieland. 
Stars  are  often  willing  to  share  their 
bed  and  board,  but  seldom  their  billing. 

Now  Martha  Scott's  career  is  set  and 
she  lives  in  a  not-too-ornate  house  at 
Malibu.  At  home,  nobody  takes  her  for 
an  actress.  She's  such  an  unpretentious 
and  homey-looking  sort  of  person. 

She  doesn't  indulge  in  studied  public 
posing,  and  she  omits  the  dark  glasses 
most  film  folks  think  they  have  to  wear. 

"It  seems  just  a  trifle  egotistical,"  she 
said,  "to  assume  that  one  is  so  celebrated 
that  one  has  to  affect  a  disguise." 

That  psychology  fits  right  in  with  the 
incident  of  the  dinner  at  Jack  Skillball's, 
which  illustrates  pretty  conclusively  just- 
how  Martha  feels  about  fame.  Skillball 
is  a  production  executive  for  the  Lloyd 
company,  and  just  prior  to  the  party  he 
had  given  his  Filipino  butler  a  publicity 
photograph  of  Martha  Scott.  After  the 
dinner  was  served  the  Filipino  deferen- 
tially approached  Martha  with  the  pic- 
ture in  one  hand  and  a  pen  in  the  other. 

"Miss  Scott,"  he  asked,  "will  you  please 
autograph  for  me?" 

Martha  took  the  pen  and  signed  her 
name  to  the  picture.  The  butler  beamed. 

"I  put  it  on  my  bureau,"  he  said. 

"Have  you  a  picture  of  yourself?" 
Martha  asked  him  then.  "A  snapshot  or 
anything?" 

"I  have  a  snapshot  of  me,"  nodded  the 
puzzled  Filipino,  "but  what  for?" 

"Run  and  get  it,"  Martha  instructed. 

The  butler  got  the  picture  and  came 
back. 

"Now  autograph  it,"  said  Martha. 
Wonderingly,  the  servant  obeyed.  Mar- 
tha slipped  the  snapshot  into  her  handbag. 
"To  put  on  my  bureau,"  she  smiled. 
And  that  is  just  like  Martha  Scott. 


Bob  Young  crams  his  lines  for  the  next  scene,  while  daughter,  Carol  Ann,  kibitzes. 
That's  Mrs.  Young  (the  former  Betty  Henderson)  with  them. 


68 


MODERN  SCREEN 


AN  OPEN  LETTER 
FROM  NORMA  SHEARER 

(Continued  from  page  25) 


Have  the  time 
of  your  life! 

Your  fun  need  never  be  marred 
by  the  dreadful  thought  that  "re- 
vealing outlines"  tell  your  secret! 
For  Kotex  ends  never  show! 
They're  flat  and  invisible  .  .  .  en- 
tirely different  from  napkins  with 
thick,  stubby  ends! 

And  for  safety's  sake,  a  new,  im- 
proved kind  of  moisture-resistant 
material  is  now  placed  between 
the  soft  folds  of  every  Kotex  pad! 


On  the  other  hand,  some  people 
thought  I  was  upset  at  the  publicity 
given  my  friendship  with  Mr.  Raft.  No, 
indeed!  On  the  contrary,  I  was  very 
pleased  that  people  were  so  interested. 
I've  always  maintained  anything  that  is 
true  about  me  can  be  printed  in  scream- 
ing headlines.  And  this  is  true,  our 
friendship,  I  mean.  It  has  now  reached 
the  point  where  most  of  the  reports 
have  it  that  we  are  either  rifting  or 
planning  to  be  married.  Neither  is  true, 
at  least  not  at  present.  We  are  very  de- 
voted friends.  My  children  adore  him. 
Our  friendship  is  growing,  not  diminish- 
ing. But  marriage  is,  to  me,  a  very  im- 
portant matter. 

Not  that  I  never  intend  to  marry  again, 
which  answers  another  question  you've 
all  asked  me.  I'd  certainly  like  to  re- 
marry. I  think  I  should  for  the  chil- 
dren's sake.  For  my  own  sake,  too.  But 
I'll  wait  awhile. 

And  now  I'm  going  to  attack  the  pile 
of  "why  don't  you  write  to  me?"  ques- 
tions. I  could  answer  by  saying,  "My 
dears,  it's  time — merely  time.  But  I  won't 
let  it  go  at  that.  I'm  going  into  this  mat- 
ter thoroughly,  once  and  for  all.  You're 
going  behind  the  scenes,  back  home  with 
me  to  see  how  things  really  are. 

When  I'm  making  a  picture  I  am,  lit- 
erally, in  over  my  head;  I  drown  in  it. 
Then  time,  my  own  time  to  do  with  as 
I  please,  simply  isn't.  I  get  up  at  six 
every  morning,  take  no  breakfast  and, 
with  no  more  than  a  too-hasty  goodbye 
kiss  to  the  children,  I'm  off  to  the  studio. 
I  arrive  between  seven  and  eight,  have 
breakfast  in  my  dressing-room  and  my 
hair  dressed  as  I  eat.  I  work  all  morning, 
then  have  my  lunch  and  see  the  morn- 
ing's rushes,  all  in  an  hour.  I  work  all 
afternoon  and  when  I  get  home  I  have 
my  hair  shampooed  (it  has  to  be  done 
every  night  so  it  will  always  look  the 
same),  often  eat  my  dinner  under  a 
dryer,  have  a  massage  at  nine  and  go 
to  bed. 

YOU  wouldn't  expect  me  to  write  then, 
now  would  you?  "But  between  pic- 
tures," some  of  you  ask,  "why  can't  you 
write  then?"  Well,  I  mean  to,  but  here's 
what  happens:  There  are  people  I  want 
to  see,  friends  I  haven't  had  a  chance  to 
see  while  working.  There  are  business 
matters,  not  pertaining  to  pictures,  to  be 
attended  to.  There  are  household  details, 
such  as  repairs,  redecorations,  the  kitchen 
linoleum  to  be  shellacked,  all  sorts  of 
things  like  that  to  be  attended  to.  I'm 
really  very  domestic  at  heart;  I  like  to 
do  these  things  myself  and  I  feel  cheated 
if  I  can't. 

There  is,  above  all,  the  time  I  spend 
with  the  children,  supervising  their 
wardrobes,  their  lives.  I  plan  treats  for 
them.  I  take  them  to  the  movies,  Zoo, 
concerts.  I  go  walking  and  swimming 
with  them.  I  read  to  them  evenings.  I 
sort  of  "catch  up"  with  their  interests.  I 
ask  them  all  the  questions  I  want  to 
ask  and  answer  all  they  ask  me. 

Then  there  are  the  conferences  for  the 
next  picture,  tests  with  cameramen,  por- 
trait sittings,  fittings,  the  new  part  to  be 
studied.  There  is  the  dentist. 

"You  do  see,  don't  you?  You  realize 
that,  by  the  time  I  begin  another  picture, 
not  only  have  I  NOT  'taken  up  French,' 
nor  read  many  good  books,  but  I  haven't 
even  caught  up  with  your  letters.  Now, 

NOVEMBER,  1940 


Excess  baggage  is  costly  on  a  plane 
trip!  And  excess  bulk  is  uncomfortable 
in  a  sanitary  napkin.  Unnecessary,  too! 
Kotex  has  a  soft,  folded  center  (with  more 
absorbent  material  where  needed  .  .  .  less 
in  the  non-effective  portions  of  the  pad). 
Naturally,  this  makes  Kotex  less  bulky 
than  pads  made  with  loose,  wadded  fillers! 


Kotex*  comes  in  3  sizes,  too!  Unlike 
most  napkins,  Kotex  comes  in  three  dif- 
ferent sizes— Super— Regular— Junior.  (So 
you  may  vary  the  size  pad  to  suit  differ- 
ent days'  needs). . . .  All  3  sizes  have  soft, 
folded  centers  . . .  flat,  form-fitting  ends  . . . 
and  moisture  -  resistant  "safety  panels". 
And  all  3  sizes  sell  for  the  same  low  price! 


♦Trade  Mark  Retc.  U.  S.  l'at.  Off. 


FEEL  its  new  softness 
PROVE  its  new  safety 
COMPARE  its  new  flatter  ends 


"You  scarcely  know  you're  wearing  it!" 


69 


Your  husband 
will  think  this  is  a 
75«  knife*... 

YET  YOU  CAN  BUY  IT  FOR  /    ONLY  25* 


LETh  im  try  the  edge 
—  it's  heat  hardened 
for  lasting  sharpness.  Let 
him  try  its  flexibility  — 
the  Geneva  Forge  blade 
is  drawn  -  tempered,  gen- 
uine cutlery  stainless  steel. 
See  if  he  believes  how  little 
you  paid  for  it! 

The  same  amazing  qualities 
and  values  are  found  in  all 
Geneva  Forge  Knives — Paring 
Knives  and  Vegetable  Knives  for 
10c — 25c;  Butchers  and  Slicers  for 
2  5  c — 50c.  Look  for  the  Geneva  Forge 
'  Trademark  -with  stars  on  the  blade. 
GENEVA     FORGE,  INC. 
Sales  Offices:  1949  N.Cicero  Ave.,  Chicago 

GENEVA  FORGE 

lDrive  dull 
care  away, 


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FREE 


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mailing.  Information  on  hand  tinting  in 
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VMPHOOF 


EYELASH 
D ARKENER 

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trial  package  of  "Dark-Eyes"  and  directions. 

Name  Town . 

Address  State  . 


have  I  explained  my  failure  as  a  cor- 
respondent? Tell  me,  please! 

"What  is  your  social  life  like?"  I'm 
asked.  Well,  I'm  afraid  I'm  going  to  be 
disappointing  to  those  who  like  to  think 
I  live  in  the  midst  of  glitter  and  night-life 
all  the  time.  For  my  social  life  is  the 
way  I  want  it  to  be — cozy,  warm  and 
rather  comfortable  on  the  whole.  I  love 
to  go  to  my  friends'  houses  for  an  eve- 
ning. I  love  to  have  them  come  to  my 
house — Sylvia  Fairbanks,  Merle  Oberon 
and  Alex,  the  Mervyn  LeRoys,  the 
Charles  Boyers,  George,  of  course,  and 
others.  I  don't  care  for  huge  parties.  I 
seldom  go  to  them  and  never,  never  give 
them.  Sixteen  is  the  largest  number  I 
ever  entertain  at  home.  This  is  because 
I'm  allergic  to  crowds,  a  real  victim  of 
claustrophobia.  I  do  love  to  go  to  Ciro's 
now  and  then,  of  course;  love  to  dance, 
have  fun.  But — I  also  love  to  go  to  bed 
early,  read  a  book  and  eat  an  apple,  as 
I  did  when  I  was  a  child,  and  often  do 
now.  I  don't  play  bridge  or  any  parlor 
games.  I  like  outdoor  sports.  I  love  seeing 
movies  and,  since  I'm  fortunate  enough  to 
have  a  projection  machine  at  home,  I  al- 
ways see  four,  sometimes  five  a  week. 

WHAT  do  you  do  with  your  old 
clothes?"  is  another  question  I'm 
asked.  Well,  for  one  thing,  there  are 
guilds  here  in  Hollywood  for  girls  who 
are  trying  to  get  jobs.  I  give  some  of  my 
clothes  to  them.  Some  I  give  to  friends 
and  relatives.  Sometimes  we  swap.  No, 
the  clothes  we  wear  in  pictures  are  not 
our  own.  We  never  take  them  off  the  lot. 
We  can  buy  them  when  the  picture  is 
finished  if  we  want  to,  but  they  are  usu- 
ally quite  expensive  and  by  that  time 
we've  grown  pretty  tired  of  them!  They 
go  back  to  the  wardrobe  department,  are 
remodeled  and  used  again  in  other  pic- 
tures. 

I'm  often  asked  whether  I  am  very 
clothes-conscious.  No,  I  don't  think  I  am. 
I  never  bother  about  complete  wardrobes 
except  when  I  travel.  At  home  I  always 
wear  slacks  and  shirts  and  sweaters.  To 
me,  clothes  are  a  convenience.  I  never 
like  to  be  in  that  traditional  feminine  fix 
where  I  say,  "I  have  nothing  to  wear!" 
I  like  to  feel  that  I  can  be  suitably  and 
comfortably  dressed  for  all  occasions  and 
that's  about  all.  But  I  am  very  partic- 
ular, even  finicky,  about  my  person.  That 
is,  I'm  fussy  about  my  nails,  my  hair, 
my  skin. 

I've  been  asked,  "Do  you  smoke?"  Yes. 


I  like  to  smoke,  but  just  occasionally. 

"Do  you  diet?"  is  another  common 
question.  I  don't  go  on  fad  diets,  but  I 
have  lost  considerable  weight  this  past 
year  by  refusing  second  helpings  and 
that  sort  of  thing.  I  eat  the  simplest  kind 
of  foods  and  drink  only  fruit  juices  be- 
tween meals.  I  eat  a  lot  and  eat  fre- 
quently. I  have  to  if  I  want  to  keep 
going,  but  I  stick  to  the  simple  things. 

A  great  deal  of  my  fan  mail  has  to  do 
with  the  picture  I  am  making,  the  pic- 
ture I  am  going  to  make,  the  number  I 
do  a  year  and  so  on.  Well,  I've  finished 
"Escape"  with  Bob  Taylor.  And — oh, 
I  must  tell  you- 1  dyed  my  hair  for  the 
part,  something  I've  never  done  be- 
fore. It's  sort  of  a  deep  golden  shade 
and  I  like  it  so  much  I  think  I'll  keep 
it  this  way  for  a  time.  My  next  picture 
will  be  "The  World  We  Make"— and  I'll 
co-star  with  George  Raft! 

I  am  often  asked  whether  we  choose 
our  own  stories.  No,  we  do  not.  And  we 
should  not,  even  if  we  were  given  that 
privilege.  We  are  not,  for  the  most  part, 
forced  to  play  parts  we  don't  believe  in, 
or  don't  like — M-G-M  is  particularly 
lenient  with  us  in  this  respect. 

Many  people  ask  how  tall  I  am.  For 
some  reason,  there  seems  to  be  the  im- 
pression that  I  am  a  very  tall  person, 
I'm  really  only  five  feet  three. 

And  now  I  come  to  a  question  asked 
me,  often  all  too  sadly.  "When  your  hus- 
band died — how  did  you  ever  endure  it?" 

How  did  I  "endure  it?"  I  said  at  the 
time,  and  I  say  now,  that  there  isn't 
any  so-called  consolation.  I  don't  believe 
the  "it's-all-for-the-best,"  "it-had-to-be" 
kind  of  comfort.  I  can  only  tell  you  that 
I  worked  things  out  because,  first  of  all, 
I  suddenly  found  myself  feeling  that  life 
is  very  short  and  that  we  simply  have 
to  live  it  as  best  we  may. 

Gradually,  then,  everyday  work,  re- 
sponsibilities begin  to  bring  their  satis- 
faction. It's  not  that  you  forget,  it's  that 
the  business  of  life  catches  up  with  you. 

Yes,  I  do  believe  that  a  woman,  wid- 
owed, should  marry  again.  Especially  if 
she  has  had  a  very  deep  and  great  love. 
For  once  we  have  loved  someone  very 
deeply,  we  can't  go  on  without  loving 
another.  We've  learned  to  give  our  love 
to  someone,  and  as  long  as  we  do,  the  un- 
bearable becomes  bearable. 

And  now  I  think  I've  told  you  most 
of  the  things  you  asked  me  about  in 
your  letters.  I've  asked  some  questions, 
too.  Please — it's  your  turn  to  answer  me. 


No  one  could 
understand  how 
Mary  Martin 
could  whip  from 
one  film  to  the 
other  (her  latest 
is  "Love  Thy 
Neighbor"), 
sans  vacation, 
and  still  hang 
onto  that  tan  of 
hers.  Her  secret 
is  some  serious 
gardening  every 
single  week-end! 


70 


MODERN  SCREEN 


SEVEN  SINNERS 

(Continued  from  page  52) 


both  had  been  in  love  and  it  hadn't 
worked  out,  and  so  they  had  tried  to  get 
away.  Maybe  they  told  the  truth.  At 
any  rate,  they  believed  each  other  and 
they  both  very  much  needed  to  believe 
in  the  decency  of  someone.  She  made 
him  laugh.  He  made  her  feel  right  for 
the  first  time  in  a  long  while. 

As  the  S.S.  Malacca  steamed  into  Boni 
Komba  harbor  a  few  days  later,  they 
stood  on  the  deck  together.  They  saw 
Little  Ned  half-salute  and  go  dewy-eyed 
when  he  spied  some  American  battle 
cruisers  at  anchor.  Bijou  explained  he'd 
been  on  one  for  three  years  and,  though 
something  unpleasant  had  happened,  he 
was  still  sentimental  about  the  Navy. 
Some  American  sailors  and  officers  mixed 
in  the  usual  medley  of  rickshas,  ox-carts 
and  groups  of  natives  and  coolies  on  the 
dock. 

"I'll  miss  you  frightfully,"  the  doctor 
said  to  her.  Then  he  added,  "I'll  be  wait- 
ing for  you." 

"When  they  throw  me  out?"  asked 
Bijou  with  a  grin. 

"When  you're  tired  of  it,"  he  answered 
and  she  was  amazed  to  see  that  he 
meant  it. 

"The  nicest  man  I  ever  knew,"  mur- 
mured Bijou  and  gave  his  hand  a  quick 
kiss,  "Good-bye,  Doc."  And  Bijou — and 
trouble — landed  oh  Boni  Komba. 

Dorothy  Henderson  landed,  too.  She 
was  met  by  Lieutenant  Dan  Brent  and 
the  Governor's  very  shiny  official  car. 
She  hesitated  a  moment  and  then  went 
over  to  Bijou.  "I  hope  the  Doctor  told 
you  how  sorry  I  was  that  first  day  out," 
she  said. 

THAT  was  my  mistake,  Miss  Hender- 
son." Bijou  could  be  polite,  too. 
Then  Dan  Brent  came  up  and  Dorothy, 
finding  no  way  out,  introduced  him.  She 
started  back  to  the  car. 

"New  flock  of  battle-wagons  nested 
here,  Lieutenant?"  asked  Bijou  genially. 

"Yes,"  he  smiled.  "The  other  outfit  fin- 
ished its  sentence  here  six  months  ago." 
"Sentence?" 

"More  or  less.  It's  the  kind  of  a  place 
where  you  have  to  make  up  your  fun 
as  you  go  along." 

"That's  why  I  came,"  Bijou's  low 
chuckle  was  music.  "I'll  be  at  Tony's 
Seven  Sinners,  and  I  promise  to  make 
this  a  happier  island." 

Little  Ned  hurried  up.  Seeing  the  offi- 
cer, he  froze  to  attention.  Dorothy  Hen- 
derson covered  her  temper  with  a  smile 

Solution  To  Puzzle  on  Page  62 


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Name- 


Address- 


NOVEMBER,  1940 


71 


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and  reminded  Dan  that  she  was  there. 
The  tete-a-tete  was  broken  up.  Bijou 
preened  herself.  "Tony  will  be  frightened 
when  he  sees  me,"  she  explained  to 
Little  Ned  and  Sasha  with  amusement, 
"then  he  will  celebrate." 

There  is  no  place  more  deserted  in 
the  daytime  than  a  cafe  that  is  lively 
at  night.  Over  in  one  corner  of  the  Seven 
Sinners  a  prosperous-looking  Turk  sat 
eating  alone.  At  the  other  end  of  the 
room,  a  pianist  stared  absent-mindedly 
into  space  while  his  fingers  idly  picked 
out  a  tune.  Tony  had  his  back  to  the 
door  and  was  doing  a  crossword  puzzle. 
Suddenly  the  pianist  saw  Bijou.  She  mo- 
tioned him  to  silence  and  approached 
Tony.  She  started  to  hum  softly.  Tony 
whirled,  took  one  terrified  look  at  her 
and  was  speechless.  Bijou  picked  up  a 
piece  of  ice  from  a  bowl  on  the  bar  and 
put  it  in  his  mouth  to  cool  him  off. 

She  patted  his  cheek.  "I'm  back  home 
again,  Tony.  Little  Bijou  back  home  to 
Tony."  She  laughed  happily. 

"No,"  said  Tony  getting  his  breath. 
"No.  Your  boat  goes  in  an  hour.  You 
sit  down.  We  have  a  drink.  I  love  you, 
but  you  cannot  stay.  It  is  peaceful 
here  now." 

ANTRO,  the  Turk,  came  up.  Bijou  had 
'  known  him  in  Shanghai  and  her 
memories  of  him  were  not  pleasant.  When 
she  heard  the  click  of  billiard  balls  in 
the  other  room,  she  hurried  away  toward 
the  lattice  that  separated  it  from  the 
cafe. 

Antro  looked  significantly  at  Tony.  "I'll 
pay  her  wages  if  she  comes  to  sing  here." 
His  offer  was  more  like  a  command. 

In  the  billiard  room,  Bijou  found  some 
young  officers.  Hilarious  shouts  began  to 
come  through  the  lattice.  Bets  were 
called  as  Bijoii  took  over  a  billiard  cue. 
She  made  a  trick  shot  and  applause  broke 
out.  At  this  moment  Little  Ned  and 
Sasha,  tired  of  waiting  outside,  came  in. 
They  told  Tony  that  they  were  his  new 
bouncer  and  waiter.  Sasha  added  proud- 
ly that  he  could  juggle  as  well  as  wait 
on  tables.  "Bijou  hires  us,"  they  said 
confidently.  Tony's  expostulations  were 
useless. 

Antro  broke  into  the  argument.  "Tell 


me,  Tony,  is  she  going  to  sing  for  you?': 

Tony  listened  to  the  sounds  of  joy  from 
the  billiard  room  and  desperately  ate  an- 
other piece  of  ice.  "Who  am  I?"  he 
asked.  "I  say  no.  The  Navy  says  yes! 
Maybe  the  Navy  is  right." 

There  was  a  party  at  Government 
House  that  night  in  Dorothy  Henderson's 
honor.  It  was  strange  that  so  many 
young  officers  pleaded  early-morning 
duty  and  left  before  the  evening  was 
over.  Lieutenant  Dan  Brent,  who  knew 
they  were  departing  not  in  line  of  duty 
but  on  a  line  for  the  Seven  Sinners,  was 
distressed.  It  was  an  affront  to  Miss 
Henderson,  whose  distinguished  ances- 
tors had  been  prominent  in  the  Navy  for 
as  many  generations  as  his  own.  When 
they  talked  of  this,  he  found  himself 
almost  making  a  speech  in  his  effort  to 
express  what  the  United  States  Navy 
really  meant  to  him.  Speech-making  was 
not  his  habit,  but  when  he  tried  to  put 
his  emotion  into  casual  words,  he  found 
that  no  casual  phrases  could  carry  it. 
Perhaps  he  didn't  know  that,  at  that 
moment,  Dorothy  fell  in  love  with  him. 
He  did  know  that  when  the  others 
walked  out  pleading  "duty,"  it  was  his 
job  to  bring  them  to  their  senses. 

He  strode  into  the  smoke-filled  cafe. 
Bijou  was  singing.  Dan  interrupted 
roughly.  "Listen,  you  birds,  you  could 
have  waited  another  half-hour!  Some 
decent  manners — "  He  laced  into  them. 

Up  on  the  platform,  Bijou  stopped  her 
song.  She  spoke  good-naturedly,  "Would 
the  Lieutenant  like  to  say  it  from  here?" 

The  oily  Antro  applauded.  Everyone 
else  was  quiet.  Dan  looked  savage.  Tony 
was  upset.  He  took  Bijou  aside  and 
scolded.  She  had  offended  an  executive 
officer.  "Once  more  you  start  trouble," 
he  wailed.  "I  give  you  one  more  week 
and  then,  for  the  love  of  heaven,  leave!" 

When  she  got  back  into  the  restaurant, 
Dan  was  gone.  He  did  not  come  back. 
She  saw  him  five  days  later.  He  was 
sitting  in  a  ricksha  outside  a  Chinese 
shop  which  Dorothy  had  entered  to  buy 
some  vases. 

Bijou  went  up  to  him  impulsively. 
"Tony  says  I  insulted  you.  He  gave  me 
a  week  to  make  things  straight.  I've  only 
two  more  days."  Her  voice  was  penitent. 


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72 


MODERN  SCREEN 


"Bosh!"  said  Dan,  "I  was  a  jackass.  I'll 
see  him  and  make  it  right." 

"Do  you  mean  it?"  she  asked.  Her 
gratitude  was  a  bit  elaborate.  She  made 
the  most  of  it,  and  she  looked  into  his 
eyes  a  little  longer  than  was  necessary. 
He  leaned  closer  and  so  did  she.  It  was 
a  game  she  knew.  Then  Dorothy  came 
out  of  the  shop  and  Dan  became  very 
punctilious  as  he  helped  her  into  the 
ricksha  and  sat  beside  her.  A  smile 
tugged  at  the  corners  of  Bijou's  mouth 
as  she  watched  them  pull  away. 

There  were  those  on  Boni  Komba  who 
wondered  if  the  Lieutenant's  interest  in 
Bijou  would  have  got  really  serious  if  it 
hadn't  been  for  his  fight  with  Antro. 
Everyone  knows  that  when  a  man  fights 
for  a  woman  whom  he  likes  a  bit  any- 
how, it  does  something  to  him.  The  Turk 
was  in  the  cafe  when  Dan  arrived  to 
set  things  right  for  her  with  Tony.  They 
had  a  small  disagreement  out  in  the 
restaurant.  Dan  went  into  the  billiard 
room.  Then  Judson  and  some  of  the 
other  officers  got  Bijou  and  him  into  a 
game  and,  knowing  Bijou's  skill  with  the 
cue,  began  to  bet  on  her.  It  was  all  in 
fun  until  Antro  joined  the  betting.  He 
gave  Bijou  a  threatening  command  to 
win  when  she  purposely  muffed  the  first 
shot. 

"Make  the  same  shot  I  saw  in  Shang- 
hai," he  ordered.  "I'm  warning  you!" 

For  once  she  forgot  her  fear  of  him. 
"Warning  me,"  she  cried  furiously,  "be- 
cause you  could  never  put  your  filthy 
hands  on  me!" 

The  Turk  grew  nasty  and  Dan  straight- 
armed  him.  Little  Ned  came  up  and 
saluted  Dan,  "I'm  the  bouncer,  sir." 

"Then  do  your  stuff,"  advised  Dan.  But 
he  had  noticed  that  salute  several  times 
and  later  he  asked,  "Were  you  ever  in 
the  Navy?" 

"Yes,  sir — I  missed  sailin'  at  Singapore. 
I  wuz  in  jail." 

"Come  and  tell  me  about  it  some 
time,"  said  Dan  kindly. 

THAT  night,  Dan  arrived  at  Bijou's 
dressing-room  with  a  bunch  of  wild 
orchids  he'd  picked  on  a  hike  in  the 
late  afternoon.  "These  things  made  me 
think  of  you — or  I  was  thinking  of  you," 
he  explained. 

From  then  on,  the  order  was  romance 
—though  a  lot  of  people  didn't  call  it 
anything  as  nice  as  that.  Dan  and  Bijou 
were  seen  together  constantly. 

They  wandered  in  the  native  quarter 
and  found  an  old  hag  who  told  fortunes. 
She  said  to  Bijou,  "The  young  lady  is 
a  bird.  Fly,  bird — fly — fly — never  make 
nest."  They  laughed  at  her.  They  laughed 
at  everything  because  they  were  happy 
and  in  love.  As  the  days  sped  by,  Dan's 
infatuation  was  complete  and  his  friends 
and  his  superior  officers  did  not  laugh. 
Neither  did  Dorothy  when  she  visited  the 
boat  and  found  he  scarcely  saw  her.  At 
first,  not  one  of  them  thought  that  Bijou 
really  loved  him.  Then  the  few  who 
began  to  suspect  she  did  were  more 
alarmed  than  ever.  At  last,  the  Gov- 
ernor called  Tony  to  his  office. 

"There's  to  be  an  officers'  party  aboard 
ship,"  he  said.  "Bijou  is  on  the  list  of 
entertainers.  I  don't  want  to  make  it 
official  business  but,"  he  looked  at  Tony 
meaningly,  "there  are  reasons  why  it 
would  be  better  if  she  didn't  appear. 
Aren't  you  her  boss?"  He  made  it  clear 
he  expected  Tony  to  prevent  her  from 
going,  but  that  he  must  do  it  without 
mentioning  his  name  or  saying  it  was 
anything  official. 

"Try  to  make  her  understand,"  said 
Governor  Henderson  as  Tony  left,  "that 
the  Navy  has  enough  destroyers." 

Tony  did  his  best.  As  her  boss,  he  told 


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Name  

Address_ 


NOVEMBER,  1940 


73 


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her  he  needed  her  in  the  cafe  all  eve- 
ning. It  wasn't  enough.  On  the  party 
night,  Bijou,  in  make-up  and  costume, 
rushed  out  of  the  cafe  promising  gaily  to 
return  soon  to  take  care  of  Tony's  pa- 
trons. Her  Malayan  maid  went  along 
with  a  suitcase. 

Chinese  lanterns  festooned  the  deck,  a 
naval  band  played  on  an  improvised 
platform,  and  lovely  ladies  and  officers, 
handsome  in  dress  uniforms,  danced. 
Then  the  dancing  stopped,  the  band  began 
the  song,  "I've  Been  in  Love  Before," 
and  Bijou  came  on  singing.  As  she  sang, 
her  eyes  hunted  for  Dan  and  found  him. 
Dorothy  Henderson  and  a  young  officer 
stood  with  her  father.  Her  eyebrows 
went  up  as  though  to  say  to  the  Gov- 
ernor, "I  thought  you  stopped  this."  Her 
father  nodded,  looking  puzzled.  The  song 
ended  with  loud  applause  from  the  junior 
officers  and  ensigns.  Dorothy  congrat- 
ulated Dan  on  the  entertainment  and 
forced  him  to  ask  her  to  dance.  Dan 
knew  there  was  venom  in  her  appar- 
ently light  comments. 

Someone  cut  in  on  them  and  took  Dor- 
othy away  just  as  Bijou  came  from  her 
dressing-room  to  the  deck.  She  had 
taken  off  her  make-up  and  was  wearing 
an  especially  charming  dress.  In  a  semi- 
daze,  Dan  took  her  into  his  arms  as  the 
music  began  again.  There  was  a  tap 
on  his  shoulder  and  he  was  told  Com- 
mander Church  wanted  to  see  him  in- 
stantly. 

"See  that  that  woman  leaves  the  ship 
at  once,"  barked  the  Commander. 

"Orders,  sir?"  asked  Dan. 

"Orders,"  said  the  Commander. 

"Aye,  sir,"  Dan  saluted,  though  he'd 
rather  have  used  his  hand  as  a  fist. 

He  took  Bijou  back  to  the  cafe.  "Don't 
stay  here  any  later  than  you  have  to," 
his  voice  caressed  her,  "because  when 
I'm  not  in  there  looking  after  you,  I'm 
not  crazy  about  your  being  there.  I'll 
see  you  tomorrow  as  soon  as  I'm  free." 

They  could  not  speak  of  what  had  hap- 
pened.   It  had  hurt  too  much. 

Commander  Church  did  his  best  to 
make  Dan  understand  what  Bijou  was, 
what  everybody  said  of  her.  Dan  main- 
tained everybody  was  a  liar.  He  stood 
on  his  inalienable  right  to  his  own 
private  life  and  the  fact  that  his  com- 
manding officer  had  no  power  to  inter- 
fere with  that.  Church  finally  said,  "Any- 
how, we're  moving  out  of  here  very 
soon.  It  will  give  you  a  chance  to  think 
things  over." 

"I'll  be  married  before  we  sail,"  said 
Dan  quietly. 

In  the  governor's  office  another  conver- 
sation took  place  soon  after  that.  At 
Commander  Church's  suggestion,  the 
governor  had  sent  for  Bijou. 

"We  have  an  announcement  from  Lieu- 
tenant Brent  that  he  is  going  to  marry 
you,"  the  Governor  informed  her.  "What 
have  you  to  say  to  that?" 

Bijou  came  to  sudden  life.  "This  is  the 
first  I've  heard  of  it.  Oh,  I've  dared  to 
think  about  it — but — " 

The  Governor  stamped  out  her  swift 
happiness.  He  pointed  out  that  she  was 
not  the  sort  for  an  officer's  wife.  He 
cited  her  record  of  deportation  from  the 
same  island  three  years  before.  At  first 
the  old  Bijou  tried  to  brazen  it  out. 

"You  will  not  surprise  Dan  with  this. 
He  knows,"  she  replied. 

"All?"  asked  the  Governor. 

"Whatever  is  true.  There  are  hundreds 
of  lies,"  she  snapped.  "I've  paid  for  every 
mistake  I've  ever  made!" 

Then  the  Governor  told  her  of  Dan's 
family,  of  their  pride  in  him,  of  his  chance 
for  a  fine  career  which  she  would  wreck. 
He  saw  her  begin  to  soften.  She  said 
she  could  not  decide  till  she  saw  Dan. 
She  became  humble  and  earnest.  "If 


I  have  a  chance,  I'll  make  him  the  kind 
of  wife  no  man  ever  dreamed  of,"  she 
promised.  "Can't  I  have  a  chance?"  But 
he  gave  her  no  hope.  He  had  nothing 
further  to  say.  Miserably  she  went  back 
to  her  cottage. 

Bijou  and  Dan  were  deep  in  each 
other's  arms.  By  the  grapevine  method, 
he  had  heard  of  Bijou's  summons  from 
the  Governor  and  he  had  rushed  straight 
to  her. 

"Don't  let  them  frighten  you,  darling." 
There  was  tenderness  for  her  and  defi- 
ance for  them.  "They're  outside  their 
rights  when  they  monkey  with  my  per- 
sonal life.     I  finally  let  'em  have  it." 

"What,  Dan?"  she  gasped. 

"I  turned  in  my  resignation  from  the 
Navy,"  he  said  and  kissed  her. 

She  buried  her  face  on  his  shoulder. 

LITTLE  Ned  hurried  in  to  tell  Bijou 
she  was  late  for  her  show  at  the 
Seven  Sinners.  Seeing  them,  he  pulled 
himself  up  short,  but  there  was  no  use 
backing  out. 

"Run  down  there  and  tell  Tony  she's 
through  with  all  that,"  ordered  Dan 
happily,  and  to  Bijou  he  said,  "You  hear? 
Never  again." 

"Never  again,"  said  Bijou,  as  excited 
as  he  was. 

"I've  a  hundred  things  to  do,"  he  told 
her.  "I'll  be  back  as  fast  as  I  can  make 
it."  He  picked  her  up  off  the  floor,  kissed 
her,  and  left — eager  for  the  moment  when 
he  should  return. 

Little  Ned  stared  at  her  a  second,  then 
anger  went  through  him.  He  grabbed 
her.  "What  are  you  tryin'  to  make  outta 
him — som'n  like  me?"  he  demanded.  Bijou 
was  furious.  She  kicked  and  tried  to 
bite  him,  but  Little  Ned's  loyalty  to  the 
Navy  and  to  Dan,  as  part  of  it,  was  too 
strong.  He  held  her  till  she  subsided. 
"Listen,  you!"  he  growled.  "Keep  quiet 
an'  listen.  You've  gone  off  your  nut. 
He'd  kill  you  before  six  months — or  if 
he  didn't,  he'd  ought  to.  You  got  as  much 
right  to  be  an  officer's  wife  as  I  got 
to  be  an  an  officer.  Shut  up!"  he  went  on 
as  she  tried  to  speak.  "I  tell  you  no 
one  can  get  the  Navy  outta  his  blood — 
never.  An'  after  you're  married,  when  he 
thinks  about  the  years  he's  been  in  the 
Navy  an'  how  he  ain't  there  any  more — 
an'  he  looks  at  you — My  Gawd — if  he 
didn't  kill  you,  Bijou,  you'd  do  it  your- 
self. You  don't  want  to  hurt  anybody — 
especially  him!" 

When  he  freed  her,  she  was  quivering. 
It  was  what  she'd  known  all  the  time, 
only  she  hadn't  been  willing  to  admit 


YIPPEE.  FANS! 

At  last  we  have  it  for  you — that 
biographical  chart  of  your  favorite 
"westerns"  that  you've  been  begging 
for!  Imagine  having  at  your  fingertips 
the  real  names,  birthplaces,  birthdates, 
heights,  weights,  how  they  got  their 
start,  and  studio  addresses  of  over  sixty 
of  those  rough-riding  heroes,  leering 
villains  and  wide-eyed  heroines  of  your 
pet  "horse  opries!"  Made  up  in  a  most 
attractive  form,  it  will  make  your  album 
proud  as  anything.  Just  send  five  cents 
in  coin  or  stamps  with  the  coupon  below 
and  your  chart  is  as  good  as  lassoed! 

Information  Desk,  Modern  Screen 
149  Madison  Ave.,  New  York  City 

I  am  enclosing  five  cents  in  stamps  or 
coin  for  which  kindly  send  me  your  chart 
of  the  Western  Stars. 

Name  

Street  

City   State  

Please  print  name  and  address  plainly 


74 


MODERN  SCREEN 


it,  even  to  herself.  She  stood  a  long  time 
thinking.    Little  Ned  watched  her. 

"Suppose  the  cafe  floor  show  does  have 
to  wait,"  he  muttered  just  to  remind  her. 
"What  the  hell!" 

Suddenly  Bijou  made  up  her  mind. 

When  she  came  out  on  the  platform 
at  the  Seven  Sinners,  the  place  was  full. 
Antro  sat  at  his  usual  table.  She  sang 
a  new  song  called  "Man  Overboard." 
After  a  while  Dan  came  in.  He  was  in 
civilian  clothes.  Then  Bijou  began  mov- 
ing down  among  the  tables,  singing  to 
one  man  after  another  as  though  she 
liked  it.  She  paid  no  attention  to  Dan. 
At  first  he  thought  she  was  light-headed 
from  the  pressure  of  the  day,  but  she 
went  on  and  seemed  to  know  what  she 
was  doing  even  when  she  sat  on  Antro's 
lap.  No  one  saw  her  give  Little  Ned 
and  Sasha  the  nod  which  was  a  prear- 
ranged signal.  Little  Ned  jerked  her 
from  Antro's  knees  with  a  shout  "Don't 
bother  the  lady!"  He  picked  the  Turk 
up  from  his  chair  and  smashed  him 
down  on  the  table.  Sasha  took  a  tomato 
from  his  pocket  and  aimed  it  well.  A 
big  longshoreman  got  it  in  the  face  and 
the  melee  was  on — a  typical  Bijou  riot. 
She  dashed  for  the  platform.  Dan  fought 
his  way  to  her.     He  held  her  tightly. 

"What  are  you  doing  here?  Didn't  I 
tell  you—" 

Bijou's  voice  was  harsh,  "Nobody  tells 
me  what  to  do.  Get  back  in  your  uni- 
form! You  look  like  a  grocery  clerk." 
She  laughed  at  him. 

"Are  you  crazy?"  he  demanded. 

"I  must  have  been — but  not  now!"  She 
turned  away  still  laughing. 

Little  Ned  picked  her  up  and  battled 
their  way  through  the  mob  just  as  police 
sirens  shrieked  outside.  Then  he  hur- 
ried back  to  the  fight.  The  police  climbed 
over  Antro  and  others  on  the  floor  and 


She  came,  she  saw,  she  conga'd! 
That's  Betty  Srable  in  her  grand 
new   film,    "Down   Argentine  Way." 


surveyed  the  terribly  wrecked  cafe. 

"Who  started  this  fracas?"  barked  the 
Chief.   "Do  you  know?" 

Little  Ned  hated  to  answer,  but  he'd 
promised  Bijou  he  would  so  that  the  plan 
could  go  through.  He  took  the  police 
to  her  dressing-room. 

The  next  morning  Little  Ned  was 
resplendent  in  the  uniform  of  the  U.  S. 
Navy.  Dan  had  helped  him  and  his  re- 
enlistment  had  been  accepted.  He  ap- 
proached Dan  on  the  deck  of  the  cruiser 
that  was  about  to  depart.  Dan  was  in 
uniform,  too.  "I'd  like  a  few  minutes 
leave,  sir,  just  to  say  goodbye,"  he  said. 

"Say  goodbye  for  me,  too."  Dan's  tone 
was  controlled. 

Little  Ned  and  Sasha  went  along  to 
the  S.S.  Malacca  which  was  in  dock, 
ready  to  take  a  new  lot  of  deportees  on 
their  next  journey.  From  a  distance 
Little  Ned  saw  Dr.  Martin  on  deck. 
He  picked  Sasha  up  and  carefully  carried 
him  away  from  there.  "She  don't  need 
you,"  he  advised,  "an'  she  don't  need  no 
goodbyes." 

Dr.  Martin  saw  Bijou  by  the  rail.  He 
took  her  by  the  shoulders  and  looked 
at  her  closely.  There  were  tears  in  her 
eyes.  She  managed  a  crooked  smile. 
"Any  new  governors  any  place,  Doc?" 

He  paid  no  attention  to  that.  He  con- 
tinued to  regard  her  gently.  "Health 
A-l?"  he  asked  answering  her  smile. 

"Health  A-l,"  she  responded. 

He  put  his  arm  around  her  shoulders 
to  steady  her  because  he  doubted  if  she 
could  see  through  those  tears. 

From  the  deck  of  the  cruiser,  Dan 
trained  his  glasses  on  the  Malacca.  He 
saw  Bijou  standing  by  the  rail  with  a 
man's  arm  about  her,  but  it  was  too  far 
to  see  that  her  eyes  were  wet. 

"Sometimes,"  muttered  Bijou  shakily, 
"a  girl  just  has  to  start  a  riot." 


NOTICE  HOW  MANY 
MEN  PICK  WIVES 

WITH  LOVELY 
"SCHOOLGIRL  COMPLEXIONS"! 


TO  HELP  KEEP  YOUR 
THIS  SOAP  MADE 


SKIN  ALLURING,  USE 
WITH  OLIVE  AND  PALM  OILS! 


SO  YOU  RE  ENGAGED  TO  ED  J  HOW  GRAND  ! 
I'VE  NOTICED  THAT  SUCCESSFUL  MEN 
USUALLY  PICK  GIRLS  WITH  "SCHOOLGIRL 

COMPLEXIONS"  LIKE  YOURS  !  1  WISH 
I  COULD  DO  SOMETHING  ABOUT  MY  DRY, 
LIFELESS  SKIN.  . . 


WELL,  YOUR  GORGEOUS  COMPLEXION 
CERTAINLY  SPEAKS  WELL  FOR 
PALMOLIVE  !  SO,  I'M  GOING  TO  GET  SOME 

RIGHT  NOW  !  HERE'S  HOPING  THAT 
BEFORE  LONG  I'LL  BE  ANNOUNCING  MY 
ENGAGEMENT, TOO  ! 


YOU  SEE,  PALMOLIVE  IS  MADE  WITH  OLIVE 
AND  PALM  OILS,  NATURE'S  FINEST  BEAUTY 

AIDS.  THAT'S  WHY  ITS  LATHER  IS  SO 
DIFFERENT,  SO  GOOD  FOR  DRY,  LIFELESS 

SKIN!  PALMOLIVE  CLEANSES  SO 
THOROUGHLY  YET  SO  GENTLY  THAT  IT 
LEAVES  SKIN 
SOFT,  SMOOTH, 
RADIANT  ! 


MADE  WITH 

0£wc  WPo£m  Oi&> 

TO  KEEP  SKIN  SOFT,  SMOOTH 


NOVEMBER,  1940 


75 


THIS 
HAND  LOTION  is 

ACCEPTED 


AMERICAN  MEDICAL 
ASSOCIATION'S 
COMMITTEE  ON 
ADVERTISING  OF 
E 


Try  this  Famous 

CANADIAN- 
BORN 

Chapped-Skin  Lotion 

Many  well-known  dermatolo- 
gists recommend  a  lotion  that 
not  only  softens  your  skin  but 
also  helps  protect  it  against  out- 
side irritants. 

Italian  Balm  gives  both  ben- 
efits —  (1)  Softens  the  skin,  and 
(2)  protects  it  too.  In  addition, 
it's  accepted  by  the  Advisory 
Committee  on  Advertising  of 
Cosmetics  of  the  American 
Medical  Association — time 
tried  and  proved  through  doz- 
ens of  cold  winters  in  Canada, 
where  Italian  Balm  originated 
in  1881.  Long-lasting  bottles  at 
100, 35p,  606  and  $1.00. 


WOOLLY 
WONDERS 


No.  1583.  This  one's 
"City  Slicker."  It's  the 
smart  torso  length  and 
features  a  bloused  back 
and  pad'ded  shoulders. 


No.  1587.  We  call  this 
the  "Knit-Wit"  'cause  it's 
a  sweater  with  a  sense  of 
humor.  It  looks  like  a  car- 
digan, but  it's  a  slip-on! 


It's  all  very  well  to  keep  warm  these 
autumn  days — but  there's  no  reason  to 
look  grim  about  it!  Keep  cozy  and 
beautiful  in  either  of  these  two  loves. 

Both  are  eye-catchingly  different,  but 
easy  as  ABC  to  make.  We  consider  the 
slip-on  a  campus  "gotta  have,"  and  the 
cardigan  is  smart  enough  for  town.  Even 
a  sweater  wardrobe  of  Lana  Turner-ish 
proportions  isn't  complete  without  'em. 

It's  still  a  bit  soon  for  that  Santa 
Claus  mood  to  hit  you,  but  they  do  make 
stunning  gifts,  and  it's  a  wise  girl  who 
does  her  Christmas  knitting  early! 


Send  in  the  coupon  below  with  a 
stamped,  self-addressed  envelope.  The 
instructions  are  yours  absolutely  free. 


ANN  WILLS.  Modern  Screen 

149  Madison  Ave.,  New  York,  N.  Y. 

Kindly  send,  at  no  cost  to  me: 

Directions  for  No.  1583  

Directions  for  No.  1587  

I  enclose  a  stamped,  self-addressed  (large* 
envelope 

Name   

Street   '„  

City   State  


76 


MODERN  SCREEN 


GOOD  NEWS 

(Continued  from  page  49) 


SPORTING  BLOOD 

A  few  years  ago,  newsmen  and  photog- 
raphers felt  that  Kay  Francis  was  unduly 
snooty  and  often  resented  her  attitude 
toward  them  and  their  work.  But  it's  dif- 
ferent these  days.  Kay's  one  of  the  best 
sports  in  the  colony  and  there's  no  skeptic 
who'd  dare  say  otherwise.  Why,  just  the 
other  day  we  caught  her  tacitly  admitting 
that  Elsie  Borden,  and  not  she,  was  the 
star  of  "Little  Men."  Walking  from  her  car 
to  the  set,  Kay  stepped  through  a  doorway 
over  which  hung  a  sign  reading,  "Through 
this  portal  passes  the  most  beautiful  cow  in 
the  world" — and  she  just  chuckled!  Once 
inside,  she  heard  the  mother  of  Richard 
Nichols,  her  four-year-old  co-actor,  order 
Richard  to  smile  sweetly  because  he  was 
about  to  meet  Kay  Francis.  "Kay  Francis," 
piped  the  youngster.  "Who's  she?"  And 
Kay  chuckled  again. 

PUBLIC  NOT  INVITED 

California  is  the  land  of  perennial  sun- 
shine, but  when  Hollywood  film  folk  want  a 
sun  bath,  they'd  rather  hie  themselves  to 
the  corner  of  42nd  Street  and  Broadway  than 
remain  in  their  own  backyards.  After 
spending  thousands  of  dollars  constructing 
sun  decks,  patios,  and  reasonable  facsimiles 
thereof,  Myrna  Loy,  Paulette  Goddard  and 
Dorothy  Lamour  have  discovered  that  the 


hills  surrounding  their  homes  offer  excellent 
observation  points  to  snoopers  who  enjoy 
watching  famous  figures  drinking  in  their 
quota  of  Vitamin  D.  Investigation  of  a  bevy 
of  cars  parked  along  the  crest  of  the  moun- 
tains disclosed  the  fact  that  dozens  of  people, 
equipped  with  either  reasonably  good  eye- 
sight or  a  decent  pair  of  binoculars,  have 
been  having  a  high  time  peering  at  unsus- 
pecting sun-seeking  citizens.  Now,  if  you 
read  of  the  colony's  wholesale  return  to  the 
comparatively  secluded  night  clubs  and 
tennis  courts,  you'll  know  what's  behind  it! 

FASHION  NOTE 

Rosalind  Russell  was  having  a  load  of 
trouble  trying  to  remember  a  speech  for  a 
close-up  the  other  day.  Every  time  she 
went  into  a  take,  her  lines  escaped  her — 
and  her  temper  went  right  after  them.  As 
she  stumbled  for  the  fifth  time,  the  director 
began  to  cough  nervously  and  wonder  if 
he  oughtn't  suggest  that  Miss  Russell  lie 
down  and  rest  a  bit.  But,  suddenly,  Roz  had 
a  thought.  "Hold  everything,"  she  ordered. 
"I'm  going  to  do  a  Cary  Grant!"  Diving  for 
her  copy  of  the  script,  she  ripped  out  the 
page  containing  the  tricky  speech,  propped 
it  up  out  of  camera  range  and,  just  like  a 
congressman,  read  her  lines  without  a  trip- 
up!  "Cary  scribbles  notes  on  his  cuffs," 
she  explained,  "but  I  don't  have  any.  An- 
other day  like  this  one,  though,  and  I'll  have 


my  dresses  trimmed  with  washable  black- 
boards! " 

CUBAN  JUMPING  BEAN 

Desi  Arnaz,  the  West  Indian  rhumba-riot 
who  switched  from  Betty  Grable  to  Lucille 
Ball  when  he  switched  from  New  York  to 
Hollywood,  has  decided  to  make  another 
important  change.  After  twenty-three  years 
of  Cuban  citizenship  under  the  name  of 
Desidero  Alberto  Arnaz  y  De  Acha,  Desi 
wants  to  become  a  citizen  of  these  United 
States.  He's  already  applied  for  his  first 
papers,  but  this  step  toward  Americaniza- 
tion isn't  impressing  his  fellow-RKO'er,  Gin- 
ger Rogers.  Ginger  still  refers  to  him  as  the 
"Cuban  George  Raft." 

CARBON  COPY  CAROLE 

A  few  weeks  after  "They  Knew  What  They 
Wanted"  finished  shooting,  Director  Garson 
Kanin  discovered  he  needed  Bill  Gargan  for 
some  retakes.  One  of  them  was  a  continua- 
tion of  a  scene  wherein  Bill,  having  been 
soundly  kissed  by  Carole  Lombard,  faces 
the  camera  with  her  mouth  clearly  outlined 
on  his.  Bill  came  down  to  the  studio  and 
immediately  reported  to  the  make-up  man 
who  was  to  apply  an  impression  of  Carole's 
lips.  The  job  should  have  taken  just  a  few 
minutes  but  an  hour  later  it  still  wasn't  com- 
pleted.   The  make-up  man,  having  tapped 


S  SO  GOOD  .  .  .  FOR  SO  LONG 

because  it's  filled  with  flavor  through  and  through 

That  fine,  tastier  flavor  of  Beech-Nut  Gum  will  last  you  a  mighty 
long  time.  Why?  The  finest  flavors  are  mixed  through  and  through 
to  bring  you  a  more  tempting  flavor  in  each  piece  of  Beech-Nut  Gum. 


NOVEMBER,  1940 


77 


OF  YOUR  LIFE! 


It's  waiting  for  you  —  the  very  first  time  you 
use  HAMPDEN  POWD'Ifc-BASE !  This 
wonderful  beauty  foundation  .  .  . 

•  gives  your  skin  a  soft,  smooth,  more 
youthful  appearance 

•  keeps  your  make-up  fresh  and  lovely 
for  hours 

•  helps  conceal  lines  and  blemishes 

•  prevents  nose-shine. 
HAMPDEN  POWD'R-BASE  "makes" 
your  make-up.  It's  the  perfect  powder  base 
because  it  is  light,  non-greasy,  easy-to-use, 
in  convenient  stick  form... and  most  impor- 
tant, it  comes  in  your  own  complexion  shade. 

Be  sure  to  try  it  today — for  the  make-up 
surprise  of  your  life! 

2  5c  in  Drug  and  Dept.  stores — 
also  in  SOc  and  10c  (trial)  size 

More  than  12  million  sold 

POUJDfcBflSE 


IT  "MAKES"  YOUR  MAKE-UP 


INCREASES 
HEIGHT 
2  INCHES 


Short  men  look  surprisingly  tall  in 
these  new  amazing  shoe  styles. 
Largest  in  direct-selling  shoe  line 
for  men  and  women  sent  FREE  by 
leading  manufacturer  to  salesmen. 
Good  pay  every  day.  No  experience 
needed.  Low  money-saving  prices. 
Send  no  money  just  write  for 
"big  shoe   »/es   outfit  —  FREE." 

MASON  SHOE  MFG.  COMPANY 

Dept.  B-33.     Chippewa  Falls,  Wis. 


AND 


can  instantly  beautify  your  hair  with  L.  B.  Hair  Oil! 
Famous  Hollywood  discovery  makes  hair  lustrous, 
easy  to  manage,  abundant-looking... at  once.' 
Removes  loose  dandruff,  relieves  dryness,  itchy 
scalp  and  other  danger  signs  that  often  lead  to  falling 
hair  and  baldness!  Play  safe!  Get  L.  B.  NOW! 

At  Barber  and  Beauty  Shops, 
Drug,  Dept.  and  Chain  Stores 

i^iiSf  C  -„__  »e«  «'W"«i.j.  s. 

V<        FREE:  HAIR  OIL.  SCUD  10'  FOR 
V   PACKING  6  POSTAGE  I 


f  Tt  HA|R  °iL 

JUaJJ*  HOLLYWOOD,  CAL. 


all  his  talents,  finally  had  to  concede  that 
no  brush  of  his  could  recreate  a  Lombard 
kiss!  Kanin  was  desperate.  Production  costs 
were  mounting  and  he  had  to  complete  the 
scene.  Then,  slowly,  the  light  of  inspiration 
appeared  in  his  eyes.  He  rushed  to  a  phone, 
dialed  the  Gable  ranch  and  explained  his 
predicament  to  Carole.  Carole  caught  on. 
An  hour  later  she  was  on  the  set,  smacking 
Gargan's  lips  for  all  she  was  worth.  When 
she  finally  stepped  back,  Kanin  squealed 
with  delight.  The  impression  she  had  made 
perfectly  matched  the  one  she'd  left  weeks 
earlier!  "Why  not?"  asked  Carole  as  the 
crew  congratulated  her.  "It's  a  print  off  the 
same  negative!" 

DRESSING-ROOM  NOTES 

When  Paulette  Goddard  checked  in  for 
work  in  "Second  Chorus,"  studio  executives 
proudly  ushered  her  into  the  dressing-room 
formerly  occupied  by  Joan  Bennett.  It  was 
a  fancy,  frilly  affair,  done  in  pale  blue  and 
white.  Confidently,  the  big  bosses  awaited 
the  Goddard  gurgles  of  delight,  but  Paul- 
ette fooled  them.  Taking  one  quick  look 
about,  she  said,  "This  room  is  too  feminine 
for  me,"  and  walked  out.  When  she  re- 
turned, the  entire  place  had  been  done  over 
in  her  favorite  tan  .  .  .  Orson  Welles,  on  the 
other  hand,  seems  happy  enough  with  the 
dressing-room  assigned  to  him  for  use  during 
the  making  of  "Citizen  Kane."  Orson  is 
occupying  Gloria  Swanson's  satin-lined 
studio  boudoir  and  has  a  great  time  relax- 
ing on  a  sirenish  divan,  putting  his  big  feet 
on  Gloria's  $50  pillows,  and  aiming  paper 
pellets  at  the  unexplained  bullet  holes  which 
have  peppered  the  wall  since  Gloria's  day 
.  .  .  Dorothy  Lamour's  dressing-room  is  hung 
with  a  new  picture  frame  which  contains  the 
report  of  a  radio  audition  she  made  in  Chi- 
cago in  1932.   Filed  under  the  name  of  Mary 


Lambour,  it  reads:  "Description — brunette, 
slender,  fairly  good-looking;  talent — 
auditioned  as  a  singer;  remarks — not 
recommended." 

(MIDLAND  LEGS 

Legs,  legs,  who  owns  Hollywood's  most 
beautiful  legs?  That  question  still  isn't 
answered!  Dietrich,  Colbert,  Grable,  God- 
dard, Rogers — all  have  entered  their  bid  for 
the  honor  but  it  has  never  found  a  resting 
place.  Now,  a  new  contender  steps  forth 
— and  this  time  it's  a  he!  Patric  Knowles 
blushingly  admits  that  the  International 
Apollo  Club  has  voted  him  the  possessor  of 
the  town's  most  beautiful  limbs!  The  col- 
ony's glamour  queens  aren't  particularly 
upset  by  this  new  competition — but  Mrs. 
Ray  Milland  is!  She  thinks  Ray's  stems 
have  the  form  and  appeal  of  an  Earl  Car- 
roll beauty's — and  try  as  he  will,  her  un- 
happy husband  can't  keep  her  from  airing 
her  views  before  any  friend  or  foe  who'll 
lend  an  ear! 

HOW  TO  LOSE  FRIENDS 
AND  ALIENATE  ACTRESSES 

lohn  Barrymore  is  just  wandering  around 
these  days.  He's  in-between  pictures  and, 
not  having  much  to  do,  spends  most  of  his 
time  ambling  about  town  paying  surprise 
visits  to  old  friends.  The  other  day,  his 
roving  feet  took  him  to  the  set  of  the  "Phil- 
adelphia Story"  where  his  pal,  Katharine 
Hepburn,  was  cavorting  with  Cary  Grant 
and  Virginia  Weidler.  After  critically,  but 
silently,  observing  several  takes,  John 
strolled  up  to  Hepburn.  "Katie,"  he  said, 
"do  you  know  who's  the  best  actress  in 
Hollywood?"  Hepburn  braced  herself. 
"Who,  John?"  she  asked  with  affected  casual- 
ness.    "Little  Virginia  Weidler,  of  course," 


"Cherry,"  June  Preisser's  cocker  spaniel,  is  literally  a  "movie  hound!"  He's  con- 
stantly lurking  around  the  set  trying  to  meet  celebrities. 


73 


MODERN  SCREEN 


;  boomed  the  treacherous  Profile.  "She  re- 
minds me  of  my  grandmother,  Georgianna 
Drew,  who  was  the  best  actress  in  the  whole 
world!" 

DOLORES'  NIGHTSHIRT 

Dolores  Del  Rio  worships  beauty  in  general 
— and  her  own  in  particular.  Blessed  with 
an  exquisite  face  and  a  satin-skinned  torso, 
she  sacrifices  practically  all  of  her  time 
and  effort  at  the  altar  of  her  lusciousness, 
devoting  at  least  12  of  her  15  daily  waking 
hours  to  beauty  treatments  of  one  variety 
or  another.  Maybe  you  think  that  sets 
some  sort  of  record,  but  you  haven't  heard 
the  topper.  We've  just  learned  that  before 
going  off  to  sleep,  Dolores  anoints  her  entire 
body  with  a  special  skin  oil,  wraps  herself 
in  cotton  batting,  and  passes  the  night  look- 
ing like  a  greased  mummy  who  would  scare 
the  ghost  of  Rameses  II! 

SHOOT  THE  GLAMOUR  TO  ME. 
MAW 

Maria  Sieber  is  the  "mystery  woman"  of 
Hollywood's  younger  set.  She's  15  years  old, 
tall,  extremely  plain,  and  so  shy  that  not 
one  of  the  town's  teen-agers  has  even  met 
her.  Yet,  we'll  wager  that  a  year  from 
today  Maria  Sieber  will  be  hailed  as  the 
biggest  thing  that's  ever  hit  the  movie  colonyl 
Marlene  Dietrich  will  see  to  that,  for  Maria 
is  her  daughter  and  Marlene  has  announced 
that  when  "Seven  Sinners"  is  completed, 
she  will  devote  the  remainder  of  the  year 
to  grooming  her  child  for  a  film  career.  If 
Maria  learns  Just  half  of  what  mama  •  can 
teach  her,  she's  going  to  be  tremendous,  for 


Joan  Bennett  (who's  going  to  let  her 
hair  grow  blonde  again)  is  lovelier  than 
ever  as  the  Grand  Duchess  in  her  new 
costume  film,  "The  Son  of  Monte  Cristo," 
— an  exciting  sequel  to  "The  Count." 


Marlene  has  talents  no  one  can  match.  Even 
Helga  Garnett,  wife  of  "Seven  Sinners'  " 
Director  Tay  Garnett,  is  awed  and  im- 
pressed by  the  effect  the  glamour  queen  has 
on  men — including  her  own  husband.  Re- 
ports Helga:  "Since  Tay  began  working  with 
Miss  Dietrich,  he  won't  dream  of  leaving 
home  in  any  but  his  best  clothes..  And 
what's  more — he  now  shaves  every  morn- 
ing !" 

IT'S  A  DOG'S  LIFE 

The  Hollywood  Reporter,  popular  local 
newspaper,  has  taken  a  warm  personal  in- 
terest in  Jeffrey  Lynn's  warm  personal 
interest  in  Dana  Dale.  The  paper  is  watch- 
ing the  romance  closely  and,  in  the  past 
two  months,  has  noted  its  progress  in  items 
as  follows:  (a)  which  appeared  when  the 
pair  first  discovered  each  other — "Jeffrey 
Lynn  is  walking  Dana  Dale's  dog,"  (b)  which 
appeared  several  weeks  later — "Jeffrey 
Lynn,  who  used  to  walk  Dana  Dale's  dog,  is 
now  walking  Dana  Dale"  and  (c)  which 
turned  up  most  recently — "Jeffrey  Lynn  and 
Dana  Dale  are  now  walking  Dana  Dale's 
dog."  We've  no  assurance  it  will  happen,  but 
we  expect  to  pick  up  our  Reporter  any  day 
now  and  find  that  "Dana  Dale's  dog  is  now 
walking  Jeffrey  Lynn  and  Dana  Dale!" 

DIDJA  KNOW 

That  Cary  Grant  has  been  photographed  in 
pajamas  more  than  any  other  man  in  Holly- 
wood .  .  .  That  Warner  Bros,  has  returned 
Jane  Bryan's  name  on  their  contract  list  and 
will  exercise  their  option  rights  should  Jane 
decide  on  a  flicker  comeback  .  .  .  That  Anita 


e  looks  like  a  Million 


BUT  SHE  HASN'T  MUCH  SENSE! 


HERB'S  WHAT  THE  DENTIST  SAID. . . 


TESTS  SHOW  THAT  MUCH  BAD  BREATH 
COMES  FROM  DECAYING  FOOD  PARTICLES 
AND  STAGNANT  SALIVA  AROUND  TEETH 

THAT  AREN'T  CLEAN  ED  PROPERLY. 
I  RECOMMEND  COLGATE  DENTAL  CREAM. 
ITS  ACTIVE  PENETRATING  FOAM 
REMOVES  THESE  ODOR-BREEDING  , 
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NOW—  NO  BAD  BREATH  BEHIND  HER  SPARKLING  SMILE ! 


NOVEMBER,  1940 


79 


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SHOES  Effect  of  Outgrown  Shoes 

Don't  let  baby  wear  outgrown  shoes.  Baby  feet 
grow  so  fast  you  must  change  to  new  shoes  often. 
Baby  doctors  all  over  America  tell  mothers  to 
buy  Wee  Walkers,  those  CORRECT  v:_  v 
baby  shoes  which  cost  so  little. 
Infants'  Wear  Dept.  of  the  following  K: 
low-profit  stores.  Birth  to  shoe  size  8. 

W.T.Grant  Co.  S.  S.  Kresge  Co.  J.J.  Newberry  Co. 
H.  L.  Green  Co.,  Inc.  Sears,  Roebuck  and  Co. 

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Louise  refused  to  remove  her  wedding  ring 
for  a  scene  in  "Glamour  for  Sale"  and  that 
a  make-up  man  had  to  cover  it  with  ad- 
hesive tape  and  grease  paint  before  the  play 
could  go  on  .  .  .  That  Walter  Pidgeon  is  a 
vegetarian  .  .  .  That  Jimmy  Stewart  now  has 
sufficient  hours  in  the  air  to  take  his  ex- 
amination for  a  transport  pilot's  license  .  .  . 
That  Nelson  Eddy  eats  constantly  .  .  .  That 
Fred  MacMurray  is  studying  blueprints  for  a 
nursery  to  be  added  to  his  Brentwood  home 
.  .  .  That  Penny  Singleton's  four-and-one- 
half-year-old  daughter  is  so  in  love  with 
Errol  Flynn,  she's  completely  covered  her 
bedroom  walls  with  pictures  of  Errol  clipped 
from  magazines  and  newspapers  .  .  .  That 
Larry  Simms'  stand-in  is  his  own  niece,  five- 
year-old  Gloria  Deriver  .  .  .  That  Dave  Rose 
has  gone  East  to  write  a  symphony  which 
he  will  dedicate  to  Judy  Garland? 

SHORT  SHOTS 

Carole  Landis'  first  husband  is  trying  to 
sell  the  story  of  their  marriage  to  a  pulp 
magazine  .  .  .  Errol  Flynn  will  be  the  next 
movie  "queen"  to  don  a  sarong.  He'll  wear 
it  in  "Jonas-Ma,"  a  South  Seas  Island  story 
.  .  .  Olivia  de  Havilland  is  taking  flying 
lessons  from  the  man  who  taught  Jimmy 
Stewart  .  .  .  Patricia  Morison  is  paying 
premiums  on  a  five-year  insurance  policy 
protecting  her  against  a  possible  matrimonial 
venture  and  resultant  loss  of  work  .  .  . 
George  Brent  claims  Ann  Sheridan  thinks 
almost  like  a  man  .  .  .  and  he  said  thinksl 
.  .  .  Tony  Martin  cleared  better  than  $10,000 
a  week  on  several  weeks  of  his  p.a.  tour 
.  .  .  Devoted  pop,  John  Payne,  is  putting 
every  fourth  salary  check  into  a  bank  ac- 
count for  his  daughter  .  .  .  Jane  Withers' 
new  bicycle  has  a  radio  on  its  handlebars 
.  .  .  Universal  says  it's  looking  for  a  baby 
to  play  Baby  Sandy  as  a  baby! 

WHO'S  BEEN  FRAMED 

What  does  a  big,  bad  bachelor's  home  look 
like?  Is  it  hung  with  autographed  por- 
traits  of   his   conquests   and   the  dried-out 


scalps  of  those  who  said  no?  A  friend  of 
ours  attended  a  stag  gathering  at  Cesar 
Romero's  new  house  and  came  out  with  the 
answer.  Throughout  the  entire  place  there 
are  only  two  pictures  of  women — and  both 
are  Ann  Sheridan!  And  interesting  is  the 
fact  that  one  of  them,  a  candid  shot  show- 
ing Annie  at  her  beautiful  best,  looks  out 
of  a  costly  red  morocco  frame  given  to 
Cesar  by  .  .  .  Joan  Crawford! 

MAN  OF  PROPERTY 

Landlords  in  Hollywood  are  very  much  the 
same  as  landlords  the  country  over.  They're 
the  gentlemen  you'd  like  to  boil  in  oil,  who 
invariably  turn  up  when  you're  entertaining 
fourteen  relatives,  to  remind  you  that  it  is 
later  than  you  think.  There's  one  landlord 
in  town,  however,  whose  tenants  would 
literally  greet  him  with  open  arms — if  he'd 
let  them.  He's  Tyrone  Power,  sole  owner 
of  the  Tyrone  Apts.  and  a  half  dozen  other 
apartment-hotels  located  in  a  not-too-pros- 
perous district  of  the  movie  colony.  Accord- 
ing to  Real  Estate  Owner  Ty,  his  holdings 
yield  him  more  satisfaction  than  they  do 
revenue.  Their  rentals  are  fairly  cheap, 
(average  $30  a  month  for  a  completely  fur- 
nished apartment),  and  he's  bought  them 
only  because,  in  his  struggling  actor  days, 
he  swore  he'd  some  day  own  every  hotel 
he  was  thrown  out  of.  "I'll  own  half  the 
city  of  Los  Angeles  before  I'm  through,"  he 
admits,  and  he's  not  exaggerating! 


UP-TO-DATE  ADDRESS  LIST! 

Send  today  for  the  new,  up-to-date  list  of 
Hollywood  stars  with  their  correct  studio 
addresses.  It  is  a  convenient  size  to 
handle  or  keep  in  a  scrap-book.  To  re- 
ceive a  list,  all  you  have  to  do  is  write 
to  us  and  ask  for  it,  enclosing  a  large, 
self-addressed  and  stamped  envelope. 
Don't  forget  that  last  item,  as  no  request 
can  be  complied  with  otherwise.  Please 
send  request  to  Information  Desk,  Mod- 
ern Screen,  149  Madison  Ave.,  New 
York,  New  York. 


Wef  Walkers  for  the  uiee  walker 


Glamour  with  a 
Southern  accent 
— that's  Virginia 
Dale,  blonde  daz- 
zler  from  North 
Carolina.  She 
was  a  song-and- 
da  nee -gal  with 
an  orchestra 
when  a  talent 
scout  found  her. 
Now  she  has  a 
part  in  "Danc- 
ing on  a  Dime." 


80 


MODERN  SCREEN 


WHAT  MAKES  THE  MOVIES  BEHAVE? 

(Continued  from  page  29) 


garbage.  But  what's  left  will  be  pure, 
and  no  reformers  will  kick.  Now,  do  you 
want  me?" 

They  wanted  him.  Breen  demanded 
that  he  see  every  script  before  it  went 
to  the  camera  and  every  picture  after 
it  was  taken  out  of  the  camera.  And  he 
didn't  waste  time  laying  down  the  law 
He  rejected  a  Jean  Harlow  script  three 
times  in  a  week.  He  made  Paramount 
do  a  Bing  Crosby  scenario  over  twenty 
times,  because  it  was  too  risque.  He  cut 
an  M-G-M  scene  that  showed  Jeanette 
MacDonald  being  carried  to  a  sofa,  and 
wrote  to  M-G-M,  "I  will  pass  this  only 
if  Miss  MacDonald  keeps  her  feet  on  the 
floor  as  she  is  placed  on  the  sofa." 

Today,  every  movie  in  Hollywood  must 
be  okayed  by  Joe  Breen  if  it  is  to  get  the 
Purity  Seal.  Breen  doesn't  like  his  okay 
to  be  called  the  Purity  Seal.  Too  prissy. 
Prefers  the  term  "Certificate  of  Ap- 
proval." Should  a  Hollywood  producer 
disobey  Breen  and  try  to  sneak  a  movie 
through  without  the  Purity  Seal,  he 
would  be  boycotted  by  98%  of  the  na- 
tion's theatres  and  fined  $25,000! 

But  none  of  the  producers  disobey. 
During  the  past  year,  4,000  stories  were 
submitted  to  Breen  fay  various  studios. 
Of  these,  600  were  finally  produced,  al- 
though only  two  of  them  were  entirely 
banned. 

Good  example  of  a  censored  script 
would  be  the  recent  one  based  on  the 
sex  life  of  Dixie  Davis,  which  was  hot 
enough  to  fry  eggs  on,  and  which  Breen 
rejected  for  use  by  any  studio.  Example 


of  censored  scenes  would  be  the  cutting 
of  Claudette  Colbert's  hotcha  can-can 
dance  from  "Zaza"  and  the  modification 
of  the  bit  in  "Elizabeth  and  Essex"  where 
Errol  Flynn  slapped  Bette  Davis  on  her 
beam  end.  Example  of  a  censored  still 
picture  would  be  the  recent  shot  of 
Maureen  O'Hara  and  Lucille  Ball  doing  a 
dance  with  their  thighs  peeking  out  over 
black  silk  stockings.  It  was  finally  okayed 
when  RKO  had  the  girls'  thighs  painted 
black  at  Breen's  request. 

TO  appreciate  Hollywood  censorship, 
to  learn  how  movies  are  made  to  be- 
have, you  have  to  first  take  a  peek  into 
Breen's  own  version  of  Mein  Kampf — a 
tiny,  gray-covered,  eight-page  booklet 
labeled  "The  Production  Code."  This 
Bible  of  behavior  a  la  cinema  dictates 
what  every  good  little  movie  producer 
must  put  in  and  leave  out  of  his  expen- 
sive epic. 

Under  the  heading  of  "Crimes  Against 
the  Law,"  there  are  these  Breenisms: 
"The  technique  of  murder  must  be  pre- 
sented in  a  way  that  will  not  inspire 
imitation.  Brutal  killings  are  not  to  be 
presented  in  detail.  Revenge  in  modern 
times  shall  not  be  justified." 

Under  the  heading  of  "Sex,"  are  nu- 
merous stern  warnings.  According  to  one 
paragraph,  "Scenes  of  passion  should  not 
be  introduced  when  not  essential  to  the 
plot.  Excessive  and  lustful  kissing,  lust- 
ful embraces,  suggestive  postures  and 
gestures  are  not  to  be  shown."  According 
to  another  paragraph,  "Seduction  or  rape 


should  never  be  more  than  suggested.  .  .  . 
They  are  never  the  proper  subject  for 
comedy."  According  to  scattered  para- 
graphs, "White  slavery  shall  not  be 
treated.  Sex  relationships  between  the 
white  and  black  races  are  forbidden. 
Scenes  of  actual  childbirth  are  never  to 
be  presented.  Children's  sex  organs  are 
never  to  be  exposed!" 

Under  the  heading  of  "Profanity"  is 
one  emphatic  paragraph  reading,  "Pointed 
profanity — this  includes  the  words  God, 
Lord,  Jesus,  Christ  (unless  used  rever- 
ently), Hell,  S.O.B.,  damn  or  every  other 
profane  or  vulgar  expression  however 
used — is  forbidden." 

Under  the  heading  of  "National  Feel- 
ings," Joe  Breen  dictates  in  a  manner 
that  recalls  his  diplomatic  training,  to 
wit,  "The  use  of  the  flag  shall  be  con- 
sistently respectful.  The  history,  institu- 
tions, prominent  people  and  citizenry  of 
other  nations  shall  be  represented  fairly." 

In  order  not  to  offend  any  person, 
nation  or  institution,  and  in  order  to 
follow  the  canons  of  "The  Production 
Code,"  Breen  is  constantly  in  hot  water 
about  movie  villains.  For  example,  Mex- 
ico will  protest  a  Mexican  villain,  Italy 
will  ban  a  picture  with  an  Italian  villain, 
the  medical  profession  will  protest  if  the 
villain  is  a  doctor  and  a  thousand  persons 
will  sue  if  a  movie  villain  happens  to 
have  the  same  name  as  themselves. 

Once,  grasping  at  a  last  straw,  Walter 
Wanger,  in  making  "Stand-In"  with  Les- 
lie Howard  and  Joan  Blondell,  made  his 
villain   a  movie   producer.    Joe  Breen 


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plete color  harmony,  use  matching 
Marvelous  Rouge  and  Lipstick,  too. 


Hudnut  Marvelous  Face  Powder  and  harmonizing  Rouge  and  Lipstick 
at  drug  and  department  stores — only  55i  each.  (651  in  Canada.) 


Na 


Street- 

(Good  only  in  U.S.A. 


.Citv- 


RICHARD  HUDNUT,  Dept.  M,  693  Fifth  Ave.,  New  York  City 

Please  send  me  tryout  Makeup  Kit  containing  generous 
metal  containers  of  harmonizing  powder,  rouge  and  lipstick. 

I  enclose  10(  to  help  cover  mailing  costs. 
Check  the  co/or  or  your  eyes!  Brown  O   Blue  fj  Hazel  □  Gray  □ 


nd  Canada,  except  where  legally  prohibited. )  MM-1140 


—  _ .  J 


HUDNUT 

mflRVELOUS 

FACE  POWDER 

AND   MATCHED  MAKEUP 


NOVEMBER,  1940 


81 


7 


Avoid 
H-H- 


Using  strong  disinfectants  in  hospital 
work  or  for  heavy  cleaning  in  the 
home  often  produces  a  bad  case  of 
H-H  .  . .  rough,  red  Household  Hands! 

But  there's  an  amazing  cream  made 
specially  to  relieve  just  such  discom- 
forting conditions — Barrington  Hand 
Cream. 

Just  a  few  minutes'  use  of  Barrington 
right  after  the  work  is  done  keeps 
your  hands  soft  and  smooth.  Barring- 
ton Hand  Cream  has  won  wide  ac- 
claim from  its  thousands  of  users  and 
is  now  available  in  large  size  jars.  See 
how  much  more  quickly  than  a  lotion 
Barrington  Cream  makes  your  hands 
soft,  smooth  and  white. 

Sold  in  the  better  5c  and  10c  stores; 
also  in  drug  and  department  stores. 
10c,  25c,  39c. 


B 


NORTH   AMERICAN    DYE  CORPORATION 
Mount  Vernon,  New  York 

.  HAND 

arrmgton  cream 

A  Nadeo  Quality  Product 


FREE 

WEDDING 

RING 


with  every  simu- 
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lgagement  ring  or- 
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I  set  with  brilliants 
1  given  as  get-ac- 
uainted  gift  FREE 
-ith  every  Flash- 
rig  simulated 
Diamond  Solitaire 
Engagement  ring 
ordered  at  our  An- 
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offer  of  only  SI. 
SEND  NO  MONEY  with  order,  just  name  and  ring 
size.  10  days'  approval.  Your  package  comes  by  return  mail. 
EMPIRE  DIAMOND  CO.,  Dept.  246  W,  Jefferson,  Iowa 

SILK  DRESSES-IOc 

Men's  Suits  $2;  Coats  $1;  Shoes  50c;  Hats  40c.  Many 
other  low-priced  BABGAINS.    FREE  CATALOGUE. 
Send  name  on  postcard.  No  obligation.  Write  today. 
CROWN  CO.,  164  MO  Monroe  St..  New  York  City 


okayed  this  with  a  sly  grin.  Promptly, 
five  famous  movie  producers  phoned  and 
croaked,  "You  can't  make  bums  out  of 
us!  What  will  people  think?" 

"Our  office,"  Breen  will  explain  with- 
out necessary  prompting,  "cannot  always 
worry  about  what  people  will  think.  I 
get  about  two  hundred  letters  a  day  tell- 
ing me  what  to  put  in  or  leave  out  of 
movies.  The  only  way  we  can  satisfy 
everyone  and  still  put  a  villain  into  a 
film  is  to  have  him  a  white,  native  born 
American,  without  a  job,  and  with  no 
political,  social,  religious,  fraternal  or 
industrial  affiiliations.  Which  doesn't  al- 
low us  much  leeway  to  use  anyone  ex- 
cept Donald  Duck!" 

Once  every  week,  flanked  by  members 
of  his  staff,  Breen  rivets  his  keen  gaze  on 
virginal  celluloid  products.  In  one  hand 
he  holds  a  notebook,  and  into  it  he  makes 
his  important  notes.  Take  a  glance  at 
some  of  his  typical  and  more  historic 
jottings — 

To:  Mr.  Jack  Warner.  Re:  "Robin 
Hood." 

"I'm  afraid  political  censor  boards 
throughout  the  world  will  delete  the  ac- 
tion of  Errol  Flynn  as  Robin  Hood  kick- 
ing the  sheriff  in  the  stomach." 

To:  Mr.  Louis  B.  Mayer.  Re:  "Test 
Pilot." 

"Be  careful  with  the  attire  of  Gable 
lying  on  the  bed  in  Scene  376.  You  know, 
of  course,  that  audiences  find  distasteful 
scenes  of  men  clothed  only  in  their 
underwear.  The  business,  in  Scene  484, 
of  Myrna  Loy  spraying  perfume  behind 
her  ears  should  be  deleted.  Please  elim- 
inate the  word  "floozy"  in  Scene  36." 

On  every  picture  he  has  observed  for 
six  years,  Joe  Breen  has  made  these  terse 
reports.  And  the  producers,  aware  that 
he  is  their  good  will  ambassador  to  the 
public,  their  money-saver  with  pressure 
groups,  have  behaved. 

No  objectionable  scene  ever  escapes 
Breen's  eye.  No  word  of  objectionable 
dialogue  ever  goes  in  one  ear  and  out 
the  other.  In  "The  Old  Maid,"  you  may 
recall  Bette  Davis  has  an  illegitimate 


child.  Breen  and  his  workers  didn't  mind 
this.  But  they  didn't  want  it  given  too 
much  attention.  "Make  your  point," 
Breen  warned  Warners,  "and  then  leave 
it  and  go  on  with  the  picture!"  In  the 
first  version  of  "Juarez,"  there  was  a 
shot  showing  the  face  of  Maximillian, 
played  by  Brian  Aherne,  as  he  lay  dead. 
Breen  protested.  Said  it  wasn't  in  the 
best  taste.  It  was  scissored. 

In  "Naughty  But  Nice,"  Ann  Sheridan 
said  to  Dick  Powell,  "I'd  love  to  go  to 
college  and  study  under  you."  The  Purity 
Seal  was  withheld  until  this  two-edged 
sentence  lay  on  the  cutting  room  floor. 
In  an  M-G-M  auto  racing  show,  the 
words  "punk,"  "tramp"  and  "fast  worker" 
were  cut.  In  a  movie  with  Zorina,  Eddie 
Albert  was  shown  using  some  slugs  in- 
stead of  nickels.  Breen  frowned  and 
wrote,  "This  is  a  detail  of  crime  which 
might  too  easily  be  imitated.  Drop  it." 
In  a  recent  Selznick  picture,  the  navels 
of  Indians  appeared  on  the  screen.  Breen 
insisted  that  they  be  draped. 

TODAY,  with  Europe  aflame,  with  the 
foreign  market  a  corpse,  Hollywood 
producers  have  been  concentrating  on 
movies  for  the  South  American  trade. 

Joe  Breen,  after  studying  Latin  tastes, 
warned  filmville  big-wigs  not  to  present 
Latins  as  killers  or  to  place  violence 
against  South  American  backgrounds. 
Zanuck  attempted  this  with  "Four  Men 
and  a  Prayer,"  and  his  picture  was 
banned  in  South  America. 

Two  years  ago,  Peru  shelved  "Tale  of 
Two  Cities"  with  Ronald  Colman,  "Black 
Fury"  with  Paul  Muni,  and  "Beloved 
Enemy"  with  Merle  Oberon  because  they 
all  featured  mob  scenes  and  spy  plots. 
South  American  countries  don't  want 
their  hot-tempered  senors  to  get  ideas 
from  such  films.  They've  had  enough 
violence — 473  revolutions  in  the  last  cen- 
tury! For  similar  reasons,  Panama  re- 
fused to  display  "Armored  Car."  It  was 
a  gangster  film.  Mexico  banned  "Lawless 
Rider"  because  in  it  a  Mexican  character 
was  ridiculed  and  kicked  around. 


Heading  for  the  last  clown-up!  Harpo,  Groucho  and  Chico,  the  mad  Marx 
Brothers,  are  up  to  their  old  tricks  again  in  "Go  West."    This  is  the  funniest  one 
they've  ever  made — and  what's  more  it  has  lots  of  love  interest!    She's  beau- 
teous Marion  Martin,  erstwhile  Follies  girl  from  Philadelphia. 


CARRY  A  COMPLETE 


n  Your 
Purse 


f\  purse 

W:  COSMETICS 

Wonderful  Convenience,  Superior  Quality 
and  Amazing  Low  Cost  are  the  features  of 
Laymon's  Purse  Size  Cosmetics.  Sold  from 
self-help  displays  in  Drug  and  other  stores. 

WORLD'S  PRODUCTS  CO.,  Spencer,  Ind. 


SLIGHTLY 
HIGHER 
ROUGt        IN  CANADA 


82 


MODERN  SCREEN 


Breen's  troubles  are  endless.  Though  a 
picture  may  have  his  okay,  may  have  the 
okay  of  South  American  censors,  some- 
times it  still  brings  down  the  wrath  of 
Latin  churches.  Last  year,  after  a  movie 
showing  Dorothy  Lamour  with  too  much 
anatomy  and  not  enough  sarong  was  re- 
leased, placards  were  pasted  on  the  doors 
of  all  churches  in  Argentine.   They  read: 

"Fathers  and  mothers — Recognize  your 
responsibility.  One  single  hour  passed  in 
the  obscurity  of  a  cinema  that  shows  a 
bad  reel,  destroys  in  the  soul  of  your 
children  the  work  of  a  year  accomplished 
by  the  church,  the  home  and  the  school." 

To  fight  this,  Breen  has  now  advised 
Hollywood  producers  to  grind  out  pic- 
tures exalting  Latin  heroes  like  Simon 
Bolivar  and  has  increased  his  own  vig- 
ilance over  objectionable  scripts. 

LJOWEVER,  the  thing  that's  converted 
*  ■*  Breen  into  an  aspirin  consumer  has 
been  the  strict  censorship  of  films  outside 
the  Americas.  For,  no  matter  how  careful 
he  is,  there's  always  something  wrong. 
To  convince  you,  once  and  for  all,  that 
Breen  has  the  toughest  task  in  the  colony, 
thumb  over  some  of  these  foreign  cuts: 

Egypt  sliced  a  scene  showing  Jane 
Withers  escaping  from  an  orphanage. 
They  said,  "This  might  set  a  bad  example 
for  our  school  girls."  Dr.  Ahmed  Bey, 
their  head  censor,  also  barred  "British 
Agent,"  claiming  it  was  propaganda  for 
Communism. 

England,  very  touchy  about  dialogue, 
changed  the  line,  "The  fate  some  call 
worse  than  death"  to  the  inane  "The  fate 
some  call"  in  a  Leslie  Howard  movie. 
And  in  "The  Fighting  69th,"  they  deleted 
the  Lord's  Prayer  as  recited  by  Pat 
O'Brien.  Odd  thing  about  England  has 
been  that,  though  they'll  permit  any 
amount  of  nudity  and  sex,  they  won't 
accept  any  cruelty  to  animals. 

An  oriental  problem  child  for  Joe 
Breen  has  long  been  Japan.  They  barred 
one  Jack  Benny  comedy  because  "its 
wisecracks  are  too  low-brow  for  Japa- 
nese audiences."  In  "Knight  Without 
Armour,"  with  Marlene  Dietrich,  they 
slashed  all  scenes  that  might  give  movie- 
goers the  idea  that  war  wasn't  noble. 
In  the  past  year  Tokyo  censors  ripped 
8,000  feet  of  kisses  out  of  Hollywood's 
passionate  celluloid! 

After  a  long  day  of  reading  scripts, 
arguing  with  producers  and  actors,  star- 
ing at  new  movies — Joe  Breen  is  happy 
to  reach  his  comfortable  $60,000  home,  to 
relax  with  his  wife  and  four  children  and 
to  chat  with  his  neighbors,  Fredric  March 
and  Frank  Morgan.  He  does,  however, 
carry  censorship  into  his  own  home — the 
word  "taboo"  being  taboo! 

Thus,  my  friends,  are  your  movies 
made  to  behave.  Joe  Breen's  power  is 
limitless.  He  can  tell  off  millionaires.  He 
can  even  fly  to  foreign  countries  to  plead 
with  their  heads  on  a  debatable  point. 
But  there  is  one  type  of  censorship  he 
can't  do  a  thing  about.  It  came  up  not 
so  long  ago,  when  Breen  received  a  cable 
from  the  little  country  of  Estonia.  It 
seemed  they  had  banned  something 
labeled  "Double  Wedding."  Their  reason 
for  censoring  the  entire  film  was  very 
curt.  It  was  summed  up  in  one  pungent 
word,  "Worthless." 


INFORMATION  DESK 
MODERN  SCREEN 

149  Madison  Ave.,  New  York,  N.  Y. 

Please  send  me  your  newly  revised  chart  listing 
the  heights,  ages,  birthdays  and  marriages,  etc.,  of 
all  the  important  stars.  I  enclose  5c  (stamps  or 
coin)  to  cover  cost  of  mailing. 

Name  

Street  

City   State  ■ 


"I  was 


AND  THE  NEAREST 
DOCTOR  21  MILES  AWAY 


HELP!... I  needed  help, 
I  needed  it  quick.  My 
only  child  had  a  mean 
cold.  His  upper  air 
passages  were  clogged. 
He  was  coughing.  He 
felt  miserable. 


I  RAN  FOR  HELP ...  I  grabbed 
my  hat  and  ran  across 
fields  to  my  nearest  neigh- 
bor's. I  told  her  what  was 
wrong  with  my  child. 


IT'S  ONE  BEST  WAV .  .  . 

She  gave  me  some  real 
sound  advice,  about 
how  to  relieve  miseries 
of  a  cold,  and  a  jar  of 
Vicks  VapoRub.  She 
said:  "Be  sure  to  use  it 
the  improved,  better  way ! " 


LOOK!  ASLEEP  ALREADY!  .  .  . 

Thanks  to  her  priceless 
advice  —  and  the  IM- 
PROVED VapoRub  treat- 
ment— Bobby  soon  fell 
off  into  restful  sleep.  By 
morning,  most  of  the  mis- 
ery of  his  cold  was  gone. 


LET  THIS  "IMPROVED"  VICKS  TREATMENT 
HELP  YOU,  TOO 

No  matter  where  you  live ...  no  matter 
what  you  have  done  in  the  past  to  relieve 
misery  of  colds,  chest  colds,  coughing  colds 
.  .  .  discover  how  effective  the  "VapoRub 
Massage"  can  be! 


Perfected  by  Vicks  staff  of  Doctors,  the 
"VapoRub  Massage"  is  an  improved  way  to 
use  Vicks  VapoRub — and  make  its  valuable 
poultice-and-vapor  action  more  effective. 

You  simply  spread  Vicks  VapoRub  thick 
as  a  plaster  over  throat,  chest  and  back  (over 
the  area  where  you  can  feel  the  ribs).  Mas- 
sage and  rub  it  well  into  the  surface  skin 
for  3  full  minutes.  Then  watch  this  "VapoRub 
Massage"  treatment  bring  relief  from  dis- 
comfort and  misery  as  it .  .  . 

PENETRATES— soothing  medicinal 
vapors — released  by  body  heat — are 
breathed  into  the  irritated  air  passages. 

STIMULATES— works  on  chest  and  back 
like  a  warming  poultice  or  plaster. 

To  relieve  misery  of  children's  colds  and 
adult  colds,  too — to  loosen  phlegm,  ease 
coughing  and  muscular  soreness,  relieve 
localized  congestion — thousands  upon  thou- 
sands of  mothers  now  depend  on  "VapoRub 
Massage." 

REMEMBER  ...  To  get  all  the  benefits  of  this 
improved  Vicks  treatment  be  sure  to  use 
genuine,  time-tested  VICKS  VAPORUB! 

IF  YOUR  HUSBAND  SNORES  .  .  . 

Tonight  have  him  put  a  few  drops  of  Vicks 
Va-tro-nol  up  each  nosttil.  It's  an  effective 
way  to  help  clear  the  nose  when  it  is  clogged 
up  with  transient  congestion  that  hindets 
breathing,  spoils  sleep  and  often  causes 
snoring. 


SAY  M  A  N'S 


LATHERS  QUICKLY  in  hot  or  cold, 
hard  or  soft,  mineral,  alkali  or  salt 
water.  For  complexion,  hair,  bath, 
and  baby's  skin.  Write  Sayman. 

Dept.  15 -C, 
St  Louis,  Mo. 

REAL  HELP  with  your 

COOKING  PROBLEMS 

The  new  Modern  Hostess  COOK  BOOK 
will  help  you  prepare  those  delicious, 
well-balanced  wholesome  meals  that 
keep  the  whole  family  satisfied.  More 
than  just  a  collection  of  recipes,  this 
convenient  cook  book  offers  you: 

Pleasing  Food  Combinations 

Practical  New  Dishes 

Home-Tested  Recipes 

Basic  Stand-Bys 

Helpful  Hints  Buying  Guide 

Balanced  Menus  Party  Ideas 

It's  the  biggest  value  ever  offered  in  a 
cook  book — don't  fail  to  get  your  copy! 

The    MODERN  HOSTESS 

COOK  BOOK 

ON  SALE  OCT.  15TH  10^ 


SMART  FASHION  SPECIAL 


DESIGN 

rThe  new  smart  thing  to  wear  on  your 
lapel  or  pocket  ...  on  bags,  hats  or 
with  scarfs.  GRAND  FOR  GIFTS  TOO! 

HOLMES  S-EDWARDS 

SILVERPLATE 


NOVEMBER,  1940 


83 


so 


so 


This  "9-lb.  wonder"  is  just  about 
ideal  for  the  "occasional"  typist, 
student,  housewife.  See  also  the 
complete  line  of  Speedline  Coronas 
with  Floating  Shift! 

CORONA 

BEST  LIKED" 

CORONA 

ZEPHYR 
$2975 


MAIL  \ 
COUPON 

VLC  SMITH 
,      .  '  "  &  CORONA 

'     %hHe>^        typewriters  lnc 
Desk  11.  151  Almond 
Street,  Syracuse,  N.Y. 
I'm  thinking  of  buying  a  Corona.  Please  send  free 
folder  describing  □  Zephyr  □  Speedline. 

Name  

Address  .  

 _______  JjlSl*  


PSORIASIS 


(SCALY   SKIN  TROUBLE) 

D€RmOIL 


Prove  it  yourself  no  matter 
how  long  you  have  suffered 
or  what  you  have  tried. 
Beautiful  book  on  Psori- 
asis and   Dermoil  with 
true  photo- 
graphic  proof   of  re- 
sults also  FREE. 


assmg  scaly  skin 
disease  Psoriasis.  Apply 
non  -  staining  Dermoil. 

Thousands  do  for  scaly 
spots  on  body  or  scalp. 
Grateful  users,  often  after 
years  of  suffering,  report 
the  scales  have  gone,  the 
red  patches  gradually  dis- 
appeared   and    they  enjoyed 
thrill  of  a  clear  skin  again.  Dermon  is  .  . 

used  by  marry  doctors  and  is  backed  by  a  positive  agreement 
to  give  definite  benefit  in  2  weeks  or  money  is  refunded 
without  question.  Generous  trial  bottle  sent  FREE  to  those 
who  send  in  their  Druggist's  name  and  address.  Make  our 
famous  "One  Spot  Test"  yourself.  Write  today  for  your 
test  bottle.  Print  name  plainly.  Results  may  surprise  you. 
Don't  delay.  Sold  by  Liggett  and  Walgreen  Drug  Stores 
and  other  leading  Druggists.  LAKE  LABORATORIES,  Box 
547,    Northwestern    Station,    Dept.    1309,    Detroit,  Mich. 


the 


COLOR  V 
LIGHT  BROWN  to  BLACK  •  - 

Gives  a  natural,  youthful 

appearance.  Easy  to  use  in  the  clean^^w^ 

privacy  of  your  home;  not  greasy;  will  not 

rub  off  nor  interfere  with  curling.  For  30 

years  millions  have  used  it  with  complete 

satisfaction.  $1.35  for  sale  everywhere. 

i  FREE  SAMPLE  

J   BROOKLINE  CHEMICAL  CO.  Dept.  MII-40 

I   79  Sudbury  Street,  Boston,  Mass. 

J  Name  

I  Street   ! 

I  City     State   I 

|  GIVE  ORIGINAL  HAIR  COLOR  I 


FARIVS F0R  Qm  Hfl|R 


FINGER  FASHIONS 

(Continued  from  page  43) 


After  shaping  your  nails,  soak  your 
ringer  tips  in  warm,  sudsy  water  for  five 
or  ten  minutes.  Apply  a  softener  to  the 
nail  bases  and  sides,  and  push  back 
cuticle  with  an  orange  stick.  Clip  any 
rough  cuticle  edges  and  hangnails,  but 
do  as  little  cutting  as  possible.  It  only 
encourages  faster  growth.  There  is  a 
liquid  cuticle  remover  that  does  excellent 
work  and  practically  eliminates  cutting. 
After  using  it,  you  can  wipe  dead  cuticle 
away  with  a  towel. 

Now  rinse  your  hands  and  whiten  under 
the  nail  tips  with  paste  or  pencil.  Dry 
thoroughly  and  apply  your  polish.  Pow- 
der or  paste  polish  buffed  into  your  nails 
with  a  chamois-covered  buffer  smooths 
the  surface  for  liquid  polish.  Or  apply  a 
clear,  liquid  polish  foundation  and  let  it 
dry  thoroughly.  Liquid  polish  should  be 
applied  quickly,  with  not  more  than  three 
or  four  brush  strokes  (and  be  sure  there 
are  no  loose  hairs  in  the  brush  you  are 
using) .  The  exotic  type  of  nails  may  be 
covered  from  one  tip  to  the  other  with 
even  the  crescent  included.  If  yours  are 
the  artistic  type,  cover  the  nail  tips  but 
not  the  crescents;  if  they  are  creative, 
both  tips  and  crescents  may  be  exposed, 
though,  of  course,  to  make  the  fingers 
appear  longer  the  entire  length  should  be 
covered.  The  small,  very  ladylike  sort 
of  nails  may  look  best  with  both  tips  and 
crescents  exposed.  The  same  rule  applies 
to  your  rounded,  practical,  business- 
like nails.  A  coat  of  protector,  applied 
after  liquid  polish  has  dried,  will  make 
it  look  smoother  and  last  much  longer, 
too. 

WE'D  like  to  emphasize  that  working 
the  cuticle  back  and  snipping  it  is 
very  often  the  cause  of  split,  ragged  cu- 
ticle. Soften  yours  with  oils  and  creams, 
and  push  it  back  carefully  every  time 
you  wash  your  hands.  If  you  do  this 
while  the  cuticle  is  soft  and  easily  con- 
trolled, you'll  save  yourself  a  lot  of  cut- 
ting and  the  resultant  danger  of  infection. 
Hangnails  often  come  from  abuse  of  the 
cuticle,  the  use  of  inferior  brushes  and 
the  general  neglect  of  hands  that  other- 
wise might  be  soft  and  femininely 
charming.  Brittle  nails,  on  the  other  hand, 
may  be  caused  by  too  much  exposure 
to  water,  sun  or  soil,  as  well  as  to  neglect 
in  using  oils  and  lotions  regularly.  Your 
diet  may  also  be  at  fault.  Foods  rich  in 
calcium  and  minerals  are  essential  to 
strong,  pliable  nails.  They  are  nourished 
from  within  and  you  can't  expect  exter- 
nal preparation  to  take  the  place  of 
a  sensible  diet. 

Hands  that  are  clean  and  soft  and 
smooth  are  always  in  fashion.  Colors 
come  and  go,  shapes  you  have  little 
control  over,  but  a  perfectly  groomed, 
graceful  feminine  hand  is  a  force  to 
reckon  with  and  a  fashion  that  is  never 
dated. 

Have  you  tried  that  quick,  pleasant, 
effective  dead  cuticle  softener  called 
Trimal?  If  you  haven't,  you're  in  for  a 
treat  and  a  pleasant  surprise,  for  this 
remarkable  new  preparation  will  keep 
your  cuticle  well  groomed  and  attractive 
sans  scissors,  believe  it  or  not.  All  you 
do  is  wrap  a  piece  of  cotton  around  the 
end  of  an  orange  wood  stick,  saturate 
same  with  Trimal  and  apply  it  to  the 
cuticle  around  your  nails.  For  the  best 
results,  begin  at  each  nail  center  and 
work  forward  around  the  sides,  pushing 
cuticle  back  gently.  Allow  it  to  remain  a 
couple  of  minutes,  then  soak  your  fingers 


for  a  few  seconds  in  warm  water,  and 
just  wipe  dead  cuticle  away  with  a  dry 
towel.  It's  as  safe  and  simple  as  all  that! 
Trimal  (pronounced  Trim-all)  is  what 
you  ask  for  at  any  drug,  department 
or  five  and  ten  cent  store.  Try  it  it  you 
want  a  new  manicure  thrill. 

WE  are  very  enthusiastic  about  a  com- 
pletely new  and  different  family  of 
nail  beautifying  products  called  "Pledge" 
that  are  this  very  minute  being  intro- 
duced in  stores  all  over  the  country. 
They  are  really  quite  revolutionary,  too, 
for  they  all  are  in  cream  form  and  come 
in  tubes.  There's  the  Pledge  oilized 
cream  cuticle  softener,  Pledge  oilized 
nail  polish  remover,  Pledge  cream 
(mind  you)  nail  enamel  and  Pledge 
oilized  nail  cream.  All  come  in  at- 
tractive pastel  colored,  self-feeding  tubes. 
The  nail  enamel  and  cuticle  softener  have 
brushes  right  inside  the  tubes  and  they 
can't  spill  and  won't  evaporate.  Pledge 
cream  nail  enamel  will  not  thicken,  streak 
or  fade.  It  is  fast  drying — long  lasting, 
too,  and  will  not  harm  your  nails.  These 
preparations  are  excellent  for  traveling. 
In  fact,  their  tube  containers  are  handy 
to  use  anywhere.  With  Pledge  oilized 
cuticle  softener  you  need  no  orange  stick 
or  cotton  either.  Just  whisk  it  on  with 
the  self-feeding  brush  tube  to  soothe, 
soften  and  remove  ragged  cuticle.  It  is 
a  thorough  and  rapid  cuticle  treatment 
all  by  itself.  Pledge  oilized  nail  cream 
keeps  nails  strong  and  pliable  and 
Pledge  polish  remover  is  quick,  handy, 
and  will  not  destroy  rayon,  cotton  or 
woolen  fabrics.  You'll  like  these  new, 
modern  manicuring  preparations,  we're 
sure. 

The  Cutex  nail  polish  people  have  just 
brought  out  two  grand  new  red  shades 
called  Rumpus  and  Riot — colors  that 
many  girls  will  simply  dote  on.  They're 
definitely  shades  for  dates — clear,  accent- 
making,  head-in-a-whirl  colors  for 
young-up-and-comers  who  aren't  afraid 
to  be  dramatic. 

Giddy  as  a  football  date,  Cutex  Riot  is 
the  clear  ringing  red  that  highlights 
skin  tones,  the  kind  of  deep,  sophisticated 
shade  that  gives  your  hands  that  "going- 
places"  look. 

Cutex  Rumpus  nail  polish  is  deep  red 
in  another  key — the  shade  you  switch  to 
when  your  costume  swings  to  wines  and 
burgundies.  It's  electric  red — that  most 
flattering  of  reds  with  a  blue-flame 
undertone — the  shade  to  wear  with  black- 
berry, maroon  and  purple-toned  browns. 
Cutex  Rumpus  polish  is  also  smooth  with 
pastel  evening  frocks,  smoother  yet  with 
black. 

The  makers  of  Cutex  polish  have  dis- 
covered a  new  angle  on  the  problem  of 
brittle  nails,  too.  It  has  been  definitely 
established  that  nails  require  moisture, 
even  as  the  skin  does.  They  give  off  mois- 
ture and  absorb  it  from  the  air.  If  this 
natural  process  is  interfered  with,  nails 
dry  out  and  split.  So,  to  safeguard  nails, 
polishes  should  be  porous. 

It  has  been  shown,  in  a  series  of  lab- 
oratory tests,  that  Cutex  liquid  nail  pol- 
ish has  unusually  high  porosity.  In 
other  words,  you  can  be  sure  when  you 
wear  Cutex  polish  that  your  nails  are 
not  sealed  away.  This  may  mean  the 
end  of  your  nail  difficulties — splitting, 
breaking  and  many  of  the  ailments  that 
result  when  the  nails  are  cut  off  from 
all  moisture.  The  idea  is  certainly  worth 
a  trial,  and  we  know  you'll  be  pleased. 


84 


MODERN  SCREEN 


DON'T  COVER  UP  A 
POOR  COMPLEXION 


Let  the  famous  medicated 
cream  that's  aided  thousands 
help  clear  up  your  complexion 

•  Don't  let  a  poor  complexion  cheat  you  of 
a  lot  of  life's  fun!  Don't  go  around  "covering 
up"  a  skin  that's  rough-looking  or  marred  by 
externally  caused  blemishes !  You  may  be  mak- 
ing those  very  flaws  you  wish  to  hide  worse! 

Do  as  millions  of  beauty-wise  modern  wom- 
en are  doing  today  — let  Noxzema,  the  dainty, 
snow-white  Medicated  Skin  Cream  help  restore 
your  natural  skin  beauty. 

Works  24  Hours  a  Day! 

Here's  a  beauty  aid  that  can  work  24  hours 
of  every  day  to  help  improve  your  complex- 
ion .  .  .  It's  not  only  an  effective  Night  Cream 
— it's  a  grand  Powder  Base,  too... All  during 
those  24  hours  Noxzema  is  working  for  your 
skin  —  helping  reduce  enlarged  pores  with  its 
mildly  astringent  action. ..softening  skin.. .sooth- 
ing irritated  skin  surface  and  helping  heal  up 
externally  caused  skin  blemishes. 

Nurses  first  discovered  how  Noxzema  helped 
soften  and  whiten  red,  rough  hands.  Now  thou- 
sands of  women  rely  on  this  remarkable  cream 
not  only  to  help  their  hands  but,  more  important, 


their  complexions  to  greater  beau- 
ty. For  a  limited  time  you  can  get 
the  latge  75^  Boudoir  Jar  of  Nox- 
zema for  only  49  £.  Get  a  jar  today 
at  your  nearest  drug  or  dept.  store. 


SPECfAL 

15*  MR  ON ty 

49* 


m  w/a 

message  to  women  suffering  functional 

■■■  mm  ■  i  r  nir  a  i#  II r  * 


PJfcflKiJtC 


.IIIflLI.    If  iff  fill  M» 


MOVIE  REVIEWS 

(Continued  from  page  17) 


All  in  all,  it's  a  good  show,  and  a  lot  of 
show.  Go  see  it.  Directed  by  Jack 
Conway. — Metro-Goldwyn-Mayer. 

PREVIEW  POSTSCRIPTS:  It  required 
27  varied  location  sites  and  a  total  of  41 
sets  to  screen  this  story.  .  .  .  Metro  built 
a  boom  town  of  its  own  for  this  picture. 
.  .  .  Clark  Gable  has  been  suggesting  an 
oil  story  for  himself  for  about  three 
years;  at  the  age  of  18  he  worked  as  a 
tool  dresser  in  Bigheart,  Oklahoma.  .  .  . 
Spencer  Tracy  sets  a  new  record  for  him- 
self in  screen  fisticuffs,  engaging  in  five 
battles;  this  is  the  second  time  he  and 
Gable  fight  each  other  in  films,  although 
the  last  time,  in  "San  Francisco,"  they 
wore  boxing  gloves.  .  .  .  Gable  is  two 
inches  taller  in  the  picture  than  he  ever 
has  been.  Four-inch  heels  on  his  boots 
do  the  trick;  Gable  had  more  changes  of 
outfits  in  the  film  than  Miss  Colbert  and 
Miss  Lamarr  combined.  He  changed 
clothes  25  times;  Claudette,  17;  Hedy,  7; 
Tracy  had  18  changes.  .  .  .  Hedy  Lamarr 
plays  her  first  siren  role.  She  cut  her 
hair  four  inches  for  the  part.  .  .  .  Clau- 
dette celebrated  her  tenth  year  of  wear- 
ing bangs  during  this  picture.  .  .  .  On  the 
day  that  Gable  and  Carole  Lombard  cele- 
brated their  real-life  first  wedding  anni- 
versary, Gable  and  Claudette  celebrated 
their  screen-life  first  wedding  anniver- 
sary in  the  picture.  .  .  .  The  picture 
marks  the  first  reunion  of  Clark  and 
Claudette  since  they  both  won  Academy 
Awards  in  "It  Happened  One  Night".  .  .  . 
In  the  Gable-Tracy-Morgan  drinking 
scene,  they  were  each  permitted  to  drink 
what  they  preferred.  Clark  chose  cider, 
Tracy  picked  soda  water,  and  Frank 
asked  for  unsweetened  cold  tea. 

***  The  Great  Profile 

"The  Great  Profile"  is,  of  course,  the 
film  of,  by  and  about  "The  Great  Pro- 
file" who,  in  case  you  have  forgotten, 
is  occasionally  called  John  Barry  more. 
It  is  a  strange  sort  of  film,  well  off  the 
beaten  path.  It  will  make  you  laugh 
hilariously  and  again  will  sadden  you. 

Imagine  an  actor  of  Barrymore's  stand- 
ing and  position  getting  out  on  a  stage 
and  saying  "Look  at  me.  I  am  a  fool. 
Laugh  at  me."  And — darn  it — making 
you  laugh!  It's  good-natured;  it's  swell 
fun;  but  some  of  us  gray-bearded  gents 
of  the  old  school  who  sat  at  the  preview 
couldn't  help  thinking  that,  if  any  other 
actor  did  to  Barrymore  what  Barrymore 
does  to  Barrymore  in  this  picture,  we'd 
be  mad  enough  to  take  a  sock  at  some- 
one.   It's  that  cruel. 

There  isn't  much  of  a  story.  All  the 
authors  tried  to  do  was  lead  Barrymore 
on  and  leave  him  alone.  Vaguely,  it's 
tied  around  his  recent  escapades  with 
his  play,  "My  Dear  Children,"  and  his 
wife,  Elaine  Barrie.  It  tells,  uncompro- 
misingly but  amusingly,  about  his  bat- 
tles with  John  Barlycorn.  It  shows  how 
he  made  a  poor  play  big  box  office  by 
the  simple  method  of >w misbehaving  •  in' 
public. 

No,  of  course  Barrymore  does  not  play 
all  the  roles,  but  it's  pretty  hard  for  any 
actor  or  actress  to  make  any  kind  of  a 
showing  in  a  film  wherein  he  runs  wild. 
Maybe  that  excuses  Mary  Beth  Hughes, 
who  looks  pretty  in  the  role  of  his  wife. 
Gregory  Ratoff  sputters  a  lot  and  is 
funny  for  moments  as  Barrymore's  man- 


Few  women  today  are  free  from 
some  sign  of  functional  trouble. 
Maybe  you've  noticed  YOURSELF 
getting  restless,  moody,  nervous, 
depressed  lately — your  work  too 
much  for  you — 

Then  why  not  try  Lydia  E. 
Pinkham's  Vegetable  Compound 
to  help  quiet  weary,  hysterical 
nerves,  relieve  monthly  pain 
(cramps,  backache,  headache)  and 


weak  dizzy  spells 
due  to  functional 
disorders. 

For  over  60 
years  Pinkham's 
Compound  has 
helped  hundreds 


of  thousands  of  weak,  run-down, 
nervous  "ailing"  women  and  girls 
to  go  smiling  thru  "difficult  days." 
WORTH  TRYING! 


FREE 


ENLARGEMENT 

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Name.  .  . 
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Color  of  Hair 


Color  of  Eyes 


NOVEMBER,  1940 


85 


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YOUR  CHOICE  of  Jeweled  Elgin.  Waltham 
"linols  wrist  watch.  New  styled  sire  0 
Reconstructed  movement.  Accuracy 
inteed.  Given  with  every  Simulated 
ond  ring  when  ordered  and  paid  for 
ur  purchase  privilege  plan.  Payments: 
$3.50  down,  within  20  days  after  arrival,  at 
r  post' office.  Balance  of  $3.50  anytime 
within  a  year  (total  only  $7.00).  " 

»st  of  watch  is  included  in  price  of  the 
Extra  surprise  free  gift  enclosed  for 
promptness.  Send  NO  money  with  order. 
vJust  rush  name,  adddress,  rinc 
/by  return  mail  in  special  gift  box.  postpaid. 

A.  HAMILTON  JEWELERS 
TopeVa,  Kansas  Dept.  MM-110 


WAKE  UP  YOUR 
LIVER  BILE  - 

Without  Calomel — And  You'll  Jump  Out 
of  Bed  in  the  Morning  Rarin'  to  Go 

The  liver  should  pour  2  pints  of  hile  juice  into 
your  bowels  every  day.  If  this  hile  is  not  flowing 
freely,  your  food  may  not  digest.  It  may  just  de- 
cay in  the  bowels.  Then  gas  bloats  up  your  stom- 
ach. You  get  constipated.  You  feel  sour,  sunk  and 
the  world  looks  punk. 

It  takes  those  good,  old  Carter's  Little  Liver 
Pills  to  get  these  2  pints  of  bile  flowing  freely  to 
make  you  feel  "up  and  up."  Get  a  package  today. 
Take  as  directed.  Amazing  in  making  bile  flow  free- 
ly.  Ask  for  Carter's  Little  Liver  Pills.  10^  and  25^. 


CROSS  MY  HEART- 

*  QUEST  (the  Kotex  deodorant 
powder)  positively  eliminates 
all  body  and  sanitary 
napkin  odors. 


ager.  There's  a  cute  little  trick  named 
Anne  Baxter  who  looks  as  if  she  may 
have  star  dust  in  her  hair. 

Oh,  and  John  Payne  is  fine  as  Anne's 
fiancee.  But  it's  Barrymore  who  counts, 
and  you  won't  forget  it,  for  he  keeps  re- 
minding you  of  it  all  the  time.  Directed 
by  Walter  Lang. — 20th  Century-Fox. 

PREVIEW  POSTSCRIPTS:  Barrymore 
has  himself  on  the  most  curious  diet  in 
town  these  days — 24  bottles  of  soda  pop 
daily;  says  it  keeps  him  away  from 
stronger  stuff.  .  .  .  In  spite  of  all  the 
stories  about  him  (most  of  which  he  tells 
about  himself)  Barrymore  is  considered 
one  of  the  most  co-operative  stars  in 
Hollywood.  Ask  the  props  or  cameramen, 
if  you  don't  believe  us.  .  .  .  When  he  ar- 
rived to  take  the  assignment,  he  was 
housed  in  the  just-vacated  Shirley  Tem- 
ple bungalow.  After  three  days,  the  pink 
elephants  on  the  wall  got  him  and  he 
solemnly  asked  for  "a  transfer  to  the 
men's  dormitory".  .  .  .  Barrymore  never 
learns  his  lines  for  a  movie;  he  prefers 
reading  them  off  a  blackboard.  .  .  .  This 
is  Anne  Baxter's  first  picture  at  the 
studio,  although  Twentieth  discovered 
her  on  Broadway  and  brought  her  out 
here;  she  was  loaned  to  M-G-M  and 
made  her  debut  in  "Twenty  Mule  Team." 
She's  only  17  and  graduated  from  high 
school  during  the  filming  of  this  yarn. 
.  .  .  Gregory  Ratoff  says  this  is  positively 
his  last  acting  job.  He  prefers  directing, 
says  he  will  never  see  this  film  because 
it's  his  "goodbye  to  acting." 

Lucky  Partners 

Have  you  ever  thought  of  a  very  good 
idea  and  carried  it  out  the  best  way  you 
knew  and  it  was  okay  but,  somehow,  not 
what  you  thought  it  was  going  to  be? 
That's  "Lucky  Partners."  A  grand  idea, 
swell  actors,  a  good  deal  of  charm  and 
pleasant  play-acting — but  all  the  way 
through  you  keep  thinking  it  might  have 
been  better.  Which  is  probably  unfair, 
because  it's  pretty  doggone  good. 

Ginger  Rogers  is  teamed  for  the  first 
time  with  Ronald  Colman,  and  they 
make  an  interesting  combination.  They 
play  excellently  opposite  one  another  and 
Ronnie  is  better  here  than  he  has  been 
in  a  long  time.  The  test  of  any  acting 
role,  of  course,  is  to  close  your  eyes  and 
try  to  imagine  some  other  actor  in  the 
part.  Well,  you  can't  do  it  with  either 
Colman  or  Ginger.  The  roles  were  made 
for  them. 

It's  a  rather  Puck-ish  story  idea  with 
Ronald  and  Ginger  going  off  on  a  trip 
together.  They  are  not  romantically  in- 
terested in  each  other;  they  register  at 
the  hotel  as  brother  and  sister  just  for 
the  convenience  of  it,  and  they  mean 
absolutely  no  harm.  It's  all  in  the  spirit 
of  good,  clean  fun  and  they  are  both 
sure  that  they  can  handle  it.  But  this 
nasty  old  world,  of  course,  thinks  dif- 
ferently. 

Well,  that's  the  plot,  and  the  authors 
do  not  develop  it  in  the  fast,  farcial 
fashion  that  they  might  have,  but  rather 
in  a  charming,  slow-paced  witty  manner. 
You  practically  never  burst  out  into  long, 
loud  laughter,  but  you  constantly  have 
a  warm,  gratified  feeling.  It's  nice  and 
you  smile  pleasantly  as  you  leave  the 
theatre. 

There  are  other  parts  in  the  film  be- 
sides those  of  Ginger  and  Ronald,  but 
the  two  stars  carry  about  ninety  per- 
cent of  the  footage  between  them.  Di- 
rected by  Lewis  Milestone. — RKO-Radio. 

PREVIEW  POSTSCRIPTS:  Sacha  Guitry 
wrote  the  play  "Good  Luck,"  on  which 
this  film  was  supposed  to  have  been 


based,  but  only  his  opening  kickoff  was 
retained.  .  .  .  This  is  the  seventh  Ginger 
Rogers  vehicle  in  which  Jack  Carson  has 
appeared;  he  has  his  best  part  in  this 
one,  a  new  version  of  Ralph  Bellamy.  .  .  . 
Among  the  extras  is  Charlotte  Henry. 
Remember  her  as  the  star  of  "Alice  in 
Wonderland"  only  a  few  years  ago? 
Wonderland,  indeed!  .  .  .  Spring  Bying- 
ton  spends  her  spare  time  inventing 
gadgets.  Ask  her  for  the  use  of  her 
onion  goggles,  to  prevent  tear-ing,  some 
day.  .  .  .  Ginger  dances  in  this  one,  for 
the  first  time  in  four  pictures.  But  it's 
only  an  old-fashioned  polka,  and  for  but 
a  moment.  .  .  .  Leon  Belasco  has  his 
best  role  thus  far  as  a  comic,  bartender. 
He  used  to  be  a  high-class  orchestra 
leader  but  gave  it  up  to  make  his  way 
as  an  actor;  it's  been  a  long  haul.  .  .  . 
Lewis  Milestone,  the  director,  is  best 
known  for  heavy  dramas  he  directed — 
"All  Quiet  on  the  Western  Front,"  "Of 
Mice  and  Men"  and  "The  Last  Mile,"  but 
he  prefers  comedies. 

**'/2  He  Stayed  for  Breakfast 

It's  pretty  hard  to  pan  a  picture  which 
has  Loretta  Young  and  Melvyn  Douglas 
as  stars,  especially  when  both  of  them 
turn  in  swell  acting  jobs,  but  this  film 
just  won't  make  most  audiences  happy. 
It  is  very  funny  in  spots  but  a  good  deal 
of  the  humor  is  limited  in  its  appeal; 
you  have  to  know  the  subject  that  is 
being  kidded  to  understand  the  jokes. 

It  seems  that  Melvyn  Douglas  is  a 
Communist — now  don't  take  that  liter- 
ally, it's  just  a  part  he  plays  in  the  pic- 
ture!— and  he  takes  a  shot  at  Eugene 
Pallette,  who's  a  rich  banker.  Running 
away  from  the  police,  Melvyn  hides  in  a 
luxurious  apartment  which,  by  one  of 
those  coincidences  occurring  only  in  the 
movies,  belongs  to  Pallette's  wife,  Loretta 
Young.  Then  there's  a  lot  of  complica- 
tion, and  Melvyn  and  Loretta  fall  in 
love.  (It's  established  early  in  the  film 
that  Loretta  doesn't  love  her  rich  hubby, 
so  this  part  of  it  is  okay  with  Papa 
Hays.)  Eventually,  Melvyn  realizes  the 
error  oi  his  ways,  denounces  Commun- 
ism and  decides  to  be  a  plain,  ordinary, 
freedom-loving  citizen. 

You  will  like  the  role  Douglas  plays 
here,  and  he  handles  it  deftly  and  charm- 
ingly. But  it  will  remind  you  that  he  also 
played  a  similar  role  in  "Ninotchka." 
One  of  the  good  things  that  can  be  said 
about  the  picture — if  she'll  forgive  us 
for  calling  her  "a  good  thing" — is  Loretta 
Young.  You've  never  seen  her  looking 
so  well  or  dressed  so  beautifully.  It's 
almost  worth  the  price  of  admission  just 
to  get  a  peep  at  her  gowns.  And  Una 
O'Connor  gets  a  break  in  a  good  comedy 
role.  Directed  by  Alexander  Hall. — 
Columbia. 


PREVIEW  POSTSCRIPTS:  Douglas' 
scenes  were  shot  first  in  order  to  make 
it  possible  for  him  to  attend  the  Demo- 
cratic National  Convention;  he's  the  first 
actor  to  be  named  a  delegate  to  a  na- 
tional political  convention.  .  .  .  Loretta 
Young  wears  18  different  dresses  here, 
and  all  but  four  required  different  hair- 
do's. .  .  .  Eugene  Pallette,  as  Loretta's  es- 
tranged husband  who  still  carries  a  torch 
for  her,  handles  his  first  romantic  assign- 
ment since  1910;  he  was  Norma  Tal- 
madge's  leading  man  then,  remember? 
.  .  .  Una  O'Connor  drank  coffee  during 
her  drunk  scene;  she  says  it  always 
makes  her  slightly  dizzy.  .  .  .  Director 
Hall  managed  to  insert  a  night  club  se- 
quence; strangely  enough,  there  has  been 
one  in  each  of  his  last  16  pictures. 


86 


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tAt*  Dance,  Girl,  Dance 

It  is  our  sad  duty  to  report  that  this 
one,  in  spite  of  a  swell  cast,  just  misses 
being  good. 

It  has  lovely  Maureen  O'Hara  in  the 
role  of  a  sweet,  unspoiled  dancing  kid, 
and  Lucille  Ball  in  the  role  of  "Tiger 
Lily,"  a  burlesque  queen.  Their  per- 
formances will  be  remembered  long  af- 
ter the  film  itself  is  forgotten.  If  it  were 
only  the  story  of  these  two  kids  strug- 
gling up  from  the  chorus — one  to  the 
ballet,  the  other  to  a  bankroll — it  would 
have  been  great.  But  no.  The  authors 
and  producers  had  to  get  it  all  mixed  up 
with  a  lot  of  psychological  stuff  about 
Louis  Hayward  and  his  wife,  Virginia 
Field,  who  are  always  drinking  and  bat- 
tling just  because  they  have  too  much 
money  (or  is  that  the  reason?)  and  a 
thickish  slice  of  whimsy,  to  boot. 

But  Maureen  O'Hara  is  in  it,  and  she's 
lovely.  And  that  Lucille  Ball  dame — 
there  is  a  wench  you  will  want  to  see 
and  remember.  Directed  by  Dorothy 
Arzner. — RKO-Radio. 

PREVIEW  POSTSCRIPTS:  Erich  Pom- 
mer,  who  produced  the  film,  was  one  of 
the  greatest  film  producers  on  the  Con- 
tinent before  politics  chased  him  to  Eng- 
land and  then  to  America.  .  .  .  Maureen 
O'Hara,  whose  third  RKO  picture  this  is, 
was  discovered  by  Charles  Laughton  in 
England  and  put  under  personal  contract 
by  him;  he  turned  this  contract  over  to 
RKO  just  before  she  was  put  into  the 
role  opposite  him  in  "Hunchback  of 
Notre  Dame."  .  .  .  Dorothy  Arzner  is  the 
only  woman  ever  to  have  obtained  top 
rank  as  a  director  in  America;  she  used 
to  be  a  film  cutter  before  Joan  Craw- 
ford got  her  a  break.  .  .  .  More  than  30 
days  were  spent  in  dance  rehearsals  be- 
fore filming  began.  .  .  .  Lucille  Ball 
danced  one  entire  day  in  her  "Jitterbug 
Bite"  number  in  a  silver  lame  dress 
which  weighed  26V2  pounds;  she  took 
two  days  off  to  recuperate.  ...  A  fire 
prevention  guard  was  hired  to  follow 
Maureen  and  Lucille  around  when  they 
wore  their  cellophane  hula-hula  cos- 
tumes. .  .  .  Ralph  Bellamy  gave  up  a  trip 
to  Alaska  aboard  Frank  Morgan's  yacht 
to  play  in  "Dance,  Girl,  Dance"  largely 
because  in  this  picture  he  actually  gets 
the  girl. 


IS  GARY  GRANT  THE 
PERFECT  BOY  FRIEND? 

(Continued  from  page  27) 


He'll  keep  it  light.  It's  more  amusing 
that  way.   And  it's  safer. 

Since  he's  a  highly-publicized  movie 
star  with  a  large  income,  there's  always 
the  possibility  that  a  girl  may  not  be 
interested  in  him  for  himself  alone.  And 
he's  on  guard  against  that  possibility.  He's 
not  going  to  get  serious  until  he  knows 
it's  safe.  Not  till  he's  learned  that  she's 
an  honest,  time-tested  friend.  Then  he 
can  be  serious  enough. 

He  encourages  a  girl  to  be  honest  with 
him  by  being  honest,  himself.  He's  no 
soft-spoken  flatterer,  no  smoothie.  He's 
politely  blunt. 

He  also  encourages  a  girl  to  feel  petite, 
being  six  feet  one  himself,  with  extra -size 
shoulders.  He's  a  lot  of  man.  And  he 
has  a  lot  of  masculine  energy.  He's  quick- 
spoken,  quick-motioned.  A  girl  has  to 
talk  fast  and  move  fast  to  keep  up  with 
him. 

He  can't  be  happy  very  long  in  a  small 
room.  He  feels  too  confined.  An  evening 
in  the  cosiest  living  room  gives  him  the 


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87 


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jitters.  That's  why  he  usually  takes  a 
girl  out.  That,  and  the  fact  that  it's 
harder  to  be  serious  in  a  crowd. 

If  he  takes  her  to  dinner,  she  can  count 
on  his  ordering  a  sumptuous  meal.  (He 
likes  to  order,  to  prove  he  knows  her 
tastes.)  If  he  takes  her  dancing,  she  can 
rely  on  him  to  dance  every  dance — 
whether  it's  a  waltz  or  rhumba.  He's  no 
Astaire,  but  he's  a  lot  of  fun.  Get  him 
on  his  feet  and  he's  more  apt  to  think  of 
amusing  things  than  when  he's  sitting 
down. 

He's  allergic  to  solitude.  He  likes  to  be 
with  people.  He  pricks  up  his  ears — sort 
of  Puck-ish  ears,  they  are — every  time 
he  hears  the  word  "party."  He  likes 
parties  so  well  that  he  gives  one  every 
week-end  himself.  It's  always  "open 
house"  at  Cary  Grant's  on  Sunday.  He's 
a  fall  guy  for  any  kind  of  parlor 
game,  and  he'll  play  as  if  his  life  depended 
on  it. 

The  future  Mrs.  Grant  might  keep  in 
mind  that  he's  enthusiastic  about  enter- 
taining hordes  of  people.  In  fact,  he's  an 
enthusiast  about  everything  he  enjoys 
doing.  He  doesn't  take  anything  for 
granted.  He  reacts  to  everything — and 
everybody.  If  he  likes  people,  he  shows 
it.  If  he  doesn't  like  them,  he  shows  that, 
too.'  People  know  when  he's  mad.  They 
know  when  he's  harassed.  They  know 
when  he's  happy.  Everything  registers 
on  that  face  of  his. 

He  could  never  get  along  with  a  passive 
woman. 

Virginia  Cherrill  wasn't  passive.  That 
wasn't  why  she  and  Cary  couldn't  get 
along.  According  to  insiders,  Virginia 
thought  a  wife  should  help  her  husband 
handle  the  family  funds,  and  Cary 
thought  he  was  capable  of  handling  them 
alone. 

If  the  story  is  true,  it  seems  safe  to 
predict,  the  next  time  he  marries,  Cary 
will  have  it  understood  in  advance  that 
he'll  handle  his  finances,  himself. 

He's  a  man  who  will  ask  a  woman  what 
she'd  like  to  do,  but  he's  a  man  who  won't 
stand  for  her  telling  him  what  to  do. 

ACCORDING  to  an  eye-witness,  the 
■  first  time  he  played  with  one  tem- 
peramental star,  she  started  telling  him 
how  he  ought  to  play  the  role.  Cary,  so 
the  story  goes,  simmered  a  while  and  then 
exploded,  telling  her  that  he  thought  he 
could  do  his  own  acting  and  suggesting 
that  she  pay  attention  to  hers.  He  stood 
a  chance  of  losing  his  role.  But  he  blew 
up,  anyway.  He  didn't  know  that  his 
blow-up  would  lead  to  a  beautiful  friend- 
ship! 

No  woman  can  "do  him  wrong"  and  get 
away  with  it. 

When  he  was  still  at  Paramount,  the 
Front  Office  suggested  him  to  a  certain 
star  as  her  next  leading  man.  At  that 
time,  appearing  opposite  her  would  have 
been  a  tremendous  boost  to  his  career. 
She  turned  him  down.  She  wanted  "a 
bigger  name."  A  few  years  later,  she 
had  slipped  and  he  was  a  big  star.  An- 
other studio  suggested  her  to  Cary  as 
his  next  leading  lady.  Playing  opposite 
him  would  have  given  her  career  new 
life.    He  "wasn't  interested." 

Yet  no  one  can  say  that  he  isn't  gener- 
ous. He  gave  his  entire  salary  for  "The 
Philadelphia  Story"— $125,000— to  the  Red 
Cross.  No  other  star  in  Hollywood  has 
made  a  gesture  like  that. 

When  he  bought  a  house  a  few  months 
ago,  people  regarded  it  as  positive  proof 
that  he  was  thinking  of  marrying  before 


very  long.  "What  could  a  bachelor  want 
with  a  big  place  like  that?" 

They  didn't  know  that  he  likes  space. 
He  likes  his  own  idea  of  comfort,  not 
some  hotel  manager's.  And  he  likes 
ocean  swimming.  So,  several  years  ago, 
he  moved  out  of  a  bachelor  apartment 
and  into  a  rented  house  on  the  beach  at 
Santa  Monica.  He  tried  to  buy  then,  but 
the  owner  wouldn't  sell.  Finally,  this 
other  house  went  up  for  sale — and  Cary 
saw  his  chance  to  have  a  permanent 
home  just  where  he  wanted  to  live  indefi- 
nitely. After  all  those  years  of  barn- 
storming and  struggling,  he  appreciates 
the  permanence  of  a  home. 

Six  days  a  week  it's  a  bigger  house 
than  he  needs.  But  on  Sunday,  when  the 
gang's  there,  it  isn't  too  large. 

When  a  man  reaches  35 — which  Cary 
frankly  admits  he  is — he's  firmly  estab- 
lished in  his  habits.  A  woman  can't  hope 
to  do  much  about  changing  them. 

So  let's  look  into  the  Grant  habits 
around  the  house. 

Anyone  who  provides  meals  for  him 
has  to  have  a  large  supply  of  patience.  He 
never  can  tell  the  cook  in  the  morning 
what  time  to  have  dinner  ready  at  night. 
He  phones  when  he  leaves  the  studio, 
which  gives  her  a  half-hour's  warning. 
It  isn't  every  cook  who  could  bear  up 
under  such  treatment.  Or  Cary's  discon- 
certing habit  of  inviting  people  to  dinner 
without  warning  the  culinary  expert. 

/^ARY'S  cook  happens  to  like  working 
^  for  him  because  he  lets  her  decide 
what  he'd  like  for  dinner.  He  isn't  fussy 
about  food.  He'll  eat  anything  that's  put 
before  him,  if  it's  well-cooked.  That 
would  seem  to  indicate  that  he's  a  man 
with  simple  tastes. 

He's  fussy  about  neatness.  He  goes 
around  tidying  up  footstools,  emptying 
ash-trays,  straightening  magazines.  What 
do  you  make  of  that — an  orderly  mind? 

Yet,  contradictorily,  he's  absent-mind- 
ed. He'll  step  out  of  the  shower  and 
forget  to  turn  off  the  hot  water.  And  he 
has  a  habit  of  tossing  his  bathrobe  in  one 
place  and  his  pajamas  somewhere  else. 
He's  in  an  awful  hurry  in  the  mornings. 
He  sleeps  till  the  last  possible  second.  He 
used  to  get  up  in  time  to  take  an  early- 
morning  swim.  Now  he  figures  those 
fifteen  extra  minutes  of  sleep  will  do  him 
more  good. 

He  goes  out  approximately  three  times 
a  week,  including  Saturday  night.  He 
likes  to  get  home,  learn  his  lines  for  the 
next  day,  and  get  to  bed  by  2  A.M.  He 
doesn't  play  at  the  expense  of  his  work, 
not  Cary.  Evenings  when  he  stays  at 
home  he  gets  to  bed  around  midnight. 
On  those  evenings  he  reads  and  plays  the 
piano  (on  which  there  is  usually  a  pic- 
ture of  his  current  girl  friend).  People 
are  constantly  dropping  in.  If  they're 
still  there  when  he  feels  like  going  to  bed, 
they  can  keep  right  on  talking — but  he 
retires. 

He  has  moods.  But  his  brooding  moods 
don't  last  as  long  as  his  gay  ones. 

He  also  has  one  of  California's  most 
mahogany  tans.  He  spends  all  day  Sun- 
day on  the  beach.  He  looks  well  in 
shorts. 

All  this  gives  you  an  idea  of  what  a 
woman  can  expect  from  Cary.  But  there's 
one  thing  she  can't  expect,  in  spite  of  his 
screen  experience,  and  that's  finesse  at 
love-making.  In  his  own  words:  "I'm  an 
awfully  poor  Romeo.  When  I  go  courting, 
it's  a  pretty  sad  performance.  I'm  just 
a  muddle-tongued  boob!" 


Fair  Warning!   You  just  won't  be  able  to  resist  the  fashions 
in  the  December   MODERN  SCREEN 


88 


MODERN  SCREEN 


BLONDES! 


MEET  THE 


(Continued  from  page  6) 


back  like  magic,  utterly  fascinated.  In 
the  foyer  she  puffs  nonchalantly  at  a 
cigarette  stuck  in  a  long  holder.  Now 
and  then  she'll  do  a  solo  performance 
right  there  in  her  seat.  For  instance,  at 
the  opening  of  the  summer  ballet  season, 
during  the  unraveling  of  a  picturesque 
sequence  involving  a  witch  and  a  Slavic 
Red  Riding  Hood,  Madame  portrayed  so 
realistic  a  witch,  writhing  and  twisting 
and  leering,  that  the  woman  to  the  left 
of  her  actually  shuddered! 

Unbelievable  but  true  —  Ouspenskaya 
(in  Russia  it's  quite  Emily  Post  to  call  a 
lady  by  her  last  name)  is  also  a  horse- 
woman! But  par  excellence.  At  the  first 
sign  of  a  half  day  off  from  her  thousand 
and  one  chores,  she  is  chauffeured  (she 
abominates  driving  an  automobile;  speed 
laws  make  her  champ  at  the  bit)  to  her 
ranch  near  Victorville.  Here,  without  a 
care  in  the  world,  romps  her  high-spirited 
mare,  Queenie.  By  the  time  she's  in  her 
togs,  red  ribbon  in  her  hair,  Queenie  is 
saddled.  With  no  groom  to  lift  her  into 
the  saddle,  Madame  takes  off.  Even  Gene 
Autry  thinks  she  does  it  with  mirrors. 

She's  weary  of  playing  the  eternal  ec- 
centric, if  vivid,  old  lady,  be  she  countess, 
maharanee  or  ballet  mistress.  Madame  is 
furious  at  unimaginative  producers.  They 
can  only  see  her  in  the  last  role.  They 
swear  that's  the  real  Ouspenskaya.  Let 
her  tell  it: 

"I  want  to  do  something  gay  and  youth- 
ful for  a  change — musical  comedy!"  she 
protests. 

By  all  odds  Madame  has  this  favor 
coming  to  her.  She's  been  playing  an- 
tique women  ever  since  she  first  hit  the 
deck.  Amusingly  enough,  as  a  stage- 
struck  little  maiden  of  14,  she  made  her 
first  appearance  on  any  stage  (mostly 
before  kinsmen,  friends  and  muzhiks  at- 
tached to  her  father's  estate)  in  the  role 
of  a  60-year-old  professor.  Her  cousin 
Fred,  13,  played  her  40-year-old  spin- 
ster daughter. 

That  was  all  back  in  Tula,  a  famed 
Russian  provincial  city  where  Maria 
Ouspenskaya  was  born,  the  daughter  of  a 
brilliant  lawyer.  She  was  thirteen  when 
her  father  died.  He  had  been  dead  two 
years  when  financial  reverses  hit  the 
house  of  Ouspensky  (Ouspenskaya  is  the 
feminine  form,  of  course.)  Maria,  fresh 
from  the  equivalent  of  what  we  know 
here  as  high  school,  set  about  making 
something  of  herself. 

Endowed  with  a  coloratura  voice,  "more 
than  mediocre  and  less  than  sensational," 
she  decided  to  conquer  the  concert  stage. 
Thanks  to  a  kindly  uncle,  she  managed 
to  get  in  a  year  at  the  Warsaw  conser- 
vatory, but  then  he  too  lost  his  money, 
and  she  was  forced  to  withdraw.  It  almost 
broke  her  heart.  But  not  her  spirit. 

Back  to  Tula  she  went  to  become  a 
lowly  governess.  Of  herself  at  this  time 
she  says: 

"In  the  wake  of  the  set-back  to  my 
dreams,  I  found  myself  becoming  more 
gloomy,  my  temperament  more  re- 
strained. Suddenly  I  remembered  the 
fever  of  youth  when  the  stage  loomed 
like  something  enchanting  in  my  dreams. 
I  recalled  my  makeshift  apprenticeship 
in  the  drama.  Then  and  there  I  decided 
to  risk  everything  and  go  to  Moscow. 
Somehow,  I  knew  I  would  manage." 

The  gods  were  with  her.  Almost  at  the 
end  of  her  rope,  she  landed  a  job  as 
soloist  at  one  of  the  Moscow  churches. 
Fired  with  a  faith  in  herself  as  an  actress, 
she  simultaneously  enrolled  at  Adasheff's 


School  of  Drama  where  she  negotiated 
the  three-year  regimen  with  colors  flying. 

In  her  mind  was  one  goal — membership 
in  the  celebrated  Moscow  Art  Theatre, 
where  Constantine  Stanislavsky  was  ex- 
citing the  world's  wonder  with  his  revo- 
lutionary dramatic  ideas.  Eager  but 
humble,  she  determined  to  round  out 
her  experience  by  a  two-year  trick  with 
stock.  It  was  hardly  exciting,  or  pleasant, 
this  wandering  over  the  Russian  prov- 
inces, putting  up  with  a  thousand  incon- 
veniences. But  it  convinced  her  she  was 
on  the  right  track. 

At  last  sure  of  herself,  she  applied  for 
membership  in  the  Art  Theatre.  She  re- 
ceived an  audition  in  due  time,  as  did 
250  other  applicants  that  month.  She  was 
one  of  five  selected. 

She  never  wanted  to  be  a  leading  lady. 
Her  ambition  was  to  become  a  fine  char- 
acter actress.  How  she  established  her- 
self within  a  few  seasons  as  one  of  the 
most  distinguished  performers  in  the 
Russian  theatre  is  too  well-known  to 
need  repetition  here.  Consequently,  when 
Stanislavsky  took  his  illustrious  group  to 
America  in  1922,  she  made  the  trip. 

She  fell  in  love  with  this  country  from 
the  start.  She  wept  at  leaving  it.  When 
the  Art  Theatre  paid  a  return  visit  in 
1924,  she  stayed. 

Together  with  the  late  Richard  Bole- 
slavsky,  the  gifted  actor,  author  and 
director,  she  formed  the  American  Lab- 
oratory Theatre  to  teach  the  Stanislavsky 
method.  When  it  closed  in  1929,  she 
opened  the  Maria  Ouspenskaya  School  of 
Dramatic  Art.  It  was  a  success  from  the 
start.  Remembering  her  own  struggles, 
she  made  the  tuition  nominal  and  set  up 
so  many  scholarships  that  her  business 
manager  began  warning  her  of  bank- 
ruptcy. She  would  shrug  and  say:  "Is 
that  so  important?" 

From  the  Ouspenskaya  School  has 
emerged  some  of  the  screen's  finest  talent. 
Garfield  will  tell  you  point-blank  that 
Madame's  second  to  nobody.  Eddie  Al- 
bert brings  a  script  around  to  her  every 
time  he  gets  a  part.  Together  they  go 
over  the  story,  trying  to  breathe  life  into 
the  character  Albert,  ever  the  perfec- 
tionist, has  been  assigned.  Warner's  soar- 
ing star,  Brenda  Marshall,  learned  the 
three  R's  of  drama  under  Madame.  Para- 
mount's  Lillian  Cornell  ("Rhythm  on  the 
River")  is  another  Ouspenskaya  pupil. 
So  is  Anne  Baxter,  who's  just  done  a 
good  job  in  "The  Great  Profile"  with  Mr. 
John  Barrymore. 

Madame  turned  down  Joan  Crawford 
and  Katie  Hepburn  as  private  pupils. 
With  her  it's  a  democratic  business.  You 
learn  acting  en  masse. 

In  Hollywood,  Ouspenskaya  would  be 
wondrously  happy  were  it  not  that  the 
real  stage  is  3,000  miles  away.  She  does 
her  best  in  the  film  Babylon  by  attending 
every  worthy  play. 

Does  she  sigh  for  the  Russia  that  was? 

Not  at  all.  To  quote  her  she's  as  Amer- 
ican as  a  hot  dog  or  the  Charleston! 


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1.  Not  a  liquid!  It's  a  fragrant  powder  that 
quickly  makis  a  rich  cleansing  lather. 

2.  Instantly  removes  dull  dingy  dust-laden  film 
that  makes  blonde  hair  dark  and  old  looking. 

3.  Called  Blondex,  it  gives  hair  attractive  lus- 
tre and  highlights — keeps  that  "Just  Sham- 
pooed" look  for  a  whole  week. 

4.  Lightens  hair  with  absolute  safety.  Use  it 
for  children's  hair.  Largest  selling  blonde 
shampoo  in  the  world. 

Ask  for  BLONDEX  today  at  any  good  store. 

INDIGESTION? 

Has  your  physician  told  you  your  di- 
gestive disorder  is  partly  due  to  a  lack 
of  B  vitamins?  And  that  a  generous  sup- 
ply of  this  important  group  of  vitamins  is  essential  i£ 
the  digestive  tract  is  to  work  properly?  Ask  him  about 
Fleisehmann's  Fresh  Yeast.  Many  authorities  hold  that 
yeast  is  the  very  best  way  because  the  vitamins  are  natural 
not  synthetic.  And  Fleisehmann's  Yeast  contains  the  com- 
plete B  family — not  just  some  of  the  more  common  mem- 
bers, as  do  most  costly  concentrates. 

Try  Fleisehmann's  Yeast  this  pleasant  way:  Mash  the 
yeast  cake  with  a  fork  in  a  dry  glass.  Add  %  glass  cool 
water,  plain  tomato  juice  or  milk.  Stir  till  blended.  Add 
more  liquid.  Stir  and  drink  immediately.  Drink  2  cakes 
every  day.  One,  first  thing  in  the  morning — one  before 
bed  at  night.        Copyright,  1940.  Standard  Brands  Incorporated 


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NOVEMBER,  1940 


89 


THE  GREAT  DICTATOR 

"We  must  laugh  in  the  face  of  these  crazy  times,"  says 
Chaplin — and  he's  really  giving  us  something  to  laugh 
about.  His  first  talking  picture  represents  two  years'  work 
and  cost  him,  personally,  the  fabulous  sum  of  $2,400,000 


The  Great  Dictator  and 
his  henchmen  (all  wear- 
ing the  symbol  of  the 
Double  Cross)  plot 
some  dirty  work.  This 
spectacular  set  is 
just  one  of  fifty-five 
used  in  the  picture. 


Not  only  does  Chaplin 
(seen  here  as  Dictator 
Hynkel)  play  two  dif- 
ficult roles,  but  he 
wrote,  directed  and 
produced  the  film;  de- 
signed the  costumes  and 
supervised  the  music. 


Chaplin's  his  lovable 
old  self  as  Charlie  of 
the  Ghetto.  His  sweet- 
heart is  Hannah  the 
laundry  girl  (Pau- 
lette  Goddard)  — lovely 
in  spite  of  glamorless 
togs  and  little  make-up. 


Jack  Oakie  is  Benzino 
Napaloni,  Dictator  of 
Bacteria.  (On  the  set 
they  called  him  Duce. ) 
He's  devoted  two  years 
to  this  film  and  his 
visit  to  Hynkel  is  a 
sure-fire  laugh  riot. 


Here's  Chaplin  as  the 
barber,  called  simply 
"Charlie"  throughout. 
His  voice  is  wispy  and 
thin,  in  contrast  to 
Hynkel's,  which  is  gut- 
tural. Reg  Gardiner  is 
Schultz,  super-patriot. 


90 


Printed  in  the  U.  S.  A.  by  the  Art  Color  Printing  Company,  Dunellen,  N.  J. 


MODERN  SCREEN 


BETTY  GRABLE 

Featured  in 
20th  Century-Fox  picture 
"Down  Argentine  Way" 


LEARISI     BETTY*  SECRET 


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FO  R. 


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